Reflecting the tumultuous politics of the early ’70s in India, Deewar tells the story of a pair of impoverished brothers who, after their family is betrayed by the misplaced idealism of their father, struggle to survive on the streets of Mumbai. They head for a showdown when one becomes a policeman, and the other becomes a criminal.
Amitabh Bachchan Shashi Kapoor Neetu Singh Nirupa Roy Parveen Babi Madan Puri Manmohan Krishna Jagdish Raj Kuljit Singh A.K. Hangal Aruna Irani Kamal Kapoor D.K. Sapru Dulari Yunus Parvez Satyendra Kapoor Iftekhar Sudhir Raj Kishore Mohan Sherry Alankar Joshi Raju Shrestha Rajan Verma Vikas Anand Radheshyam H.L. Pardesi
Deewar, კედელი, Стена, 墙
IndiaU
India
Read somewhere that this got remade in Hong Kong a couple years later and that remake was a big influence on John Woo for A Better Tomorrow (and thus an influence on pretty much all of Hong Kong cinema post-1986). The connection is obvious (two brothers, one a cop, one a crook), if not especially deep: the movies do entirely different things with the setup, with Deewaar more focused on the ruptures in the family (and their effect on the mother) than anything else, while Woo kills off the father pretty quickly.
Both films emphasize the social conditions that lead to criminality, but Chopra ultimately presents it as a choice, a forced one for Bachchan's socialist father, an almost self-sacrificial…
Rewatched this with my hostel buddies and to witness raw angry young man on screen is something I'm gonna cherish even if we watched this film at our dinner hall.. "Main aaj bhi phenke hue paise nahin uthata" Still gives me goosebumps and all credit goes to the writing duo of Salim Javed to break the unconventional way to potray the mainstream hero who's not just your ideal guy but still has larger then life screen presence... The tension b/w brothers and the way it escalates till the last moment is something which is missing in our films nowadays.. That rawness or earnestness which 70s Or early 80s cinema was doing it whole heartedly... All in all even with all…
To understand the true impact of Deewaar on Indian pop culture and on Mumbai noir, it would perhaps be pertinent to draw a comparison to the Godfather films: Deewaar is about as important to Bollywood as The Godfather is to Hollywood. And naturally, it's an excellent film.
A brief plot synopsis: a mother and her two children live in poverty in Bombay. The eldest son works at blue-collar jobs and forgoes his own education for his younger brother, who grows up to be a police officer while the elder son grows up to become an underworld don. The rest is a fight of principles versus familial ties. Good stuff.
Deewaar has been endlessly imitated, referenced and parodied. Naturally, the original…
When Amitabh was like [sits in a chair looking cooler than anyone has ever looked]...I felt that
This Hindi-language drama explores the chaotic societal and political atmosphere of nineteen-seventies India with both consideration and some incredible performances. The fundamental designs of Deewaar are predominantly concerned with the successful manipulations of emotions, yet it's the abundance of maturity that the filmmaker's exhibit in navigating the narrative through some delicate dramatic corkscrews which are significant.
It is a movie which additionally never neglects to provide enjoyment, and while several components in the narrative must have come with considerable risk, they play extraordinarily generously in the film. Deewaar had a profound influence on the Indian film industry as well as international cinema, and while it's not a narrative which is entirely original, the cast and crew masterfully create enough distinctness to leave an impression.
v blessed that I wasn’t in India in the 70s bc I would have been such an amitabh hoe. would’ve posted up outside his house and fainted at the sight of him. truly grateful bc I would’ve acted a fool
White people will never understand why one of Indian cinema's most iconic lines is "I have mom
Deewaar takes the art of the zoom to higher ground. A landmark of 70s Indian action cinema, it takes a host of ingredients from different parts of the world (On the Waterfront star wattage and working-class themes, Hong Kong kung-fu aesthetics, the Bombay musical touch) to create a complex morality tale in its own class. Deewaar was part of a spate of films that announced Indian sunk-eyed hunk Amitabh Bachchan as India's "Angry Young Man," a restless, James Dean-ish slummer with a blue jean-jacket, tighter jeans, and a noose around his neck inviting idiotic foes to try and tighten it. Melodrama mixes with the grit of the streets to create a yarn so without congestion, so quick-footed, so confident, that…
"Cinema is a reflection of your society, what is happening(around). But beware! Cinema has started reflecting every part of your life today. They are no more narrating bedtime stories"-Gulzar.
This statement rang true 25 years into India's Independence when Deewar was released, in the post-Nehruvian era. The socio-cultural values hitherto affirmed were now undermined and the new generation, disillusioned, looked back to myths to find their roots. One of such classic tales is a brother's fight with his brother. The film opens with Anand Verma, a worker rights activist who is the father of the two protagonists. His struggle proves futile for his elder son Ravi grows to the same forsaken life. The younger, Vijay, struggles to find a job…
In an interview, Danny Boyle described Deewaar as being 'absolutely key to Indian cinema'. This seminal film, about two brothers on opposite sides of the law, cemented the archetype of the 'Angry Young Man', reinforced the importance of the mother as a moral centre in Hindi
cinema and firmly established Amitabh Bachchan as the finest actor of his generation. Deewaar is also, with the exception of Sholay, the finest script that Salim-Javed created. So the incessant zooms and outlandish clothes (at one point, Madan Puri playing a villain wears a coat with
such wide lapels that they touch his shoulders) might seem comically dated today. But the story, emotion and performance still pack a wallop. There is nothing in Hindi…
