An Jo on Dedh Ishqiya

Imagination runs riot in these bad-lands of Uttar Pradesh married to Guy Ritchie’s get-rich-quick characters and characteristics of SNATCH or LOCK, STOCK, and 2 SMOKING BARRELS. And a very unpredictable orgy this is; of thievery, trickery, and poetry! It makes for a strange but appetizing dish. It takes some fertile imagination and fine cinematic vision to dove-tail the rustic emotions of ruffians into the palatial secrets of nawabs and begums and yet come out trumps, albeit with some creases.

Retaining the lovable rogue-duo of Babban (Arshad) and Khalujaan (Naseer), director Abhishek Chaubey makes us privy to another (mis)adventure of these two; this time in the old-world of ‘Nawab-giri’. A widowed Begum holds an annual contest measuring various skills of suitors – from Urdu poetry to sharp-shooting – to fulfill her husband’s wish of her re-marriage to a person wealthy of ‘tehzeeb’ and ‘shaayari’ first and then if necessary, wealth. Into this party lands Khalujaan with the moniker of ‘Ifthekaar’ followed by Babban the ‘butler’. And then there is Vijay Raaz’s Jaan Mohammad who is hell-bent on making people bow to him with ‘adab’ and not fear – so what if it means catching a flight to Italy to alter his NDA (his version of ‘DNA’) alive! What then follows is a tale of quirkiness that subsequently reveals the tribulations, motives, and escapades of all involved, be they royalty or non-royalty.

As Begum Para, Madhuri Dixit stunningly conveys the frailty and beauty of royalty, though erst-while, with sublime grace. Her introduction is marvelously in-sync with the ‘elevated’ heights of her characterization. While all other characters get introduced full-on with little surprise or enigma (with the exception of Arshad’s Babban), it is Madhuri’s Begum Para that has a closing-in shot that travels right from the outsides of the haveli to the environs of her room with the camera progressively moving-in from behind and caressing her face from the sides: And then the introduction of her assistant-cum-partner-cum-friend (Huma Qureishi) merely as a device to introduce to us and the gathered shaayars the ‘royalty.’ The hall-mark of a fine artiste is what he or she conveys in some short ‘passages’ rather than in long, expository shots. In a scene when Naseer’s Ifthekaar tries to bring her back to her glory days, merely with the help of her eyes, Madhuri conveys the pain, shock, mental and physical reluctance to get herself out of the current rut. Her physical twitching and her mental agonizing are finely in-tune; neither under-playing nor resorting to the theatrical.

Khalujaan has aged gracefully and has grayed completely not bothering to color his hair or beard unlike in ‘Ishqiya’. This time, he goes looking for love, moolah, and peace with his physical self as-is; after ‘transforming’ himself into a romantic poet. Naseer is in great from and remarkably conveys the dual core of his character’s basal instinct of searching and succumbing to get-rich-quick schemes while still yearning for the finer aspects of life like love, music, and the arts! Arshad’s Babban is still the old, lustful, whore-mongering rogue, who gets confused about the difference between truth and a lie when he says,’ I didn’t lie; I merely didn’t tell you the truth.’ Truly, the body in his blood flows more to his loins than to his brain cells. He is wonderful with his fine comic timing. Vijay Raaz plays a fake nawab but a true politician with wondrous dexterity. This is a wonderful act and he really bolsters up his repertoire with such roles. As the Italy-connected ‘Italvi’, Manoj Pahwa is superb though he is relegated to a chair most of his movie-time. This is one of the strong-points of this movie. It is written so quirkily with such quirkier characters that even a dry-cleaner, a tailor, a hakim, and a SP named John Vijay (the one character that appears to be from a completely outside world what with his Tamil-accented English) leave their impact irrespective of their screen-times. Huma plays Muniya with the requisite amount of spunk and irresistibly sprinkles her act with lust.

Madhuri’s dance to JAGAVE SAARI RAINA and HAMARI ATTARIYA are a treat; especially the former. JAGAVE SAARI RAIN, ZABAAN JALE HAI, DIL KA MIJAAZ are pick of the lot. The cinematography conveys aptly the ‘aura’ of the haveli and conversely the ruggedness of the dry bad-lands; all in natural hues.

Coming to the main leit-motif, if one may call it so, is the wonderful usage of the beautiful language of Urdu. Indeed, this is MAJORLY an Urdu film. (It seems the prints in India have literal translations of the language; unfortunately this seems to be lost in the US prints because of the ‘unofficial’ translation which is bad to put it politely.) Dr. Bashir Badr’s nazms are used here and they are a treat to the soul. Urdu is used here in couplets, in dialogues, and in the lyrics. That Gulzar is in top form here is saying the least. He has the audacity to write ‘HORK OK PLEASE’ and the sensitivity to write ‘JAGAAVE SAARI RAINA’ with such efficiency that it baffles us. Of course, Babban has his own brand of poetry, a priceless one after Muniya aggressively makes out with him: Life mein peheli baar Samajh mein nahin aa raha hain ki mein leke aa raha hoon ya deke!

Here’s a sample of Gulzar’s wonderful metaphors – of likening of the situation of a man in love to that of twilight..

Hamaari haalat pe kitta rove hai – How deep is the tearful cry
aasman bhi tu dekh leeyo – of the sky
ke surkh ho jaavein us ki aankhein- that its eyes get reddened
bhi jaise jaise ye din dhale hai – as and when the day drowns into dusk via twilight..

-\- of the entwinement of lovers -/-
Udte guzarte jo dariya ne dekha.. – As the river ebbed and flowed
Paani pe parchhayi sehla ke dekha.. – its waters felt its own shadow
katra ke ab hum se kya hoga.. – and mockingly, playfully reminded the shadow of the futility of attempts at separation

It does seem the film slackens the pace a bit during its almost 150 minutes running time-span but there is so much to be absorbed in the meat of the script that one can gladly forgive this minor ‘flaw.’ Also, the shoot-outs/action scenes are quite poorly done with bullets hitting everyone but killing no one. Though Naseer’s character talks of the 7 stages of love (dilkashi – attraction, uns – attachment, mohabbat – love, akidat – trust, ibadat – worship, junoon – obsession, maut – death) the characters’ states-of-mind do not seem t convey so. It seems some stages get skipped! Chaubey however displays fine hold on the milieu and the proceedings and is quite wonderful in his visualization of many scenes. He shoots the ZABAAN JALE HAI song with Naseer reciting it at the mushaira without any background music and the effect is superb. Wish he had done away with Rahat Fateh Ali Khan’s voice here and simply gone ahead with Naseer’s. The effect would have been two-fold. He conveys his homage to Ismat Chugtai in what is a superb, remarkably shot silhouette that forms the crux or ‘maqta’ if you will for this movie in totality. And this is a damn bold statement or shot for a commercial Hindi film.

It is rare for such films to get made in the Bombay Hi-fi of today; those that do not bow to the crore-diktats currently running wild in this supposedly ‘art-first’ industry. This is a fine marriage of words and the visuals. Not everybody will go ‘muqarrar irshaad’ on this film but for those who are interested, go for it.


34 Responses to “An Jo on Dedh Ishqiya”

  1. Near flawless review (one typo)….good job AJ. Now I am nervous to go watch…my Urdu is particularly bad.


  2. BTW have you read Ishmat C’s lihaaf? 🙂


    • Thanks Di.

      Well my Urdu is not that good either. I spent a year trying to learn in a longgg time back..but still interested so keep indulging in it in bits and pieces..


    • Yes I read it a few months back only because I got interested in it after reading somewhere that DI might have a reference to it..


      • “after reading somewhere that DI might have a reference to it…”
        apparently begum and muniya’s relationship is more than what it seems/meets the eye…lolz
        And N.S makes a reference to it to Baban.
        And N.S. is known for taking I.C’s plays, popularizing it…etc
        BTW: DI is Dedh Ishkiya…not my name…I presume…ROFLOL


      • BTW AJ did you check out Javed Akhtar and Salim Khan’s interview with Rajeev Masand (near the launch of Sholay 3D). Good stuff.
        P.S: I hope my coment doesn’t get deleted by big brothers of SS.


  3. Rajenmaniar Says:

    Waah! Mazaa aa gaya review padh ke!👌👍


    • Yes. I loved “Truly, the body in his blood flows more to his loins than to his brain cells.” Could be said about most of the male species.


      • A typo I hadn’t realized!! Should be blood in his body!!! Thanks for proof-reading DI or Di..


        • Not this typo…there was another one then…I will have to re-read. I got review on this movie from Mom. She said “too much Urdu” (basically had trouble following). Maybe now I have new found respect for MeA. I could enjoy the movie inspite of its Urdu. And had chance to see it some years back with subtitles and had realized how badly I had misunderstood most of the dialogues. 😦
          I could enjoy lot of other Urdu-type movies such as Rekha’s umrao which I think is one of the most touching movies…I love the feel of old world charm captured in such movies…Ray’s SKK is one such movie….loved the actors/story/language…everything in it.


  4. omrocky786 Says:

    Wow Ann Jo, superb superb piece seedha dil sey hai !!, I have heard very nice things about it as well, specially Vijay Raj….and I love Urdu Shayari so will definitely be going this weekend agar office naheen hua toh…..


    • Thanks Rocky.

      I think you might need to check this out during the week-days per Raghav’s information and box-office I doubt this will last after Friday in the US!!

      Lagta hain public ne saara paisa K3/D3 pe uda diya aur aab jab genuine acchi picture ki baari aayee toh batwaa zara tight ho gaya!!! Aur abhi toh Sallu lootne aa raha hain..


  5. Beautiful write up. Loved Ishqiya. By all indications this has far surpassed it. absolutely looking forward to it.


  6. Love urdu shairi and the genre of black comedy. This looks like a must-watch film.


  7. Heard Gulzaar saab a couple of days back, at a lit fest in my city. Got his autograph on a book of poems . He and Pavan K Varma sparkled and sizzled as they conversed on stage; Gulzar saab was quite funny when he spoke about his latest poetry collection–‘you can read it from left to right or right to left’– the book is an Urdu-Hindi edition!


  8. Sounds like Umrao jaan and Pakeezah. While Umrao jaan bored me to death, I loved mass friendly Pakeezah. which had lilting music with beautiful lyrics. And Meena Kumari with her expressive eyes and controlled acting. and with a less complex story.


  9. Souce: TOI
    There is something to applaud when a character in a film asks for a “purana angrakha” and the costume designer supplies him with it in the next scene. Not an old kurta, sherwani, sadra or achkhan. A proper angrakha. Thank you.

    A major clothes retailer is the costume partner for ‘Dedh Ishqiya’ and its not clear whether costume designer Payal Saluja was limited by this or supported. It certainly worked in Huma Qureshi’s character’s favour. Muniya would have bought her clothes at the Mahmudabad market, or have them made at a darzi and salwar-suits were reassuring commonplace even if her ‘peyos’ were not.
    ut it’s cinema, so lets not be catty. At least not too much. Khalujaan ( Naseeruddin Shah) went from the belted kurtas of his real-life to the sable-coloured sherwanis and shawls of a nawab with ease. It was convincing that none of these costumes looked brand new. Khalu would have rented them from the local dry cleaners, if not have stolen them outright. Only the Beatles teeshirt he inexplicably sleeps in broke this spell.

    A long shot would be that its stolen, but more likely its from Naseer’s own wardrobe. Khalu is tied to Babban through the chequered gamcha they both wear as scarves. The size of the square varies, but its a detail that ties them together as partners in life and crime. Babban’s choppy haircut is winsome. It looks as if it was hacked by a blind barber while riding pillion through the ghats.

    That and his persistent unwashedness keep Arshad consistently Babban. Begum Para was confusing. On one hand it makes sense that broke aristocracy should wear paste and copper jewels.

    READ: ‘Dedh Ishqiya’ a dream comeback for Madhuri Dixit

    In an ideal cinematic world, they would have been authentic clothes in balding velvet, trailing beads and sequins to match the decaying haveli. Cloudy kundan and jhumars with missing pearls would have drawn a sigh.

    Para’s turn in pink chiffon and pearls with cat’s eye sunglasses at the shooting competition was an acute bullseye. Post her kidnapping, we are given a sense of the character’s personal tastes which are simple, light and uncomplicated. This Para does not coif her hair, prefers pastels and goes easy on the make-up.

    Muniya, on the other hand, is a seductive sword inside the haveli and outside it. It’s clear that her role towards Para will also be that of a protector and her sexuality will remain her greatest weapon. But Dedh Ishqiya is not about the women. A parade of mature men in achkans, jamevar shawls and karakul caps is its own brand of erotica, and the movie supplies that generously.


  10. Sounds v good stuff —‘mature’ stuff ..utkal uncle territory !

    But –“Muniya, on the other hand, is a seductive sword inside the haveli and outside it. It’s clear that her role towards Para will also be that of a protector and her sexuality will remain her greatest weapon”
    @di/LS-Is this indias version of ‘blue is the warmest color’..

    Also such creditable efforts land up with such box office —ok, this isn’t competing with d3/k3, but this should atleast ‘make ends meet’ (no pun intended)

    Goes to prove that the paying public aren’t the ‘wronged souls’ they are made out to be-they get what they deserve/pay for!
    Btw how much has this done on the box office ?


  11. “Madhuri-Huma’s friendship is so beautiful” – Abhishek Chaubey

    By Subhash K. Jha, Jan 16, 2014 – 03:11 IST

    Abhishek Chaubey’s Dedh Ishqiya has received some of the best reviews in recent times. The shy director discusses the film with Subhash K Jha.

    Very uniquely you’ve shown a lesbian relationship between the two female protagonists? This is the first instance of a lesbian relationship shown between two mainstream actresses since Shabana Azmi and Nandita Das in Deepa Mehta’s Fire. Weren’t you fearful of how the audience would react?
    Of course the audiences’ reaction was at the back of my mind. But I have to have my twist in the tale, no matter what I make. I wanted to show the relationship with a certain lightness of touch. I didn’t want the lesbian idea to weigh on the plot. In order to portray the lesbianism I referenced to Ishmat Chugtai’s story Liaf, The whole shadow-play between the two women is a throwback to Liaf. I kept the erotic context light and suggested. That was my way of ensuring that conservative elements in the audience did not walk of out of my film. The Madhuri-Huma’s friendship is so beautiful it didn’t matter how far they go.

    After Vidya Balan in Ishqiya you’ve created another startlingly mysterious and unorthodox heroine in Madhuri Dixit’s character? Was it tough to follow up the original with this enigmatic follow-up?
    We had no choice in the matter, really. Vidya Balan’s character had established very high levels of feisty conduct. If I made Madhuri’s character equally feisty what was there for me to that I hadn’t already done? I had to do something new here. Madhuri’s character Begum Para is far less of a go-getter than Vidya’s character. What we don’t actually say is that she suffers from Bi-polar disorder. I’ve hinted at it. There is a distinct inner and outer world in Begum Para’s life. Take that scene where she announces whom she’d marry. Just before she arrives on stage she takes a deep breath and puts on a smile. Every time she comes out in public she has to force a smile on her face. Her inner world is most tragic.

    Dedh Ishqiya (DI) uses a pure refined Urdu language. Weren’t you apprehensive it would be incomprehensible to the man in Mumbai or Kolkata?
    That fear of the language being inaccessible to a part of the audience was always there. Whatever is being written about the difficulties of the language had already been anticipated by Vishal Bhardwaj and I when we wrote the film. What you’re actually hearing is a toned-down language. We modified it after the second draft. We sat down and cut out some of the really difficult words. At the same time we couldn’t allow the flavour of the language to be lost. Then we also subtitled the Urdu dialogues. I personally did the subtitles. In our cinema we really don’t have a good idea of how the subtitling is done.

    In the film you’ve assimilated the world of the ‘Muslim Social’ as seen in films like H S Rawail’sMere Mehboob, and the contemporary world of materialism and iPhones. How tough was it to bring these two worlds together?
    Thank you for saying that the two worlds jelled well. As a filmmaker it was a big challenge and a kick to create an alternate reality. When Vishal and I started DI, we wanted to create a world unique to this film and not try to take the franchise forward. At the same time, I had to keep the spirit of the two protagonists Naseeruddin Shah and Arshad Warsi alive. Vishal and I loved the challenge of fusing an old-world charm with iPhones.

    Neither Vishal nor you are a Muslim. And yet your knowledge of Urdu is astonishing?
    Although I’ve lived in Bihar for some years, I’ve spent most of my life in UP. While a lot of Awadhi was spoken in my home, the Hindi that was spoken had a lot of Urdu in it. That was because we lived in old Lucknow. We were a Hindu Brahmin family. And yet we’d speak more in Urdu. I grew up on the songs of Begum Akhtar. During my growing years, I didn’t much care for it. Only now do I realize what Begum Akhtar represents. Vishal’s love for Urdu poetry is unconditional. Dr Bashir Badr whose poetry we’ve used in DI used to be his next door neighbour. We had resolved very early during the writing that we’d incorporate Urdu language and ghazals in the film.

    You’ve included a version of Begum Akhtar’s ‘Hamri atariya pe aaja re saawariya’. Purists say you’ve desecrated the original?
    We always had the original version by Begum Akhtar in the film. I feel the generations that have come with me and thereafter have lost contact with India’s cultural heritage. Urdu which is such a beautiful language is all but lost. We wanted to use Begum Akhtar’s ‘Hamri atariya’ in the first Ishqiya. But there was no situation for it.

    I waited to see the song ‘Dil To Bachcha Hai Ji’ from the first Ishqiya to pop up in Dedh Ishqiya?
    In fact there was a scene where we used it. But it got edited out.

    Coming to the performances, Naseeruddin Shah says the lines as he owns them. Was his performance in Gulzar Saab’s Mirza Ghalib a reference point for your film?
    It must have been there somewhere in the back of my mind. I think the flavour and the milieu of the film enthused Naseer Saab in the same way as Mirza Ghalib. Actually there are two Naseeruddin Shahs in DI. The roguish Khalujaan and the refined poet. It’s almost like a double role. We consciously wrote it that way.

    Where are you taking the Naseer-Arshad pair next?
    The buddy film has formula in cinema the world over. Somewhere I did refer to Hollywood buddy films Butch Cassidy & The Sundance Kid. But never have we seen such an irreverent uncle-nephew jodi. It goes back to my teens when I was traveling between Lucknow and Patna by train. I was in the lower berth. A Maama and Bhanja were in the middle and upper berth. The Bhanja kept abusing the Maama throughout the journey. When I told Vishal Bhardwaj about it, we created the two protagonists. We had a lot of fun creating Khalujaan and Babban.

    So a third part to the Ishqiya saga?
    I think I need to make something else first. After Ishqiya, I got stuck in the third act of another script that I wanted to do. That still remains unresolved. I am working on something else. I hope I don’t make another Ishqiya for at least one more year.


    • Interesting stuff. Dhulia, bharadwaj, choubey, kashyap…all (UP)Brahmins. Bollywood Brahmins too. Refined folks extremely comfortable in muslim world too. Very interesting stuff. Thx AJ


  12. With Dedh Ishqiya, director Abhishek Chaubey has cracked a tricky formula of marrying a masala film with chaste Urdu culture. He tells Kareena N Gianani why the film never loses the plot when it comes to the attitude he wanted the film to carry

    You’ve maintained that you did not make Ishqiya with the intention of taking it ahead as a sequel, and the decision was nerve wracking. When, then, during the making of Dedh Ishqiya did you feel that you had a fine film at hand?
    I think it happened sometime in the scripting stage. I remember working on it with Vishal Bhardwaj and having a moment when it hit me. I thought, ‘Hey , so I am not simply making a sequel, I have something original in hand now.’
    This epiphany had something to do with the fact we were creating an alternate world of Mahmoodabad in Dedh Ishqiya. For a director, there is nothing more exhilarating than having the liberty to create an alternate reality, craft new characters and explore a lost culture, a time warp.

    Tell us about creating the alternate world of Mahmoodabad, its codes and its attitude.
    I was really charmed by the location and the decrepit palace we were shooting at. Ishqiya was a more intimate film. There were these obtuse references to the jungle and a war, but the film was shot in a house with mainly three characters. We went all out in Dedh Ishqiya, and, at the end of it all, making this film was more wholesome.
    The world of Mahmoodabad stands on the chaste Urdu we decided to use in the film. The credit for that goes entirely to Vishal. He has grown up with that language and culture, and he loved that kind of poetry. A few years ago, he introduced me to Dr Bashir Badr (whose poetry has been used in Dedh Ishqiya) and I was hooked.
    Dedh Ishqiya is our way of paying homage to his work.
    When you create an alternate world, I think the most exciting part is to create its code, its dos and don’ts. I knew I wanted the world of Mahmoodabad to be entertaining but not vacuous. Before being anything else, Dedh Ishqiya is a comedy, and I knew exactly the attitude I wanted the actors to carry — quick wit, care-a-damn-attitude and willing to make light of the most serious things. For instance, when Babban (Arshad Warsi) is chasing Khalu (Naseeruddin Shah) after the latter swindles him, and finally catches up with him, he first greets him with all the tehzeeb. Khalu, too, who knows he is going to be questioned, returns the greeting. That’s the spirit of Dedh Ishqiya, tongue-in-cheek; that’s how the characters see the world.

    … As compared to the slapstick comedies, which go on to make it to the R100-200 crore clubs?
    (Laughs) Sab ke sau crore sab ko mubarak hon.

    Did you think Naseeruddin Shah was best suited for the role because he has experimented with a similar culture in his plays? And what about Madhuri Dixit?
    Dedh Ishqiya is my fourth film with Naseer, and I think we are at a stage where we understand each other without even trying. He thrived on the sets because he was playing these two different kinds of characters — Khalujaan, the rogue and Iftekhaar, the nawab. He was simply having a ball and I have never seen him this focussed and excited.
    As far as Madhuri goes, I so desperately wanted her to agree to do this film, because she was the only person I could see essaying Begum Para’s role. I observed that she is a very relaxed actor. In spite of the work she has behind her, she is still the sort of actor who wants a director to step in and fill her in on the character’s shades. However, she’s also very instinctive — so if you tell her to do something that she thinks might look fake on screen, she’ll tell you that. I think what amazes me the most about Madhuri is that she does not theorise and is very subtle at her craft. Many a time, I’d think she was being too subtle and might miss the point, but later, when I saw it on screen, I realised she knew just what she was doing by putting in just the perfect amount of emphasis on her expression or style. I don’t think too many actors can boast of that.

    The supporting cast in Dedh Ishqiya — Vijay Raaz, Manoj Pahwa and Salim Shahid — were equally well-etched, irrespective of the screen time they may have had.
    I am glad that came across, then (smiles). I think the writing did it, again. They don’t have three hours to tell their stories and their motivations, but the writer must, at all cost. You don’t want to fall flat when a supporting actor looks at you and doesn’t understand why he is doing something in the film. He must know it in his head, even if he doesn’t spell it out
    on screen.

    What’s next for you?
    I am working on another script, but it would be too premature to discuss what it is about. But it will be entirely different from Ishqiya and Dedh Ishqiya, in every way possible.

    What do you want to do better, then?
    Improve my strike rate, for one!

    – See more at:


  13. Honestly the film failed at editing table. I would have cut out extensive scenes of Vijay Raaz (and that would have made his role more effective and not so repeatitious/boring). Other than that, the most interesting thing is that muslims/pro-muslims of SS didn’t see this movie. lol. The usual suspects (Q) didn’t bother to write anything on it! And no heated discussions on lesbianism or lack of it. 😦
    P.S. The Urdu is totally not hinderance (for me) was not too heavy and I could totally understand the dialogues. hubs loved the humor. Will have to re-watch it at some point. worth taking second look to appreciate all the nuances and subtle stuff but Ishquia was/will remain still my most favorite one.


    • It is quite shocking Di the abysmal level of interest shown in this movie on the blog. As I said before, we turn spendthrifts both with time and money once DICK 3 or KRISHIIT 3 release but suddenly, our wallets tighten when something a little out of the ‘user-friendly’ zone comes along. I guess it is a sign of the times when even the ‘discerned’ are not interested a whit when something like this comes along. Not limited to Hi-fi alone I guess; I watched HER in a movie-theater on the 1st week-end – there were 2 people watching; myself and the usher.

      Not trying to group anybody but just mentioning the general atmosphere and trend everywhere. I never expected DI (not you) to mint money but was expecting it to be a success at least relative to its strengths and genre – at least to recover or make a wee bit more so that people don’t get discouraged but try making more of such movies. Agreed this is a movie with over-the-hill actors but even over-the-hill audience didn’t turn out for this!!!

      We deserve the government we get; and we deserve the cinema we get – & it is pretty clear we deserve D33 and KRISHHIT 33 — YAARIYAN too..

      But the ultimate shocker of all is that you very smartly let the cat out of the bag in the above comment that you are married!! All my flirting shenanigans I had planned out with/for you now go out the window..Oh well!! life’s a bi!@h…


      • Listen to my tale of woe…

        Dedh Ishqiya was not showing at our usual cinema is central London where Indian movies are shown, so a friend and I journeyed all the way to another part of town, only to find out on arrival that the showing had been cancelled (and replaced with an extra showing of 12 Years A Slave), because they hadn’t sold any tickets online for DI. I was so pissed off but had to return home with copious apologies, a free ticket and a McFlurry.

        So will have to see it online sometime I guess.


        • **a free ticket and a McFlurry**

          Hope you use this free ticket for JAI HO or any disposable ‘block-buster’ so that they get the finger!!!


          • Ha, no def not using it for Jai Ho!! I’m not sure I’ve seen a single Salman Khan film in the cinema except HAHK! At that time they only showed Indian films in a couple of cities in the UK (we actually drove all the way to London to see it!).

            Oh actually I saw a Salaam-e-Ishq in the cinema too, but only cos I was in Nairobi and I was excited to see a drive-in cinema. Dreadful film…


        • aapki dard-bhari kahani sun kar hum nay aapko mauf kiya. The muslim bit doesn’t weigh the movie down at all like say some other movies of VB (maqbool) that some people here (Q) had some objections to. In fact one doesn’t notice it at all in Dedh. I wish/hope/pray that his movie recovers enough moolah for him to keep on making such interesting movies.


          • I think I missed the “Muslim” discussion that you are referring to so I’m not sure what ‘objections’ people had with Maqbool.

            Your earlier query also confused me, about why Muslims and pro-Muslims (I don’t even know what that means) are not seeing the film! I don’t think my religion has ever induced me to see or not see a movie! Muslims are an incredibly diverse bunch of people, who may have some core beliefs in common but otherwise differ in terms of language, race and culture. I belong to a small community but even amongst us there is huge diversity! My taste in films is more related to how I’ve been brought up, and religion is only an aspect of that.


    • Lets say Q is in different phase of life and all these reel things are immaterial 🙂

      lol @An Jo on last line in reply to Di.


  14. Annie(jo) you can be my Muniya…anytime 😉
    Actually affair toh shaahi shuda kay saat hee ho sakta hai aur hona chahiyay.
    Anyhow…you will have to wait in a Q. Omrockyji is in front of you.


  15. LGBT community embraces Madhuri-Huma’s lesbian loveBy Subhash K. Jha, February 11, 2014 – 14:25 hrs IST#

    Last week, the co-producers of Dedh Ishqiya – Shemaroo, hosted a screening of Dedh Ishqiya for the LGBT (lesbian, gay, bi-sexual trans-gender) community at the PVR Juhu. A first for any mainstream commercial Hindi film. Earlier Onir’s I Am and Viacom 18’s Bombay Talkies which also dealt with homosexuality, never got around to screening the films specifically and exclusively for gay-transgender communities.

    The response to Madhuri Dixit and Huma Qureshi’s alluded lesbianism in Dedh Ishqiya was overwhelming during the LGBT screening of the film. Now one hears the producers want to further tap the non-mainstream alternate-sex market by screening the film in different cities and then abroad for the gay community.

    Says Ketan Maroo of Shemaroo, “We are quite overwhelmed by the response to the film from every community. We are happy the LGBT community has embraced the film. Dedh Ishqiya has also been loved by female audiences. Audiences have been in splits during the movie and have gone out and spread the good word. And this is proven by the growth and sustained performance of the film at the multiplexes.”

    The film has also been extremely well-received in Pakistan and UAE where the theme of forbidden same-sex love from behind the purdah, inspired by Ismat Chugtai’s short story The Quilt, has evoked tremendous curiosity.


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