| 1 | '''Mard''' |
| 2 | |
| 3 | |
| 4 | 1985 177’ col Hindi |
| 5 | d Manmohan Desai pc MKD Films, Aasia |
| 6 | Films st Prayag Raj sc K.K. Shukla dial Inder |
| 7 | Raj Anand lyr Rajinder Krishan c Peter Pereira |
| 8 | m Annu Malik |
| 9 | lp Amitabh Bachchan, Amrita Singh, Nirupa |
| 10 | Roy, Dara Singh, Prem Chopra |
| 11 | |
| 12 | |
| 13 | The son, Raju Tangewala (Bachchan), of a |
| 14 | dispossessed rajah is given the name ‘Mard’, i.e. |
| 15 | Man, and has it tattooed on his chest as a sign |
| 16 | of virility. Mard rebels against the British who |
| 17 | are presented as robbers and property |
| 18 | developers, the favourite Hindi film villains of |
| 19 | this period. In keeping with a characteristic |
| 20 | Desai plot device, Raju is raised by fosterparents |
| 21 | who, just before dying, inform their |
| 22 | adopted son of his ‘real’ ancestry. The leatherclad |
| 23 | daughter (Amrita Singh) of a doctor in the |
| 24 | service of the British first whips the hero and |
| 25 | then falls in love with him. The British villains |
| 26 | are called Dyer and Simon, names still |
| 27 | associated with the general responsible for the |
| 28 | Jallianwala Bagh massacre (referred to in the |
| 29 | film) and the leader of the Simon Commission. |
| 30 | Desai juxtaposes these references with the |
| 31 | more arbitrary introduction of Roman |
| 32 | gladiators and Mexican bandits. Made |
| 33 | immediately after Coolie (1983), marked by |
| 34 | Bachchan’s near fatal accident, Mard went to |
| 35 | unusual lengths to demonstrate the invincibility |
| 36 | of the hero, invoking colonialism and feudal |
| 37 | oppression to affirm that he whom the gods |
| 38 | protect cannot be destroyed. |
| 39 | |
| 40 | [[Film]] |