Product Description
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Far away from suspicions and self-love, somewhere close, very
close to trust. Heart woke up with a mirage that she loves me. Is
it love or a dream? Amit's dream - the sequence of dreams, the
sequence of love. One face, one hope, one smile. A search, a
poignancy, a happiness, the world, a voice, a song. One dream,
one illusion, one faith. Everything merged into a face - a face
called Chandni. Chandni and Amit, between them flowered an
eloquent love - the music vibrated. Both set out step by step on
a journey as co-travellers, but the idyll did not last.
Amit approached Shobha to wipe her tears, gave up all his
happiness. Now he had nothing except live embers of memories.
Every heart beat of Amit was coaxing him to remember some and
forget the others. Shobha had stepped into his life. Shobha -
silence personified, a summit, a worship. She was not a dream but
a reality - truth, a faith.Amit, Shobha and Chandni were not just
three names - but three directions, three human beings bound by
love - three facets of love. Dreams of these three were scattered
by the mists of life.
What does it matter if some dream ends in a calamity?Time cannot
minimise the intensity of feelings, distance does not strangle
self-awareness. Down memory lane, the happenings of the past, on
deserted paths, the forgotten promises. How can one recall?
The sequence of memories began pulsating in one's veins. Each one
now lived a cloistered life - some for himself, some for others.
Their decisions were dwarfed by high walls of rumination. Society
imposed its own barriers. Time brooding between the past and
future stood up on uncertain legs and the three of them became
aware of man's insignificance- in keeping with the world's
negation from beginning to end. Only love implies mutual trust.
It is a never-ending sequence
Review
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Silsila revolves around lovers who are forced by circumstances
to marry different partners but whose desire for each other s
love and company pushes them beyond their marriages and the
relationship they embark on and the impact of this decision on
their personal lives and that of their respective spouses.
Amitabh Bachchan as the young fiery poet who cannot accept the
loss of his beloved puts in a brilliant performance. His is a
performance that is full of contradictions, a man selfless enough
to take over on his shoulders someone else s miseries and at the
same time, selfish enough to refuse to let go of the girl he
loved even though she is married to someone else. This role at
the hand of a lesser actor would have become too negative for
redemption but the actor manages to walk a delicate tight-rope
and keep the character lovable despite his flaws. Rekha as his
female counterpart who similarly cannot look beyond the man she
loved puts in a moving performance. Our society is a patriarchal
society and often the woman is blamed for all the transgressions
of men and in such a scenario, it s difficult for an actress to
walk the thin rope but Rekha manages to do it with her
characteristic élan. Her performance has all the nuances of a
virtuoso and she manages to hold her own against veteran and
seasoned performers. Jaya Bhaduri as Amitabh s wife pitches in
with an impressive mature performance. Her s is the role that
requires a deep sense of resignation and hurt that transcends all
silence but screams at self.... A difficult performance but the
actress manages to pull it off with exceptional ease. No doubt
Jaya was considered the most talented actress of her time; a
worthy successor to Meena and Nutan and a precursor to Shabana
and Smita. Her confrontation with Rekha is a defining moment in
the film. Sanjeev Kumar as Rekha s husband pitches in with a
bravura performance. The great actor that he was, Sanjeev stands
tall among so many excellent performances and his expressions of
loss and loss along with his silence are so deafening that you
wish he would not have to suffer the indignity heaped on him. His
conversation with Jaya in the restaurant is exceptionally
brilliant as is his sugar-coated advice to Rekha simply
marvelous. Shiv-Hari in their first score for Hindi films come up
with some gems of vintage value. While Amitabh is at his
effervescent best with Rang Barse a Holi song penned by his
her Harivanshrai Bachchan and soothingly soft with Neela
Aasmaan , Kishore and Lata combine to give romanticism a new
twist with their title song. Ye Kahan Aa Gaye Hum is another song
that describes the predicament of its lead actors effectively.
The soliloquy Main Aur Meri Tanhayee by Javed Akhtar is still
heard on the streets after 25 years. This is Yash Chopra at his
romantic best. Long before Yashraj films became a mass factory
producing romantic candyfloss of no value, the director had
already proved his capability with some of the best romantic
films ever made in India. Silsila is definitely one of them. The
director proves why despite a career that began in 1959, he is
still a hot draw in 2007 with this sensitive and emotional
portrayal of an extra-marital affair. If the film does not become
either vulgar or preachy, it s to the credit of the director who
knows on where to draw the line and still maintain
sensationalism. --platform47.com