Mandi (1983) :For years an aging Rukmini Bai (Shabana Azmi) has been the Madame of a brothel in Hyderabad, India. One day she gets the news that she now has a new landlord in Mr. Gupta (Kulbhushan Kharbanda), whose daughter is to marry the mayor's son Sushil, shortly. Led by City Councillor, Shantidevi, the people in this town demand that this bordello be moved elsewhere, preferably on the outskirts of the town, and they do succeed, compelling Rukmini to move with her women to their new location, which happens to be near the Dargah of Baba Karak Shah. Ironically, this attracts a lot of people, and the patronage to Rukmini's bordello increases. Then complications set in when Sushil refuses to marry his father's choice, child-like Malti, and wants to marry Zeenat (Smita Patil) - a prostitute, not entirely by choice and seeking for a better existence, who resides with Rukmini.
Bhumika (1977) :Bhumika tells the life story of a Bollywood actress, Usha (Smita Patil),who is the granddaughter of a famous female singer of the old tradition from Devadasi community of Goa. Usha's mother married to an abusive and alcoholic Brahmin. Following his early death, and over her mothers objections, Usha is taken to Bombay by family hanger-on Keshav Dalvi (Amol Palekar) to successfully audition as a singer in a Bombay studio: the first step in a process, watched approvingly by her doting grandmother and with horror by her mother, that will eventually carry her to on-camera adolescent stardom, and to an ill-starred love marriage with Keshav. Ushas motives for stubbornly pursuing this relationship (culminating in a pre-marital pregnancy) with the unattractive and much older Keshavwho appears to have lusted after her since childhoodare not spelled out. Presumably she feels indebted to him for his loyalty to her family (of which he frequently reminds her) and for her own worldly success; she is also a headstrong girl who clearly enjoys her acting career and is bent on challenging her uptight mother (who opposes the match because,Keshav does not belong to their caste, just as she opposes the cinema itself on the grounds of its supposed dis-respectability).
Junoon (1978) :The story is set around the Indian Rebellion of 1857. Javed Khan (Shashi Kapoor) is a feckless feudal chieftain, whose world revolves around breeding carrier pigeons. His younger brother, Sarfaraz Khan (Naseeruddin Shah) is politically awakened and actively plots the fight for Indian Independence. Freedom fighters attack the local British administrators while they are in Sunday Worship at Church, massacring them all. Miriam Labadoor (Shashi Kapoor's wife, Jennifer Kendal) manages to escape with her daughter, Ruth (Nafisa Ali) and seeks refuge with the wealthy Hindu family of Lala Ramjimal (Kulbhushan Kharbanda). Lala is torn between his loyalties for India and his privileged position under the British. However, matters are taken out of his hand by Javed Khan who barges in Lala's house and forcibly takes away Ruth and her family to his own house. This leads to jealousy on part of his wife, Firdaus (Shabana Azmi) and anger on part of his brother, who ultimately gives in to the Indian tradition of offering hospitality and sanctuary even to uninvited guests. Various situations ensue due to cultural misunderstandings in the domestic routine of the Muslim household with its new English guests. Javed falls in love with Ruth, and wants to marry her but is opposed bitterly by her mother. There are simmerings of a love affair under the watchful suspicious eyes of Firdaus.
Ankur (1974) :Ankur is a film that analyzes human behavior in general and heavily stresses characterization (though the story is not fictional). The story revolves around two characters, Lakshmi and Surya. Ankur is also there.Lakshmi (Shabana Azmi) lives in a village with her husband Kishtayya (Sadhu Meher), a deaf-mute Dalit alcoholic potter who communicates using gestures. At the beginning of the film, during a village festival, she claims (in a prayer to the village goddess) that her only desire is to have a child.
Kondura (1978) :Kondura is a story whose protagonist is a young Brahmin named Parshuram. He is married to Ansooya but is dependent partly on his brother for living. This makes the elder brother chide him often and that drives him away from home. However, as he is leaving "Kondura", the mythical sage from the sea appears and anoints him the guardian of village, to cure it of all sins. The sage also grants him a physical-boon, which is a dried herb. The boon works if he remains celibate. Prashuram returns home to celibacy. Often, the goddess of the village, grants him appearance in person, speaking to him through his wife (a phenomenon still seen in Indian villages, where a person is believed to have sudden visitation by God or Goddess, who speaks to people through the person).
Arth (1982):Pooja (Shabana Azmi), who grew up as an orphan girl and always dreamt of owning a house, becomes insecure when she finds out that she and her husband, Inder (Kulbhushan Kharbanda), have to leave the apartment they rent. The twist that occurred when Inder gives her the keys of a new house proves to be double-edged, when it is revealed that he is in love with another woman, Kavita (Smita Patil), with whom he earned the money (in the film industry) for the new apartment. While previously giving advice to her maid (Rohini Hattangadi) cheated by her husband, now Pooja becomes herself involved in a similar situation. When Inder deserts Pooja for Kavita, she chooses to leave the apartment for a women's hostel with only 2000 rupees that she had when she got married. She is helped by Raj (Raj Kiran) to surpass the difficulties of life as a single person, to find a job and to rely morally on herself. Raj and Pooja become good friends. Gradually, Kavita's mental instability deepens her fears of insecurity, even after Inder requests Pooja to sign the divorce papers.
|Director:||Shyam Benegal , Mahesh Bhatt|
|Studio / Distributor:||Eagle Home Entertainment|
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