IMDb RATING
7.8/10
3.9K
YOUR RATING
A man's friend, a police officer, is assassinated by gangsters in broad daylight. He discovers that his elder brother works in the same gang and decides to avenge his friend's death by infil... Read allA man's friend, a police officer, is assassinated by gangsters in broad daylight. He discovers that his elder brother works in the same gang and decides to avenge his friend's death by infiltrating the gang.A man's friend, a police officer, is assassinated by gangsters in broad daylight. He discovers that his elder brother works in the same gang and decides to avenge his friend's death by infiltrating the gang.
- Awards
- 7 wins & 1 nomination
Storyline
Did you know
- TriviaThe 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).
- GoofsAt 1 hour and 55 seconds, two crew members are visible at below right hand side corner when Anil Kapoor and Jackie Shroff are on the ship.
- ConnectionsFeatured in Eklavya: The Royal Guard (2007)
- SoundtracksKitni Hai Pyari Pyari
Performed by Suresh Wadkar, Shailendra Singh
Lyrics written by Khurshid Hallauri
Music composed by Rahul Dev Burman
Featured review
Late 70s and 80s were a time when alternate or parallel cinema entered the Hindi film industry. Shyam Benegal, Saeed Akhtar Mirza, Govind Nihalani, Mahesh Bhatt gave soul to some heart-wrenching narrative and created a cinema which was a long-call from the rosy, sanitized feature bollywood movies. Instead what we saw was dirt within the society, issues like Labour rights, Dowry deaths, Prostitution, Communal violence were dealt with openly and our favorite protagonists had to wrestle not against the stereotypical Bollywood Evil Banker or Industrialist but against the 'system' itself.
In this time period came along Vidhu Vinod Chopra with two feature movies, 'Sazaye Maut' (1981) and 'Khamosh'(1986). Made without a star-cast to speak of, the movies did not find many takers and despite being a brilliant start to his career they remained largely forgotten, till the internet era introduced them to a larger audience. The experience of making these movies perhaps led to some of the decisions which were reflected in Parinda. This movie which can be called as Realism's Gateway to Bollywood is a weird mix, feeling like a brilliant art-movie at times and a decent Bollywood feature at others. There are sequences of Anil Kapoor-Madhuri Dixit which are filled with rosy, romantic scenarios, while there are scenes between the two brothers or the ones featuring the impeccable Nana Patekar as Anna, which are filled with grim realism usually not present in the other features of the era. Take the plot for example, Prakash's death at the start to Brothers' fate towards the end are not your usual run-of-the mill scenarios in a Bollywood feature of the time. Besides having seen Jackie-Anil in Ram-Lakhan, Karma etc. I was expecting a movie where the heroes eventually trump all odds and win the day in the end.
It all was too unexpected for me until it dawned that this movie could be called the first place where Vidhu Vinod Chopra started using his own formula of movie-making which show-cased so well in Munnabhai MBBS, 3 Idiots etc.
We can only guess as to whether the failure of his brilliant Khamosh was the reason behind this approach, but this allowed him to tell his audience otherwise complicated stories in a crisp manner, where songs and some lighthearted sequences keep the story moving on forward, while he tells a tale dealing with issues in the Indian education system (Munnabhai 1, 3 Idiots) or the need for Gandhi's values in today's society. (Munnabhai 2) Here he does the same in a gangster saga of two brothers, where an otherwise decent tale is given both the formulaic Bollywood approach to keep the mainstream audience engrossed, while the gritty sequences dealing with Gang-violence, Anna's troubles and the rift between brothers provide a deeper understanding to the movie.
Madhuri Dixit and Anil Kapoor were brilliant as usual while Jackie Shroff also provides a good support. But it is Nana Patekar's madness which lifts the movie to another level. His genius is scenes during a 'Shraad' scene, where he loses it after seeing fire being lighted. There are also other undercurrents visible within the movie, such as fate of turncoats, Musa's eventual victory over Anna due to his habit of making friends out of enemies. The music in the movie was done well with songs of the movie going on to become some of the popular songs of 90s.
In this time period came along Vidhu Vinod Chopra with two feature movies, 'Sazaye Maut' (1981) and 'Khamosh'(1986). Made without a star-cast to speak of, the movies did not find many takers and despite being a brilliant start to his career they remained largely forgotten, till the internet era introduced them to a larger audience. The experience of making these movies perhaps led to some of the decisions which were reflected in Parinda. This movie which can be called as Realism's Gateway to Bollywood is a weird mix, feeling like a brilliant art-movie at times and a decent Bollywood feature at others. There are sequences of Anil Kapoor-Madhuri Dixit which are filled with rosy, romantic scenarios, while there are scenes between the two brothers or the ones featuring the impeccable Nana Patekar as Anna, which are filled with grim realism usually not present in the other features of the era. Take the plot for example, Prakash's death at the start to Brothers' fate towards the end are not your usual run-of-the mill scenarios in a Bollywood feature of the time. Besides having seen Jackie-Anil in Ram-Lakhan, Karma etc. I was expecting a movie where the heroes eventually trump all odds and win the day in the end.
It all was too unexpected for me until it dawned that this movie could be called the first place where Vidhu Vinod Chopra started using his own formula of movie-making which show-cased so well in Munnabhai MBBS, 3 Idiots etc.
We can only guess as to whether the failure of his brilliant Khamosh was the reason behind this approach, but this allowed him to tell his audience otherwise complicated stories in a crisp manner, where songs and some lighthearted sequences keep the story moving on forward, while he tells a tale dealing with issues in the Indian education system (Munnabhai 1, 3 Idiots) or the need for Gandhi's values in today's society. (Munnabhai 2) Here he does the same in a gangster saga of two brothers, where an otherwise decent tale is given both the formulaic Bollywood approach to keep the mainstream audience engrossed, while the gritty sequences dealing with Gang-violence, Anna's troubles and the rift between brothers provide a deeper understanding to the movie.
Madhuri Dixit and Anil Kapoor were brilliant as usual while Jackie Shroff also provides a good support. But it is Nana Patekar's madness which lifts the movie to another level. His genius is scenes during a 'Shraad' scene, where he loses it after seeing fire being lighted. There are also other undercurrents visible within the movie, such as fate of turncoats, Musa's eventual victory over Anna due to his habit of making friends out of enemies. The music in the movie was done well with songs of the movie going on to become some of the popular songs of 90s.
- Dreviews16
- Mar 20, 2019
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- How long is Parinda?Powered by Alexa
Details
- Runtime2 hours 34 minutes
- Aspect ratio
- 2.35 : 1
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