Pushpak (1987) is a rare gem in Indian cinema — a silent, satirical black comedy that speaks louder than words. Starring Kamal Haasan and Amala Akkineni, the film uses visuals, metaphors, and masterful performances to explore class, identity, love, and illusion. This blog dives deep into the film’s layered symbolism, feminist undertones, and artistic legacy.
Dive into the profound emotional world of “Khamoshi,” Asit Sen’s 1969 masterpiece. This review uncovers how Waheeda Rehman’s iconic performance and Rajesh Khanna’s early brilliance create a timeless Bollywood classic exploring love, sacrifice, and the silent battles of the human mind.
Hirayama’s life is akin to a long meditation—you develop patience as you observe and interpret his actions. Solitude here means that Hirayama doesn’t align his actions with anyone else’s expectations. He takes responsibility for his actions. He is never portrayed as lonely—he isn’t isolated but always in his own company.
The end scene that portrays Christ-like suffering for Doug surrounded by the dogs is a reminder of all the suffering that a man goes through to truly be transformed or resurrected as something else – the journey of a broken self to mend the mind and body by creating ruses that fit the maze called ‘world’.
John Keating: (Dead Poet’s Society, 1989): John was the kind of teacher that every student needs – and the earliest the better. His personality is an unusual mix of caring and rebellious. Regarding this quote by Henry David Thoreau: “I wanted to live deep and suck out all the marrow of life.” John’s fundamental teachings come to the forefront – to live to the fullest and follow one’s passion.
