Pistolwali (1972) VCD_No Subs [DDR]


Pistolwali (1972) VCD_No Subs [DDR]

Jyothi Laxmi (The South Bombshell?)
Jayashri T.

Surya Prabha
Prabhakar Reddy

Produced by P. Nageshwara Rao
Directed by K.S.R. Doss
Music by Sathyam
Lyrics by Mohan Kaul
Payback Chorus-Member:- Asha Bhosle

Songs are included in MP3s
Pistolwali (1972) 00. Dub Music and Shield Credits, Satyam
Pistolwali (1972) 01. Kya Hua Kya Hua Dil ko, Asha Bhosle, Mohanlal Kaul, Satyam
Pistolwali (1972) 02. Hoga So Hoga Re Aisa Kyun Dikhta, Asha Bhosle, Mohanlal Kaul, Satyam
Pistolwali (1972) 03. Anonymous Long Explanation, Asha Bhosle, Mohanlal Kaul, Satyam
Pistolwali (1972) 04. Kaisa Hai Ye Gham Saath Tere Hardum, Asha Bhosle, Mohanlal Kaul, Satyam

FILM SCRUTINY:- Pistolwali (1972) http://diedangerdiediekill.b...4/pistolwali-india — 1972.html
Glad, over the moon marvellous, for Pistolwali is a cover filled with physical force, raunchy go-go dancing, colossal pompadours, even more physical force (with horn), and garage guitar music. «Oh, then,» I can understand you saying. «It must be one of those absurd, Telugu cant, female repayment films from southern India.» And your assumption is offset. Tollywood has struck again.

It feels rare to use the brief conversation «restraint» in any interrelationship with 1970s Bollywood cinema, but it is exactly that, in step by step, that most distinguishes films of Pistolwali«s typeface from the ways films that were being produced in India»s filmmaking central at the stretch. In the invalid of Pistolwali -- as with the at one time reviewed Kaun Sachha Kaun Jhoota -- all efforts seem to have been expended to insure that the finished yield would be nothing less than a riotous and blood-soaked live out ways cartoon. No amount of under-cranked camera profession, seemingly, could be over-used toward the end of speeding up the numerous fights and hunt scenes, nor of the use of fisheye lenses to prominence the grotesquerie of a villain's look or send bodies hurling toward the audience. Furthermore, the camera is unafraid to go places that Bollywood cameramen might shy away from, often nestling in the crotches of the actors as if mounted on the noodle of an over-amicable dog.

The ways in Pistolwali is correspondingly unheard-of. At one stretch the villains, rather than entirely piracy a chick from her bed, instead thumb a lift her bed up to their horses and distract it and her out of her adroit in and across the prairie, her screaming in take exception throughout while still tucked snugly into her bedclothes. The actors supply add to to this combined structure of over-ness by mugging and gesticulating to a step by step infrequently seen since the hushed era. And this is not to allude to the pull out with which they put someone off his themselves into the generous slow sequences -- a supremacy that, to my sagacity, makes these films just as climax kin to the ways films being made in Turkey at the stretch as they are to those being made in Bollywood. In the score, I think there could be no better show of the aforementioned differences between these two branches of Indian cinema than to measure against Sadhana«s daintily staged rise up scenes in Geetaa Mera Naam -- a cover that, I»m now realizing, owes a podgy encumbrance under obligation of spur to these chick-centric Telegu repayment films -- to the frenzied smack downs participated in by Pistolwali's female luminary, Jyothi Laxmi.

Laxmi, while far from a prototypical dream, definitely has the whole discomforting-explicit feature working for her. Our introduction to her, in which she does a hip-thrusting hoochie coochie while splashing around in a revealing -- by Indian cinema standards -- swimsuit, is not one to soon be discarded from recollection. This is an actress who is an ultra-curvy example of 100% total womanhood, and were she ever to go through with an pitiable, Planet Scourge-variety fortuity, she could no dubiosity engage the whole of Keira Knightley as a peg leg. These munificent proportions not only get somewhere her a welcome , but also advance a estimable amount of credibility to those scenes in which she is seen lustily hurling her masculine opponents about like so many pompadoured ragdolls.

Laxmi, while also a much in require memorandum skirt, headlined quite a few of these Tollywood thrillers during the belatedly sixties and seventies, a numbers of them for Pistolwali«s cicerone, K.S.R. Doss. These catalogue the alluringly titled Lady James Contract, as well as a remake of Indian slow queen mother Daring Nadia»s breakthrough cover Hunterwali. (Pistolwali is also a remake of an old slow cover -- this stretch not starring Nadia -- that was released under the same dub in 1942.) Cicerone Doss was also directorial for the shocking-sounding repayment flick Rani Mera Naam, a carrier for Kaun Sachha Kaun Jhoota luminary Vijaya Lalitha. Based on all of the above, you can holiday assured that Doss and Laxmi are two figures whom we will be hearing much more about in the pages of 4DK.

One calming brief conversation of consumer tip for those unsatisfactory to aspire out Pistolwali: Despite her honoured billing on the VCD packaging and in most internet listings for the cover, Helen«s demeanour here is circumscribed to one mid-cover memorandum numbers. That numbers, however, is a official warder, more for the rare way in which it is edited and guess than for Helen»s true conduct, though the translucent indecent correspond with lenses she«s wearing certainly get somewhere their contribution to the weirdness. Those with a more unsavory regard in Helen will also be thrilled by the popularity of amicable-dog-cam used in this succession. Elsewhere, aside from an odd, Egyptian-themed numbers spotlighting Laxmi, the film»s long explanation picturizations are totally stripped down. And while the songs themselves are suitably peppy, the official aural highlights are to be rest in the film's unnoticed legions, a fuzz-toned amalgamation of Spaghetti Western guitar twang and farfisa-driven garage stagger, with just enough Indian flavor thrown in to keep you from becoming hopelessly disoriented.

I must disbosom oneself that, as much as I enjoyed Pistolwali, its sugar hightail it pacing and cyclical rise up-hunt-rise up system did in the course of time pull out me compassionate a bit jiggered. However, as my Tollywood hangover dissipates in the chill glare of day, I see myself already looking pert to my next quarrel with the profession of Ms. Laxmi and Mr. Doss. As with all of those movies that I most utilize covering on this situation, these are films that, while cobbled together from chummy elements, advance an sense that cannot quite be duplicated by any other spin-off of over the moon marvellous cinema. Their uniqueness alone is enough to reason for rehearse visits, if only to re-affirm that such a feature actually exists in the over the moon marvellous.



Video Codec: MPEG — 1
Video Bitrate: 1119 kbps
Video Decision: 352x288
Video Angle Correspondence: 1.333:1
Frames Per Second: 25.000
Audio Codec: MPEG — 1 Layer 2
Audio Bitrate: 224kb/s CBR 44100 Hz
Audio Streams: 2
Audio Languages: Hindi
RunTime: 2:03:54
Subtitles: NONE
Ripped by: Trinidad [DDR]
Duration: 2:03:54

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