Online Film Application. Toggle navigation. Home; About Us. About Us. Vision & Mission. Organisation. Amar Prem - Wikipedia. Amar Prem (translation: Immortal Love) is a 1. Indian drama film directed by Shakti Samanta, based on a Bengali short story Hinger Kochuri by Bibhutibhushan Bandopadhyay about a school boy, who is ill- treated by his step mother, and becomes friends with a prostitute neighbour.[1] The film stars Sharmila Tagore playing a prostitute with a heart of gold, with Rajesh Khanna in the role of a lonely businessman, and Vinod Mehra as adult Nandu, the young child, who they both come to care for. The film is noted for its music by R. D. Burman, numbers sung by famous playback singers like Kishore Kumar, R. D. Burman's father S. D. Burman and Lata Mangeshkar; lyrics were by Anand Bakshi. The thought- provoking song Chingaari Koi Bhadke written by Anand Bakshi and sung by Kishore Kumar, is one of the highlights of this classic. The song topped at 5th position on year- end chart toppers list Binaca Geetmala annual list 1. The film is a remake of a Bengali film Nishi Padma (1. Bengali Movie Video. Zulfiqar Yoddha Yeti Obhijaan Window Connection Villain TV Ad Video Tuski Tumi Amay Dakle Keno Troyee Tor Naam Tomake Chai Tobu Aporichito Tin. Balika Badhu (Hindi: बालिका बधू; translation: The Young Wife) is a 1976 Hindi film produced by Shakti Samanta and directed by Tarun Majumdar. Arabinda Mukherjee, who wrote screenplay for both the films; it starred Uttam Kumar and Sabitri Chatterjee as leads. The film portrays the decline of human values and relationships and contrasts it by presenting an illustrious example of a boy's innocent love for a neighbourhood courtesan.[2]Pushpa (Sharmila Tagore) is expelled from her house by her husband and his new wife. When she refuses to leave, her husband beats her and throws her out. She goes to her mother for help but her mother too, disowns her. When she tries to commit suicide, she is sold to a brothel in Calcutta by her village- uncle, Nepal Babu (Madan Puri). On her audition at the brothel, Anand Babu (Rajesh Khanna), a businessman seeking love, is attracted by her singing. Anand Babu is unhappily married and lonely and becomes her regular and exclusive customer as love blossoms. ![]() ![]() Later a widowed man with his family, from the same village as her, moves in close to Pushpa's place. The new neighbour's son, Nandu, does not get any love at home, as his father works all the time and his stepmother does not care about him. Nandu's father learns about Pushpa's new life and forbids her from interacting with him and his family as he fears what people would say. However, Pushpa starts treating Nandu as her own son when she realises that he is mistreated at home, and often goes hungry. Nandu also comes to love Pushpa and starts to regard her as his mother. He visits her every day and comes upon Anand Babu who also becomes fond of him becoming a father figure, calling him Pushpa's son, seeing the way Pushpa loves the child. One day, Anand Babu's brother- in- law comes to see Pushpa and demands that she tell Anand Babu to stop visiting her. With great reluctance, Pushpa agrees and she turns Anand Babu away when he comes to see her. It is then that businessman realises that he is in love with Pushpa. When Nandu suffers from fever and his treatment is too expensive, Pushpa asks Anand Babu for help and he secretly finances the treatment and does not let anybody know. When the doctor asks him why is he so keen on helping Nandu, he replies some relationships have no names. However, when Nandu's father asks the doctor who paid for the treatment, the doctor says that his mother did. Then Nandu's father discovers that it was Pushpa who saved her son's life and he thanks her and gives her the sari that he had bought for his wife, telling her that it was gift from a brother to a sister. A touched Pushpa accepts. Nandu's family has to move to the village and Nandu plants a sapling of nigh- flowering jasmine (Harsingaar or Parijat) at Pushpa's home, making her promise to always take care of it. Pushpa cries and agrees. Several years later, Nandu grows up to become a government engineer posted in the same town. Anand Babu meets Pushpa, now working as a maid servant who is ill- treated and they both reconcile. Nandu unsuccessfully searches for her and gives up after inquiring in the neighborhood. Nandu's son gets sick and they go to the same doctor. Meanwhile, having met Pushpa, Anand Babu decides to catch up with all his old friends and meets the doctor. ![]() During conversation, he reveals he has stopped drinking and visiting brothels once he left Pushpa. He also tells him that he is now divorced/separated due to his wife's partying ways but is finally at peace and is happy with Pushpa's love and affection in his heart. They talk about Nandu and the Doctor informs him that Nandu is in town. Nandu meets Anand Babu when he comes to meet the doctor to ask regarding the medicine, who takes him to meet Pushpa. Both of them, unable to see Pushpa ill- treated, stand up for her and in the end Nandu takes Pushpa home with him, like a son who is reunited with his long lost mother with Anand babu looking on, crying happily.[3]Production[edit]After making entertainers like China Town (1. Ek Raaz (1. 96. 3), Kashmir Ki Kali (1. Sawan Ki Ghata (1. An Evening in Paris (1. Aradhana (1. 96. 9) and Kati Patang (1. Samanta had entered the phase of emotional dramas in his career.[5]Nishi Padma (Night Flower, 1. Arabinda Mukherjee with Uttam Kumar and Sabitri Chatterjee as leads. When Samanta saw the film, he was so impressed by the performance of Uttam Kumar, that he decided to remake it. However he decided to make some changes in the script.[6] The original film was based on the Bengali short story Hinger Kochuri, written by Bibhutibhushan Bandopadhyay, . The title derives its name from a typical Bengali late afternoon snack, kachori, made with of fried dough stuffed with lentils, and hing (asafoetida).[7]The story was first published in Bandopadhyay's short story collection, Galpa Panchashat (Fifty Stories, 1. His stories had previously been adapted by Satyajit Ray as Pather Panchali (1. Apu Trilogy. Shakti Samanta asked Mukherjee who also wrote Nishi Padma's screenplay to write a Hindi version, with Ramesh Pant, a longtime- collaborator with Samanta penning the Hindi dialogues.[1] The famous dialogue, "Pushpa, I hate tears" though also there in the original, was merely part of a dialogue, Samanta decided to use it to great effect, delivered in Rajesh Khanna's trademark style.[6] Later both the writers of the film, won Filmfare Awards in their respective categories. Casting[edit]Once the script was ready Samanta approached Sharmila Tagore with whom he had done a string of films, like Kashmir Ki Kali (1. An Evening in Paris (1. Aradhana (1. 96. 9) with Rajesh Khanna. Tagore found her character Pushpa, " a very strong role in the iconic mould of Mother India", and instantly agreed, thus it was one of the first films she signed on after the birth of her son Saif Ali Khan. For the role Anand, actor Raaj Kumar was Samanta's first choice, as he believed Khanna who had become a super star after the hit Aradhana, wouldn't be interested in doing a film that focussed on the female lead. However, Khanna convinced Samanta that would do justice to the role. Though, Khanna changed the character's name from Ananta to Anand to draw connection to his character in Hrishikesh Mukherjee's critically acclaimed, Anand (1. Filming[edit]The film was shot in Eastmancolor, entirely at Natraj Studios in Mumbai, including the famous song, Chingari koi bhadke, which was set on a boat on the Hooghly River, with Howrah Bridge of Kolkata in the background. Earlier authorities in Kolkata didn't give the film crew permission to shoot under the bridge, as it would crowd problem. Thus the song was shot in a water tank in the studio, with the crew filming in knee- deep water.[1][9] Samanta has been using music directors like O. P. Nayyar and Shankar- Jaikishen, but chose R. D. Burman once again after Kati Patang (1. Samanta recalled, "Pancham (R. D. Burman) would go into his room and work from 9 o'clock in the morning till 9 o'clock in the night for Amar Prem."[1. Themes and allusions[edit]Amar Prem takes forward the popular genre of self- sacrificing mother or woman prevalent in the decade as seen in Aradhana (1. Kati Patang (1. 97. Mother India, though here it places a wronged wife Pushpa in the narrative. When her husband marries the second time, due to her apparent infertility, she is kicked out of her home, her mother and community both abandon her, subsequently she is tricked into prostitution.[1. Thus the fallen women ends up as courtesan, with a heart of gold; though the original version Nishi Padma (1. Samanta's version she is a tawaif who sings to her customer for a living,[1.
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