Deewar

Nonfiction, Entertainment, Performing Arts
Cover of the book Deewar by Vinay Lal, HarperCollins Publishers India
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Author: Vinay Lal ISBN: 9789350292464
Publisher: HarperCollins Publishers India Publication: October 3, 2012
Imprint: HarperCollins Language: English
Author: Vinay Lal
ISBN: 9789350292464
Publisher: HarperCollins Publishers India
Publication: October 3, 2012
Imprint: HarperCollins
Language: English

Yash Chopra's 1975 film, Deewaar, one of the most iconic and influential works of superstar Amitabh Bachchan, has been (to borrow a line from the film itself) the 'lambi race ka ghoda', enjoying a nearly unrivalled popularity in the long history of Hindi cinema. Its remarkable plot, crisp dialogues and epic narrative structure, revolving around the familiar story of two brothers whose paths diverge and lead to a fatal collision, have endeared it to millions. And its most famous line, 'Mere paas ma hai', has been endlessly imitated, parodied and referenced in cinematic and cultural works. However, as Vinay Lal demonstrates in his study of Deewaar, the film lends itself to much more complex readings than is commonly imagined. Examining it in the context of the history of Hindi cinema, the migrations from the hinterland to the city, and the political and socio-economic climate of the early 1970s, he draws attention to Deewaar's dialectic of the footpath and skyscraper, the mesmerizing presence of the tattoo, the frequent appearance of the signature and the film's deep structuring in mythic material. In doing so, he assesses Deewaar's unique space in popular Indian culture as much as world cinema.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Yash Chopra's 1975 film, Deewaar, one of the most iconic and influential works of superstar Amitabh Bachchan, has been (to borrow a line from the film itself) the 'lambi race ka ghoda', enjoying a nearly unrivalled popularity in the long history of Hindi cinema. Its remarkable plot, crisp dialogues and epic narrative structure, revolving around the familiar story of two brothers whose paths diverge and lead to a fatal collision, have endeared it to millions. And its most famous line, 'Mere paas ma hai', has been endlessly imitated, parodied and referenced in cinematic and cultural works. However, as Vinay Lal demonstrates in his study of Deewaar, the film lends itself to much more complex readings than is commonly imagined. Examining it in the context of the history of Hindi cinema, the migrations from the hinterland to the city, and the political and socio-economic climate of the early 1970s, he draws attention to Deewaar's dialectic of the footpath and skyscraper, the mesmerizing presence of the tattoo, the frequent appearance of the signature and the film's deep structuring in mythic material. In doing so, he assesses Deewaar's unique space in popular Indian culture as much as world cinema.

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