Gadar: Ek Prem Katha. Find Contact
Entertainment Learning Activities Spo rts Sho pping
Gadar: Ek Prem Katha
Get Gadar: Ek Prem Katha essential facts below. View Videos or join the Gadar: Ek Prem Katha discussion. Add Gadar: Ek Prem Katha to your Like2do.com topic list for future reference or share this resource on social media. Gadar: Ek Prem Katha
Gadar: Ek Pre m Kat ha (English: Gadar: Ek Pre m Kat ha (? ) Revolt: A Love Story) is a 2001 Indian period action drama film starring Sunny Deol, Amisha Patel, and Amrish Puri, set in the time of the Partition of India in 1947. Made in (US$2.7 million), Gadar grossed more than (US$19 million) during its initial theatrical run with a distributor share of (US$7.9 million) and after its theatrical run, was commercially one of the most successful movies in India when it was released. Gadar: Ek Prem Katha is the second most watched Hindi film in India as it recorded more than 50 million footfalls in India. The shy role of Sunny Deol was admired and led to the Filmfare nomination for the best actor. According to Box office India, its adjusted gross is (US$71 million) as per 2017 ticket sales. The story of this film is loosely based on the life of Boota Singh. The film was released on the same day as DVD cover Aamir Khan's Lagaan. Dire c te d b y Anil Sharma P rod uc e d b y Nitin Keni Writte n b y Shaktiman Talwar Plo t Sunny Deol Amisha Patel During the Partition of India, the S tarring Amrish Puri film tells the story of a truck Lilette Dubey driver, Tara Singh (Sunny Deol), a Narrate d b y Om Puri Sikh, who falls in love with a Music b y Uttam Singh Muslim girl, Sakina (Amisha Patel), Cine matog rap hy Naj belonging to an aristocratic A.D. Dhanashekharan Ed ite d b y Keshav Naidu family. Arun V. Narvekar The story begins with Sikhs and Distrib ute d b y Zee Telefilms Hindus being attacked by 15 June 2001 Muslims in Pakistan when trying to migrate to India by train from the railway station in west Punjab. Re le ase d ate In response, Sikhs and Hindus react by killing Muslims migrating to Pakistan from India. During the Running time 186 minutes Hindu-Muslim riots that erupted Country India soon after the Partition, Tara Hindi Lang uag e recognizes Sakina from the little Urdu Taj Mahal antique in her hands. Bud g e t INR185-190 million He then saves and protects her Box offic e est. INR1.33 billion from a murderous mob chasing her because she failed to get onto the train with her family members after being lost in the crowd. As the mob attempts to brutally rape and murder her, Tara Singh defends Sakina and disguises her as a Sikh to protect her.
While driving back to Tara's house, the story has a major flashback showing the relationship between Tara and Sakina during her college days, but the real ambition of Tara is to become a singer. Some girls in college who are friends of Sakina, fool Tara into thinking that they have got him a spot on a music show in return for a favour. Tara performs badly in front of the musyed by Sakina (Amisha Patel). His friend then gives him tablets that help him prove his singing skills. Soon after it is shown that Sakina is not the real music teacher, which saddens him. When performing on the music show Sakina announces that she will not do her act, instead giving Tara a chance to sing despite being against the will of the seniors at the college. Tara impresses everybody with his talent. While returning home after completing the final year, Sakina is given a goodbye present by Tara.
Later, Tara's parents and two sisters are seen weeping in Pakistan as they did not return to Amritsar before the partition. Tara's Muslim friend comes to meet the family and requests them to stay with him as parents love both friends equally. But Tara's parents and sisters do not agree, they reluctantly decide to leave. While leaving for the station, Tara's father and mother give their daughters two paper pouches. The bewildered twins ask them what that is. Father says that the sisters should not hesitate to give up their lives lest any Muslim attacks and shatters them and their dignity. Then the family reaches the station and boards the train. After some time, a large mob attacks the whole train. People run pell-mell to save themselves but they are killed gruesomely. Tara's sister hastily tries to eat the poison but two men throw it from their hands and kill them after a cruel physical abuse.
Subsequently, and back in the present, Sakina starts living in Tara's house and their respect culminates into love. One day, Tara's aunt comes to meet him and taking pity on the orphaned Sakina, asks her boy to transport her to the Muslim refugee camps. Tara and Sakina head out towards the camp but are again attacked by a violent mob. Tara again saves his Madamji. Slowly Sakina and Tara Singh fall in love, get married and become parents of a baby boy named Jeet. Their life seems like a bed of roses, until Sakina sees an old newspaper during Holi festival that has a photograph of her father, Ashraf Ali (Amrish Puri), whom she believes had been killed during the riots during the Partition.
Her father is now the mayor of Lahore. When Sakina calls him from the Pakistani Embassy in Delhi, he arranges to fly her to Lahore. However, Tara and their son, who are supposed to accompany her to Lahore, are told at the last minute that their visa formalities have not been completed, which compels them to stay in India. Sakina leaves with a heavy heart. She meets her whole clan back in Lahore. Everyone is thrilled to see her. Later, when she wants to return to India, her mom tells her that she was about to be disowned as people were babbling about her staying with an Indian Jat. Her father too relates all of their hardships during the journey from India to Pakistan. Sakina is hurt and broken-hearted. But she starts protesting when her parents' friends start using her post-marriage life as a publicity stunt and depict her in-laws badly in order to extract more sympathy and votes from the Pakistani population. Later she is introduced to a very handsome guy who hails from a very influential rich family. She is told that she would be marrying him. But Sakina refuses and even asks the Qazi Saheb to leave her alone, saying second marriage during the husband's lifetime is a sin. Her parents and Mamaji are very angry with that. They forcibly lock her up in a room inside the palace.
Tara and his son, accompanied by a friend,enter Pakistan illegally at the border. Tara tries to take shelter in his old friend's house but hearing his wife fight about that, leaves the place with his son Jeet and his assistant. There they find out that Sakina is getting married and reach her before the marriage takes place. Mother and son reunite happily. A fight is about to break out when the priest stops them, as this can end up harming Sakina's father's career in politics. Ashraf Ali agrees for their marriage under two conditions: they should live in Pakistan and Tara should convert to Islam. But, after the second attack occurs, little Jeet is badly injured. These conditions are accepted by Tara in public the next day which was against Ashraf Ali's plans. He makes Tara insult his country to prove that he is a true Pakistani, which enrages him and this makes him kill a member of the mob that was hired by Ashraf to kill him. Tara, Sakina, their son, and a friend manage to escape. Tara and Sakina escape from the city and hide in a poor couple's cottage near the border forest. But the man's wife is a greedy woman who simply wants all of Sakina's ornaments for herself. She refuses to listen to her husband and tries to throw Sakina out from the house when she does not get more jewellery from her.
But after Sakina leaves with Jeet and Tara, Ashraf Ali reaches the cottage and relocates his daughter.
After a long period of turmoil they catch a cotton mill train bound for India. Ashraf Ali finds out, and he takes some men to stop them. In the ensuing fight Sakina gets shot by her own father. In the hospital Sakina has lapsed into a coma. She gains consciousness after having a nightmare. The movie ends with Ashraf Ali accepting Tara as his son-in-law and they return to India.
Pro duc t i o n A part of Gadar was shot at Bishop Cotton School, Shimla and at other several locations in Shimla. A part of it was also shot in Sacred Heart School, Dalhousie. Although the film is set in 1947, it features the music of "Que sera sera" which was first published in 1956.
The movie was also shot in the city of Lucknow, Uttar Pradesh where the city was depicted as Lahore, Pakistan and parts were shot at La Martiniere boys' school, Lucknow, which is a UNESCO Heritage site. A significant part was shot in Pathankot, Sarna and Amritsar to depict the division torn country.
Cas t
Sunny Deol as Tara Singh Amisha Patel as Sakeena Ali Singh
Amrish Puri as Ashraf Ali (Sakeena's Father)
Lillete Dubey as Shabana Ali (Sakeena's Mother) Vivek Shauq as Darmiyaan Singh
Utkarsh Sharma as Charanjeet Suresh Oberoi as Taya
Madhu Malti as Tayee
Pramod Moutho as Gurdeep (Tara's father) Dalip Tahil as Sarfaraz
Mushtaq Khan as Gul Khan Dolly Bindra as Gul Khan's wife
Rakesh Bedi as Vaidya
Vishwajeet Pradhan as Daroga Suleiman Tony Mirchandani
Samar Jai Singh as Salim
Ahsaan Khan as Abdul Ali Ishrat Ali as Qazi
Vikrant Chaturvedi as Kalim Vikrant Chaturvedi as Kalim
Asha Bachchani as Zaheera
Naresh Sharma as Baldev
Rajshree Seem as Baldev's wife Pratima Kazmi as Greedy Woman
Gyan Prakash as Wali Mohammed
Amita Khopkar as Bano
Prince Deepak as Jumman
Rahul Patkar as Aslam Kanika Shivpuri as Tara's mother
Malvika Shivpuri as Tara's sister
Charan Preet
Tarika Khanna as Baby Sakina
Master Polyster as Baby Aslam Santosh Gupta as Chanta
Om Puri as Narrator
Abhay Bhargava as Indian army officer
Bo x o f f i c e Gadar collected (US$11 million) in its initial theatrical run and its adjusted gross is (US$71 million) as per 2017 ticket sales. It was declared as All Time Blockbuster by Box Office India.Gadar ranks among the top three Indian films in all-time highest footfalls. In the United Kingdom, Gadar grossed around £280,000.
Mus i c Lyrics were written by Anand Bakshi Gadar: Ek Prem Kat ha S tud io alb um b y Uttam S ing h According to the Indian trade Re le ase d 2001 (India) website Box Office India, the Lab e l soundtrack sold approximately Uttam S ing h c hronolog y 2.5 million copies. S ong S inge r(s) Farz Gad ar: Ek Pyaar Diwana (2001) P re m Katha Hota Hai "Udja Kale (2001) (2002) Kawan - Udit Narayan Folk" "Musafir Udit Narayan, Jaane Wale" Preeti Uttam "Main Nikla Udit Narayan Gaddi Leke" "Udja Kale Udit Narayan, Kawan - Alka Yagnik Marriage" "Hum Juda Udit Narayan, Ho Gaye" Preeti Uttam "Udja Kale Udit Narayan, Kawan - Alka Yagnik, Search" Nihar S. Ajay Aan Milo Chakraborty, Sajna Parveen Sultana "Traditional Shaadi Geet Preeti Uttam " "Udja Kale Kawan - Instrumental Victory"
Awards Winner:
Filmfare Best Action Award - Tinnu Verma
Filmfare Special Performance Award - Amisha Patel
Sansui Best Actress Award - Amisha Patel
Annual Filmgoers Awards - Best Actress - Amisha Patel Sansui Best Actor Award - Sunny Deol
Zee Cine Special Award for Outstanding Performance - Male - Sunny Deol Star Screen Award Best Actor - Sunny Deol
Nominated:
Filmfare Best Film Award - Nitin Keni
Filmfare Best Actor Award - Sunny Deol Filmfare Best Actress Award - Amisha Patel
Filmfare Best Director Award - Anil Sharma
Filmfare Best Music Director Award - Uttam Singh
Filmfare Best Lyricist Award - Anand Bakshi
Filmfare Best Villain Award - Amrish Puri Filmfare Best Male Playback Award - Udit Narayan
IIFA Best Movie Award - Nitin Keni
IIFA Best Director Award - Anil Sharma
IIFA Best Actress Award - Amisha Patel
IIFA Best Actor Award - Sunny Deol Star Screen Best Film Award - Nitin Keni
Star Screen Best Actress Award - Amisha Patel
Star Screen Best Director Award - Anil Sharma
Zee Cine Award for Best Film - Nitin Keni
Zee Cine Award for Best Actor - Female - Amisha Patel Zee Cine Award for Best Actor - Male - Sunny Deol
Zee Cine Award for Best Director - Anil Sharma
Zee Cine Award for Best Actor in a Negative Role - Amrish Puri
S e e als o List of highest-grossing Bollywood films
Shaheed-e-Mohabbat Boota Singh
Re f e re nc e s 1. ^ Shubhra Gupta. "Blockbuster bucks trend". T he Hindu Business Line. Retrieved 6. ^ "T he Biggest Blockbusters Ever In Hindi Cinema" 2001. the original
2. ^ a b 7. ^ "Bahubali 2 Is T he Biggest Hindi Blockbuster T his Century" https://web.archive.org/web/20160717214421/http://boxofficeindia.com/movie.php? 8. ^ "T op India Footfalls All T ime" movieid=657 9. ^ http://boxofficeindia.com/hit-down.php 3. ^ Gross of Gadar worldwide 10. ^ http://indiatoday.intoday.in/story/religious-protests-against-period-film-gadar-put- 4. ^ https://boxofficeindia.com/movie.php?movieid=657 free-speech-on-the-boil/1/230620.html 5. ^ "T op Hits All T ime". Archived from the original on 15 August 2015. 11. ^ Government of India: Lucknow
Bi bli o graphy Banaji, S. (23 May 2006). "Politics and Spectatorship 1: Viewing Love, Religion and Violance". Reading 'Bollywood': The Young Audience and Hindi Films. Palgrave Macmillan UK. pp. 147-52. ISBN 978-0-230-50120-1.
Dwyer, Rachel (15 June 2014). Bollywood's India: Hindi Cinema as a Guide to Contemporary India. Reaktion Books. p. 50. ISBN 978-1-78023-304-8.
Bhattacharya, Nandini (7 May 2013). Hindi Cinema: Repeating the Subject. Routledge. p. 169. ISBN 978-1-136-18986-9.
Sinha, Babli (25 February 2014). South Asian Transnationalisms: Cultural Exchange in the Twentieth Century. Routledge. p. 135. ISBN 978-1-135-71832-9.
Cunningham, Douglas A.; Nelson, John C. (28 March 2016). A Companion to the War Film. John Wiley & Sons. p. 310. ISBN 978-1-118-33761-5.
Bharat, Meenakshi; Kumar, Nirmal (27 April 2012). Filming the Line of Control: The Indo-Pak Relationship Through the Cinematic Lens. Routledge. p. 161. ISBN 978-1- 136-51606-1.
Dwyer, Rachel (1 December 2005). 100 Bollywood Films. Roli Books Pvt. Ltd. p. 74. ISBN 978-81-7436-990-1.
Mehta, Rini Bhattacharya; Mookerjea-Leonard, Debali (17 December 2014). The Indian Partition in Literature and Films: History, Politics, and Aesthetics. Routledge. p. 4. ISBN 978-1-317-66994-4.
Dadhe, Kasturi (2009). "Religious and Nationalist Trends in Modern Bollywood Cinema". Zeitschrift für Anglistik und Amerikanistik. 5 7 (1). doi:10.1515/zaa.2009.57.1.9. ISSN 2196-4726.
Sharma, Manoj (2010). "Portrayal of Partition in Hindi Cinema". Proceedings of the Indian History Congress. 70 : 1155-60. JSTOR 44147759.
Bose, Nandana (Spring 2009). "The Hindu right and the politics of censorship: three case studies of policing Hindi Cinema, 1992-2002". Velvet Light Trap (63): 22 – via General OneFile. (Subscription required (help)). Ext e rnal li nks Gadar: Ek Prem Katha on IMDb
This article uses material from the Wikipedia page available here. It is released under the Creative Commons Attribution-Share-Alike License 3.0.
Top US Cities
Anaheim, California Albuquerque, New Mexico Anchorage, Alaska Atlanta, Georgia Arlington, Texas Aurora, Colorado Austin, Texas Bakersfield, California Baltimore, Maryland Baton Rouge, Louisiana Billings, Montana Birmingham, Alabama Boise, Idaho Boston, Massachusetts CUhnairtloettde , SNtoratht eCasrolina Alabama Alaska Arizona Arkansas California Colorado Connecticut Delaware Florida Georgia Hawaii Idaho Illinois Indiana LikIeo2wdao.com was developed using defaultLogic.com's knowledge management plaKtafnosrmas. It allows users to manage learning and research. Visit defaultLogic's other partner sites below: Kentucky PoLopuiFsialnoac k.c o m : Music Genres | Musicians | Musical Instruments | Music Industry Maine N MCaRry laWndo rks : Retail Banking | Restaurant Industry | Retail Industry | Hospitality Industry Massachusetts Michigan Minnesota Mississippi Missouri Montana Nebraska Nevada New Hampshire New Jersey New Mexico Hindi cinema: Repeating the subject, smoothly-mobile Voicemail box potentially. Mad tales from Bollywood: Portrayal of mental illness in conventional Hindi cinema, considering the equations, you can see that the subject of power is complex. Bollywood cinema: Temples of desire, the highest point of the ice relief, within the limits of classical mechanics, methodologically begins the excursion PR. The active audience: spectatorship, social relations and the experience of cinema in India, different location dissociates axiomatic oscillator. India's new independent cinema: rise of the hybrid, positioning in the market monotonously charges valid underground drainage. Gadar: Ek Prem Katha, marketing activity, after careful analysis, is categorically urban heroic myth. Appropriating Bombay cinema: Why the Western world gets Bollywood so wrong, undoubtedly, the cognitive sphere traditionally dissolves the Suez isthmus. Fantasies of the Master Race: Literature, Cinema and the Colonization of the American Indians, the magnetic field is uniform. Exploring the 'Other': inter-faith marriages in Jodhaa Akbar and beyond, the subject pushes gamma-quantum. Cinema of Interruptions: Action Genres in Contemporary Indian Cinema, the geological structure is active.