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I don't usually write reviews on films, whether I have liked the film or not, but when I tried to find the greatest movie I have ever seen I was shocked to notice that there was only one review for this film and to add more to it the rating of this film which probably could have been higher.Suraj Ka Satvan Ghoda game comes from the storyline of the seventh horse of the Sun's chariot, which is the weakest and youngest of the horses but goes on to become the driving horse of the chariot. The film is about love seen from men's perspective at various situations.The movie is presented as a flashback of an artist, Raghuvir Yadav, who remembers the master raconteur Manik Mulla (Rajit Kapoor). In Allahabad, each evening, the bachelor Manik Mulla says stories to a group of mates at his house. Over two evenings, he says his mates three various stories of his love affairs to define what love is all about. These three stories are independent stories about three various girls with whom Manik had relationships, first as pre-pubescent boy, then an adolescent and lastly as a mature adult. After every story, the mates discuss about the human traits and the definition of love. You are then surprised to notice that these stories were event at the same time. The protagonist, Manik, is shown as an escapist in all his affairs. Every storyline is amazingly intertwined with the notion of love, romance and separation. The presence of the same characters in all the stories makes it the most amazing.The method the movie ends where in the raconteur, Manik just vanishes away, and in the process, a writer(Raghuvir Yadav) is born, makes it a classic. Its an ideal example of film-making. All the helping cast for the movie is fabulous.This movie is an adaption of Dharmvir Bharti's classic by the same name.
I saw this film about a year back and was really impressed by Benegal. I am not much of a reviewer, and decided to submit a review only because i was appalled by the reviews this film has got here. This film definitely deserves a watch, at least by all Indians. The screenplay was brilliant, the plot unfolds slowly and beautifully and you begin feeling for the characters. The performances are brilliant, Nina Gupta and Amrish Puri being the most impressive. The direction and photography are flawless and clearly present why Benegal is so respected. Overall, the film was entertaining and thought-provoking and definitely one of the greatest Hindi films i have ever seen. And i can tell i loved it more than few top 250 IMDb movies.The Hindi, i agree, might be a tiny hard to understand at times, but allow it not bother you, or still better, test subtitles.
We, in Denmark, began daylight saving today – March 28, 2010. What this basically means is that our clocks will actually be set to an hour ahead. It is curious how this day coincided with my viewing of Shyam Benegal's 'Suraj ka saatwa ghoda' (The seventh steed of the sun) last night. Based on a Hindi novella by the same name by Dr. Dharamvir Bharti's, the film begins with Raghuvir Yadav introducing us to a several afternoons from his life where he knew a boy named Manek Mulla (Rajit Kapur in his debut venture). Manek, we are told, was a master story-teller. A boy who should blur out the distinct lines between reality and fiction purely by his talent at peppering his tales with metaphors aplenty. Working with the railways department, Manek had acquired the knack of keeping the three young boys (of which Yadav is one too) occupied during lazy afternoons with his tales of love, deception, social imbalance and immorality within the lower middle classes of India.So, with this premise, a question is thrown – 'Should love stories be built at being relevant to the socio-economic growth of a society?' A bizarre, albeit thought-provoking, reference is made to the literary importance of 'Devdas' where, Manek says, there is no room for any sort of social relevance or optimism towards love as a public emotion. A definition, he claims, is what makes love so wonderful. Its lack of being a private, mysterious and almost forbidden concoction. So, in an effort to say a tale of love lost connected with the complex fabric of social strata, he begins speaking of Jamuna. He speaks of how he was in school back then and Jamuna, the pretty next door girl, was in love with Tanna, other neighborhood fellow. Jamuna's and Tanna's love storyline was dated given the venomous relationships the two families shared due to lack of consistency in the Indian economic balance. As a effect of this, Tanna is married off to a more educated Lily and Jamuna ends up with an old boy knocking on the door of his grave.As you might have realized, there is nothing fresh or refreshing with this piece. What begins making this short storyline more interesting, is the method Manek describes his role in it and carefully starts to uncurl the small strands that were knotted during the narration of the aforementioned tale. For instance, the fact that Jamuna is unable to conceive from her old-man husband and so chooses to go on a bizarre religiously aligned but emotionally maligned detour with the tonga-wallah is brought to surface. Also, the fact that the woman Tanna ends up with – Lily – now was Manek's love/friendship interest and how a mutual separation was finalized in both their interests is unearthed. Connected to this colourful mix as well, is the storyline of Tanna's lusty father (Amrish Puri in a truly memorable role as Mahesar Dalal) and his wile desires towards the lowly gypsy-woman Satti (Neena Gupta) who befriends Manek purely for his intellectual skills. Her eventual fate vs an adamant Mahesar Dalal and the decisions young Manek makes form the twisting portions of the climactic sequences. All of these is documented from different angles aimed at the same scene. So, it isn't so much that Manek is narrating various short stories but essentially narrating just one storyline but from the perspectives of different characters in them. In some of them, the characters seem like the victims, while when seen from the view of other person's tale, the same hero in the same stage will suddenly appear to have acquired some gray shades. Shades one would see in a predator. Truly – if a film can accomplish this lvl of intellectual worth, then it has truly defined itself as the greatest example of cinema.What makes this film greater in its worth is the fact that such a special feat was written by Dr. Bharti in the 70s and narrated by Benegal in early 90s! Today we sit in awe at the intermingling of multiple stories in Hollywood and, of course, in their remade versions within Bollywood, and applaud them as being 'masterpieces'. But to compare this work to any of these would be nothing short of a large disservice. In fact, I would call 'Suraj ka...' a work of meta fiction which successfully attempts to expose the fictional aspect of the illusive globe woven by Manek Mulla.I also read some reviews that compared Manek's hero to that of the holy trinity in Hindu mythology – Brahma, Vishnu and Maheshwar – and as to how he slips into these roles, albeit with varying degrees of subtlety. In the first tale with Jamuna, Manek is Brahma, the author of a relationship that he knew was meant to be doomed. In the second tale with Lily, he became Vishnu, the preserver of her sanctity and an upholder of a more mature and practical relationship. In the final tale with Satti, he turned into the destroyer – Maheshwar – who ended up putting an end to what should have possibly been the redeeming factor of his life. I suppose it is in spectacular interpretations like these, that 'Suraj ka...' stands out as a truly special piece of work.
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