Zaroorat (1972)
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With both The Times of India and Filmfare bracketing his previous film ''Chetna '' (1971) among art films (it focussed on the dying call girl’s teardrop), people had a high-minded excuse to see that film (which showed a bit of Rehana Sultan’s legs). In another era it might have been called a B-film. | With both The Times of India and Filmfare bracketing his previous film ''Chetna '' (1971) among art films (it focussed on the dying call girl’s teardrop), people had a high-minded excuse to see that film (which showed a bit of Rehana Sultan’s legs). In another era it might have been called a B-film. | ||
| − | Zuroorat certainly was one. And by the time it was made even The Times of India and Filmfare had stopped hailing Mr. Ishara as the next Goddard. | + | Zuroorat certainly was one. And by the time it was made even The Times of India and Filmfare had stopped hailing Mr. Ishara as the next Goddard. It was unfair and unjust of the two publications to have abandoned Ishara, especially when his Zaroorat had scaled new peaks of artistry: In the lovemaking sequence instead of showing two humans in a clinch, Ishara made the the stripes of the bedcover on which they would have had sex (and shown on this page)change their colours in rapid succession. |
| − | The film’s excuse for getting young Reena Roy to strip to the waist was that her character needed the money. | + | |
| + | The film’s excuse for getting young Reena Roy to strip to the waist was that her character needed the money to help her ailing husband. | ||
Revision as of 19:41, 21 April 2014
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Cast and crew
D: B.R. Ishara
Cast: Reena Roy, Vijay Arora, Danny Denzongpa
Excuse for nudity
At least officially Mr. B.R. Ishara was a maker of ‘art’ films. The patrons of said so. Therefore, lesser mortals agreed.
The ‘new wave’ of Hindi-Urdu cinema is supposed to have begun around 1969 with Mrinal Sen’s Bhuvan Shome. Its institutional patron was the government-owned FFC (Film Finance Corporation), which was headed by Burjor Khurshedji Karanjia, who was also the editor of India’s then biggest selling English-language fan (not scholarly) film magazine, Filmfare, which, in turn, was owned by The Times of India.
With both The Times of India and Filmfare bracketing his previous film Chetna (1971) among art films (it focussed on the dying call girl’s teardrop), people had a high-minded excuse to see that film (which showed a bit of Rehana Sultan’s legs). In another era it might have been called a B-film.
Zuroorat certainly was one. And by the time it was made even The Times of India and Filmfare had stopped hailing Mr. Ishara as the next Goddard. It was unfair and unjust of the two publications to have abandoned Ishara, especially when his Zaroorat had scaled new peaks of artistry: In the lovemaking sequence instead of showing two humans in a clinch, Ishara made the the stripes of the bedcover on which they would have had sex (and shown on this page)change their colours in rapid succession.
The film’s excuse for getting young Reena Roy to strip to the waist was that her character needed the money to help her ailing husband.
