Laaga Chunari Mein Daag: Journey of a Woman

There was a song by a similar title, sung many years back by the legendary K.L. Saigal.

Based on the old format about poverty, a movie production company hires a place in the Northern Indian city of Benares, where two sisters, Natasha and Chutki live with their parents. The father, Shivshankar Sahay, is against renting out his house to the movie company but has to accept it due to financial reasons. One night, upon request from one of the female members of the company, Natasha and Chutki go and watch a dance against their parents wishes. At the end of the performance, the three visit the female dancer, who tells Natasha that she is very pretty. But soon events turn for the worse and the movie production company, who had paid the family for the use of their house for filming, decide to withdraw and demand to have their money back. In the meantime, Natasha, who has had to leave college and help at home, has to admit her father to a hospital as he suffers heart problems and has to pay for him to be admitted. She decides to go to Mumbai and get a job as an actress as the female member of the movie had promised her. But nothing works out and in order to support her family, Natasha is forced to make up her mind as what she wants to do. But events force her to turn into a high class prostitute.

This is one movie, that Rani Mukherjee, as Natasha, tries to show her versatility as an actress and has proved it. The other bit of excellent acting is by Jaya Bachchan as her mother and also Abhishek and Konkona Sen. But Hema Malini, who makes a special appearance as the dancer, is just magnificent even though she's in it as "special appearance." The movie also stars Tinu Anand as Shishankar Sahay's evil brother.

Conclusion: This is worth watching at least once.

Aaina – remake – Laga Chunari Man Daag (LCMD) – release year 2007 30 years later, Bollywood made the same theme because they failed to drive in the message in the think-brains of we, the Indians – way back in 1977! So in LCMD- Rani (who eventually becomes a prostitute in the film) is the daughter of a retired Professor (Anupam Kher) who is not getting his pension and is shown running from pillar to post to get it. Jaya (playing Ran's mother) is somehow managing to run the household by sewing blouses & petticoats. Financial crunch drives Rani to the big city where she becomes a high class Prostitute – having the designation of 'Escort' because in big-big corporate sectors, the senior officials cannot ask like 'get me a prostitute for the night' …..etiquette does not allow – so a new name 'Escort' has been given to such sex-workers. They obviously get paid higher than the red light area sex-workers….yea – this is a kind of injustice – absolutely the same work but payment is vastly different! So in this world, in 2007, where unemployment is rampant, Rani starts living in a plush house in Mumbai plus starts sending money to not just feed the family but also renovate the dilapidated building they lived in! People from her village (her cousin in fact) comes to know that she was actually a sex-worker and even starts blackmailing her! She then meets a filthy rich handsome hunk who starts dating her and then even marries her because rich males – mostly f**k around all kinds of females – but in Rani – he could see the subservient, submissive qualities as well (along with promising sex-postures that escorts are supposedly experts at) – after all she was from a small town and decides to marry her after all. His brother marries Rani's younger sister – who was an MBA (not an escort because she was educated…..I think this is the reason why Indian females are kept uneducated – coz if they all become literate and independent..who would do the job of sex-worker?..this is an inherent fear that sleazy debauch males have and thus do their level best to promote whoredom among women and keep it alive forever!) Take Home for commoners (thick brained esp.) after watching LCMD:

That a female can be a sex-worker – either out of choice or by force – whatever – because eventually they will find some rich & handsome idiot to marry – so why not enjoy with as many males as possible?

When males are allowed to happily hump around females – why shouldn't females do the same? Why on earth should they maintain their chastity or virginity – when some debauch, amply humped demon will ultimately marry them? A demon only deserves a witch. Ravana needs to marry Mandodari. So there.

Some males seem hardly bothered about concepts like chastity or virginity (so it seems in the film) – the fact that Abhishek (Rani's hubby in the film) happily agreed to marry the escort – knowing very well that later, when he attends the corporate meetings etc., the BEEPS will smile and even wink at his wife…reminding her of the 'nude' times they had together!!(you see Abishek happened to meet Rani in one of the corporate meetings…means that he will be meeting the same officers or executives – for whom Rani was present……like to entertain them on bed!

Aaina - a yesteryear Bollywood film Difference between Aaina 1977 and LCMD 2007 – Not much really. Parents are dumb enough to not understand the source of money. Both the times the prostitutes got married and lived happily ever after.

Indians (maximum) went to see the conical blouse & open cleavage of Mumtaz and Rani respectively.

I'd been wanting to watch 'Laaga Chunari Mein Daag' for a while mainly because it starred one of my favorite actresses Konkona Sen Sharma and a used-to-be favorite Rani Mukerjee (I still like her). In spite of hearing the bad reviews, I was still considering it as I expected that in the least I'd get to see two great performances. That's all I got.

Pradeep Sarkar could have made one fine movie but with so many unnecessary (and irritating) characters, the bad writing (clichès etc) and lack of character development the film is hugely bought down. Why the hell was there a need to have the whole Tinnu Anand - Sushant Singh track (they're irritating)? A wooden Abhishek adds nothing interesting (another track that could have better been left out). Anupam Kher hams it up as a card-board selfish (misogynist?) dad. Likewise the other characters are badly written. In the beginning we see a frantic Jaya Bachchan in the hospital when the husband's had a heart attack but Konkona's Chutki is shown to be very relaxed (as if nothing happened). Was she simply in denial or was she just staying positive? Then in a later scene (before Rani becomes an escort call girl) we see that her neighbor-friend offers her money for help but she still decides to sleep with his boss. Was it simply that phone call to her mother that pushed her off the edge? Jaya Bachchan plays a caricature mother and this can be added to one of her worst performances.

In addition to all the mess, most of the songs were horrible and should have been edited out. The only songs that stand out are the first track, the song that takes place when Badki becomes Natassha and the Mujra (even though it was chopped and could have been better left as a whole). The outdoor locations (e.g. Switzerland and Italy) in the songs were unnecessary but what would a Yashraj film be without such flooze?

On the positive side, as mentioned earlier, there are two standout performances. Apart from that one scene mentioned above, Konkona is brilliant. The role itself is not something particularly special, but the actress is and she definitely leaves a mark. The scenes with her and Rani are the best. Thankfully, there are enough of those to make the film somewhat worth the watch. It was funny seeing her do the singing and dancing (as it's the first time she's done that) not that she was bad or anything.

'Laaga Chunari Mein Daag' is Rani's film. The actress does one of her best acts and shows tremendous growth. Easily one of the best performances this year and all Rani needs is more great (and such different) roles in great films to mark her talent.

Hema Malini does a graceful cameo. However her dance-number is chopped into pieces. 'Would have liked to see her dance more. The cinematography is impressive, especially the shots of Banaras. On the whole, this is one severely flawed and very predictable film but with two fantastic performances that prevent me from calling it a waste of time. I'd recommend it to those who like the works of Rani and Konkona as long as they don't expect anything from the film itself.

This is not a must watch. But definitely worth your time. I don't know why this movie was so underrated. Excellent performance from every characters. Somehow, in the early scenes of 'happy days' I felt that Konkona as 'chutki' has outclassed Rani in performance! Also the acting of (by Taraana?) as the character 'sophie' needs mention. All in all everyone performed very well. Abhishek's entry as Kunal's elder brother in the end is predictable. The thing I most like is the simple happy ending. Usually, a movie with such high voltage drama ends in a certain way but this is not.

So at least watch it for the sake of climax!

When I went for the movie I was skeptical as I heard a review that the movie was a regressive tear jerker. Which thankfully was DEFINITELY NOT TRUE. I wonder if the reviewer actually saw the movie.

The story is about a benaras based family falling into hard times and Rani moving to mumbai to save the family from financial ruin.

A family falling into bad times is certainly not a novel concept. What is refreshing is the story line, which is definitely modern and realistic and never one dimensional. Life in Benaras and Mumbai has been captured beautifully without a trace of cliché.

The romance between Konkona and Kunaal is refreshing and so is the chemistry between Rani and Abhishek. The story line is sometimes sad but always realistic and upbeat.

Acting and Direction is superb. Rani and Konkona are superb. Rani sizzles with her looks and acting. Konkona acting is superb. Kunal has shown he is much more that a pretty face. Abhishek role is short but he does a decent job. Jaya's acting is flawless.

Kudos to the director/producer for choosing a difficult subject and handling it with great sensitivity.