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Bobby Deol plays the husband, Avinash Malhotra, a successful business man whom the evil eye has cast a glare upon when we recounts the story of the death of wife from a holding cell in central Mumbai.
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You cannot punish somebody for the same crime twice now can you? That's the case here, just like in the Hollywood movie Double Jeopardy, only this time the roles are switched, and the person doing time here is the husband not the wife (as was in the Hollywood version). The thing is its blood seemed too much for me, especially when the lead got away with it eventually, winning a true love as well as if it's a reward he wouldn't deserve without a massacre first! I just didn't feel comfortable with the revenge celebration of the third act. He did his entire job seriously, until the matrix reloaded started abruptly! Here's a mix of many movies, but boy, did it work? It's watchable, rather captivating, twisted-crime-movie. His performance reached the top while seeing his wife live again, and in the arms of his once-sincere then-disloyal friend. He was convincing whether as angry husband, sad prisoner, backstabbed lover or gritty avenger. (Bobby Deol) reminded me of (Dharmendra), as a sedate loving type of a lead. Well, it's very rare to watch someone from a younger generation succeed as the same as the classic Indian cinema's kings of evil.
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After being the loving friend, he tuned into the mean opponent, and all the difference was taking off the glasses and showing off some acting muscles. (Milind Soman) portrayed a stereotype evil man capably. (Lara Dutta) wasn't the pretty heroine only, she was talented too. Unlike similar Indian fares, this one has no problems at acting. And interestingly, (Gul Panag)'s character seemed agreed with the lead's violence and bloody revenge, in another movie she would have been his conscience, rationality, etc. And the manner it was used is brilliant see how it differs according to the feel of the situation it expresses that deepened the effect, brought some peculiarity, and most of all was lovely to listen. (Meri Chahato Ka Samudar), performed by (Abhijeet) & (Alka Yagnik), is one in a million song. It managed to be sad, breathless and surprising. Utilizing the dazzling locations of Malaysia was big part of the movie's clever entertainment. But after 35 years, we moved from too-shy-to-kill heroes, to ruthless insatiable killing machines! I don't know, maybe things had changed to bloody? Maybe being a monster brings more money? Or maybe, the audience suffers in their lives tough problems that need to be cured, in unreal way, by only a sadistic slaughter! The direction is beautiful. I recall another Indian Count of Monte Cristo (Dharmendra in "Jeevan Mrityu - 1970") where he didn't get to kill anybody. The way this lead chooses KILLING FOR ALL provokes me. Or how his enemy runs from the law without even changing his name? Sure naiveties like that make me angry, and the movie crack!! However, the biggest bothering point was the violent solution.
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To instance: the point of providing a corpse for the police was passed by as trivial! The absolute trust in the taxi deriver for nothing but being an Indian?! Then how that driver helps the lead out at "killing" without any objections?!! Look how the lead turns into Neo from the Matrix at the end, beating up 100 men solely. Here, The Fugitive meets Double Jeopardy, and of course - since it's an Indian movie - The Count of Monte Cristo! The final outcome is entertaining yes, except for some matters.