VALUTAZIONE IMDb
6,7/10
1899
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaKrishna is very loyal to his master and treats him like God. Unfortunately, he gets thrown out of the house and the master becomes a pauper. But loyal Krishna returns to change things for th... Leggi tuttoKrishna is very loyal to his master and treats him like God. Unfortunately, he gets thrown out of the house and the master becomes a pauper. But loyal Krishna returns to change things for the master.Krishna is very loyal to his master and treats him like God. Unfortunately, he gets thrown out of the house and the master becomes a pauper. But loyal Krishna returns to change things for the master.
- Regia
- Sceneggiatura
- Star
Madhavi
- Mrs. Janki Kumar
- (as Maadhavi)
Bhagwan Palav
- Cameo (song "Filmon Ke Saare Hero")
- (as Bhagwan)
Arun Bakshi
- Director
- (as Arun Baxi)
Yunus Parvez
- Gardener
- (as Yunus Parwez)
Shehnaz Kudia
- Deepa
- (as Shahnaaz)
Mushtaq Merchant
- Thief
- (as Mustaq Merchant)
Recensioni in evidenza
David Dhavan first hit and Rajesh Khannas last Hit. One of the most emotional Films in Bollywood must watch if you like clean family drama with emotional scenes and dialogues y Rajesh khanna, Govinda and Juhi chawla it also feature one of the hit songs from this movie (kaise kattey din kaise Kati raatein) sung by Mohd Aziz and anuradha must watch it's available with English subtitles on amazon prime and YouTube..
Khanna, in one of his later roles, delivers a masterclass in restrained anguish, his eyes conveying volumes where dialogue falters. Govinda, pre-celebrity as the 90s' "Hero No. 1," showcases surprising nuance, balancing his trademark humor with tender vulnerability. Their dynamic evolves organically, from wary tension to paternal affection, avoiding clichéd sentimentality. Juhi Chawla, though underutilized, radiates warmth, her character serving as the moral compass bridging two disparate worlds.
Dhawan's direction here is uncharacteristically somber, favoring muted visuals and deliberate pacing that mirror the protagonist's internal stagnation. The film's aesthetic-shadowy mansions contrasted with vibrant street scenes-reflects the clash between privilege and authenticity. Lahiri's soundtrack, particularly the soulful "Kaate Nahi Kat Te", transcends era-specific synth beats, becoming a narrative device that underscores pivotal emotional shifts.
Dhawan's direction here is uncharacteristically somber, favoring muted visuals and deliberate pacing that mirror the protagonist's internal stagnation. The film's aesthetic-shadowy mansions contrasted with vibrant street scenes-reflects the clash between privilege and authenticity. Lahiri's soundtrack, particularly the soulful "Kaate Nahi Kat Te", transcends era-specific synth beats, becoming a narrative device that underscores pivotal emotional shifts.
Swarg is very good movie and is a remake of a Pakistani movie named Sahib Jee. The actors have done exceptional job especially Rajesh Khanna and Govinda. Dialogues are fantastic and will be memorable for long long time, though they are heavily inspired and very close to the original.
The only thing I dislike about the movie(most Bollywood movies actually) was the annoying and unnecessary songs
I watched Swarg as a kid, and I used to consider it a good film. I knew I would not like it as much today, but I never expected to dislike it as much as I did while watching it again. The film tells the story of a big, wealthy and happy family. Rajesh Khanna plays Kumar, the dignified head of the family who is a hard-working and successful businessman. He has a wife, three half-siblings from his father's second marriage, one of whom is married. Above-all, he has a faithful servant named Krishna whom he treats like his own son. He never had his own children, as he once had vowed to his stepmother to never have his own kids in order to focus on the upbringing of his half-siblings (yeh, a fairy tale I'm telling you!). All seems to be pure bliss in Kumar's huge mansion, so much that the place is called heaven. The family members live happily together, they respect and care for each other, but when the predictable struggle comes, everything is ruined. Kumar's two brothers start showing their true colours and what used to be heaven turns into hell, one dire strait after another. Meanwhile, Krishna, who was thrown out of the house, now finds success in showbiz (you must see it, a true Cinderella story) and promises to come back to Kumar, whom he worships as his God. He doesn't even imagine what's going on in there.
Swarg is an extremely melodramatic feature, and it follows the done-to-death formula of a "happy-family-destroyed." It is so overdone that any of David Dhawan's proceeding over-the-top comedy films would seem exemplary in comparison. The story itself is not that bad actually, though I doubt anyone would ever be able to do something less stereotypical with it, but the direction lacks focus and the script is flawed. Technically the film is rather amateurish, and the background score couldn't be more annoying. The film does have its moments but they are few and far between. The songs are average. Where acting goes, Rajesh Khanna is good at times, but for the most part he is laughably bad, overdoing almost every aspect about his role. Govinda, known for his energetic and charismatic nature, does better, but the script lets him down and at times, particularly in his crying scenes, his expressions are unintentionally funny. Madhavi as Khanna's wife and Juhi Chawla as his younger sister, are both beautiful, and do better. The show stealer here is Paresh Rawal, in a classic villainous part, and Satish Kaushik is also quite likable in a comic role. The ending is horrendous and makes everything else in the film look rather subtle. I'm sure there must be those who'd consider Swarg a great film for its genre. I can't recommend it.
Swarg is an extremely melodramatic feature, and it follows the done-to-death formula of a "happy-family-destroyed." It is so overdone that any of David Dhawan's proceeding over-the-top comedy films would seem exemplary in comparison. The story itself is not that bad actually, though I doubt anyone would ever be able to do something less stereotypical with it, but the direction lacks focus and the script is flawed. Technically the film is rather amateurish, and the background score couldn't be more annoying. The film does have its moments but they are few and far between. The songs are average. Where acting goes, Rajesh Khanna is good at times, but for the most part he is laughably bad, overdoing almost every aspect about his role. Govinda, known for his energetic and charismatic nature, does better, but the script lets him down and at times, particularly in his crying scenes, his expressions are unintentionally funny. Madhavi as Khanna's wife and Juhi Chawla as his younger sister, are both beautiful, and do better. The show stealer here is Paresh Rawal, in a classic villainous part, and Satish Kaushik is also quite likable in a comic role. The ending is horrendous and makes everything else in the film look rather subtle. I'm sure there must be those who'd consider Swarg a great film for its genre. I can't recommend it.
10alokc
Rajesh Khanna plays the lead role in the movie.The movie is a tear jerker and a dramatic movie. The movie has Govinda, a popular star then, having more footage than Rajesh Khanna but he cannot compete with the mastery of Rajesh Khanna who has performed the role in his true style which reminds us of the old Rajesh Khanna Super Star. His certain scenes are memorable and the Director could have given a lot more footage to his role. The movie was a hit but could have had much better music and the production values could have been better. It is a one of the last movies of Rajesh Khanna which was a commercial success and with his fans coming out of the movie satisfied by the performance of the great superstar of the 1970s and 1980s who then decided to get into politics and forgot about films. A must see.
Lo sapevi?
- QuizDavid Dhawan's first hit with Govinda and perhaps one of Rajesh Khanna's last hits.
- ConnessioniReferences Awaara (1951)
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