Deewaar

Indeed, a Yash Chopra classic with style and substance. Scripted by Salim-Javed, who tasted great success that year with another classic, Sholay. Deewar is more meaningful than Sholay, but less entertaining, although both films are very good. Yash Chopra is the director of this film, and what can one expect from a director at the top of his game. Deewar is actually not very original, and in general it's a remake of Ganga Jamuna starring Dilip Kumar. That said, Chopra infuses it with a certain energy which makes for a film that tugs at the heartstrings and remains credible despite being derivative. The dialogue is very strong (obviously some of it is trademark today), the development is very good, and technically the film is better than the usual fare with some excellent camera work, and better handling of the action scenes although it's not perfect.

Where Chopra scores the most is in the portrayal of the relationships which is done in a most realistic and matter-of-fact way even within the limitations of commercial film. The relationship between Bachchan and Parveen Babi is amazingly authentic and believable, and so is Shashi Kapoor's with Neetu Singh. The ideological differences between the brothers is given utmost importance obviously, and it's done well. Needless to say, Bachchan gets a role he became most associated with, and he is remarkably real. He creates a stylish, restrained persona but adds a great deal of depth and layering to it. Shashi Kapoor supports exceedingly well, with their scenes together highlighted well, and Nirupa Roy is a good driving force. The ladies, Babi and Singh, are natural, and Babi in particular presents a moving act. Deewar is an interesting moral commentary.

One of my greatest films of alltime, the film has an eerie, grey feel about it. Amitabh who went on to amazing status really shines and portrays the character who is (based on Haji Mastan a notorious mumbai outlaw)isolated from society and family magnificantly, the role won him best actor 1975. A film richly layered in metaphor and meaning, with deeply powerful dialogues and symbolic significance. The camera work however makes the film look very dated which may put people off watching an old film, but if your not judging a book by the cover, based on sheer performances and script well worth a watch.

My dad made me see this when i was a kid. Even as a kid i hated those bollywood films with unnecessary songs. It is an intense n awesome film with solid performance by Bachan. Those who love Hindi cinema for its extravagant song and dance routines, its mix of romance, comedy, action and melodrama, and its over-the-top stuff may be surprised to learn that this 1975 movie is devoid of such characteristic elements. Yet Deewaar is an awesome bollywood film. Mr. Bachchan was terrific.

Amitabh Bachchan plays Vijay Verma, brother of a righteous police officer, who comes to resent society for the suffering it has brought upon his mother (and himself). After his dad abandons the family, Vijay and his Mum have to work like slaves to earn a little money to send brother Ravi to school. Ravi becomes a top student and joins the police as a top officer. Meanwhile, Vijay becomes increasingly bitter about the indignities inflicted by him & his mother because they are poor. When he gets a chance to earn some more money he can't say no, even though it involves working for a known smuggler. He quickly rises to become the smuggler's right hand man and becomes rather wealthy as a result. But Vijay's new career creates a rift with his brother that inevitably leads to conflict... but of course it's poor mum that suffers the most.

Deewar was made close to the start of the Amitabh Bachchan phenomenon, and contributed no small amount to it. His performance as the angry young man who drifts to the wrong side of the tracks is brilliant - balancing turbulent fury with his charisma and cool.

Yash Chopra and writer Salim Javed flood the movie with huge amounts of melodrama (not especially unusual in Bollywood), but take to extremes some things and scenes that would have been better left a little more subtle. The movie is quite complex and layered - something much easier to accomplish when you have 3 hours to explore and develop things, as with most Bollywood movies. The excess of melodrama becomes quite draining over such a length of time though.

Quite a good movie, but definitely not as much fun as other Amitabh/Salim Javed pairings such as SHOLAY, SHAAN and the inimitable DON.

Younger audiences (and especially newcomers) introduced to Hindi cinema by the stars of the 1990s must often secretly wonder why Amitabh Bachchan is such a big deal. He has never had the bulging biceps and ripped body of a Hrithik Roshan. Even in his early films, he couldn't dance nearly as well as Shahrukh. Few of his movies offered elaborate song and dance numbers like those favored today. Sure, he might have turned in some first-rate performances — most recently, in films like Kabhi Khushi Kabhi Gham and Baghban — but nothing about him seems to *quite* justify his status as superstar-of-the-millennium. Right? If you muse upon these questions but are afraid to address them to your esteemed elders (Bachchan groupies all), then I have the answer for you:

Go rent Deewaar.

Every once in several decades comes a movie that breaks all the norms and still manages to become not only a runaway success but also an established classic. Deewaar is one such movie. Thirty years after its release, Deewaar remains one of the most famous movies Bollywood has ever produced. Those who love Hindi cinema for its extravagant song and dance routines, its mix of romance, comedy, action and melodrama, and its over-the-top emoting may be surprised to learn that this 1975 explosion-of-a-movie is conspicuously devoid of such characteristic elements. Yet Deewaar is certainly a mainstream Bollywood film. It just happens to be a phenomenal one.

Deewaar begins with a terrible choice: in order to save his family's lives, Anand Verma (Satyen Kappu), the union leader of the local mine workers, betrays his constituency, surrendering to the mine-owners' extortionate demands. In return, he is humiliated and ostracized by his community. Unable to bear the shame, Anand absconds, leaving his wife, Sumitra Devi (Nirupa Roy), and his two sons, Vijay (Master Alankar, Amitabh Bachchan) and Ravi (Master Raju, Shashi Kapoor), to fend for themselves.

Ravi, the youngest child, largely escapes the backlash, sheltered from the community by his mother and brother. Vijay, on the other hand, bears the brunt of the trauma; he becomes the target of brutal public humiliation. The consequences of Vijay and Ravi's very different experiences only intensify as the brothers grow up. In a desperate bid to give his mother the material comforts he thinks are her due, Vijay takes to a life of crime. In contrast, Ravi, disgusted by repeated rejections in a job market powered by nepotism, decides to enroll in the police force. Inevitably, the siblings' differing ideologies lead to an epic moral clash that creates a "deewaar," or wall, between them. This wall becomes insurmountable when Vijay's mother refuses to accept his ill-gotten riches, and forsakes him to live with Ravi. Ultimately, Vijay's misery compels him to seek redemption, but his attempt to obliterate the wall dividing his family will exact an unthinkable price.

Deewaar is, in one word, taut. From start to end, the movie is unrelentingly tense, tight, somber and serious but the seriousness of the film works for two vital reasons: the absolutely amazing, scorching and explosive under-acting by Amitabh Bachchan; and the screenplay and dialogs by Salim-Javed.

To say that Amitabh has acted really well in Deewaar is like saying Niagara Falls is a really big waterfall: it misses the enormity of the fact by several million gallons. To lovers of true cinematic acting (and yes, there are some such fans even in Bollywood), Deewaar offers a true, unadulterated, powerhouse performance unparalleled in Hindi cinema. There is no living (or dead, for that matter) actor who could have performed some of Deewaar's most muted and yet powerfully moving scenes -- scenes in which Vijay's silent anguish abruptly transmutes to violent eruptions, literally burning up the screen with intensity, anger, brutality, vulnerability and gritty resolve. To the small but fiercely loyal group of Amitabh fans, Deewaar is and will always be his best performance. To some of us, it defines the gold standard in Hindi film acting. It is Amitabh and only Amitabh who turned this movie from a typical over-the-top melodrama with great dialogs but no good songs into a gripping three-hour experience that leaves the audience mesmerized (and in an overwhelming majority of cases, crying uncontrollably as the end credits roll).

As for Salim-Javed...apart from developing what is arguably the tightest script ever written for Hindi film, the pair should have gotten an award for the sheer number of quotable lines in Deewaar. Salim-Javed's script was also daring detour from the mainstream in more ways than one. Consider the oddities. The leading man has no songs in the movie. There is absolutely no comedy - no Johnny Lever or Asrani anywhere in sight. Meanwhile, the leading lady (played convincingly by Parveen Babi) is a hooker, who -- as the narrative explicitly insists -- has sexual relations with the hero. True, both characters' occupations entailed a set of moral values that are less-than-perfect by Indian middle-class standards, but the screenwriters still took an enormous risk by depicting some pretty bold scenes . Yet the power of the script was such that in the end, audiences were rooting for both characters with great sympathy and support. Finally, the leading man is an atheist (albeit superstitious). Not only that, one of the now-famous temple scenes has Amitabh clearly defiant and contemptuous towards God. Quite an audacious step, considering modern heroes are always shown to be terribly pious and god-fearing.

Finally, the most significant evidence of Deewaar's superiority is the fact that unlike other hit movies like Sholay and more recent ones like DDLJ, no one has ever dared to copy it. It is the one film whose magic other film-makers realized could not be duplicated. The confluence of extraordinary acting and a uniquely brilliant script cannot be converted into a formula and regenerated ad nauseum. In the end, that may be the biggest tribute Hindi cinema can pay to this all-time, genuinely inimitable classic.