( November 2021) ( Learn how and when to remove this template message) Please help improve it by removing unnecessary details and making it more concise. This article's plot summary may be too long or excessively detailed. Don is one of the films that catapulted Amitabh to superstardom in his career.
Don 2006 movie review movie#
The movie was also unofficially remade in 1991 into Punjabi language Pakistani movie titled Cobra. The intro to "Yeh Mera Dil" was sampled by the Black Eyed Peas for the song " Don't Phunk with My Heart" (2005). Don is also known for its theme music, which was used in the American Dad! episode " Tearjerker" (2008). It also inspired several South Indian remakes, notably the Tamil film Billa (1980), a breakthrough film for Rajinikanth. The film spawned the Don franchise Javed Akhtar's son Farhan Akhtar created a remake Don: The Chase Begins Again (2006) and its sequel Don 2 (2011), both starring Shah Rukh Khan. It was the third highest-grossing Indian film of 1978, and was classified a golden jubilee by Box Office India. The film features music by Kalyanji Anandji, with lyrics by Anjaan and Indeevar. Written by Salim–Javed, the plot revolves around Vijay, a Bombay slum-dweller who resembles the powerful criminal Don, being asked by police superitendent D'Silva ( Iftekhar) to masquerade as Don due to the latter's death, in order to act as an informant for the police and track down the root of the criminal organization. Bachchan plays the titular dual role, as Bombay underworld criminal Don and his lookalike Vijay. The film stars Amitabh Bachchan, Zeenat Aman, and Pran. Rated R.Don is a 1978 Indian Hindi-language action thriller film directed by Chandra Barot and produced by Nariman Irani. watching porn, thereby altering their relationship, then does Jon meet Esther (Julianne Moore), a sensible woman and fellow student who had lost her husband and son fourteen months previous and who helps turn Jon into a more mature version of himself, giving the audience the impression that perhaps Jon would now spend, oh, twenty percent less time making goo-goo eyes at his laptop and more time enjoying a refined, new significant other. (Tony Danza), Angela Martello (Glenne Headly) and sister Monica (Brie Larson), sitcomish but a lot more vulgar than you’d find in any shots of “Leave It To Beaver.” Young Monica appears to like texting as much as her brother digs sexting, given only two lines in the entire movie since she’s is otherwise occupied with her iPhone. He is also ostensibly the first woman he introduces to his paisan family, a sitcomish Jon Martello, Sr. In the case of “Don Jon,” the serious relationship comes in the guise of a gum-chewing Barbara Sugarman (Scarlett Johansson), the only “dime” in the bar (meaning a woman who rates a score of 10 in body and looks), and presumably the only one who makes Jon wait for a couple of dates before giving in to their mutual electricity. In addition to being this year’s comedy to beat, “Don Jon” is the best movie about sex addiction since Steve McQueen’s terrific “Shame,” which stars Michael Fassbender as the junkie, a more serious tale on a similar theme, specifically about a guy who has no problem getting it up in the shower and with an assortment of hotties but could be in a Viagara commercial when he begins to develop a serious relationship with a woman. Called “the Don” by his two best buddies Bobby (Rob Brown) and Danny (Jeremy Luke) because of his skills with the fair sex, he must stun girlfriends and members of the movie audience alike in declaring that he prefers porn to the real thing, on one day beating his meat a record eleven times, a feat that hardly disturbs the parish priest who regularly absolves him of his sins. Joseph Gordon-Levitt pulls off a working-class Italian accent (again, so to speak) throughout as a young man who serves as a bartender, a student in night college, and a Don Juan with an enviable array of women he picks up in crowded bars. With the able help of Lauren Zuckerman, whose rapid edit complete with collages keeps the pace furious and Thomas Koss whose lenses capture a working-class town in New Jersey and some brilliant close-ups of Gordon-Levitt, “Don Jon” should take off with audiences who appreciate the delightful vulgarity that has made current film a far cry from the days of the Hollywood censors who insisted that if a man and a woman are in bed, each must have at least one foot on the floor. All this is illustrated by Joseph Gordon-Levitt, who, amazingly wrote, directed and stars in “Don Jon,” the year’s best comedy to date.