Fifty years after the brother -in -law: no wall so high

Once during the conversation, I asked Javed Akhtar about a return to the climatic scene to return to Vijay’s return to his mother’s lap. WallHe said that the lesson he wrote with Salim Khan is open to interpretation – “Is he returned to the mother due to his ideology or his spirit is still a matter of debate.” Eventually, the mother goes to the temple even after shooting her younger son by her younger son, law abducted. It is also a acceptance of any kind. ,

Some scripts are not inserted into the stone. Wall One of them is. Fifty years after the film, Nehruvian ended the romanticism and shook the conscience of a nation, his thoughts, myths and symbolism continue to talk to us. The struggle has not been aged, and the emotional tapestry has not deteriorated. The capitalist design to destroy the unity of the workers is almost complete, which wants to highlight Anand Babu (Satyan Cuppo). The selection between family and revolution has proved to be a zero-zodiac game.

The road from the temple still turns into opposing directions and the bouncing wall between brothers is still long standing. In fact, new bricks are being added and the scope of windows is being intimidated.

What is different and, perhaps, dangerous is that the bridge under which the two brothers met both the brothers is no longer in exploitation to resolve their differences. The mother’s ambition (Nirupa Roy), idealism, social dawn and many attitudes are no longer a symbol. Ravi (Shashi Kapoor) can lose logic today and, perhaps, his existence has turned into favor of Vijay for the mother as we have seen in the revival of the film’s new era like Sect And Pushpa,

The power of the script of Salim-Javed is that its dramatic infections are still bending you. The characters are some of which we cared for and we root even five decades after the release of the film. Can find marks of public Enemy, Mother India And Gunga jumna In the structure of WallBut master storytellers eradicated the plot points from several sources to create an innovative picture of urban flow.

Wall It was released on the emergency when the director Yash Chopra was not blinded by Chiffon romance and was eager to film what was boiling under the ground. Produced by Gulshan Rai, this was the second film that Chopra directed out of his or brother Bra Chopra’s banner, and showed his craft in mapping a socio-political comment in a clever, Urben mold.

Beyond the anti -braiding tone, the film makes a statement on the system where the degree of corruption matters. When Ravi shoots a teenager, only to find out that he is making a steal of bread because his family is hungry, he goes to his house to give some food. The boy’s mother goes out in his largacy and cases, where the big crooks go scott-free, while a young boy is shot to steal some pieces. Teacher comes in-father (Ak Hangal). He silences his wife and says that it is about the intention, not about the zodiac.

Strand gives Ravi morally a moral speculation to combat his brother’s infections, which is dotted with the politics of signature. It is an signature that brings Anand Babu’s image into his followers. The tattoo society puts on the arm of the society that makes him a excluded for life, it is also a signature. Vijay buys the same building where his mother worked as a laborer during childhood. He tries to regain strict self-esteem.

However, while keeping Gandhia’s spirit alive, the film means at the ends. When Vijay asked Ravi to bring the signature of those who boycotted him, the mother reminded him that those who disappoint him were not families.

Wall Started an era where dialogue and action blocks became more important than songs, and MB Shetty’s fight sequence choreography was a large draw. In the sequence of the iconic battle in a warehouse, when Amitabh Bachchan, wearing clothes in a knotted shirt, puts his head under a tap, it installed him as an angry young man for the poster. This idea has inspired many filmmakers – the latest tribute was Petal Lok -2,

Amitabh’s monopoly with God has become part of folklore. Those who grew up in the 1980s should remember the LP disk playing ‘Mera Pa Maa Hai’. When a young Vijay does not take the money thrown at him, Davar (Ifthar) says, “This is the horse of a long race …”. The lines proved to be a prediction not only for victory but also for Bachchan.

RD Burman’s music, Ma Sheikh’s sound design and Sahir Ludhianvi’s verse placed us on the shore. Kishore Kumar’s ‘Keh Doon Tum’ remains on the playlist of DJs and listeners, but I can’t find enough to ‘fall in love with a stranger’. Provided by Ursula Vaz, it defined victory – trying to fit into an outsider.