Jaane Bhi Do Yaaron (1983) — Thoda Khaao Thoda Pheko

After The Interval (Interval Ke Baad) — Season 1, Episode 2

1983. India just won the Cricket World Cup. A country learning not to expect too much — from its institutions, its politicians, or its cricket team — watched a bunch of underdogs change everything. And that same year, a group of broke, brilliant FTII graduates made a film for six lakh rupees that nobody watched, nobody distributed, and...nobody forgot.

Bharath and Neelima rewatch Kundan Shah's brilliant Jaane Bhi Do Yaaron — widely considered the greatest Indian comedy ever made — and ask the hard questions: Is it still funny thirty years later? Is it a comedy or a tragedy? And how did the Indian government accidentally fund the greatest satire ever made about government corruption?

This episode: The FTII generation that changed Indian cinema forever, the career arcs of Naseeruddin Shah, Om Puri, Pankaj Kapur and Neena Gupta — the Mahabharata climax that has never been matched, the casting what-ifs, the Seeti Maar moments that still make us pause and rewind, and a tribute to three of the people who made this film great and are no longer with us.

Because the best part of any movie isn't the movie — it's always the conversation after.

New episodes every week.

Interval ke baad, the real conversation starts.

Follow us: @aftertheintervalpod
Email us: aftertheintervalpodcast@gmail.com

Produced by The LuminACE Group, LLC

Transcript

SPEAKER_01 0:14

America Mellow Katahe for a fake to be cow.

SPEAKER_03 0:25

A cameraman or mortal carish ta hai Jesse Doctor or Maurice Kapit.

SPEAKER_00 0:35

These are, of course, some of the most iconic and memorable lines from a movie that had no songs, no big stars, no massive budget or release, and yet became one of the most loved movies of our times. We are, of course, talking about the cult classic Janebido Yarrow is definitely on the Mount Rushmore of one of the best comedies ever made in Indian cinema. Hello, friends, I'm Bharat. This is Neilima, and welcome to After the Interval.

SPEAKER_03 1:09

Interval Kiban.

SPEAKER_00 1:10

The rewatchable podcast where we discuss and debate the most iconic, fun, super hit movies of Indian cinema, because the best part of any cinema isn't the movie, it's always the conversation after. Our first segment, Zamana Kyakae, where Neilima and I provide a little bit of context about the time when the movie was made. The movie, of course, came out in 1983. India was a country that had learned over the decades not to expect too much, certainly not from the system, not from its institutions, and certainly not from its cricket team. And then June 25th happens. Just a few weeks before Janebido Yarrow is released, lots of cricket ground in London, the West Indies, the greatest team in the world, the most feared country in the history of the game, was expecting a walkover. And a bunch of young Indians led by a man named Couple, they have told the world, not today. India won the Cricket World Cup for the first time ever. And I remember, and I think a lot of you listening remember that feeling, that a bunch of underdogs with nothing but belief, a little bit of madness, could take on a broken, stacked world and win. And that same year, in a tiny studio with almost no money, a young filmmaker from the Film and Television Institute of India named Kundan Shah gathered a group of equally unknown, equally mad believers and made this amazing movie, Janebidho Yaro. A film that, just like the cricket team, nobody gave a chance, and a film that, just like the cricket team, changed everything.

SPEAKER_03 3:17

Let me go over what was happening on the entertainment front. 1983 was peak Amitabh. He was everywhere. Cooley released that year, and we know what happened while he was shooting for Cooley. So the entire country was rooting for him. On TV, Hamlo was just around the corner, India's first proper soap opera, and the country was about to fall in love with the idea of watching stories in their living room every evening. And in Bollywood, the biggest hits of '83 were Hero, which was Jackie Shroff's debut, fantastic music, and amazing leading pair. With uh, you know, it was Saridio's big debut, big stars, big songs, big everything.

SPEAKER_00 4:15

Wow, two uh major film debuts also that year, not to mention Tataya, Tataya, oh yeah, and and the songs of Hira and Beta, which you know we listened to countless times.

SPEAKER_03 4:34

And this makes uh Kunda what Kundansha did even more remarkable. He made a movie with no stars, no songs, no masala, just a camera and a script, and the most talented ensemble ever assembled in one Indian film. Besides the amazing star cast, on the technical crew, you had Viduvino Chopra, Sudhir Mishra, Wandraj Bhatya, who wrote the music, Vinoot Pradhan, and the late Renu Saluja, who superbly edited the film. Much of the locations were shot against a semicircular backdrop of high rises in Bombay in different stages of construction. It kind of added to the you know appeal of the movie.

SPEAKER_00 5:11

I actually did not watch the movie until 1989, Neilima. So the movie came out in 83. My dad was posted in Port Player, so we didn't get too many movies there. The summer of 1989, we had all finished 10th grade. We talked about that on the last podcast. So we we got the VCR was at home, got and we used to rent VHS tapes.

SPEAKER_03 5:34

Oh yeah. Oh yeah.

SPEAKER_00 5:35

Right? So we could get all these VHS tapes, and we watched a lot of movies. Some that I can share on the podcast, others that I can't.

SPEAKER_02 5:44

Okay.

SPEAKER_00 5:45

But I mean, we watched Teza over the summer, we watched QSQT over the summer. So we watched a lot of movies. We rented the tapes, of course. You'd go to the VHS studio, rent it for a date, take it back. But what I remember about that summer and when we went back to school is we watched all these movies, but all the dialogues in class in 11th grade when we went back to school, we're starting from all the famous dialogues from Jan E B do Yarrow. Somebody would talk in class and we would be like, Shant Garadari Bim! Shant, right? So at lunch, there would always be dogs around our classroom. Somebody would feed the dogs, and somebody would say, when did you see it?

SPEAKER_03 6:39

I uh I was lucky. I saw the movie with my cousins in a Hyderabad theater the summer it was released. But I was very young then, and I remember laughing my guts out at Satisha scenes, the Mahabharata scene. But you know, I I was wondering why the good guys lost at the end, despite you showing all the proof to the police. And also, you know, Shobaji didn't have a redemption arc or die at the end. This went against all the you know movies I had watched until then. So my brain couldn't comprehend that in the in the real world, good guys lost sometimes, and flawed people like Shobaji live and thrive well without having to transform themselves or die.

SPEAKER_00 7:17

No, that's true. And then, of course, amazing and so many awards for the movie. When it came out initially, wasn't a big hit, right?

SPEAKER_03 7:29

Yeah, yeah. So let's just go over the uh few of the facts of the movie in the Pahela Nasha section. So it was released uh 12th August 1983. As you know, it was directed by Kundan Shah. It was his debut feature straight out of FTIA. It was produced by the National Film Development Uh Corporation, a government body, which means that the Indian government funded the greatest satire ever made about the Indian government corruption.

SPEAKER_00 8:00

Yeah, we are going to put give money to a young filmmaker that's going to expose everything dirty about how things are run in the country.

SPEAKER_03 8:11

Absolutely. And the budget was just uh five or uh five and a half or six lakh rupees. It was shot on location across Bombay on real streets with real chaos. And it wasn't a hit on a release, it was yeah, it was just a moderate run, uh, quite almost invisible exit. And then something remarkable happened. Word of mouth, VHS tapes passed hand to hand, and a generation discovered it in the dark without marketing, without stars telling them theatre. And you know, I I'm gonna read you a list of the awards that this movie got. Uh Ravi Baswani got the Filmfare Award for Best Comedian, Indra Gandhi Award for the Best Debut Film of a Director. And of course, it regularly features in uh the top ten greatest Indian films of all times.

SPEAKER_00 8:58

Very true, Nilima. And uh you were talking about some of the scenes in the movie. Can we even comprehend such scenes being made today? So tell us a little bit about that.

SPEAKER_03 9:12

Yeah, it's remarkable that not only was the film released in its entirety, no cuts, no censorship. We can't imagine that happening in this day and age. In fact, the budget was so tight that many in the cast uh recollect eating just Locky and Dal, sleeping on the floor of the sets, as they couldn't afford uh anything better. And the producers couldn't afford to give the cast the tickets as well for the when the movie premiered. Imagine all of them in one room for almost nothing. That never happens today.

SPEAKER_00 9:44

Yeah.

SPEAKER_03 9:44

Yeah.

SPEAKER_00 9:45

It's it's I mean, you can't even imagine. It's probably Shole, for example, definitely had an ensemble cast, no doubt. But in terms of sheer talent, in terms of the number of awards that a movie has won, this has to be right up there. What I find just endlessly fascinating about Jane Bidoyaro's place is that in many ways Amita was doing the same thing. Take Dewar, take Trishul, take Kuli, Andakano. Film after film, he was talking about a broken system, about corruption, about the ordinary man being crushed by power. But Amitabh's answer to the broken system was rage. But the genius of Kundan Shah, Satish Kaushik, and all these folks, Sudhir Mishra, is they took that same idea of a broken system, but instead of fighting it, they said, What if we laughed at it? What if we made the corruption so absurd, so nakedly ridiculous, that the only sane response was to collapse in laughter. Same diagnosis, completely different prescription. That prescription has proven to be so much more uh durable because the anger eventually exhausts itself, but the absurdity never goes out of date.

SPEAKER_03 11:25

Totally agree. And I think that's one of the reasons why the movie has endured so well. Let's move on to our next segment, Baki Sub First Class, where you know we we go over the pure films of 1983 when Janibida Yaru was released. When you watch the movie recently, Barat, what do you think still holds up and what doesn't?

SPEAKER_00 11:51

What has for me aged perfectly, Neilema, and I mean perfectly is the core theme. Corrupt builders, corrupt politicians, corrupt media, corrupt police, all scratching each other's backs while two young, ordinary, idealistic people get destroyed for trying to do the right thing. If you told me that that film was made in 2025 or 2026, I would believe that. I would still believe that. Yeah. In that sense, nothing has changed. The Mahabharata sequence, timeless. The physical comedy, still hilarious. The ending where the heroes, the good guys go to jail and the villains walk free. That is a perfect social commentary to even today's times. What hasn't aged well? Okay, some of the pacing in the middle section drags a little bit. The good news about the movie is it's short, it's two hours, ten minutes. Satisha's character, and we'll get into it, DiMelo is skilled at exactly the half point. So interroll kebad, we have one of the most iconic roles of all time. A couple of the gender dynamics, the you know, the way Neenagupta's character is used as a honey trap. You and I would feel differently about that now.

SPEAKER_03 13:14

Yeah. But such characters still exist in our movies. So yeah, we'll forgive them for that. And to add to what hasn't aged well as a society, our intolerance to a different viewpoint, the forgotten ability to laugh at ourselves and the lack of space for just the common man protagonist in our current movies. I miss that.

SPEAKER_00 13:33

100% agree with you on that. But here's the thing: the reason Jan Ebidoyaro, I believe, features on every all-time list is precisely because the core of that is so true, so unflinching, that time has only sharpened it. Most comedies, unless it's a classic, age badly. I don't know that we'll talk about Golmal and Dhamal 40 years from now. But Janebi the Yarrow, I think will be it will live always.

SPEAKER_03 14:08

Yeah.

SPEAKER_00 14:08

All right, Nilima. I've got a surprise segment for you. Wow. We are going to have some fun now. This is what I was thinking about. To qualify for an all-time comedy movie list, the movie has to have some quotable lines that we can all instantly recognize. I'm going to now name a few of the movies on my say top 10 comedy list. I'll give you the name of the movie and you must quote from the movie a quote, a song, anything else within seconds. If you don't, we take the movie off the list. Okay? Okay, let's do it. First one, Pardosan. Gone. Done. Well done. Gol Mal, the old one.

SPEAKER_03 15:06

Uh oh yeah.

SPEAKER_00 15:15

Girl, you're something else. Two for two. Next one. This is my all-time favorite, Angur.

SPEAKER_03 15:23

Angur, yeah. Uh I remember a song that is used as a hint between uh Devin Virma. Also, one more.

unknown 15:40

Yes.

SPEAKER_03 15:40

Angur?

SPEAKER_00 15:49

This is a real trick question. Namakalal.

SPEAKER_03 15:53

Um English is a very funny language.

SPEAKER_00 15:56

Because barren becomes barrel, and barrel becomes barren because their minds are so narrow.

SPEAKER_09 16:03

I can talk English, I can work English, I can love English because English is a very funny language.

SPEAKER_00 16:08

A couple more.

SPEAKER_03 16:08

And that's up now, crime master gogo nam hemera.

SPEAKER_05 16:15

Crime master gogo nam hemera.

SPEAKER_00 16:22

We are excellent. Last one, hera feri. Nilma, you are amazing. So well done. All right. Our next segment is Mastiki Parkshala.

SPEAKER_03 16:48

Every great cinema tradition has its factory. Hollywood has the studio system on one side, and also film festivals such as Sundance that encourage independent films that focus on unique artistic visions, diverse storytelling, and often character-driven narratives. In India, we have Bollywood movies, which we are always open to discuss. And we also had a small campus in Pune called the Film and Television Institute of India. And for a brief blazing period in the 70s and 80s, it produced a generation of actors, directors, and writers who changed Indian cinema forever. Janabhidayaro is, in many ways, the greatest FDIA reunion ever put on screen. Nasir had been working since Nishant in 1975, Sham Benigal's beautiful film about village power and oppression. Then Junun, Sparash, and Masum came. Masum also came in 83.

SPEAKER_00 17:51

If Nasir was FTI's poet, Ompuri was its warrior. He came from nothing, Nilima. Genuinely nothing. Apparently, when he showed up, his family was so poor that he didn't even have decent clothes. He couldn't pay his tuition fees at the FTII. And there is this running joke that he never actually paid them back all the dues. Just that wonderful stubbornness about him. And by 1983, he had already won a national award for Arohan. And then you mentioned this movie, Arthasatya. Was unparalleled. And so for one man to have two all-time classics, Janebido Yarrow and Ard Satya in one year, unfortunately gone too soon.

SPEAKER_03 19:01

And you mentioned he had two national awards, right?

SPEAKER_00 19:04

Yeah.

SPEAKER_03 19:04

Yeah. And he deserved many more.

SPEAKER_00 19:06

Many more, no doubt.

SPEAKER_03 19:08

I'll go next about Pankach Kapoor. Pankaj Kapoor walked into Janabido Yaro having made exactly one film before. One. Arohan, also for Sham Benigal, in 1982. He was 29 years old, fresh out of the National School of Drama, another great institute that gave us many great actors. And Kundansha handed him the role of Tarneja, the slippery car up builder, and he made it completely and chillingly his own. What happened next is one of the great slowburn careers in Indian cinema, Karamchandan television, with the gajar. A generation grew up watching him. Rak, egg Dr. Kimoth, and our favorite Makbool.

SPEAKER_00 19:57

One of my favorites next, Neena Gupta. I've got just mad respect for Neena Gupta. One of my most favorite movies in recent times is the absolutely hilarious Badaiho, which is definitely worthy of a rewatchable. Her story is different from everyone else on the list. Nasir, Om, Pankars, their trajectories. While always it was not very smooth, it was generally upward. Nina Gupta's wasn't, despite all the talent, the roles dried up, and then there's of course this amazing personal story with Viv Richards and their daughter Masaba. She kept working, she kept showing up. But what's amazing is social media, yeah, in 2017, she posts this thing on Instagram that says, I mean, just the courage for her to be able to do this. Hey, I live in Mumbai, I'm a good actor, looking for good parts to play. She posts this on Instagram. Next thing you know, the response is overwhelming. Badaiho happens, a whole generation of producers, directors, fans discover, rediscover her. So her story for me is not just a movie career art. For me, it's a lesson in class and dignity. And of course, she's won multiple national awards.

SPEAKER_03 21:19

I'll go next about Bhakti Barve. Bhakti Barve, or Shovhaji of Kabardhara magazine, was a celebrated actress from the Marathi stage and movies. She held her own against all these stalwarts. She played the role of uh Shobhaji, who is attractive, scheming, manipulative, daring, straight smart, and it, in short, a total chameleon. Her character was allegedly based on Shova De, the then editor of Stardust magazine. Bhakti Bharve was lesser known in the rest of India, but can you imagine any other actress in her place? Maybe.

SPEAKER_00 21:55

We should talk about that.

SPEAKER_03 21:56

Okay.

SPEAKER_00 21:57

I mean, certainly, but what I did not know. Is Bhakti Barve was married to Shafi Namdar.

SPEAKER_01 22:03

Yep. Yep.

SPEAKER_00 22:04

And kind of tragic, Nigima, that uh Shafi passed away, I think in 1996. He was a 50. And then uh Bhakti Barve passed away a few years later. I think 2001, killed in an automobile accident.

SPEAKER_03 22:21

Accident, right? Yeah.

SPEAKER_00 22:22

Very, very sad about that. Yeah. And talking about people who are not with us, I want to end with the two satishas. And uh, folks, if you can see me today, uh, this is in honor of the man and the character, and we'll talk about the character in a second. FDI graduate. Tell us more about him.

SPEAKER_03 22:45

Yeah, he played the most famous copse in Indian cinema history. No one before him, no one after. He then went on to become Indravadan Sarabhai, the iconic Indravadan Sarabhai in Sarabhai versus Sarabhai, who made an entire country laugh for four decades. And apparently I heard this uh in one of the interviews that Satisha was the only guy who ad-libbed on the set. And all the others just were, you know, uh reciting the dialogues that were written by the director.

SPEAKER_00 23:14

So that's that's a great point, Nilima. Everyone that watches the movie, now that we know who these actors are, we think, especially the set pieces, and we'll get into that, these guys must have probably just ad-libbed it. And there's an interview with Nasir online where he says, actually, no, Kundanshah had such a vision for the movie that the whole thing was scripted, except for Satish's role. Yeah. And what a role. Yeah. And of course, the other Satish is Satish Koshik, who wasn't just acting in the films. By the way, he wrote the dialogues. God bless the man, some of the best dialogues, most memorable dialogues in Indian movie history. He co-directed the movie, and I think he was the creative scaffolding that kind of held the movie together. And of course, he's got Janebidoyarrow, and then he gave us calendar in Mr. India. One way or the other, Sri Devi is part of every one of our episodes. I don't know.

SPEAKER_03 24:30

Yeah, we both are such huge Sri Devi fans. We'll find any excuse to bring her into the show. Just bring her up.

SPEAKER_00 24:36

If uh Janvi Kapoor ever watches us, Janvi, just we want to let you know there are no greater fans uh for for your mom than than uh Bharat and Nilima. Yeah. All right, the next segment, we'll do this quickly, is called Kismat Kakel. This is our casting, what if. So you asked about Bhakti Bharve earlier. Before that, I have a quick question for you. The film was made with a bunch of FDII graduates, right? But we did it didn't have any of the big stars. But we have to remember, Amitabh and Dharmaendra would do, they did Chupke Chupke, they've done these off-beat movies for Rishikesh Mukherjee and others. So Neilima, do you think Jane Bidoyaro would have worked with maybe Amitabh and Dharmaendra in the role?

SPEAKER_03 25:37

See, while they were uh they had a great partnership doing comedy in uh you know regular movies or you know uh not so regular movies like Chukke Chukke, I don't think they would have worked for uh uh Jane Bido Yarrow because the whole comedy comes from the ordinariness of the characters, and we all know Amitabh and Dharmendra are like giants in front of the screen. You can't do that with Amitab or Dharmendra, they're never small.

SPEAKER_00 26:05

I yeah, you can't see Amitab and Dharmendra in a movie where they're completely out of their depth. Because in this movie, by the first 20-30 minutes, we kind of figure out that Nasir and Ravi Baswani's characters, we know then Sudhir, are way, I mean, the whole story is way out of their league. But with Amitab and Dharmendra, they're always in control. And I think that that is a NSD FTII special, the training that you get, the ability to just disappear into a character without your persona getting into the way.

SPEAKER_03 26:44

Uh so that's about uh we know that Sudir. Who else do you think uh could have played Show Baji at that time or today?

SPEAKER_00 26:51

Well, of course, the big question is could Shabanazni have played this character?

SPEAKER_03 26:57

What do you think? Uh maybe not at that time, maybe today. Today, but at that time I think she was just doing all uh these crusaders. Yeah, positive.

SPEAKER_00 27:11

The trick with this question is the kind of characters that are in this movie, it's almost blasphemous to ask the question whether anybody else could have played that role. Are you telling me that you can ask the question that oh instead of punk, maybe could Smita Patal have done this role? We can't argue, but I think it was very well cast, and Bhakti Barve brings a bit of the naughtiness, she's playing the Nord the entire time, and and we'll get into that. Oh, by the way, what folks don't know is apparently Anukum Kerr was written into the movie as this crazy semi-blind assassin, and he this was going to be his debut movie. He was going to be in the movie for about 10 minutes. Uh, and uh they had created this role, but I watched an interview where Kundansha said the story was kind of it was kind of ancillary to the main story, so they kind of took it out, and I was thinking to myself, yes, like this, that that's all this movie needed is another all-time actor in the movie. All right, so our last segment, this is the C.T. Mar segment where Neilima and I alternate between some of our favorite scenes from the movie. All right, Neilima, you go first.

SPEAKER_03 28:52

Okay, my first favorite scene is the opening. We know that in Sudhi's Photo Studio, no customers, complete faith in themselves singing Hong Gamiya. The setup of their innocence before everything goes wrong. And Ravi Baswari's face, his timing, his absolute commitment to the confusion, just their comic chemistry throughout the film.

SPEAKER_00 29:24

Totally agree. Totally agree. Just from the beginning, those two. And Nasir, in an interview, said that he and Ravi had known each other for a long time. They were very good friends. So there is just this easy chemistry between them throughout the movie. One of my favorite movies is the scene at the construction side. It introduced us to Tarnaja, played by Pankach Kapoor and Dimelo. It's a chilling scene because just the casualness around the corruption. It starts with Pankach Kapoor saying, Kanun Ama Mikilia Otahe, Apne Liya Nahi. Exactly. And then and then Di Melo shows up, and they casually talk about adding these additional floors, completing this illegal construction. And that's the first time in the movie when it hits you that even though the characters are caricatures and somewhat funny, these guys are actually pretty dark and then sinister people. And then, of course, the immortal line. The scene at DiMelo's house, it it's a good 12 minutes long. They're all they all converge. That's the first time the Switzerland cake shows up. One interesting scene is Nasir and uh Bhakti Barwe are outside the window, and they show Nasir eating a banana. Right? So it's this contrast of there is this Switzerland cake, imported cake, uh in the inside, and you're eating the poor man's fruit on the outside. Then Ahuja. So we get introduced to Ompuri's character. The guy is like drunk, the entire movie. Dimelo pushes Pankachkapur Satishka Shikan Midna Gupta into the black room. And the Nasir is taking pictures about either they go, Uther they go.

SPEAKER_04 32:42

Uh, Udeko that ten to twelve minutes is just hilarious.

SPEAKER_03 32:54

Pure gold, pure comedy gold. Uh, my third favorite is Shovaji playing damsel in distress with Vinod.

SPEAKER_07 33:03

I hope so, Ratha.

SPEAKER_03 33:08

You know she's playing him, he's falling hook, line, and sinker, even defending her when Sudi tries to make him see reason. One minute she's keeping him on her jutiki nook, and the next minute she's saying, and he still falls for her.

SPEAKER_00 33:34

Starting with that scene in the studio, Karibao, Karibao, they they get slapped, and just Nasir's desperation, romance, love for her. It's the way she drags those guys along. Totally agree. Amazing, amazing character that has been developed. Alright, we get to save the best for last. The most talked about scene from one of the most talked-about movies of all times is the Mahabharata climax. In my opinion, the greatest single scene in Indian comedy. And Nilima, no chance that scene gets made today, does it?

SPEAKER_03 34:25

Yeah, yeah. Totally agree. Totally agree.

SPEAKER_00 34:28

No chance. Akbar shows up, and that is the second sec piece in the movie. It's about 13 minutes long. The whole sequence is unbelievable. Folks, if you're not gonna watch the entire movie, just to Mahabharata's scene, Janebidoyaro on YouTube, it's just comedy gold. And we talked about this earlier. It looks like everyone is ad-libbing, but it they really are not. And some of the most memorable quotes from the movie. Yeah, I w I want to talk about Satisha for a second. So after the interval, interval kept, Satisha is a dead man. But the way for a corp, for an actor to be a copse for half the movie, his facial expressions, the way he leans, he's leaning as Drabadi. He's this big dude draped in Asari, he keeps leaning, he keeps falling off. Just the physical comedy of that. I can't remember, Niluma. Can you uh wear a role where the dead man hangs around for half a movie, and that's an iconic role, and people are still talking about it 43 years later.

SPEAKER_03 36:19

No, no. Never before, never after.

SPEAKER_00 36:22

Never before, never after. So those folks were some of our favorite scenes from the movie. It is such a cult classic that Neilima and I thought that we have to pay tribute. We we talked about Bhakti Barve, we talked about uh Satisha. So Kundansha passed away in 2017. Unbelievable legacy. One movie, but if you're ever gonna make a movie that's going to be your legacy and it's gonna be one movie. Ompuri unfortunately passes away in 2017 at the age of 66. And I was really sad, Neilma, when uh Satisha passed away last October at 74.

SPEAKER_03 37:03

I know we we both felt so sad. We we just, you know, uh touched base around that time because it felt personal. It felt like somebody from our family.

SPEAKER_00 37:12

Satisha was definitely personal. All right, what's your uh final take?

SPEAKER_03 37:16

My closing thoughts. The cult status of the film and its enduring relevance is mainly due to the timeless dialogues, intelligent tongue-in-cheek humor, the irreverent refusal to take anything seriously, and last but not the least, the liveliest dead body in world cinema.

SPEAKER_00 37:33

The liveliest dead body ever in world cinema. I still cannot get over the idea that someone wrote a script about a dead guy being such an iconic role in the movie. For me, Janebideyaro is a rare movie. It's a film that in many ways gets true every passing year because the corruption it satirized hasn't gone away. Right? The nexus between builders, politicians, police, media, the sense that the fix is in, that the game is rigged, that the only sane response is to laugh is still there. And Kundansha made a full movie in 1983 that turns out to be about every year that that's followed. And I think that's the genius of the movie. For my in my opinion, I know there is there are fans of Janebidouyaro, Anda's Apna Apna has its fans. I know it's many people's favorite movie. Hera Ferry is up there, Angur is up there, but for me, it's still the most funniest sad movie ever made. So, with that, folks, we uh Nilima, as always a pleasure. Next time. Thank you, Barat. Thank you. On After the Interval, we have a musical banger with an anti-hero Kabi Kabi, Jitne Kelie, Kutch, Harna Partahe. In the meantime, if you have suggestions or a request for a movie we should feature, please reach us at After the Interval Podcast at gmail.com. Alvida, goodbye. See you in a week. See you.