Barsati Gang Film Full [CRACKED] Movie Download

A Muslim-social set amongst the erudite and cultured urban Muslims of independent India, Barsaat Ki Raat revolves around two lovers Shabnam (Madhubala) and Amaan Hyderabadi (Bhushan), who strive to be together but the society does not approve of them. Upon its release, the film became a blockbuster success, the second highest earner of 1960,[1] the twenty highest earner of the 1960s at the Indian box office,[2] and one of the top hundred highest-grossers of all time (when adjusted for inflation).[3][4]

Barsaat Ki Raat got a positive feedback from contemporary critics. The Roshan-composed soundtrack, considered one of the finest in the Indian cinema, was singled out for praise by both critics and audience. One of the tracks, "Zindagi Bhar Nahi Bhoolegi" topped the music charts that year. A cult film now, Barsaat Ki Raat has been lauded by 21st century critics, who have particularly noted Madhubala's performance and the soundtrack. The latter continues to be widely popular and imitated.

Barsati Gang Film Full Movie Download

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The film was listed at number 22 by Box Office magazine in their list of "Top 50 Film of Last 50 Years" which feature all-time highest-grossing Bollywood films by using the relative price of gold in different years to arrive at a hypothetical current value of box-office collections of past films.[9]

Contemporary reviews were generally positive. On 30 December, The Indian Express noted Santoshi's direction and performances, particularly of Madhubala and Shyama.[10] Most of the praise was directed towards the film's "outstanding feature", the qawwalis.[10]

Recent reviewers have acclaimed the film for its music and performances. Film critic Venkat Parsa of The Siasat Daily applauded the innovative themes Barsaat Ki Raat uses and stated that the film "stands apart [and] breaks away from the past trends". Parsa also noted the lyrics of "Zindagi Bhar Nahi Bhoolegi", which begins with Amaan narrating his encounter with Shabnam and then singing the "graphic detail", that proves that lyricist Sahir Ludhianvi was "a progressive and revolutionary poet".[11] In the conclusion, Parsa described the film as the "greatest-ever musical of all times of the Indian cinema".[11] Writer Monica Kar, in a typical mixed review, found the story to be "a little predictable and not very exciting by modern standards" but its treatment to be "delightful".[12] She appreciated the scene in which Amaan and Shabnam meet: "[It] portrays confusion, a little fear, a little mystery, a little attraction. Madhubala is brilliant in this one scene."[12] Madhubala's dramatic performance has been especially noted by critics and is cited to be one of the finest of her career.[13][14]

The dacoity have had a large impact in the Bhind and Morena of Chambal regions in Madhya Pradesh, Rajasthan, Haryana and Uttar Pradesh in north-central India.[2] The exact reasons for the emergence of dacoity in the Chambal valley have been disputed. Most explanations have simply suggested feudal exploitation as the cause that provoked many people of this region to take to arms. The area was also underdeveloped and poor, so that banditry posed great economic incentives.[2] However, the fact that many gangs operating in this valley were composed of higher castes and wealthy people appears to suggest that feudalism may only be a partial explanation of dacoity in Chambal valley (Bhaduri, 1972; Khan, 1981; Jatar, 1980; Katare, 1972). Furthermore, traditional honour codes and blood feuds would drive some into criminality.[2]

Dacoity was highly prevalent in 19th century west Bengal. One of the gangs, led by a charismatic leader named Bhabani Pathak, was known for its loyalty to their leader. After the British captured Bhabani, the inner workings and social factors that led to the construction of this gang were revealed. Leaders such as Bhabani were known as Sirdars and had a symbiotic relationship with their followers.[3] Among other benefits, a Sirdar would lend loans to members and provided them protection. This allowed for the formation of a special bond between the Sirdar and followers which meant that cases of desertion and exiting the gang were virtually unheard of.

In Burdwan, dacoities were heavily planned and considerable thought went into their seamless execution. Sirdars in Burdwan operated by employing several informants who kept them updated about prospective targets.[3] When a target was finalized, the Sirdar and relevant gang members were constantly made aware about his whereabouts. The informants were always on the lookout for wealthy businessmen and kept a close watch on those that exchanged bank notes of considerable value or received a shipment of merchandise that they would store in their houses.

Pakistani actor Akmal Khan had two dacoit films, Malangi (1965) and Imam Din Gohavia (1967). Other films in this genre included Khote Sikkay (1973), Mera Gaon Mera Desh (1971), and Kuchhe Dhaage (1973) both by Raj Khosla.

The Tamil movie starring Karthi, Theeran Adhigaaram Ondru (2017) deals elaborately with bandits. The film reveals the real dacoity incidents which held in Tamil Nadu between 1995 and 2005. Director Vinoth did a two-year research about bandits to develop the script.

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