70 moments of reckoning of Amitabh Bachchan’s films – III

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Here's presenting the last 20 of the 70 moments of reckoning of Amitabh Bachchan's films.

SHARAABI: Big B had played the roles of drunk characters to perfection and he took it to new heights through SHARAABI, and even when age wise he had started going downhill, the dialogue and the scene just before the song- mujhe naulakha manga de re was the high moments of the film.

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MARD: It was one of the last successful films with Manmohan Desai and the scene where he enacts the comic scene with Prem Chopra after getting drunk, was one of the high points of the film.

AAKHRI RAASTA: The scene were both the father and the son come together to remember Jaya Prada and when the father finds that the son does not know how to pray, tells him that the process is not important, what is important is the reverence, is high point of AAKHRI RAASTA.

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SHAHENSHAH: This was again a film where he played dual characters and the scene which everyone would remember would be Rishte mein to hum tumhare baap hote hain, but the scene stealer is where he talks to father with reference to him being a bribe taker was the high point of the film.

MAIN AZAAD HOON: One of those off-beat films that he did, the scene stealer for this film was the scene where he picks up the thrown half-eaten apple first sheepishly checking whether somebody is observing him or not, and then eating to satiate pangs of hunger.

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AGNEEPATH: The scene stealer in AGNEEPATH would be the scene where he emerges from the water to confront Kancha as also the scene where he
cajoles Rohini when he shot badly to go back home are high points for this film.

HUM: For HUM the scene stealer was when he again becomes Tiger from Shekhar Bhaiya when he hears the name of Bakhtawar and the way he forgets
his relationship with his brothers was the hallmark performance.

KHUDA GAWAH: For KHUDAGAWAH the scene of the film was where Sridevi as the daughter confronts him and the expression of being torn between
a commitment to his friend and the family that he left behind, which he expresses through his eyes was the high point for the film.

MOHABBATEIN: For MOHABBATEIN the scene where he confronts Shahrukh Khan towards the end, and as Aishwarya Rai comes in his memories
and the affection that he has for the daughter comes out in stark reality was the highlight for the film.

KABHI KHUSHI KABHIE GHAM: For K3G the highlight of the film was where he confronts Shahrukh Khan as not being a true son and the ensuing dialogues were the highlight for the film.

AANKHEN: Big B as a cool manipulator again showed the meanness that he had displayed in PARWAANA, especially in the scene where he ruthlessly

orders Sushmita to execute the plan underlines the fact that the genre of villainy still is left to be explored for him.

AKS: Indian FACE-OFF it was an interesting confrontation and the high point for the film was when he utters those dialogues by deftly using his fingers, which became the scene stealer.

BAGHBAN: For BAGHBAN the scene in the end, where he just erases the existence of his children and decides to walk in the sun holding the hand of his wife Hema Malini was the high point of the film.

VEER ZAARA: Big B had special performances for Yash Raj films and he came up with a stellar performance and the scene stealer was where he advises
Shahrukh Khan to muster courage and go across to bring his Zara was the turning point of the film.

BLACK: Playing the role of a dyslexic, the scene where he teaches Rani Mukherjee about the nuances of making love was indeed a highlight of this cult film.

BUNTY AUR BABLI:The scene in the bar between the father and the son, i.e. the Big B and the Junior B was the highlight of the film and another scene was where he ruthlessly corners the accomplice through torture by using his jeep as the mode to inflict it was the highlight of the film.

SARKAR: For SARKAR the scene stealer was the scene where the Junior B comes and informs Big B that he has killed his elder brother and the sense of being bottled up, do not knowing whether to congratulate the son for having killed a traitor or berate the son for having killed his elder brother was another high point.

CHEENI KUM: For CHEENI KUM the scene that immediately comes to the mind was the scene when Big B goes to the medical shop in anticipation of a love making with Tabu and his hesitancy to ask for it, factoring in the age, was indeed the high light of this film.

PAA: He broke all the barriers of performance and by enacting the role of a stunted child, he demonstrated to the world that indeed he is one of the finest
performers, and for this film, it is difficult to pick a scene, rather the whole film in entirety is shot through and through with top notch performances.

AARAKHSHAN: Big B has excelled in the role of teacher and he again did the same with AARAKHSHAN. The high point for AARAKSHAN was where he decides to change the system with the only weapon that he has, his teaching acumen, and it again must have drawn inspiration from his father who was one of the finest English teachers of Allahabad Universit

 

 

 

 

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