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Dharmatma (1975)

Not Rated | | Action, Romance, Thriller | 30 April 1975 (India)
Wealthy, powerful and influential Seth Dharamdas leads a financially secure life in a palatial mansion. He is known to come to the aid of all people who are beyond any hope of assistance, ... See full summary »

Director:

Feroz Khan

Writers:

Kaushal Bharati (dialogue) (as Kaushal Bharti), Kaushal Bharati (screenplay) (as Kaushal Bharti) | 1 more credit »
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Cast

Cast overview, first billed only:
Prem Nath ... Dharamdas 'Dharmatma'
Feroz Khan ... Ranbir
Hema Malini ... Reshma
Rekha ... Anu
Danny Denzongpa ... Jankura (as Danny)
Farida Jalal ... Mona
Ranjeet ... Rishi
Sudhir ... Natwar
Imtiaz Khan ... Kundan (as Imtiaz)
Madan Puri ... Ranbir's Uncle
Jeevan ... Anokhelal
Satyendra Kapoor ... Anokhelal's brother (as Satyan Kapoo)
Helen ... Dancer
Iftekhar ... Vikram Singh
Faryal Faryal ... Medical sister
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Storyline

Wealthy, powerful and influential Seth Dharamdas leads a financially secure life in a palatial mansion. He is known to come to the aid of all people who are beyond any hope of assistance, and this leads to him being known as "Dharmatma". But Seth Dharamdas does have a number of skeletons in his closet, and a parallel life as a gangster. The only person Dharamdas hates and fears is none other than his very own son, Ranbir, who has sworn that he will never compromise with his father's dark career, and threatens to expose him. Dharamdas has never conceded surrender or defeat at the hands of any mortal, and will never even consider to do so - even if this means the death of Ranbir. Songs include "Tere cheherey mein woh jadoo hai..."; "Tum ne kisise kabhi pyar kiya hai, pyar bhara dil kisiko diya hai...". Written by rAjOo (gunwanti@hotmail.com)

Plot Summary | Add Synopsis


Certificate:

Not Rated | See all certifications »
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Details

Country:

India

Language:

Hindi

Release Date:

30 April 1975 (India) See more »

Also Known As:

Juramento de Amor See more »

Filming Locations:

Afghanistan See more »

Company Credits

Production Co:

F.K. International See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)
See full technical specs »
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Did You Know?

Trivia

BZN song El Condor Pasa was the same tune sampled for the Dharmatma Title Music. See more »

Alternate Versions

The UK release was cut, the distributor required to remove scene of rams butting each other in orchestrated fight in accordance with the Cinematograph Films (Animals) Act 1937. No uncut classification was available. See more »

Connections

Followed by Dayavan (1988) See more »

Soundtracks

Kya Khoob Lagti Ho
Performed by Mukesh & Kanchan
See more »

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User Reviews

 
Afghanistan for Sicily
6 June 2009 | by jkysharmaSee all my reviews

RGV's Sarkar begins with the director admitting to being deeply influenced by The Godfather like countless directors all over the world. Feroz Khan's Dharmatma marks the beginning of this obsession with Indian film-makers. Given the exalted status of The Godfather with nearly every cinema buff and the fact that adaptations in the Indian milieu have resulted in films like Nayakan and Parinda, I thought Dharmatma was worth a watch. Having watched it, I've to say that despite the patchy feel of the film, there are items of interest here and noteworthy too.

Foremost among them is the portion of the film that plays out in Afghanistan (a first for Indian cinema). Hema Malini (as an Afghan clanswoman named Reshma !), Danny Denzongpa and Feroz Khan spice up this sequence that is remarkably well shot by any standards (Buzkashi) and lingers long after the viewing. Premnath in the title role is the other interesting aspect of the film. I'd seen him in Bobby but little else. His portrayal here is just as interesting in its angst and justification for the means he adopts as is the employment of matka (an Indian form of gambling). That it isn't expanded upon is more to do with the way the script handles the character.

Apart from these, the viewing also made me think about the meaning of the word adaptation in the cinematic idiom. When one is besotted with an original, how does one strike a balance between faithful recreation and assuming creative license ? Even more valid is the question - how does one identify the aspects of the original that may not be acceptable to the target audience of the adaptation ? For Feroz Khan in this film shares very little with Michael Corleone and undergoes a transformation so minimal in that his fundamentals are hardly shaken by the turn of events. In an act of complete dilution, he is also spared the moral dilemma of having to plan the demise of his brother-in-law too.


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