Aitbaar

It is a great movie, sure to keep you on the edge of your sofa for the better part of the movie. Awesome performances by all 4 characters (Babbar, Dimple, Oberoi, Danny). Wish there were more movies like this made today.

As other have pointed out, it is a remake of "Dial M for Murder" directed by the greatest of all, Alfred Hitchcock. "Dial M for Murder" is a fantastic movie and "Aitbaar" pretty much remade the movie scene by scene, dialogue by dialogue.

However ..... the characters in "Aitbaar" are m_uch more talented than the ones in "Dial M for Murder". You have to watch them both to see that. Hitchcock's movie is very well made in terms of story, dialogues and direction in general. However, the cast could have been much better. "Aitbaar" is very well made as the actors have done a great job bringing out the characters in the movie really nicely. This goes to show that our actors are very very talented and they just need good directors to bring out the best in them.

Raj Babbar takes the cake for the best actor, if you ask me. While Danny is a very close competitor, he might have lost out by an infinitesimal margin due to the fact that Danny's role is very short in the movie. No fault of his really but the few scenes Danny got, he rocked it in a way that nobody else could have. But Raj, from beginning to the end, did a fantastic job of portraying the character of Jaideep.

If you have not seen "Aitbaar", do so right away. I promise you that you will not regret it.

Aitbaar released in 1985 is an Indian adaptation of Alfred Hitchcock's classic dial m for murder. This is a very interesting film brilliantly directed by mukul anand. The culprit is known, how it's proved, forms the plot. Adapted into Indian set up, aitbaar has strong script and effective actors which becomes the greatest usp of the film. A dialogue by raj babbar - har janam mein insan do cheezon se peecha nahi chura paya, aur woh hein bhookh aur hatya.... And that's the concept of the whole film. Hatya... Survival.... Money.... Greed... Easy comfortable life... Strategy... These elements input life into the script. The scene of keeping the key under the carpet is an important scene of the film. Actors, music, action and other elements are convincing. Amongst actors, according to me the most convincing performance is by Raj Babbar. Hats off. A must watch.

Mukul Anand's films always had a touch of class. And this remake of Hitchcock's "Dial M for Murder" is special. The plot is effortlessly Indianized, although it is difficult to imagine why any husband, however vain and philandering he may be, would want to snuff the life out of the beauteous Dimple Kapadia. She's a vision. Almost a match for Hitchcock's ice maiden, the incandescent Grace Kelly.

Cinema has never been such an effective vehicle for whodunnits. Why did a murder take place? That's something films tackle well. Not who did it. Even the original Hitchcock film was much too wordy. Anand has made game attempts to make it more visual but as a whodunnit it still doesn't work. The whole plot hinges on the key hidden underneath the staircase carpet. It's a bit too much, when the revelation eventually comes. Much ado about so little, you sigh! The other event in the film that makes you sigh is a sizzling dance done in skimpy clothes by Leena Das for Raj Babbar. Leena sizzles.

After Neha is abused by her husband Jaideep, she goes back to her ex-lover. She is caught in a dilemma when Jaideep returns and promises to mend his behavior; however, Jaideep has his own motive.

A brilliantly directed remake of the Hitchcock classic "Dial M for Murder" where Raj Babbar assumes the Ray Milland role, the murderously scheming husband, and the exquisite Dimple Kapadia is in the Grace Kelly role. Suresh Oberoi plays her ex-lover whose shoulder she leans on when her husband's horrid behaviour hits the fan. The pace is nifty, the tension is unbearable at some points, and though it's a Bollywood film, any such masala style melodrama is kept at a minimum, and a touch of class pervades in the air as well as menace. There are good performances all around, even Naseeruddin Shah, whom I don't like, but the accolades has to go to Raj Babbar whose transition from a horrible husband to a caring one is effortless. He's cold, scheming and his lurking in the corner in Sagar secretly observing his wife and her lover is right sinister. The climax ends with a fitting conclusion.