Milap (1972)

The supernatural and horror genres don’t attract me much, although the Indian versions are more interesting than mainstream Hollywood’s—usually because they are pretty low-budget and not at all scary, and chock-full of WTF-ery. I do love a good (or bad) snake movie, however, so when I saw this one directed by someone I am curious about—BR Ishara—I decided to give it a whirl. The few early 1970s film magazines that I have refer to Ishara’s work as “bold” with undertones of “sleazy” implicated in every other line. I know that he made a film considered quite radical for its time called Chetna, which is sadly not available anywhere that I can find, and that he eventually married the beautiful heroine of that film, Rehana Sultan, whose promising career was seemingly hampered by her willingness to push the envelope in films of a certain reputation, undeserved or not.

The only other film of Ishara’s that I have seen is Rahu Ketu, which I liked but which confused me enough to prevent me from writing anything coherent about it. I felt unequipped to understand its oblique references to vedic astrology, a subject I know (and care) nothing about, although maybe I will watch it again some day. In any case, I decided that a snake-reincarnation film with Shatrughan Sinha, Reena Roy and Danny Denzongpa directed by Ishara just might be the thing to give him another try.

This is just as confusing and strange. Unwilling to let the director defeat me twice, though, I am going to attempt to make some sense of it. It is not dependent on flashy special effects (much) like other naag-related movies I’ve seen, and the storytelling is very serious in tone; but even were I willing to believe in magic snakes (hey, why not?) the plot never really came together for me, although parts of it were entertaining.

The credits roll over some wonderfully funky music as a man (Shatrughan Sinha) runs along a dark road. He lands up at the house of a judge (Manmohan Krishna) and confesses that he has just murdered someone.

His name is Ravi: he is the son of extremely wealthy and over-indulgent parents, who has grown up like a 70s-era male Paris Hilton.

The imagery below is used throughout the film, and I will confess right now that I have no idea what it might symbolize. These pictures appear whenever Ravi is disturbed but I’ve got to say that it just looks like some coral and a bird on a wire to me, and I have no idea what the correlation of those two things are to each other or to Ravi’s angst. Logical Memsaab wants to say that it’s just pretentious, but Irrational Memsaab wants to know WHY.

Disaffected with debauchery and increasingly unhappy, Ravi takes to the road, wandering for several years until he stumbles upon a place in the wilderness (credits say it is near Mysore) of great beauty and a sparse local population. He finds a very spacious room in a local inn, which is serviced by a strange man named Raju (Danny Denzongpa) who carries a snake around in an inside pocket and considers himself a snake charmer.

Ravi soon meets the daughter, Rani (Reena Roy), of another snake charmer. He is instantly smitten by her lively manner and echoing laughter, which irritates me beyond belief but in which he finds the peace that he’s been searching for.

She takes him to the local temple, where, she tells him, she prays for the same thing every single day.

When Rani was born, the astrologer who made her birth chart warned her father that Rani would be killed by a snake. Her father has taught her to pray every day in an attempt to ward off this fate, but as Ravi soon discovers from other locals (including a jealous Raju) she is followed night and day by snakes, and considered dangerous to befriend.

This does not deter Ravi, however—he does not believe in such things as destiny or fate, or astrology, or magic snakes. We are now treated to a dance where Rani writhes gracefully to the sounds of been and drum played by Raju and her father, respectively. I do love a good snake dance!

Sadly, I found the rest of the songs in this film (music by Brij Bhooshan) pretty uninspiring.

Rani’s father tells Ravi that the same sage who predicted her death at the hands of a snake told him not to get her married either, since her groom would suffer the same fate. And as Ravi and Rani roam around together holding hands and singing, it becomes apparent that she is, indeed, being followed by a very large cobra.

Envious Raju is spurred by her burgeoning romance with Ravi to ask Rani’s father for her hand in marriage despite the sage’s warnings, saying that he is a snake charmer himself—so what could possibly go wrong?

What, indeed? His suit is thwarted when Rani outright refuses to marry Raju. She is of course by now in love with Ravi, although her father warns her against any further involvement with him.

A mysterious (and boho-stylish) woman named Radha (Sarita) now enters the picture.

She visits Ravi in his rooms at the inn, and tells him that she knows the truth about Rani’s story. She heard it from an old sage she cared for in his last days. He told Radha that Rani is the reincarnation of a long-ago village girl named Rukmani, who was in love with a village boy named Raju (played by Reena and Shatrughan in a flashback). She was forced to marry someone of her own caste instead and Raju committed suicide rather than face life without her.

Raju was reborn as a snake and has been living as this serpent for almost a century now, Radha says. When he reaches 100 years of age in a few days’ time, he will be able to shape-shift himself into any form, and he will attempt to meet Rani, for whom he has been waiting. If they do not meet, they will be condemned to an endless cycle of birth and rebirth. But somehow (this is where I become confused) when they DO meet, it’s not going to be a good thing either.

Apparently Rani is now a “Padmini”—that is, someone already possessed by a serpent, herself. Two snakes meeting will be dangerous (how and why is not explained), although it sounds like the worst off will be Rani herself. Radha tells Ravi that Rani will die as a result of the meeting, and her soul will be condemned to wander unless the serpent Raju is killed.

It seems to me now that the point of this film may be that it’s better to thwart centuries of destiny and unfulfilled love for the sake of living in the moment, but perhaps I am overthinking it. In any case, Radha wants to enlist Ravi’s help in killing the serpent when it comes to get Rani in human form, thereby saving Rani’s life so that she can live a happy life with Ravi instead. She gives him some homework to prepare for the ordeal.

This may be somewhat *spoilery* but it does not surprise me in the least when Ravi’s nascent yoga skills are never actually needed or used.

Meanwhile, thwarted human suitor Raju has decided that Rani’s refusal to marry him is not going to stop him. He traps her one evening and attempts to rape her, but is killed by her large cobra guardian. I am sad to see Danny go, but the large cobra guardian now reaches 100 years of age: he decides to use Ravi as his human form. This causes the real Ravi to fall into an unconscious state, while Snake Ravi romances the unwitting but increasingly hypnotized Rani.

Snake Ravi is kind of cool, and I think he might be voiced by Raaj Kumar although the credits don’t say so. In any case, there is a nice differentiation between Snake Ravi and Human Ravi although it goes unnoticed by poor spell-bound Rani.

Lovely bohemian Radha continues to give Human Ravi homework.

She is a bit like a CIA agent (or so I imagine) in that she only gives out bits and pieces of information and instructions at a time. She tells Ravi now that at the end of the month he will have to save Rani by thwarting the snake’s plans, which we find out now are to make both himself and Rani immortal by placing an amulet around her neck on that last night of the month. The plan’s rules make me laugh out loud.

I guess this might be one reason for Ishara’s reputation.

Radha explains a bunch of stuff to Human Ravi, but none of it makes any sense to me. It could be poor subtitling or maybe it simply makes no sense to begin with, I have no way of knowing. In any case, there is a lot of entertaining body-switching, been-playing, and suspense to come! Can Human Ravi save Rani from Snake Ravi-who-is-really-Raju, her centuries-ago lover? Will Rani even want him to? What is the point of it all, anyway? That immortality is overrated? That snakes are evil by nature? I have no idea. Other snake movies I’ve seen have celebrated both snakes and the idea of reuniting thwarted lovers, but this seems to do the exact opposite.

Much like Rani, I was sort of hypnotized by this film but that too confuses me. Truly, it had no “oomph” except for hippie Radha. I mean, this is the magic amulet which Snake Ravi wants to put around Rani’s neck. You can’t tell me that someone in the props department could not have found a better one:

My favorite thing about the film really was the mysterious Radha. She wore an assortment of colorful caftans with chunky jewelry and fringed leather satchels, plus great tiara-like headbands in her towering hair. Had I been Human Ravi I might have left Rani to her fate and run off with Radha instead. That would have been an ending that made sense!

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64 Comments to “Milap (1972)”

  1. Was this one of the first leading roles for Shatrughan Sinha? He appeared as a full blown baddie in ‘Bombay To Goa’ (1972) and even later. But not sure of this though.

    Reena Roy played a snake herself in ‘Nagin’ (1976). Was this a prelude of things to come?

  2. Thanks to her debut film B.R Ishara ‘Zaroorat’, Reena Roy already was the new Rehana Sultan. And she had to face somewhat same problems. For all that they may have been in their time, these ‘bold’ films by B.R. Ishara do seem a bit silly now if not a ruse.

    • Yes, not so much titillating as sort of sad. I’m not sure that a lot of this wasn’t edited out, although it doesn’t seem choppy as is usual when that happens. But it came in under two hours, which is pretty short for a Hindi movie, and didn’t really seem very well put together. I had the impression that although he was considered “bold” many also thought Ishara was a good director making path-breaking films. But of course I could be wrong. A few Stardust magazines are not that reliably informative :)

      • I first caught Chetna on radio. The entire film, just dialogue. Before the start of the movie the announcer kind of went into the ‘relevance’ of the film. Indeed he was thought of as a path-breaking director. B.R Ishara and Rehana somwhow remind me of I. V. Sasi and Seema from South.

        If I have to rate, I will put Rajinder Singh Bedi ahead of Ishara for being a bit more inventive.

        • That’s funny! Did that often happen, that films were broadcast on radio? Or was this one special?

          • This was around 10-12 years ago. I think it was common. They would broadcast dialogues from the selected movie, then a narrator would cut-in take the story forward, pass a comment about the behaviour of characters,and back to dialogues. It was funny.

  3. I have watched Chetna. Was maybe 10-12 years old. didnt realise it was an “adult movie” and then I was told to close my eyes a lot. still ended up watching the whole movie though.

  4. Thank you, thank you for posting this review.

    I clearly remember seeing this movie as a boy and not having a CLUE of what was going on. I remember a lot of snake scenes and a lot of Shatrughan Sinha and mist. I also remember the most famous song of the movie “kai sadiyon se” (Mukesh).

    For some reason, I always thought this movie was Shatru-Sharmila. I now realise (after checking imdb) that though I’ve seen Milap, the Shatru-Sharmila movie I’m confusing this with is Shaitaan, which I also saw around the same time. (I remember, even after 35+ years, that Sharmila’s name was Nisha in that movie. :-) ). Can’t remember what I had for dinner yesterday though. ;-)

    To be fair to Milap, with reference to me at least, a lot of movies would go totally over my head in those days. Reincarnation movies like Madhumati, Phagun (the Madhubala one), Mehbooba or “different” movies like Lal Patthar. Seen all of them as a boy – did not understand even one of them then. Much later on, when I saw them again, they made more sense.

    I suspect though that if I see Milap even now, it will make no more sense to me than it has made to you. Seems just the type of movie to make you think of what it is that it is trying to make you think about. :-)

    Whatever be the logic in the movie (or not), I did love reading this review, memsaab. It is sparkling – and with a lot of those elements that I always look forward to in your reviews. :-) Merci.

    • Yes, towards the end there is a LOT of mist. No Sharmila though :) This film seemed very earnest in its attempt to say something, but what that something might have been escaped me. I guess it might not be my fault ;-)

  5. I’m so intrigued! You must show me next time I visit. And that “Yuck!” subtitle is one for the ages.

  6. Btw, you start by saying that he lands up at MK’s house confessing that he’s just murdered someone. Is there any follow-up to this in the story (other than to portray his character as a real low-life till then) or is this also one of those “yoga” type open-ended angles that goes nowhere? :-)

  7. I had a hard time making sense of a lot of this movie myself. I do remember being struck by its downbeat tone, which seemed a lot more in keeping with American horror films of its era than with your typical 1970s Bollywood snake lady movie, and also by the depiction of what I recall as being some pretty casual heroin use by the hippie chick character.

    • Oh good. That makes me feel less stupid :) It was not at all typical of an Indian snake movie, you are right—the snake was BAD. And she is smoking “charas” which is translated here as “heroin” but I think is more accurately translated as hash(ish), the use of which I think is (or was then, anyway) more casually treated in India than it is here.

  8. @Memsaab – Like some others mentioned, I had my doubts about the year of this movie as Shatru was not being regularly cast as a lead character around that time, and Reena was just a couple of films old. Turns out that 1972 was one of Shatru’s prolific years where he had over 10 releases in which he played varying roles. However, the ones where he was the villain went on to become blockbusters – Raampur ka Lakshman, Bombay to Goa, Bhai ho To Aisa.

    Coming back to the movie, it does look like something one would enjoy if he/she did not have ophidiophobia. And yes the hill in the backdrop of one if the pictures does look like Chamundi Hill on the outskirts of Mysore.

  9. Now this

    This is awesome….

    Thanks for sharing – I’m off to wash my eyes out.

  10. The Radha scene is my favorite too! I honestly saw it for Danny, sicne the Shatru-Reena bit doesnt do anything for me. I like to imagine that Radha walks out of Shatru’s room, meets Danny, and they walk away to some marijuana haven somewhere…

  11. Was this the first film for Shatru-Reena pair ? It was a hit pair since ‘kalicharan’ , and one of Shatru’s movies had a comic scene on their (alleged) relationship.
    B.R.Ishara also directed ‘ek nazar’ starring Amitabh and Jaya ( she played a prostitute).It was not bold but a good murder mystery;
    “prem shastra” is also another film where Dev Anand plays his age but still romances Zeenat Aman, it was an interesting story.

    • I don’t know if it’s their first together or not, it seems likely. I will see if I can find Ek Nazar, it sounds interesting and Jaya is always good to see (unless she is clutching a doll through the whole film) :D

  12. Actor Navin Nischol passed away couple of days back.Have you seen Victoria No.3 ,his movie directed by Brij?

  13. I have heard the melodious mukesh song “Kayi sadiyon se kayi janmo se tere pyaar ko tarse mera man – aaja” on radio. Didn’t know anything else about the movie until i read memsaab’s post!

    BR Ishara is famous for another film “Dastak” – sanjeev kumar and rehana sultan. Dastak too had some lovely songs – haven’t seen the movie though. Chetna too had a lovely song ” Mein to har mod par tujko doondtha chala”.

    • I forgot about Dastak—I have it, but it seems sort of dauntingly depressing from the description. Maybe I’ll give it a try soon, it’s been recommended a lot.

      • I will certainly recommend Dastak songs. Haven’t seen the movie so can’t say how it will be although I have heard of its basic premise – won’t share coz don’t want to spoil it for you!

  14. This movie was filmed on Nandi Hills near Bangalore. I had visited the hills just a while before I saw this movie, and could recognise all the places it was shot in. I had quite liked the movie then. Shatrughan and Reena Roy were popular actors at the time. “Human Ravi” “Snake Ravi” .. nice touch.

    If I were to see the movie again, it would be to look at Radha.

  15. Hmmm. Haven’t seen this one, but from your review of it (which really convinces me Ishara wasn’t very sure what he was up to, only that it had to spook/titillate audiences – I’m not sure he succeeded in either)… I’m not going to watch it either. Not even for Radha, who looks very interesting.

  16. That amulet is actually the genuine article. You would find many people wearing it round the neck or wrapped round the armpit.

    BR Ishara was taboo area and I don’t recall seeing any of his films – though heard a lot about them!

  17. Yes, that amulet is traditionally worn round the neck or upper arm.

    Here’s a link to a very modern looking one.

    http://www.indiamike.com/india/chai-and-chat-f73/do-you-know-what-this-type-of-necklace-is-called-t102251/

    • Actually it is a ‘taweez’. The capsule contains some prayers. I think it’s of sufi origin, worn by many in the countryside regardless of religion.

    • Great link, thank you for that information :) (I still wanted something more spectacular though) ;)

      • >(I still wanted something more spectacular though) ;)

        That would have destroyed the object though, which must have been to put some sort of charm/magic in that capsule instead of the ususal prayers. :)

    • I wear one of those. It’s not made from Gold or Silver though.

  18. I do love me a good (or bad) naag movie. This one will go to the top of the heap, so to speak.

  19. I haven’t tortured myself by seeing this film. BR Ishara did have a ‘sleazy’ tag to his name. I was a kid when Chetna came out, I remember there were posters with a back view of Rehana Sultan in a very short skirt standing legs apart and the face of someone seen between her legs. This poster was up all over town and I remember my mother saying ‘chee chee, what is the world coming to’ or something to that effect :) Ah, for the innocense of those times!!

  20. Dastak I think is based on Rajendar Singh Bedi’s novel if i am right. So who is the director of Dastak then? Any clue?

  21. As usual a great discussion. It took me back to my early days as a journalist. Several million years ago in the early 1970s. Interviewing B.R.Ishara was the first big journalistic assignment I got — probably because no one wanted to interview him. He did have a sleazy reputation but he turned out to be a highly intelligent well read person who had clawed his way to the top. First things first. His real name is Roshanlal Sharma and he is from Himachal Pradesh. He ran away from home and came to Bombay and began working as a tea boy on the sets of Hindi films. As is normal, a small boy in India is addressed as Babu. So he became Babu and very soon graduated to becoming a spot boy on the sets. The producer he was working for had a guru by the name of Roshanlal and he did not like to call this new spot boy by his guru’s name. Babu it remained. But young Babu soon discovered a felicity with words and began to assist various dialogue writers. To add dignity he added Ram to his name and called himself Babu Ram. One dialogue gave him the pen name of “Ishara” as an “indicator” of things to come. Thus was born Babu Ram (B.R.) Ishara. He wrote dialogues for many small films and came in touch with producer-editor I.M.Kunnu. Ishara had sveral hard-hitting stories which revolved around sexual hypocrisy in the middle class. He questioned the middle class morals of Indian families and Kunnu was willing to taker a risk and produce the films. The first film they ventured into was Zaroorat but it had so many sex scenes that it just kept doing the rounds of the censors. In the meantime they had made Chetna with Rehana Sultan and Anil Dhawan (both graduates of the FTII, Pune). The film did not have too many daring scenes though it had a daring story and real hard hitting dialogues. Chetna created a sensation. (Incidentally Anil is elder brother of hit comedy director David Dhawan). By then a much watered down version of Zaroorat had made it through the censors and that was soon released. These small films with hard hitting stories and even harder hitting dialogues created a wave and many other imitators like Ram Dayal etc came to the fore.

    This film is indeed Shatru’s first released film as lead man — though he had already got into the habit of playing villains with a golden heart. His first such role was Dev Saab’s Gambler. However, the other two noteworthy films of that time were Kashmakash and Shaitaan, both directed by his FTII classmate Firoze Chinoy who could not make much of headway in films but was a director much ahead of his times if these two films are any evidence. Shaitaan is an early film on multiple personality disorder. Don’t think Shatru played opposite Sharmila at this stage — though he was a great admirer of hers. Once a journalist told him, “I say Sharmila’s pet dog’s name is Sonu.” Shatru (who was also known as Sonu to his family members) understood the dig and quickly replied, “So what’s wrong with being Sharmila’s pet?” The journalist had no answer. Shatru was always good at repartee.

    Sorry this mail has become too long. Many regards

  22. Sorry. One little addition. Ishara also directed a film called Ek Nazar with Amitabh and Jaya. Jaya was of course a star by then and Amitabh … well … It is said that someone on the sets remarked, “Iss ghode ko kahan se pakad laya?” Just imagine!!!! This film also marks the debut of the deep-voiced son of Murad — Raza Murad who is still popular in films today. Ishara today lives in a Mumbai suburb, married to his first heroine Rehana Sultan who could not make it big in films in spite of her Gold Medal at the FTII, Pune (graduated in 1966 — one year before Shatru) and her terrific start in Dastak (National Award as Best Actress 1970) and other films because of her “nude actress” tag. So sad because she was hugely talented. People were more conservative then and did not tolerate a heroine who was not “propah”. Ishara directed films till the early 1990s — many of which have not been seen — and now writes dialogues for movies.

    Also, Shatru had played the lead in Firoze Chinoy’s diploma film And Unto The Void (1967) which bagged awards at San Francisco FF (1967), SITGES Madrid Festival (1967) and the Canadian Amateur FF in 1970. The film which actually got Shatru renown and an image was An Angry Young Man (1970) which he acted in AFTER he had passed out. It also starred Jaya Bhaduri (now Bachchan). The director (Shamsuddin) whose diploma film it was is now forgotten since he never got into Hindi films. The tag Angry Young Man eventually went to Jaya’s husband Amitabh but Shatru didn’t do too badly. The film is very interesting. Wonder if it is still around to be viewed at FTII!

    I am sorry but I have gone crazy with my memories. All the best!!!

    • Wow, that’s an amazing wealth of information there, Sanjit saab. Thank you very much for it. And for translation for membsaab and other non-Hindi speakers, that comment about Amitabh on the sets of Ek Nazar “Iss ghode ko kahan se pakad laya?” loosely translates to “where did they get this horse from?”.

    • mr. sanjay thanks for these infos.
      do regularly visit this blog and share more info with all.
      i suggest you should also start a blog of urs in which you can put all the information you have collected and comment on the present scenario of films.

      i love films from 1965-85…they were really good and will remain watchable for years to come.
      hope you can shed more light on them.
      B.R,Ishara has directed films even in 1990′s till 1996 like Sautela Bhai , Kis Kaam Ke Yeh Rishte , Police Ke Peechhe Police , Woh Phir Aayegi allstarring rajesh khanna

  23. Mr. Narwekar – Many thanks!

    Memsaab – One of the many reasons to LOVE your blog.

  24. Great information, Mr Sanjay. My assessment of B R Ishara, his movies as well as that of Rehana Sultan as a talented actress ahead of times is validated by your highly informative posts. That is some great information that few people may be aware of.

  25. OOPs, it should read Mr Sanjit.

  26. Memsab, you deserve the highest reward for your service to Bollywood. Just see your reach !

    Sanjit Sir, thank you very much for the wealth of information because such information is hardly available in the media. I fully agree with Sanjit Sir that Rehana was immensely talented but she was way too bold for her times. I saw “Chetna” on TV on a Friday night slot years ago while I had started working. Except for that scene (this was in the posters all over Mumbai) where Rehana stands with a “V” posture, the story did not have that many explicit scenes. Chetna (awakening) was all about a prostitute’s dilemma after marriage to the hero (Anil Dhawan). Sad that the print is not available. Even Rehana’s other movie – “Prem Parbat” is no longer available.

    Don’t know why Rehana got slotted in that category. For example – in the movie Dastak, she has done such explicit scenes with Sanjeev Kumar and I felt some of them were not needed. But her performance in Dastak was stunning – no doubt.The director used her sex symbol tag to the maximum.

    I read her interview sometime back where she mentioned that she was leading a happy retired life. Rehana lost her mother early and her father was the one who brought her up. Obviously, after all the reputation that she gained, she had no other choice but to marry her director.

    It is sad that she never made it to the “A” list and I agree with Sanjit Sir it was because of the image she created. A lot of her movies never saw the light of the day and she did make special appearances in the 1984 movies – ” HUm Rahen Na Hum” (where she played a vamp) and “Bandhan Kachey Daagon Ka”. She has even lip synched to a song on Saibaba (movie Desh Shatru) and the Asha bhosle hit number – “SAiyan Ke Gaon Mein” (Sajjo Rani, 1976) was picturised on her. All that I can say is that talent like Rehana Sultan was hugely wasted and I can’t understand why she can’t be given an award for whatever performances she delivered. Very sad. Filmfare, Star Dust, Zee Awards do not mind giving awards to known faces but why not recognise such talent. Remember she won the National Award for Dastak ?

  27. Was just watching this movie and by the time it got interesting (is when Rani slowly undresses and Ravi is shown running), the transmission went away. Wondering how the movie actually ended. Can’t seem to find Milap videos anywhere.

  28. such interesting information on this site-i thought highly of this guy BR Ishara-he made movies that i yearned to see.in fact i thoughti shld meet him-i heard of movies like-dawat,society,haathi ki dant-also wld love to see rehana sultans movies like-prem parbat-savera,zindagi aur toofan,dil ki rahen,operwala jane-anyways a dvd shop here in canada claims that he has all the movies i am looking for-let see-when i meet him
    >Aurat Zeenat Aman,Shashi Kapur 1986
    2>Aakhri Mujra — Asha Parekh,Vikram,Zarina wahab 1980
    3>Asliyat Nanda,Sanjay khan 1974
    4>Anokha Daan Kabir Bedi,Zahira,anil dhawn 1972
    5>Ansoo Aur muskan — Hema Malini,Pariskhat Sahni 1970
    6>Alingan Romesh sharma,Zahira, 1973
    7>Archana Mala Sinha,Sanjiv Kumar 1973
    8>Chhalia Nanda,Navin Nischol 1973
    9>Chori Chori Sanjay Khan,Radha saluja,Simi 1973
    10>Do Jhoot Moushami,Vinod mehra 1975
    11>Darling Darling Zeenat Aman,Dev anand 1976
    12>Do ladkiyan Mala sinha,Sanjeev kumar 1977
    13>Dost Aur dushman vinod khanna,rekha 1971
    14>Dak Bangla Simi Garewal 1972
    15>Dhuen Ki lakir Parvin Babi,Ramesh Arora 1974
    16>Daughters of this century Jaya Bachchan,Shabana,Dipti 2000
    17>Dil Ki Rahen Rehana Sultan,Rakesh Pandey
    18>Desh Drohi Saira banu,navin nischol
    19>Ek Naari Do Roop Shatrugan sinha 1973

    21>Ek thi Rita Vinod Mehra,Tanuja 1971
    22>Gaman Faruq Sheikh,smita Patil 1978
    23>Gawahi — Zeenat Aman,Shekar Kapur,Ranjeeta 1989
    24>Janwar — Rajesh Kahana,Zeenat Aman 1982
    25>Jai Jawan Jai Makan Jaya Bhaduri,Anil Dhaan 1971
    26>Jaana-lets fall in love — Zeenat Aman,Rajesh khanna 2008
    27>kahni hum sub ki Mala sinha 1972
    27A>Katil Kaun
    28>Kahin Aar Kahin Paar Vimi,Joy 1971
    29>Koi Jeeta Koi Hara Saira banu 1976
    30>Love in Bombay Joy Mukerji
    31>Lahu Pukarega – Sunil Dutt,Feroz Khan,Saira Banu 1980
    32>Mangetar Nutan,Deb Mukerji
    33>Mastaan Dada Sanjay khan,parveen babi 1978
    34>Maa Bahen Aur Biwi Kabir Bedi,Prema Narayan 1973
    35>Nach Uthe Sansar Hema Malini,Shashi Kapor 1976
    36>Operwala Jane Rehana Sultan,Vinod mehra 1974
    37>Prem Parbat Rehana Sultan,Satish Kaul 1973
    38>Pyaas Zeenat Aman,Tanuja,Kanwalji 1982
    39>Pyasi Nadi Vikram,Vani Ganpathy 1973
    40>Prayschit Parishat Sahni,Nanda 1974
    41>Pasand Apni Apni Simi Garewal 1971
    42>Sidhartha Simi Garewal,shashi kapur 1972
    43>Seema Simi,Kabir Bedi 1971-just released
    44>Savera – Rehana Sultan-Sajid Khan,Kiran kumar 1972
    45>Tasveer Feroz Khan,Kalpana 1966
    58>Vakil Babu — Zeenat Aman,shashi kapor 1982
    46>Ulfut ki nayi Manzil Sadhana,Raaj Kumar,Wahida Rehamn 1994
    47>Zindagi aur toofan- Rehana Sultan,Sajid Khan,Yogita Bali.1975
    48>Zaroorat Reena Roy,Vijay Arora 1973
    49>27 Down — Rakhi gulzar 1972-just released
    50>Vachan– Vimi,shashi kapoor

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