Hindi Movies Pukar

[Karoline]

Tumharaintezar hai, tum pukar lo.. Everytime I listen to this song, I either end up with a few tears in my eyes or goosebumps. Hemant Kumar weaves magic into the words that remind you of the genius that is Gulzar.

Oh, I love this song so much!!

But I find the original Bengali version (Deep Jweley Jei) much more interesting than Khamoshi. For me, Suchitra sen scores over Waheeda Rehman any day though Khamoshi has Dharmendra. ?

Interestingly, Hemant Kumar was the music director for both the films.

Ever since I have joined this wonderful community at Mouthshut, I have been yearning to write a review on this movie. Silly it might sound to some people, but Pukar is one of those movies that made me a huge Bollywood fan and as my review will disclose, there were enough reasons to justify my choice.

As always,I expect the readers to have seen the film,as I am no great story-teller (If I begin to unfold the story, it'll eat up the whole space I am allowed here!!!) But yes, the plot is revealed in assessing the film.

First comes the director of the film, who's backbone of every film made. And Pukar has a concrete backbone formed by Rajkumar Santoshi, who even though present in the industry for years now and made excellent films like Ghayal, Ghatak, Damini and more recently Lajja and The Legend Of Bhagat Singh, remains one of the most understated film personalities ever. The speciality about Santoshi's direction is that he directs all his films with the enthusiasm and power no other director can boast of. Characters in his film are not of the subdued, sacrificing variety. In fact they are people with powerful,real souls who are vociferous about their feelings, and this is what makes Pukar special as well. Under the man's superb craftsmanship, some of the scenes that shine with brilliance are:

A Boney Kapoor production is never strived of budget, and it definitely shows on screen. Pukar looks glossy and has some of the best (read daring) outdoor locales shot in the Grand Canyon and Alaska. Once again mind blowing!!!

Namrata Shirodkar is equally svelte in a role of the other heroine in the film. She plays her part with utter conviction and looks wonderful with Anil and on-screen. Farida Jalal, Rohini Hattangady, Girish Karnad, Om Puri, Govind Namdev, Danny Denzongpa and Shivaji Satam are other artistes who leave a mark!!!

Printed and circulated during a subsequent release of the film in theaters (somewhere in the 1960s), this Pukar movie poster was originally designed for publicity of the film but never ended up being used.

An illustration on the top depicts a woman pulling a rope to sound a large bell. A bright shade of yellow is used in the background of this old Bollywood movies poster. Typography used in this Pukar movie poster is primarily in English with only a translation of the title seen in Devanagari Hindi. The English title appears in striking red font, while the Devanagari Hindi title is seen in blue. Both titles stand out against the yellow background.

A city needs to be imagined as a space occupied by diverse sets of people with diverse needs and aspirations. The quality of a city has to be judged by what it offers to its residents - the right to live, move around and work with dignity and safety. Delhi falls short on delivering this to many of its residents, especially the more vulnerable and marginalised populations. We address this issue from the perspective of women's access and right to public spaces. For many women and men, the anonymity of a city's public spaces offers the space and freedom to escape the hold of the family or the traditional community. But for women, this freedom is severely hampered by the high rates of violence against women that have come to define Delhi. In order to understand the gendered nature of access to public spaces and its effect on women's mobility, Jagori conducted over 30 "safety audits" around the city. These audits, along with the findings from a survey of 500 women across the city and several group discussions, provide the data which this paper uses to explore the ways in which public spaces are viewed and accessed differently by men and women.

Restrictions imposed on Muslim women by their own community are closely linked to the exclusion of the Muslim community as a whole. As a group Muslims are being increasingly marginalised from the mainstream political, social and cultural fabric of Mumbai and from access to mixed housing. While homogeneous community-dominated neighbourhoods create the perception of greater safety for the community, they also increase the policing of women. This in turn has a strong impact on Muslim women's capacity to engage risk in public spaces.

Safety in public spaces has thus far been tied to the notion of state responsibility and client-hood. For women particularly, this status of client-hood is linked intimately with ideologies of protectionism and the need to demonstrate protection-worthiness through manufacturing respectability. This reduces rather than enhances women's access to public space. This paper interrogates the discourse of safety in public space to argue that making a claim to the right to take risks in public space rather than petitioning for safety might take women further in the struggle to access public space as citizens. Focusing on Mumbai's growing hierarchies of access to public space, the paper also argues that women's exclusion from public space is linked to the exclusion of other marginal citizens.

Members of the Shiv Sena's women's wing have adopted a skilful negotiation of the public sphere through everyday "visible" performative strategies that get expressed at the local level in urban India. The politics of visibility is critical in the constitution of the political, gendered subject within a political party, where women despite their broad participation, remain structurally subordinate. Narratives and data from fieldwork in this article show how personal stories of political awakening are deeply embedded in the visual performances and urban imaginaries that frame them.

This paper examines the everyday practice of gendered public space through an analysis of three "mapping" studies conducted in Mumbai. The first study attempted to document and represent public spaces onto drawings through observation. The second study was based on a participatory research methodology and came about through two simple exercises developed for pedagogic activities. These studies, conducted under the Gender and Space project at Pukar, focused on how male and female bodies locate themselves in and move through public space in their everyday negotiation of space, in the process participating in the production and reproduction of a hegemonic gender-space.

Gender equality in China, if we remember the slogans of the Cultural Revolution, meant that women were to be seen to be able to perform all the tasks that men could. The anarchy of the Cultural Revolution put paid to all the symbols of that period. The general discrediting of communist and socialist discourse in China has also undermined its position on gender equality. The setting up of women's studies programmes and the pushing of a gender perspective within policy planning and within other disciplines is, therefore, a welcome and necessary step forward in that country. What China needs now is greater interaction within the international movement of women and greater academic exchanges with other countries.

In the context of the state's withdrawal from the social sectors, this paper makes a case for the increasing need to ensure social security for older people, especially women. It touches upon some problems in implementing social security legislation, locating elderly women - including widows - the deserted and the destitute women as a vulnerable group. The gender implications of the various policies and schemes of assistance for older people, including the National Policy for Older Persons, are also discussed. The manner of implementation of the schemes is situated in the overall context of the vulnerability of older women in India.

What is women's studies? Is it a discipline? A subject? What should a women's studies programme connote and what obtains in practice? Through a survey, this paper attempts to map the different aspects of the women's studies programme in institutions of higher education of Tamil Nadu. The contention of the paper is that the forms and conditions of the institutionalisation of women's studies in places of higher education to a large extent constrained the possibilities of carrying out research in this area as an academic discipline. The paper has important implications for bodies such as the University Grants Commission that, at one level, have been in the forefront of the institutionalisation of the women's studies movement in India, particularly in the 1990s, but, at another level, have failed to achieve the kinds of intellectual and political changes promised by the founders of this discipline in India.

Tourism processes, as this article argues, like other processes and relations in society are gendered. The gender bias is built into the discourse of tourism practices, images, and activities, which, by and large, privileges the male viewpoint. Researchers, academics and social activists have questioned the hegemonic male view of tourism at different levels, although their voices are still weak. In light of the fact that tourism processes are expanding rapidly in the globalising world, there is a need to strengthen these voices, both at the local and global levels. For a start, the agenda of women's movements everywhere must include the demand for greater participation of local people in tourism planning and development, especially if rights and interests of people in tourist destinations in the third world are to be protected. Only then can they share equitably in the benefits that result from tourism.

Women's literary writing in Kerala has gained a fairly wide market. Even as younger women authors have succeeded in breaking earlier stereotypes and frameworks of depiction, the category of 'pennezhuthu' has come to be questioned as a defining term that limits, instead of enabling. Incisive feminist critiques of contemporary patriarchy now draw upon a variety of disciplines, with the result that long held notions defining Malayalee womanhood are being questioned with increasing regularity. Concomitantly, stereotyped frameworks and the pulls of the market continue to exercise a powerful influence. It makes it all the more necessary to foster independent initiatives in feminist knowledge generation in Kerala. "Women's Imprint", a women's publishing venture in Malayalam is involved in such efforts to help create new networks of resistance and towards ensuring that gender remains a contested category in public debate.

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