| 1 | '''Phool Aur Kaante''' |
| 2 | |
| 3 | |
| 4 | 1992 173’ col/scope Hindi |
| 5 | d Kuku Kohli p Dinesh Patel pc Sonu Films |
| 6 | s Iqbal Durrani lyr Sameer, Rani Malik |
| 7 | c Thomas A. Xavier m Nadeem-Shravan |
| 8 | lp Amrish Puri, Ajay Devgun, Jagdeep, Madhu |
| 9 | Raghunath, Arif Khan, Aruna Irani, Satyen |
| 10 | Kappu, Raza Murad |
| 11 | |
| 12 | |
| 13 | The hit film that introduced Devgun as a new |
| 14 | star for the 90s. The plot is a drama about |
| 15 | machismo in which the orphaned Ajay |
| 16 | (Devgun) battles the drug-peddling son of his |
| 17 | college trustee. When violence breaks out, he |
| 18 | is mysteriously saved by a mafia don (Puri) |
| 19 | who, it turns out, is his unacknowledged father. |
| 20 | Ajay marries and has a son who is kidnapped, |
| 21 | first by the gangster-father and then again by |
| 22 | the don’s enemies. Ajay is reconciled with his |
| 23 | father and together they eventually confront |
| 24 | the real villains of the story. Much of the film’s |
| 25 | violence is choreographed more effectively |
| 26 | than is usual in Hindi films (cf. the locker-room |
| 27 | fight in the men’s hostel and the hero’s Mad |
| 28 | Max-type motor-cycle stunts). The virtual |
| 29 | absence of a romantic sub-plot is typical of the |
| 30 | aggressive crime thriller, using extensive |
| 31 | political references, that came to dominate 90s |
| 32 | Hindi cinema (cf. Prahaar, 1991). The several |
| 33 | musical hits confirmed the music directors |
| 34 | Nadeem-Shravan as major film composers of |
| 35 | the early 90s. |
| 36 | |
| 37 | [[Film]] |