Chopra’s biggest mainstream movie, known mainly for his thrillers (Sazaaye Maut, 1981; Khamosh, 1985) and the famous Pepsi commercial announcing the multinational’s entry into India. A spectacular, lyrical opening introduces the viewer to Bombay in this postmodern variation of the Hindi crime movie. With low-angle tracking shots and swiftly changing volumes in the image, the film tells of a mentally unbalanced villain, Anna (Patekar) and his henchman Kishen (Shroff) who supports his innocent brother Karan (Kapoor). Karan is used as a bait to trap the cop (Kher) and is eventually killed on his wedding night. Elder brother Kishen, until then divided between his responsibilities to his brother and to Anna, finally turns against his employer and sets him on fire. The film flopped but was critically acclaimed for its soundtrack, its use of CinemaScope and for Patekar’s streetwise performance.
Did you know?
The film broke many taboos at the time of its release. It was shot in a realistic style, only two songs were recorded and used in the film, and the ending was kept open purposefully. This influenced a whole generation of filmmakers - most notably Ram Gopal Varma and Mahesh Manjrekar, who made two acclaimed underworld films in their own right - Satya (1998) and Vaastav: The Reality (1999). Read More