Love Love Love is a 1989 Indian romantic drama film, directed and produced by Babbar Subhash. The film stars Aamir Khan, Juhi Chawla in one of their first films together. It also stars Gulshan Grover, Raza Murad, Dalip Tahil, Om Shivpuri in supporting roles. It is about two youngsters who fall in love at the secondary school, but cannot realize their love because of the criminal surroundings around the girl. The film was declared an average grosser at box office.[2] This was the second movie of the hit pair Aamir Khan-Juhi Chawla after the success of their movie Qayamat Se Qayamat Tak. Although the movie did not match the expectation of their debut film, however it was appreciated by viewers.
Amit (Aamir Khan) is a poor man who lives with his father (Dalip Tahil), stepmother and sister. He spends time in nightclubs with his friends and studies in college. Reema (Juhi Chawla) is a rich girl. Her father is a businessman, and she studies at the same secondary as Amit. Reema is surrounded by Vicky's (Gulshan Grover) band. Vicky is the son of the mayor (Raza Murad), a powerful man who is in business terms with Reema's father. Vicky is a spoiled, cruel and criminal guy. He thinks that everyone is beneath him, and treats everyone as he sees fit. He is an idle guy. He spends time and money in nightclubs, getting drunk and abusing people with his band of criminals. His main interest is Reema, and he would easily kill everyone who came across her.
Love Love Love (1989 Hindi Movie Download)
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Soon Amit and Reema fall in love. When Vicky comes to discover that, he tries to kill Amit. Amit and Reema don't concede. They meet each other clandestinely, but when Vicky discovers this one more time, he turns to his father. His father meets Amit's father and threatens to kill his family. He also warns Reema that if she doesn't marry Vicky, he will kill Amit. Amit and Reema break up their relationship. Amit plans to leave the city, but he is surprised to receive a visit of Vicky and Reema, who invite him to their engagement party. Amit does attend the evening, where he absorbs humiliations from Vicky and his friends. Later, both Amit and Reema take the moment while the rest are dancing and run away out of the party. Vicky shoots Amit's father, but he survives. Reema's father realizes how cruel Vicky and his father are. When Vicky and his father catch Amit and Reema, Reema's father rescues Amit and Reema, and kills Vicky and his father. Finally, Amit and Reema reunite.
The movie has 6 songs composed by the veteran composer Bappi Lahiri. The film music is inspired by the Italo disco style of the eighties and its known artists such as Modern Talking, C. C. Catch and Pet Shop Boys.
Widowed businessman, Sudhirbhai lives a wealthy lifestyle with his son, Vikram, who is student at National College. He is very affectionate toward Vikram and will do anything for him. His business partner is Goswami, who is also widowed, and has two children, a son, Mahesh, a daughter, Reema, who are good friends of Vikram, and the two businessmen expect to cement their relationship by getting Reema married to Vikram. But when Reema meets and falls in love with Amit Verma, who lives with his taxi-driver dad, mom - Shanti, and sister - Munni, things change dramatically as Sudhirbhai uses his underworld contacts in order to pressurize Verma to get his son to forget Reema, and he does this by destroying his taxi by a bomb. Verma does manage to convince Amit to stay away from Reema, but both meet again and renew their love - prompting Sudhirbhai to threaten Reema that he will get Amit gravely injured...
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Frank Keller is a New York detective investigating a case of a serial killer who finds the victims through the lonely hearts column in newspapers. Keller falls in love with Helen, the main suspect in the case.
It's Jade, and I am here in our headquarters in downtown St. Paul. And I'm very excited to not just be talking to somebody, but actually seeing people, as I don't get to do that too frequently. And the two faces that I'm seeing right now are Michael Stipe of R.E.M. and Aaron Dessner of Big Red Machine and The National. Hello! Hi, how are you guys?
So happy to have you, and so happy that you guys are making some music together. The song, "No Time For Love Like Now," is absolutely beautiful, and I've been enjoying listening to it, and I saw that the merch proceeds are going to be donated to the Equal Justice Initiative and the COVID-19 Protest Fund so thank you for doing that as well. And Aaron, I kind of wanted to start with you. You know, they say, "Don't meet your heroes," but how did that go for you?
AD: Well, it went pretty well. As heroes go, Michael couldn't be nicer and more lovely. But yeah, we actually met probably 15 years ago, and then The National toured with R.E.M. So we've known each other for a while and only made music together more recently, but, I don't know, you know, I try not to think about it too much. It's surreal but I'm also thankful, also just to realize that people you look up to turn out to be every bit as talented and charming and, you know...it's nice when that happens so. I'm just grateful for the opportunity. It's nice with what the world is going through to have music and be able to make stuff with friends and stuff you're inspired by and people you're inspired by and for a good cause hopefully, and yeah, so, just grateful.
Yeah, yeah, music as a coping mechanism, that's what it's been for me a lot lately. I was kind of curious about how this all came together, because this all happened pre-COVID, right, the project itself.
AD: Yeah. Michael came to an opening of...Ragnar Kjartansson, the Icelandic artist, made this film, a seven-screen installation that featured my brother and I and these other twin girls, Kristin Anna and Gyoa Valtysdottir from the band Mum. We had done it for Eaux Claires, the festival. It was originated there, it was called Forever Love but then Ragnar took one of the songs and made a film of it called Death is Elsewhere where it's just my brother and I and Gyoa and Kristin Anna paired together moving in a circle in an old lava field in Iceland singing the song to each other and it's really beautiful and it premiered at the Metropolitan Museum of Art and we invited Michael and he came. Then we just reconnected more recently and I mentioned that Justin and I were working on a lot of Big Red Machine music and kind of tried my luck and asked if I could send Michael some music and he graciously said, "Sure!" And that's kind of how a seed was planted, I guess.
I know with a lot of Big Red Machine stuff or some of Justin's stuff that he's been working on, it's been a lot of send something out and then somebody sends something back to you? Were you guys able to actually get into a room together and make music together, or was it very much sending things back and forth?
There is a quote that I keep thinking about when I'm thinking about the music people are releasing now that they maybe worked on, you know, a while ago. Nick Cave, in this documentary, said that sometimes when he writes songs, he feels superstitious about it, almost, because suddenly it feels like those lyrics are almost coming true. Do you have a tendency, Michael, to feel like some of the things you write are prescient? Because this song feels very much in the moment.
MS: It is. We finished it in November, before the time of COVID, and the lyrics are actually still, to me, a little chilling just in terms of how much they reference what we are now, [what] the whole world is going through. I started writing the song, the chorus came out first, and then I had to flesh it out, and that was...that happened in October. So I had the chorus, I think, and I had, I think I had sent that to you, Aaron. And then my great friend John Giorno passed away, died, and for me, that kind of riveted the place where the song took place and a big part of what it was referencing. And so, I kind of wrote John into it, and the song was finished. And then COVID hit. And then suddenly the lyric had a completely different meaning. And then George...then everything that happened in America, out of your city, and the necessary changes that come with that. It all feels like I was looking into some glass ball into the future with the lyric. And so it's a little freaky. It's not creepy 'cause it's happened before and I'm...I never get used to it but it's a little weird, it's a little odd. But I like it that the...you know, for me, music and art at their finest help us through the moment that we're moving through, and perhaps help us to see a little bit of what the future might provide. And this song feels like it's doing that, in a really sweet way.
Yeah. There's melancholy to it but there's hope to it, which I think a lot of people need right now, and I, I'm glad that you brought up...you know, where the world is because it is something that I think a lot about. I'm sure you do as well, when you're talking to your friends and your musician friends. You know, what is the music scene going to look like? What is the music world going to look like? And I'm so grateful that all these independent venues are banding together. And, Aaron, it just seems like this collective idea that you and Justin...you know, everybody who's kind of part of Big Red Machine and people in [the] Eaux Claires Fest, that almost feels like the future as well, this collective idea of musicians coming together and collaborating with each other and kind of lifting each other up. How do you see it? 152ee80cbc
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