#dharmendra

[shahrukhlove]

DHARMENDRA & SHAH RUKH KHAN in Om Shanti Om (2007)

[suvarnarekha]

goosebumps erupted and theatres shook in 1975 when amjad khan's voice bellowed, "जो डर गया, समझो मर गया."

happy 50 years of sholay 🎥✨🎬

[starsfromanothersky]

Dharmendra and Sharmila Tagore in Anupama, Hrishikesh Mukherjee, 1966

[mishtiiiikrishnaa]

so I finished watching sholay (1975) today. i fucking hate the ending, let me get this out.

why did jai have to die? why did anyone of the duo had to die? couldn't basanti have died? wouldn't have impacted the plot anyway. hell, even thakur could have died at the end after he'd gotten gabbar singh and tortured him and what not and that would have been a relief tbh that he wouldn't have to carry the grief of losing his family anymore.

but why jai 😭

also did I mention? how fucking gayyyyyy jai and veeru are? huh. why so gayyyy?

whenever veeru mentions his "married life" to basanti, to jai. jai doesn't like it one bit, it's obvious. the way he scoffs and rolls his eyes and just is SO DONE and doesn't wanna talk about it is insane-

and when jai talks about his "married life" to radha (how does that line of romance work anyway, throughout the movie they don't exchange even 10 words of worthful conversation 😭) that conversation QUICKLY gets off that topic 😭

so GAY 😭 and that one song in the middle which I skipped, that had only these two, that's also VERY GAY 😭 ugh

and the ending was shit 😭 like why was veeru so happy after seeing basanti, jai just died man, u has tears in ur eyes not two min ago-

[melssandre]

Anupama (1966) directed by Hrishikesh Mukherjee.

[thedawnlist]

Guddi (1971) dir. Hrishikesh Mukherjee

“You can think of nothing except movies!”

Guddi - Kusum, played by Jaya Bachchan (then Bhaduri) - isn’t just in love with the star studded Dharmendra. Like many of us, she’s in love with the idea that life could be as beautiful, as kind, as scripted as the films she watches under the soft hush and comfort of the cinema hall.

Mukherjee gently pulls back the curtain for Guddi, inviting the audience into a more tender, grounded truth of the difference between performance and reality. The film honours her longing as real, even as it teaches her the limits of fantasy. But slowly, through studio visits, behind-the-scenes glimpses of production and the quiet wisdom of those in show business, the glamour of the silver screen is dismantled.

Girlhood itself is unravelled, as like cinema, it is a space where dreams bloom without shame. Where imagination is pure and excessive, and where disillusionment, when it comes, is both painful and necessary. For Guddi, cinema becomes both the illusion and the cure. It breaks her heart, but then helps her see the beauty of the love around her.

Even today, Guddi feels fresh. In an age where celebrity worship has only deepened, it asks: what does it mean to fall in love with an image? And how do we return to ourselves once we do?

[bollywoodirect]

RIP Dharmendra Ji.

Dharmendra wasn’t just an actor-he was an era. The warmth in his smile, the strength in his presence, and the sincerity in his eyes made him more than a star; he was family to millions.

From Sholay to Satyakam, he gave us moments that defined Hindi cinema and generations that grew up loving him.

Rest in peace, the original He-Man of Indian cinema. Your charm, grace, and spirit will live on in every reel and every heart you touched.

[ritish16]

Dharmendra - 24th Nov, 2025. Om Shanthi. Eshwara.