“Thoda khao,thoda pheko..”. The hilarious cake scene that never fails to crack you up.
Dialogues made memorable by Ranjit Kapur and Satish Kaushik.
“Shaant gadadhari Bheem shaant…”.
“Draupadi jaisi Sati naari ko dekhkar maine cheerharan ka idea drop kar diya hai.”
“Nalayak, adharmi,durachari,vamachari, bhrashtachari,bol sorry.”
The infamous Draupadi cheerharan redefined, Mahabharata and Anarkali/Salim rolled into one. Can there be anything more side splitting? ROFL would be an understatement.
Vinod Chopra’s (Naseeruddin, God amongst actors) loud whispers in the most ridiculous telephone sequence with Ashok (Satish Kaushik,hilarious).”Albert Pinto ko gussa kyon aata hai?” Buffonery at its best.
Shobha Sen’s (Bhakti Barve, brilliant) cold yet seductive scenes as she allows Naseer to lean in towards her until he falls. Literally and metaphorically. A femme fatale, or a bitch-call her what you like, she is the most fascinating character yet to be repeated or matched in Indian cinema.
Municipal Commisioner,D’Mello’s dead body playing Draupadi. Satish Shah infuses life into the most challenging role of a lifetime.
Late Ravi Baswani ‘s perfect timing as an actor. His innocence and naiveté as Sudhir Misra cries out to be protected.
Tarneja locked in a toilet, along with his screwball team of idiots including the talented Neena Gupta.Taneja is the epitome of greed and corruption. Pankaj Kapur in his element as he becomes one with the corrupt builder, effortlessly.
A sloshed builder, Ahuja talking to a dead body. Om Puri at his ultimate best.
The mystery of a disappearing coffin on a bridge. A location-the city of Mumbai can’t be used better than this.
Two bumbling photographers trying to revive a failing studio, hired by an investigative editor to expose a corrupt builder. A setup has never been more classic, more potent, and more powerful. Sudhir Misra and Kundan Shah put together the most powerful story and screenplay in Indian cinema. Binod Pradhan’s charming cinematography and late Renu Saluja’s sharp edit complete the small and big picture.
Beauty Studio,Khabardaar magazine, a bitch of an editor, a bridge, a moving coffin, a bomb waiting to burst, Mahabharata, D’mello in a saree, Draupadi’s cheerharan,classic burkha chase,Tarneja and Ahuja,Naseer and Baswani in prison clothes, the last shot facing the camera…these and the list above are umpteen recall moments which make the film a cult classic it remains today.
Jaane Bhi Do Yaaron, made in 1983 on a meagre budget of Rs 7 lakhs, is far more than a two hour film or a weekend at the box office. It is an experience that ironically means let go but doesn’t leave you ever. It is about associations you and I have formed as cine goers over the past 30 years. It is spontaneity, honesty, fun, commitment as a team that shines through celluloid. The best and the most entertaining and hard hitting reflection, not just of the eighties but of the corrupt life and politics which continue to plague India.
A fabulous bridge, coffin and stage ride later, you are left with the hollowness of the song that plays endlessly, hits you harder than any slap and becomes an anthem that defines the dark satire .... ”hum honge kaamyaab ek din…”
Every single scene, every single character, every single actor is applause worthy as it plays again in cinema halls. Take a bow, Kundan Shah.