Direction :- Bharthi Raaja Starcast :- Rajesh Khanna, Poonam Dhillon, Om Shivpuri, Aruna Irani, Padmini Kapila and Satyen Kappu Music :-...
Direction :- Bharthi Raaja
Starcast :- Rajesh Khanna, Poonam Dhillon, Om Shivpuri, Aruna Irani, Padmini Kapila and Satyen Kappu
Music :- R D Burman
Released on 6th June 1980, *Red Rose* stands as a unique
entry in Bollywood’s cinematic landscape, marking the industry’s first foray
into the chilling realm of a psychotic serial killer. Directed by P.
Bharathiraja, this Hindi-language psychological thriller is a remake of his own
Tamil hit Sigappu Rojakkal (1978). Starring the reigning superstar Rajesh
Khanna alongside Poonam Dhillon, with supporting roles by Aruna Irani, Om
Shivpuri, and Satyen Kappu, *Red Rose* diverges sharply from the
family-oriented romantic dramas that dominated Bollywood at the time. While it
retains elements of romance, the film’s dark exploration of a disturbed mind
set it apart, making it a bold experiment that didn’t fully resonate with
audiences but left an indelible mark on the industry’s history.
Storyline
Red Rose centres on Anand (Rajesh Khanna), a
wealthy businessman living a seemingly idyllic life in Bombay, running his
company, Export India, from a palatial home. Beneath this polished exterior
lies a sinister secret: Anand is a misogynistic serial killer who preys on
young women, seducing them, murdering them, and burying their bodies in his
garden, where he plants rosebushes as macabre memorials. His actions are
recorded on video, watched by his adoptive father (Satyen Kappu), a fellow
woman-hater crippled by his own past traumas, who lives secluded in a guest
house on the property.
The plot takes a turn when Anand meets Sharda
(Poonam Dhillon), a conservative sales clerk at Roopsagar Clothing Store.
Smitten, he proposes marriage, and she accepts, unaware of his deadly nature.
Sharda moves into his mansion, setting up a Devi Maa Durga Mandir, symbolizing
her traditional values. Her idyllic new life unravels when she stumbles upon
Anand’s dark secret—first spotting a body in the garden, then discovering his
father and gardener (Om Shivpuri) reveling in snuff films. As she uncovers the
roots of Anand’s psychosis, tied to a traumatic past, Sharda must confront the
horrifying reality and escape his clutches. The narrative blends romance with
psychological horror, offering a stark commentary on misogyny and retribution,
though its predictability and heavy-handed moralizing temper its suspense.
Direction and Other Technical Departments
P. Bharathiraja’s direction brings a distinct South
Indian sensibility to Bollywood, infusing *Red Rose* with a gritty, atmospheric
tone uncommon in Hindi cinema of the era. His experience with *Sigappu
Rojakkal* shines through in the film’s pacing and mood, though the transition
to a Hindi audience feels uneven at times. Bharathiraja employs lurid
visuals—red hues dominate, reflecting the title and Anand’s obsession—while
maintaining a sense of claustrophobic tension within the mansion’s confines.
However, the film’s reliance on melodrama and overt theatricality occasionally
undercuts its thriller aspirations.
The cinematography by P.S. Nivas, who also shot the
Tamil original, enhances the eerie ambiance with stark lighting and tight
framing, particularly in the murder sequences and Sharda’s moments of
discovery. The editing keeps the 2-hour-5-minute runtime engaging, though some
scenes linger unnecessarily, a nod to Bollywood’s penchant for emotional
excess. The production design, from Anand’s opulent yet sinister home to the
garden of buried secrets, effectively mirrors his dual nature. Sound design,
while not revolutionary, amplifies the tension with a haunting score, though it
lacks subtlety. Overall, the technical execution is competent but tethered to
the conventions of its time, limiting its potential as a groundbreaking
thriller.
Music and Performances
The music, composed by R.D. Burman, is a surprising
highlight in a film so steeped in darkness. With only two songs—“Tere Bin Jeena
Kya, Tere Bin Marna Kya,” sung by Kishore Kumar and Asha Bhosle, the soundtrack
is sparse but impactful. The romantic duet, "Kiski Sadayein" penned by Vithalbhai
Patel and Nida Fazli, captures Sharda’s initial bliss, contrasting sharply with
the film’s grim undertones. While not as iconic as Burman’s other works, the
music adds emotional depth, though its placement feels somewhat forced in a
narrative driven by suspense.
Rajesh Khanna’s performance as Anand is a daring
departure from his romantic hero persona. He brings a menacing swagger to the
role, balancing charm with an unsettling edge, though he lacks the raw
intensity of Kamal Haasan’s portrayal in the Tamil original. Poonam Dhillon
shines as Sharda, her wide-eyed innocence evolving into steely resolve, making
her a compelling counterpoint to Anand’s darkness. Satyen Kappu’s portrayal of
the deranged father is chillingly over-the-top, while Aruna Irani, Padmini Kapila
and Om Shivpuri deliver solid support, adding layers to the film’s unsettling
world. The ensemble’s chemistry drives the narrative, though Khanna’s star
power occasionally overshadows the collective effort.
Red Rose holds a singular place in Bollywood
history as the industry’s first film to center on a psychotic serial killer, a
bold leap that challenged the family-friendly romantic norms of 1980s Hindi
cinema. While it didn’t achieve commercial success—its “Adults Only” tag and
unconventional premise alienated mainstream audiences—it remains a fascinating
artifact of experimentation. Bharathiraja’s direction, paired with strong
performances from Rajesh Khanna and Poonam Dhillon, crafts a tale that’s equal
parts romance and horror, though its reliance on melodrama and dated tropes
keeps it from fully realizing its potential as a thriller. The haunting music
and technical craftsmanship elevate its impact, making it a cult curiosity for
cinephiles. Ultimately, *Red Rose* is a flawed yet pioneering effort, a
crimson-stained footnote in Bollywood’s evolution that dared to bloom where
others feared to tread.
By Ayushmaan Mitra
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