Atypical view of blood feud in a typical Daikot environment The synopsis on Movie Search is apparently taken from another film with a similar translated title, since even the names of the characters do not match, let alone what is happening in the film, so I will tell you a little about the plot. Villages, mountains, gangs, murder and violence. Brahmanas versus thakuras. One of the brahmanas surrenders the thakura to the police, whom the court sentences to hang. The wife of Thakura, burning with the fire of hatred, vows to raise a son who will avenge her father. She fulfills the oath, from childhood teaches the child to weapons, gives the gang to help him fulfill her oath. The culprit is killed and everything seems typical, but the fact is that this is just the plot of the film, just the first 10 minutes of the film, and then everything interesting begins, for which I single out this film from hundreds of others shot on a similar topic. A young man who has done what he was raised for, goes into all seriousness: drinks, robs and rapes. And then his mother disowns him. This is not why I raised him, he is not my son more. There is a very strong scene in which the son accuses the mother, saying that he absorbed hatred with milk, that he knows nothing but to kill, because he was not taught to read and write, but was trained to shoot. And then he becomes pitiful: it is difficult to expect decency and virtuous actions from someone who was raised as a weapon of revenge, who grew up among bandits, and therefore he is now an outcast for society. He cannot become a peasant, cannot start a family and love his wife, he is hunted by the police and can be killed at any moment. And he didn’t even choose this path: his mother needed it, and now she doesn’t want to get her hands dirty, throwing away the bloody instrument as unnecessary. Here is the hero and tries to grab the maximum possible in the short period that he was released - the age of the bandit is not long: he will be shot either by the police, or other bandits, or a new bloodline (he also killed someone's father, whose son swore revenge on him). A vicious, endless cycle of blood from which one cannot escape. With this atypical depiction of blood feud, the film reminded me of the old Soviet film Don't Fear, I'm With You and the stories of O. Henry. The fact that education is largely to blame, and not the original sinfulness of the character, proves that when he falls in love with the village beauty Sona, it begins to change: he does not need to satisfy purely animal passion, he defends her honor even at the cost of his freedom, risking coming to the village full of police officers sent to his capture. He helps the woman to reach the temple, located high in the mountains, carrying her in his arms and talking respectfully with her. He could have grown up to be a good man if he had been surrounded from the very beginning by the love of his family rather than the hatred of his enemies. So he became a bandit, and a bandit is forever a bandit.
The same truth is learned by the former military man who hunts Lakhan: having gone to the other side of the law, he himself becomes outside the law, now he also has to run from the police, communicate with bandits, kill innocent people. What did blood revenge give him besides taking away his normal life and the opportunity to start a family? A very serious smart film, well-constructed dialogues, a verified ratio of action, romance and humor. Realistic landscapes, sweaty clothes, frowning faces... The everyday side of life is shown without modern glamour. The only thing that stands out a bit from the naturalness is the heroine of Moushmi Chatterjee: a village girl says that her family is very poor, while in each scene she has a new bright outfit, an abundance of jewelry, and a ring on her finger the size of a saucer. But she really turned out very nice, clean and innocent. It is possible to believe that two such handsome people fell in love with her, because the main characters are played by Vinod Khanna and Kabir Bedi. Vinod's typography is entirely taken from the same director's Mera Gao Mera Desh, but since I fell in love with Vinod after this film, I didn't mind that he was the same here again: bright, furious, active, with mustache-rings and dhoti. Kabir Bedi is more restrained, yet he is an army man, accustomed to discipline, but no less sympathetic. You worry about both, you can't choose, everyone is right and wrong at the same time. But the actor, selected for the role of the groom of the heroine, whom she loves since childhood, is very unsuccessful: lethargic, lifeless, with a round-indifferent face. It’s unclear where he came from, who told him he could be an actor, and most importantly, who decided that any girl would choose this misunderstanding when two incredibly charismatic guys are so in love with her that they would do anything! I don’t just mean the looks, but the energy that literally came out of the two. Very successfully put them opposite each other: they can become sworn enemies or loyal friends.
The denouement of the film is quite controversial (for our mentality), but on the other hand, what was their way out? The director remained within the framework of realism, without throwing an uncomfortable topic in order not to upset the audience at the end. By the way, the title of the film can be translated as “Fragile, fragile threads” and this very accurately reflects the essence of what the creators of the film tried to convey. But to do this, you need to understand the meaning of the custom of tying rakha and some aspects of the Indian perception of life, so the film was given a Russian title, which is completely irrelevant to what is happening. The time is also indicated incorrect: the film lasts only 2 hours and 16 minutes and they fly by instantly, so delays the action, chases and intrigue. I recommend this film to fans of Vinod Khanna and Kabir Bedi, as well as those who understand that there is nothing romantic or admirable about blood revenge or banditry. Something to think about after watching. . .