FilmiBoi

Javed Akhtar says "All films originate from Mother India". He practices what he preaches. Doffing its hat to both the Oscar nominated classic and Dilip Kumar's Ganga Jamuna, his film Deewaar presents a similar tale of two brothers finding themselves on either sides of the moral compass (overtly denoted by a fork outside a temple). The brothers, divergent in life pursuits, converge at a single syllable cry: Maa! The mother has always been an iconic part of literature, but a more fervent one of Bollywood. Why? Because it adds melodrama, facets of motherly devotion, religiosity, sacrifice and putting up with life's challenges with a brave smiling face. Mothers in Indian cinema are, or were for the most time, Gandhian, saintly and as innocent and pure as the biblical sheep. But what happens when the sanctity of "maa" is challenged? Obviously, her more moralistic child wins, leaving the bad apple to die, repent or redeem. Also, the two of them are then critically

All Gulzar films have a clichéd compartmentalised plotline. Estranged people meet at a juncture where time makes relationships things and ascribes relationships to things. An article here, an object there, and the mind goes down memory lane. I call this formulaic storyboarding as the Gulzar flashback, which he uses so judiciously and masterfully in his films. Ijaazat is just one of them. And even though its story is adapted, it has that Gulzar touch, of maturing relationships while nurturing moments and vice-versa. Source: IMDb Mahendra (Naseeruddin Shah) is caught in a love triangle with fiancee Sudha (Rekha) and lover Maya (Anuradha Patel). He gets engaged to Sudha but has to reimagine life without Maya's fatal attraction towards him. This is the premise of the film. In other words, it does not begin here.  It begins at a railway station, where the estranged couple meet. Mahendra and Sudha, who were once a promising couple, now sit a distance from one another. One thing leads to