Dhanno said, “Maybe they could try to pretend that this is really an operating room, and the blood in that bottle is not orange.”

She came in on the second half of ‘Bhanwar‘ and for some inexplicable reason, the movie slipped rapidly into idiocy, not helped at all by Parveen Babi‘s face-scrunching and arm flailing and dippy inflection.

Dhanno said, “Does she even know the concept of pain?” as Parveen Babi stumbled towards her wheelchair after being saved from a leg amputation by the sudden appearance of an unknown father Ashok Kumar who miraculously happened to be the best orthopedic surgeon in the country.

But I was delighted by her choli blouses and high waisted jeans. And shared Aruna Irani‘s excitement over her black and silver maxi. Aah, maxis, I wish they would come back in fashion.

Kamini Kaushal made a very stylish mother in chiffon saris and a short blunt, even when she was suffering from poverty and a drunkard ex-husband Madan Puri. Nadira made a stylish sister in chiffon saris and a curly wig and the ever so delicate flare of her contemptuous nostrils.

And I loved, loved, loved the red room with red carpets, red windowpanes, red curtains, pink sofas,  a red devil fireplace and Parveen Babi in red pants, while Ranjeet made evil advances on her. There is a lot of red through the film including a red pompom on Randhir Kapoor‘s beret. It contrasts well with the piles and piles of snow in Himachal Pradesh.

Jal Mistry adds atmosphere to the most duffer scenes through his use of the mist, clouds, Simla, mountains, churches, red and more red.

Best of all is the love duet between Parveen Babi and Randhir Kapoor after she’s finally accepted his proposal.

Aankhe milayenge, baate sunaayenge, palke bichhaayenge, zulfe bikhrayenge, phir kisi din,
Toh aaj kya karenge? Aaj sirf gaana gaayenge, aaj sirf gaana gaayenge.

We’ll gaze, we’ll coo, we’ll yearn, we’ll muss our hair, some other day,
Then what are we going to do today? Today we’ll only sing a song.