shall we dance ? ( shall we ダンス ? sharu wi dansu ? ) is a 1996 japanese film .

its title refers to the song " shall we dance ? " which comes from rodgers and hammerstein 's the king and i .

it was directed by masayuki suo .

shall we dance ? ( 1996 film )

shall we dance ? ( 1996 film ) <EOT> tied with kyôko kishida for haunted school 2 ( 1996 ) and yatsuhaka - mura ( 1996 ) .

" shall we dance ? " swept the japanese academy awards in 1996 , and was the sleeper hit of 1997 ' s sundance film festival .

looking for movie tickets ? enter your location to see which movie theaters are playing shall we dance ? ( 1996 ) near you .

japanese gentle comedy " shall we dance ? " ( " shall we dansu ? " ) directed by masayuki suo with koji yakusho and tamiyo kusakari in leading roles .

not to be confused with the 1996 japanese film by the same title , or its 2004 american remake .

" shall we dance ? " opens friday , october 15 , and is rated pg - 13 .

[ us ] shall we dance ? ( 1996 ) : a repressed accountant finds a way to open up his world . trouble is , he can ' t tell anyone about it .

' ' shall we dance ? ' ' concludes this year ' s new directors / new films series .

[ us ] shall we dance ? ( 1996 ) : a repressed accountant finds a way to open up his world . trouble is , he can ' t tell anyone about it . : netflixbestof

the new " shall we dance ? " stars richard gere as chicago lawyer john clark and jennifer lopez as paulina , a dance instructor .

nothing against richard gere and jennifer lopez in shall we dance 2005 , but mr . aoki steals the show and reminds us that we should always maximize our effort on the dance floor .

" shall we dance ? " is rated pg - 13 ( parents strongly cautioned ) . it includes mild sexual innuendo .

in response to this , realizing he is in a film and the other character just said the title of the movie , he restates " shall we dance . "

" shall we dance ? " remains blissfully untethered to reality . dance in the movies has always been synonymous with transcendence , as characters step out of their mundane lives into a wonderland where time stops . " shall we dance ? " is a gaudy , sequined invitation to freedom .

los angeles , california ( cnn ) - - " shall we dance ? " , an american remake of the sweet 1996 japanese film of the same name , is an ill - fated attempt to translate a wonderful foreign - language film for american audiences - - and it falls apart on its own , too .

unlike the recently released taxi , shall we dance ? is not an aggressively bad remake of a foreign film . still , giving this version a pass and tracking down a copy of the original film would better serve movie watchers .

unfortunately , lost in translation has already been used as a film title recently , as it could very much be used to describe shall we dance ? , an american remake of a critically acclaimed 1996 japanese film . those familiar with the original version will find no real surprises here , as this americanization apes its source’s every story beat .

an interview with masayuki suo , the writer - director of the japanese hit movie " shall we dance ? " could best be termed a multimedia affair .

shall we dance ? proves that japanese film makers can fashion charming , feel - good movies every bit as effective as their hollywood counterparts . unlike the australian comedy , strictly ballroom , which used ballroom dancing competitions as arenas for romance and satire , shall we dance ? uses them to explore one man ' s struggle for freedom from the suffocating repression that characterizes japanese society . this is a film for anyone who prefers to leave the theater smiling .

something is missing in the life of john clark , he just can’t figure out exactly what it is until he follows a beautiful dancer , jennifer lopez , to dance studio and becomes a secret ball room dancer . shall we dance ? is a remake of a japanese 1996 film , shall we dansu ? at first glance i would’ve never had realized that susan sarandon and richard gere had never shared the big screen together . there true life chemistry and friendship is obvious even on film . gere and sarandon spoke to latino review about their roles on this contemporary romantic comedy . below is what they had to say to us .

featured in contact / this world , then the fireworks / a simple wish / 4 little girls / the big sleep / shall we dance ? ( 1997 ) . see more »

attention monday . i ' m officially adding jack black ' s mixtape dance to my morning routine and it shall defeat you .

nevertheless , subplots excepted , shall we dance ? navigates the tricky waters of the dramatic comedy with surprising ease . writer / director masayuki suo , who has designed the film primarily as a heartfelt tale of one man ' s solution to a mid - life crisis , keeps shall we dance ? fresh and free of heavy melodrama by leavening the script with universal humor . and the ending satisfies in part because it doesn ' t conform to all the expected clich├ęs .

" shall we dance ? " doesn ' t work as a remake , and it doesn ' t work on its own . its missteps turn the delicate footwork of the original into a clunky thud .

the story eventually grows a tad redundant , but this is an extremely enjoyable , self - assured little film . or , at the risk of getting cute enough to have a blurb printed on a movie poster , " shall we dance " is very light on its feet .

we suggest utilizing this song , and dance routine , as a victory dance after your next promotion at work , or switch things up perform the dance routine in hopes of securing a promotion at work .

newsboy : paper , read all about the secret marriage ! peter : did you hear that ? we ' re about the only two people in the world who don ' t think we ' re married . linda : we don ' t think we ' re not . we both know we ' re not . peter : except me . i ' m beginning to have my doubts .

more than steps : salaryman masculinity in masayuki suo’s shall we dansu ( 2004 ) | 24 frames of silver : a cinema blog for the soul by lee o .

and then ask her if it was as good for her as it was for you . " shall we dance ? " is a reasonably close remake of " dansu wo shimasho ka " ( aka " shall we dansu ? " ) , a 1996 japanese film that set box - office records at home and won audiences around the world . if you ' ve seen it , you know precisely what happens in the hollywood version , but the movie is a star vehicle ; the plot isn ' t the point , gere and lopez are . when they dance together , it ' s a reminder that when dancing became rare in the movies , so did a lot of grace and sexiness .

well , perhaps it ' s unfair to compare the american " shall we dance ? " with its japanese counterpart , just as it ' s often unfair to compare a movie with the book it ' s based on .

try it yourself : we suggest a fully committed interpretation of this dance using seth rogan and paul rudd as your muse .

this film is not only out of step , it has two left feet .

' ' shall we dance ? ' ' inevitably incorporates that very important dance competition toward which it might be expected to build . but to its credit , this isn ' t a film about ' ' rocky ' ' - style winning . though its proficient style can be slickly uplifting , mr . suo ' s film also offers gentle thoughts about feeling responsible to one ' s partner and enjoying the exultation of dance . ' ' dance is more than just the steps , ' ' says the school ' s kindly senior teacher . ' ' feel the music and dance for sheer joy . ' '

sure , the dance skills may be from the 80 ' s , but this learning to dance montage captures the repetition and payoff of a process we call all relate to .

miramax films will almost certainly back shall we dance ? with a sizable advertising campaign - - of all the distributor ' s late - spring releases , this has the most potential to be a crowd pleaser . the pleasant emotional aftereffects are a testimony to suo ' s ability to fashion a story whose appeal reaches far beyond the shores of his native country . shall we dance ? promises a convivial evening at the movies , and a rare chance to mix culture with pleasure .

we wouldn ' t recommend a shot for shot reenactment of this performance , from an insurance standpoint , but we would absolutely suggest learning the hustle .

i mention these mundane facts because i can ' t discuss shall we dance ? without thinking of kumiko . sometime during my college years , she lent shall we dance ? to me , and i watched it with my family over break . it was one of the first non - fantasy japanese films i watched , and it made a deep impression on me at the time , and helped inform the movie review i would write for a small - town newspaper about the 2004 remake a few years later . long before i would move to japan and join a dance club there , or visit kumiko ' s family , i watched this warm little gem . all these memories shimmer and merge as i consider shall we dance ? now—but even without those memories , the movie is well worth watching .

we’re interested in your feedback on this page . tell us what you think .

the japanese film shall we dance ? debuts on dvd with a widescreen anamorphic transfer that preserves the original theatrical aspect ratio of 1 . 85 : 1 . the japanese soundtrack is rendered in dolby digital surround . english , french , and spanish subtitles are accessible . supplemental materials are limited to a preview of the film ' s american remake . this dvd was released the same day as the dvd of the remake that featured richard gere and jennifer lopez

shall we dance is a very exciting look at living life through dance with great performances by koji yakusho , reiko kusamura , and the nearly show - stealing naoto takenaka . it takes time to warm up to tamiyo kusakari , but once she changes , you will love her performance as well . regardless to whether you’ve seen the richard gere - jennifer lopez version , this is truly one japanese film to check out .

among the secondary characters who give ' ' shall we dance ? ' ' its color are a buffoonish fat man , a comical short man , a brassy and overbearing woman who turns out to be secretly very kind , and one of sugiyama ' s fellow accountants who leads a lively hidden life . bald and meek by day , he dons a wig and ruffled shirt at the dance academy to become a flamboyant , clowning latin lover . ' ' shall we dance ? ' ' holds forth the sunny possibility that beyond the most timid exterior there may be a tangoing walter mitty to be found .

the best film i have ever seen . you don’t have to like dancing to appreciate the acting , music , humour & a little sadness that flows throughout this brilliant film . excellent !

nner and deborah kerr ' s dancing in the 1956 film " the king and i " .

we are pretty sure there aren ' t many ladies out there who would want the men in their lives to dance the tango , or look a little antonio banderas like in the process . then again , we could be mistaken .

a lovely film with a story that stands up in its own right , so it doesn ' t matter whether you ' re a dance fan or not .

writer / director masayuki suo , whose previous film sumo do , sumo don ' t also picked up a japanese academy award for best film in 1992 , has focused on making a film for an audience which remains largely uncatered for - the middle - aged professional . as a result shall we dance ? is far warmer than most of the japanese films showcased abroad , and its simple - minded escapism is hard to resist . it is colourful and buoyant , moving and inspiring , and still , a few years after the initial critical clamouring has subsided , just as strong as ever .

this award - winning japanese film is a fun delight about living life through the art of dance , and it would be the inspiration for a 2004 hollywood remake .

lovely film , just a shame it ' s the short version . but a good buy anyway .

when jon favreau and heather graham were filming their swing scene in the 1996 miramax pic , swingers , they probably had no idea that the scene , and the movie , would help contribute to the 90 ' s swing revival .

( cnn ) - - " shall we dance " is an utterly charming japanese comedy about the healing powers of spinning a partner around a ballroom . but the film somehow avoids being as precious as i fully expected it to be . it isn ' t really fair to suggest that the movie ' s main subject is dance , though . as much as anything else , it ' s about the healing powers ( and poetry ) of simple self - expression .

that point in a movie where we are treated to a montage filled with great music , great moves , and great visual storytelling . we assembled 50 of our favorite dance sequences , and the dances that fit them . who knows ? instead of watching the next dance scene , maybe you can make your own ?

this is that other dance number from singin ' in the rain . donald o ' conner shows that gene kelly wasn ' t the only talent in that iconic film .

this movie blew me away . the lead actor is incredible and the film tugs at the heart strings .

shall we dance ? received a 93 % rating from rotten tomatoes ( fresh : 28 , rotten : 2 ) . roger ebert stated in the chicago sun times that shall we dance ? is " one of the more completely entertaining movies i ' ve seen in a while—a well - crafted character study that , like a hollywood movie with a skillful script , manipulates us but makes us like it . " critic paul tatara noted that " it isn ' t really fair to suggest that the movie ' s main subject is dance , though . as much as anything else , it ' s about the healing powers ( and poetry ) of simple self - expression . " ( wikipedia )

accessibility concerns ? email us at accessibility @ urltoken . we would love to hear from you .

for moments of forceful and dramatic movement , we suggest tango . when that drama turns to passion , we suggest the argentine tango . in either case , wear black to finish the look .

try it yourself : we recommend lindy hop . . . but at a slightly slower pace .

while there are plenty of great dance scenes from the full monty , this one seems to capture the essence of this article . in addition , we ' re sure that every reader can relate to public dance practice moments like this .

an interview with writer / director boots riley about his incendiary new film , " sorry to bother you . "

lee o . is an avid film enthusiast who specializes in hollywood film history , critically examining films of any country and era and putting it in its historical context – while also conveying what it means to her . she is a film studies graduate at a southern california university , with a concentration in the relationship between history and media .

the parts of shall we dance ? that are done well , are done very well , muting the negative impact of certain less successful elements . one of the most interesting aspects of the film for a western viewer is that we ' re offered an opportunity to peer through an open window into japanese society , especially as it addresses issues of intimacy . for those of us who are used to the idea that dancing is an integral part of the cultural fabric , understanding how the japanese view this activity can cause a shift in perspective .

there was a dance… kind of a store - front dance place , up there , upstate . and i was going there , two , three , four , five times a week . that was three or four months before we started shooting .

despite the country ' s long cinematic history , commercially successful releases from japan are pretty rare on this side of the world . put simply , japanese culture seems far too alien and too damn odd to resonate much with western mainstream audiences , which is what makes the universal appeal of shall we dance ? all the more fascinating .

but the film asks for this comparison . for one thing , it would have us believe that its cast of cross - cultural misfits is somehow making the same type of rebellious social statement as the dancers in the japanese film .

loved this film and great performance by richard gere and susan saranden . . . . . . brilliant ! ! !

" shall we dance " is a sweet , gently - told tale about a man ' s defeat of his mid - life crisis . it all goes down smooth , and is wall - to - wall with dancing , both terrible and majestic . rated pg . 136 minutes , but goes by quickly . cha - cha - cha .

' ' shall we dance ? ' ' also has a more western mantra in its frequent evocations of ' ' the king and i , ' ' complete with talk of yul brynner and deborah kerr . the title song is played inspirationally , while vague strains of ' ' hello young lovers ' ' filter through tender moments between sugiyama and mai .

the last third of " shall we dance ? ' ' provides audiencepleasing payoffs that could make this film as popular as " strictly ballroom , ' ' and the most successful japanese film at the western box office since " tampopo " 10 years ago . but it is the opening material that fascinates . to seek out the secret of a beautiful woman in a window is much more interesting than to discover the secret . familiarity dissipates eroticism . of course i realize i am asking the impossible : of course sugiyama will mount the stairs , and so of course there must be a story .

i adore this film and am really disgusted that the version released here is nearly half an hour shorter than the one shown in japan . if the dvd company ever looks at this site - please can we have the complete film . if the mutilated version is this good ( and it is wonderful ) how much better to have the whole thing .

a film criticism blog for the classics , the classics - in - the - making , and the never - classics .

shall we dance ? is not without its share of flaws , however . several subplots are largely ineffective , due in part to the director ' s unfortunate tendency to use caricatures to generate both sentiment and comedy . several supporting characters ( especially an overweight dance student named tanaka and a wild latin dancer named aoki ) are poorly - developed types whose primary purpose appears to be to act as foils for some of the film ' s more elaborate jokes . and , while this humor does generate laughs , it results in ill - defined individuals whose dramatic effectiveness is diluted .

the dance scenes are beautifully shot with vibrant color and depth in terms of choreography . kudos goes to toshio watari , who served as the film’s dance choreographer . he makes the cast look exciting , even takenoko has to dance latin in a very comical flamboyant kind of way . all these elements of story , characterization , and movement truly mesh well and it is clear why it would win the best film as well as 13 other awards at the japanese equivalent of the academy awards in 1997 .

as a public service , even if you can salsa to classic r & b music by full force , we suggest that you do that outside of a kid n ' play dance routine battle .

this list collects every film from the starting list that became they shoot pictures don ' t they ' s 1000 greatest films . this…

veteran koji yakusho is great as accountant shohei , who starts out fascinated with the lead dance instructor only to realize that something has sparked him and that’s dancing . one may seem annoyed for the first half of the film with tamiyo kusakari’s lead character of dance instructor mai . the reason is because in the first half of the film , she is more stone - faced and stern . however , an hour into the film , when she smiles for the first time after being impressed with shohei’s improvement , it is clear that “the teacher can also learn from the student” .

we ' re told that it is " beyond embarrassing " for a husband and wife to dance , and to dance with someone else is " even more shameful . " in other words , don ' t be looking for repeats of " bandstand " the next time you ' re in tokyo .

i told my roommate about the film and how nice it is so we had planned on seeing it tonight . however , i gotten into a mood where i was listening to " fuck and run " by liz phair on repeat all day . so yeah .

despite a few plodding moments , most apparent in an unnecessarily long - winded denouement in which the various threads of the story are rather hamfistedly tied up , the film is a delight from start to finish . the characters achieve a degree of buoyant absurdity that is quite endearing and the fact that they are so deeply expressed in terms of their physicality rather than by language is what gives shall we dance ? its cross - cultural appeal . suo ' s film , particularly in the colourfully vivacious dance sequences , is packed full with visual detail , taking in each of the characters and their individual dancing styles . from his first awkward steps onto the dance floor , sugiyama ' s emotional journey from respected but unfulfilled office drudge to an assured and valued member of the dance school is uplifting in the extreme . perhaps the most exhilarating aspect to the whole thing is that all of the characters look as if they ' re enjoying themselves so much .

pingback : that dame upstairs : a film noir primer | 24 frames of silver : a cinema blog for the soul by lee o .

it was funny , sad and happy . the film moved along at a gentle pace and all of the characters were very well played .

no . ( laughs ) i don ' t think i ' ve danced at all . when we finished dancing , we had a wedding reception , the year after we got married , because we finally had time to do it . and my wife and i had kind of a wonderful spotlight dance , and my wife had been taking lessons from one of the teachers also , one of the guys that was in the movie . her family had always told her that she couldn ' t dance , and she got up with me , and we started doing all the dips and twirls , and all the things , and her family was just beside themselves . it was a very emotional kind of coming out for her , to do that in front of her family . it was pretty great .

although i had seen the 2004 hollywood remake of this film , it had been some time and i couldn ' t really remember much outside the fact that a middle - aged man takes dance lessons from an attractive younger woman .

shall we dance , a remake of the popular 1996 japanese movie of the same name , could have easily gone off the deep end . it’s a rare man , who in the midst of a midlife crisis , walks away sexually unscathed after becoming attracted to a beautiful—younger—woman . here , he dances cheek to cheek with her on more than one occasion , and pines after the idea of her ( he feels as though her soulfulness and sensual sadness might give meaning to his own sense of melancholy ) , but he refuses to take things to a carnal level . similarly , it’s a rare wife , who , distanced from and deceived by her husband , and offered another man’s attentions , firmly walks away with nary a flirtation .

sugiyama is developed as a low - key , likable character who fills the role of the japanese " everyman . " his relationship with mai proceeds along a natural path , shunning romantic hyperbole in favor of a refreshingly believable tangle of feelings . watching both sugiyama and mai grow as a result of each others ' influence is one of shall we dance ? ' s subtle pleasures . ultimately , the results of all the dance competitions pale in comparison to understanding the unique relationship that develops between these two .

this dance sequence can sometimes get lost in the majesty which is james cameron ' s titanic . this sequence showcases how a dance can bring people closer , and put a smile on

some would argue that in 1992 " strictly ballroom " paved the way for popular dance television shows and movies today . after watching this final dance it would be hard to disagree .

we know life happens , so if something comes up , you can return or exchange your tickets up until the posted showtime .

looking to impress your love interest ? we suggest you take jon cryer ' s approach and " try a little tenderness " .

try it yourself : we suggest a vintage hustle , or a romantic rumba . polyester clothing and perfect hair are both optional .

japan may not recognize ballroom dancing , but if masayuki suo ' s film is any evidence , it knows about midlife crises set to music .

by the end of the film i had a big smile on my face and my heart felt warm . it was just what i needed .

in the romantic comedy " shall we dance ? , " jennifer lopez , in full sizzle , minces no words in evoking what ballroom dancing is all about . instructing richard gere in the rumba , she defines it as " a vertical expression of a horizontal wish . " and in the too - brief sequence in which they meld as an iconic dance - floor couple , they approach the swooning grace of fred astaire and cyd charisse , whom the movie holds up as ultimate dancing partners afloat in pure rapture .

good media discernment is about guarding our eyes and hearts before we watch or listen . and it ' s also about grappling with the entertainment we do see or hear . that ' s why the plugged in blog is devoted to guarding , discussing and grappling .

there are victory dances for accomplishments like touchdowns and promotions , but what kind of victory dance comes to mind when you score in the bedroom for the first time ? we nominate this clip from the 40 year old virgin .

try it yourself : this song is not a traditional sounding mambo , and while we think mambo and salsa are both fantastic dances to learn , use this song only to pay tribute to this dance , and nothing else .

i find myself revisiting this movie as i prepare to return to japan in just over a month . the film reminds me that there is so much more to japan than monsters and ninjas and samurai or shining robots and bright anime action . japan is made up of beautiful people , good friends like my dear friend kumiko , and fine art expressed in a wide array of styles . shall we dance ? proffers a hand to westerners , asking them to experience a different side of japan with a well - crafted , heartfelt story . i would extend the same invitation .

unfortunately , midway through the movie the plot kicks into high gear , demanding the drama quotient be ratcheted up as john’s wife discovers where he has been sending his wednesday nights . the film swings from light comedy to dour drama and never fully recovers its balance in time for the climactic dance competition scene . the original film much more competently balanced its dramatic moments with lighter , comic beats .

we hope this review was both interesting and useful . please share it with family and friends who would benefit from it as well .

conventional as it may be , " shall we dance ? " offers genuine delights . the fact that paulina is uninterested in romance with john comes as sort of a relief , freeing the story to be about something other than the inexorable collision of their genitals . it can be about how john feels about his life , about why it might be useful for a middle - aged lawyer to jump the rails and take up ballroom dance . and about the gallery of supporting characters , who get enough screen time to become engaging .

that is not the case in the 2004 american remake - - and the lack of subtext drains the film of the heartfelt power of the original .

any attempt to reinterpret this untouchable dance scene with uma thurman and mr . travolta would only bring a world of pain to you courtesy of a certain marcellus wallace . . . and we wouldn ' t wish that on anyone .

i took up dance a few years ago , and like the hero of this film , i yearned to do it , but felt quite awkward about it . the film accurately portrays how dancing draws you in . you think you ' re doing it for one reason , but you soon find yourself dragged in a different direction . the film is very japanese , so you get lots of perspectives that reflect that society . this means it goes places you don ' t expect . i loved the authentic detail , the insight and the humour . it ' s romantic and realistic , which is a wonderful achievement - one of my top dance films !

try it yourself : conventional wisdom says to learn the hustle , but if you want to stick it to someone in your next disco dance battle , might we suggest taking a closer look at ben stiller ' s far out moves .

" the ballad of narayama " is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…

watched this version in a film appreciation class in college before the gere version came out . i agree with you completely that this version is much better .

mix jitterbug with everything that jack black is doing , and you could clear any dance floor forever .

as much as i like shall we dance ? , however , it has always bothered me that shohei’s relationship with his wife did not take a more central role . of course , their marriage is shown as important to the story , and hideko hara gives a good performance as the rather spurned wife masako . however , she seems almost always to be pushed aside for the centrality of dance , or shohei’s relationship with mai or toyoko . at the end of the film , the main tension is not about shohei reconciling with masako , but rather whether shohei will go and see mai one last time . the impression , then , is to make it seem as if shohei’s fleeting relationship with mai is actually more important than the lifelong commitment he has made to his wife . further , masako is mostly cut off from shohei’s dance activities throughout the film , and she is treated more as someone who exists in order to ultimately encourage shohei to live his life rather than someone whose feelings really matter very much . shohei never confesses to masako that his dance passion was initially enflamed by an extramarital lust for mai , and when he “makes up” with his wife towards the end , the main purpose of the reconciliation seems just as much to be a means to reignite shohei’s interest in dance ( which he gives up for a time ) as it is to reconnect with his wife . the blasé way in which shohei and masako’s relationship is treated in the film is the biggest flaw in the film , in my opinion .

" our family doesn ' t go to the movies until we go online and check out your assessment of a given film . i think this is the best christian media review website that i ' ve found , and i recommend it to my family and friends . keep up the good work ! "

it takes an awful lot of fancy footwork from mr . suo to sustain the idea that the main source of his characters ' excitement is the rhumba . but the cheery , squeaky - clean ' ' shall we dance ? ' ' unfolds in broadly heartwarming fashion and uses the dancing school strictly to rekindle tired spirits . sugiyama ' s fellow dancers , each of them somehow both goofy and poignant , develop a new sense of fellowship in their secret community . and the dancing , as in ' ' strictly ballroom , ' ' is filmed with a wishful fred - and - ginger sweetness that gives the film a studiously effervescent mood .

q - - at the end of the film , has mr . sugiyama ' s ballroom dancing experience helped define his life ? has it made his family stronger ?

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richard gere shines as the bored mid life man who wants more from life and joins a dance class .

one can never have enough ammunition in the disco dance battle arsenal . watch this for a full resupply .

at the start of ' ' shall we dance ? , ' ' a japanese businessman goes to a ballroom dancing school so furtively he might be visiting a bordello . ' ' in japan , ballroom dancing is regarded with much suspicion , ' ' an opening title explains . yet 42 - year - old shohei sugiyama ( koji yakusyo ) is so unsatisfied by his wife , child , house , car and accounting job in a sterile office that he desperately needs a change of pace .

when i first heard of this film , i assumed it would just be a boy - meets - girl flick . instead it has more complexity than that , while still remaining a gentle , easy - to - watch film the comedy elements maintain the gentleness , with few ' jokes ' per - se , but a sense of underlying humour that still allows for genuine feeling and emotion to surface and play it ' s part . a lovely feel - good film , with some good dancing in it .

we are all spoiled children of the digital graphics in cinema today . we can spot bad effects , wires , and any other devices meant to deliver believable magic . so , to see a movie over 30 years old that can deliver a " wow " moment , it definitely belongs on this list .

if you ' re a seller , you can increase your sales significantly by using fulfilment by amazon . we invite you to learn more about this programme .

while an overriding theme of the film centers on the importance of enjoying art for art’s sake alone , as with most dance films , there is a dance competition—though winning said competition is never of huge importance to the plot . instead , the competition helps to spur shohei on to learn dance more , and to work with the often - prickly toyoko as his partner , and mai ends up coaching them to do their best . interestingly—again , unlike most dance films in america—the leads never learn particularly flashy moves , and dancing is not reduced to just the equivalent of a special effect—pizazz included simply to wow audiences . instead , dance is shown as something warm and beautiful , bringing people joy , not just gymnastics to a beat .

paso doble ! that dance that brings out a different , bullfighter side , in all of us . ole !

a - - it is somewhat embarrassing for japanese people to dance together , men and women , like westerners .

both films are about the healing powers of self - expression . but the original also had strong cultural touchstones regarding dance . public displays of affection , and the close proximity of bodies required for ballroom dancing - - even between a husband and wife - - are considered shameful in traditional japanese culture . the dance students in the original film defied their tightly bound society with a powerful act of nonconformity .

" tequila " is a classic mambo , or salsa , depending on your mood . we recommend saving the pencil thin suit and platform shoes strictly for show .

tom cruise ' s career skyrocketed after dancing around in his underwear , while people stood by watching with their pants on . we should all reconsider our strategies .

we only saw each other a little bit . i know jennifer from before this movie , actually , because her agent at one time was also tim’s agent . so she played videogames with my boys way back when . they’ve spent time together and i know her . i really like jennifer . we hung out more in the trailers . we were only in the one scene at the end . and i ran into her once at the dance studio because at one time they had me in to learn the waltz . i think she’s just very exotic and obviously a great dancer and very sexy and a good actor . i think she brought a lot to the movie . you believe her as a dancer and as somebody whose life’s tragedy revolves around the dance contest . it’s not everybody you could believe that of . i’m sorry that we didn’t work more together . they usually just allow two women per film , and they usually don’t work together . that’s just the way things work out in the scenarios , and that was true in this one .

directed by peter chelsom ; written by audrey wells , based on the film by masayuki suo ; director of photography , john de borman ; edited by charlie ireland ; choreography by john o ' connell ; production designer , caroline hanania ; produced by simon fields ; released by miramax films . running time : 106 minutes . this film is rated pg - 13 .

nice feel good film but the ending where the inference is that anyone in a partnership cannot do anything unsexual outside of the partnership is just a bit too hollywood for me . it would have been so much better if the film had had a different ending with the couple acknowledging that sometimes to develop they have to something individually . in the end hollywood trash .

every dance television show on tv opens with some type of group dance number , a formation . watch this sequence and see for yourself if the shows of today may have taken some inspiration from this iconic scene from 50 years ago .

how many of us wish that we could throw away social and cultural obligations and be free ? most of us , i suspect . shall we dance ? is not a movie about dancing . it is about learning about ourselves , recognising what we are looking for in life and having the courage to go in search of it . mr sugiyama is a middle - aged member of a japanese society where ballroom dancing is viewed as unsuitable behaviour . one day mr sugiyama sees a beautiful girl leaning out of the window of a dancing acadamy . he is fascinated by her and eventually signs up for dancing lessons . he is ashamed of his dancing and afraid of ridicule . he hides the fact that he is attending dancing classes from his colleagues and family . there is a hilarious scene in the mensroom at the office when sugiyama and watanabe , a workmate who also dances , are interrupted practising some dance steps . there are many other funny and warm - hearted scenes . the ending is not a fairytale , but it leaves the viewer feeling good . this movie helped me to understand the japanese people a little better . it is a warm and very worthwhile film to see .

the dancers in the film get together at a local watering hole after their lessons and discuss what they ' re doing as if they ' re training for guerrilla warfare . this is dance as an act of nonconformity , and they ' re exhilarated that they have the guts to take part in it .

side # 1 - - 1 . to dance or not to dance [ 2 : 34 ] 2 . mr . suglyama , workaholic [ 6 : 19 ] 3 . two left feet [ 11 : 35 ] 4 . group lessons [ 3 : 58 ] 5 . " one - trick rumba " [ 7 : 31 ] 6 . free consultation [ 4 : 59 ] 7 . sensei [ 3 : 43 ] 8 . not giving up [ 4 : 04 ] 9 . too good to dance [ 8 : 40 ] 10 . toyoko ' s breakdown [ 1 : 05 ] 11 . no hesitation [ 6 : 34 ] 12 . reason to dance [ 6 : 06 ] 13 . amateur competition [ 3 : 40 ] 14 . waltzing for an audience [ 10 : 00 ] 15 . letter from mai [ 6 : 09 ] 16 . apologies accepted [ 7 : 14 ] 17 . " shall we dance ? " [ 8 : 54 ] 18 . credits [ 4 : 02 ]

i tend not to be drawn to films described as ' heartwarming ' . ' life enhancing ' or ' magical ' but as this is a japanese film , i had no need to worry . no chance that , whilst being all of that the film would not also be realistic . true there is much sentiment but not false sentiment and the heartwarming moments are genuinely touching , nobody is tugging at the heart strings , we simply feel for the characters because they are so well drawn and we have become involved . simple enough story describing a normal japanese salaryman ' s gradual involvement in ballroom dancing but so well photographed and written that we find ourselves both laughing at and with the participants . fairly slow build and no dramatic finale , just one beautifully told tale that will involve and amuse even the most hardened yakuza movie fan , or anyone else for that matter .

whether you ' re trying to get your kids to take dance lessons , or not sure how to explain your dance hobby to your friends and family , take a look at this scene from jamie bell in the classic , billy elliot .

our hope is that whether you ' re a parent , youth leader or teen , the information and tools at plugged in will help you and your family make appropriate media decisions . we are privileged to do the work we do , and are continually thankful for the generosity and support from you , our loyal readers , listeners and friends .

a successful but unhappy japanese accountant finds the missing passion in his life when he begins to secretly take ballroom dance lessons .

while a few broadway audition leaps may seem more appropriate , you could dance a tango or swing to this travolta classic .

24 frames of silver : a cinema blog for the soul by lee o . is a film critique and history blog that will post at least every sunday , and potentially days in between .

clark ' s wife , of course , does become suspicious about his behavior and discovers his secret by hiring a private detective . the film ' s resulting confrontation and anti - climax at chicago ' s biggest ballroom dance competition - - where john ' s secret if finally exposed - - feels embarrassing rather than heartfelt .

: peter ' s show makes it clear to linda that he sees her this way . arthur helpfully drives it home by telling her , " he said if he couldn ' t dance with you , he ' d dance with images of you . "

initially released in its home country in 1996 , it picked up an impressive 13 japanese academy awards . whilst on its us release , where it was distributed by miramax , it pretty much cleaned up to become one of the highest - grossing foreign language titles of all time ( though through a loophole in the rules , was deprived of a best foreign language academy award nomination in 1997 because it had already been shown on television in japan the previous year ) .

it ' s an incredible novel . i ' m amazed at how many people have read that . myla goldberg wrote the script . if we pulled this off , it should be a terrific film . they found an amazing little girl to play… it ' s really about my daughter , it ' s about the girl . who is quite magical , and her magic is expressed through spelling .

as humans , we place a premium on the original versions of things . it ' s very difficult to remake a classic and have it receive any positive reviews . this song and dance from young frankenstein took the original , killed it , and brought it back to life as a tap dancing monster of a hit .

try it yourself : if you wanted to go the authentic route , please share the video with us . if you wanted to go for something a bit more practical , we suggest merengue .

richard gere plays john clark , not an unhappy man , in " shall we dance ? " he loves his wife and daughter , he enjoys his job as a lawyer , and when his wife gets that funny look in her eye and asks him if everything is ok , he says sure , of course , everything is fine . but there is something missing . one night as he is returning home on the l train , he notices a woman standing alone in the window of miss mitzi ' s dance studio . there is something intriguing about her solitude , her pensive attitude and , let it be said , her figure . a few days later , he gets off the train , walks into the studio and signs up for classes in ballroom dancing .

there are several minor plot lines concerning the lonely members of the dance class , and a couple of them probably could have been cut , but the characters are all nicely written , and of the performances are thoroughly enjoyable . sugiyama ' s growing relationship with the beautiful instructor is at the heart of the film , and it develops in quite unexpected ways .

well , i ' ll probably see you all in about four or five months on ' bee season . ' which is a small film . as functional as these people are , that ' s about dysfunctional people .

john goes to the dance club with his son evan . as the camera enters the club , john ' s son evan and his girlfriend are dancing in the crowd . in the next shot , they are sitting with john just getting ready to go out onto the dance floor .

now , we ' re supposed to feel that gere ' s character is afraid his wife will somehow assume his need to dance is a sign of being unfulfilled in their marriage , rather than going against a social norm . and there ' s also that annoying little emotional involvement with paulina , which is somehow not supposed to be sexual .

agree , really fun movie . i also watched it in a japanese cinema university course . i minored in film studies , and took a lot of cinema courses in university . the japanese one was by far my favourite .

some people prefer the limelight in the center of a lighted disco floor , for the rest of us - dance the hustle on the sidelines .

but then , on just another hazy ride on the train , he sees mai ishikawa gazing distractedly out the window of a local ballroom dance studio . he is enchanted . each ride in the train , he looks for her , sees her , longs for her . despite how dance is frowned upon in his culture , he goes to dance class—not because he really wants to dance , but because he is taken by mai’s beauty and he wants to be with her . he tells his wife nothing , tells his coworkers nothing—he just goes , disappearing every wednesday night . mai rejects shohei’s advances , however—disgusted that he would dance out of infatuation for her beauty rather than for the love of the art itself . shohei decides to learn to love dance for dance’s sake , and throws himself into learning how to properly cut the proverbial rug in order to show her he is not so shallow , and , in the process , develops a real love for ballroom . but by this time , his wife has hired a private investigator to follow shohei , and much more is at stake than just a turn on the dance floor . his whole life may come crashing down because of his secrets .


kanoon apna apna is a 1989 hindi action-drama film starring dilip kumar , sanjay dutt and nutan .

it was a box office hit , earning 4 crore net in 1989 .

the film , however , did not live up to the expectations set by vidhaata ( 1982 ) that also starred both dilip kumar and sanjay dutt .

kanoon apna apna

kanoon apna apna <EOT> the movie kanoon apna apna , released in 1989 , features 4 songs from artists like balasubramaniam s . p . , asha bhosle and alka yagnik . what is your favorite song from kanoon apna apna ?

an unidentified group of chorus singers that appears in the hindi film " kanoon apna apna " and subsequent soundtrack recordings .

kanoon apna apna is a 1989 hindi action - drama film starring dilip kumar , sanjay dutt and nutan . [ 1 ] it was a box office hit , earning 4 crore net in 1989 .

tikekar to act as promoters of apna ghar co - operative housing society ( proposed ) .

kanoon apna apna was released in the year 1989 , some songs of the official soundtrack are a b c d e f g by alka yagnik , eini mini aai aai yoh by bappi lahiri , gai gai gai gai main toh gai by balasubramaniam s . p . , pehli nazar mein ho gaye hum toh aapke deewane by balasubramaniam s . p . . listen the soundtrack online !

( iii ) defendant no . 6 shri . sudhakar sitaram jadhav was elected / became the chief promoter of apna ghar co -

( i ) an alleged special general body meeting was held on 24th december , 2011 of apna ghar co - operative housing society ( proposed ) .

the land referred in the consent term is sanctioned for allotment to apna ghar co - operative housing society limited ( proposed ) on the following exemptions / terms and conditions .

status - quo shall remain effective until further order on the land in question which is allotted to apna ghar co - operative housing society through the petitioner - chief promoter ( proposed ) . "

c . thereafter , the said oshiwara land development entered into an agreement for sale dated 18 th february , 1981 with one mr . vasant mahadev tikekar and plaintiff no . 1 ( the chief promoters of the said apna ghar ) .

4 ) these reliefs were claimed by alleging that all the appellants are residents of mumbai . it would be convenient to refer to the appellants as original plaintiffs and the respondents as original defendants . the appellant / original plaintiff no . 1 is the chief promoter of apna ghar co - operative housing society limited ( proposed ) . the appellants / original plaintiff nos . 2 to 10 and respondent / defendant nos . 61 and 62 are the present promoters / members of apna ghar co - operative housing society limited ( proposed ) .

l . on 17th april , 2012 , the plaintiffs applied to the deputy registrar of co - operative societies for registration of the name of the proposed society with copy of the resolution passed by the said apna ghar co - operative housing society limited ( proposed ) .

( d ) i say that the said association apna ghar co - operative housing society ( proposed ) was formed in 1980 under guidance of my late father mr . kamlakar laxman walawalkar , who then the managing partner of the defendant no . 4 and thereafter i have continued as managing partner of defendant no . 4 .

e . that this hon ' ble court be pleased to set aside or cancel the development agreement dated 11th november , 2004 , being exhibit ' d ' to the plaint , entered into between the plaintiff no . 1 in his capacity as the chief promoter of apna ghar cooperative housing society ( proposed ) and defendant no . 4 and declare that

( g ) the plaintiff no . 1 admits having filed criminal complaint no . 101 / sw / 13 of 2013 before the 65 th metropolitan magistrates court at andheri and as exhibit ' a ' thereto , he has annexed supplemental agreement dated 18 february 1981 . i say that the said agreement emanating from the plaintiff no . 1 himself shows the address of apna ghar co - operative housing society ( proposed ) as 11 - a , suyash , near amar hind mandal , gokhale road ( n ) , dadar ( west ) , mumbai 400028 . thus , on the plaintiffs ' admission full support has been extended by the defendant no . 4 to apna ghar co - operative housing society ( proposed ) .

tikekar in their capacity of chief promoters of apna ghar co - operative housing society ( proposed ) and samarth development corporation ( defendant no . 4 in the present suit ) , in which , there is a reference to this suit no . 3429 of 1991 and the parties claimed that they are owners of a large chunk of land admeasuring 86 acres and 32 gunthas in

the said suit no . 3429 of 1991 thus was decreed as per the consent terms dated 19th december , 2006 filed therein . the said consent terms / decree inter alia provided that the said property shall be allotted to mr . ashok kulkarni , the plaintiff no . 1 herein in his capacity as the chief promoter of apna ghar co - operative housing society limited ( proposed ) , the proposed plaintiff ' s society .

16 ) then , there is an affidavit of defendant no . 4 , which is at page 266 ( volume i ) of the paper book . the defendant no . 4 has dealt with the allegations regarding the development agreement dated 11 th november , 2004 . it has been pointed out that the same is executed jointly by shri . vasant mahadev tikekar and original plaintiff no . 1 , in their capacity as chief promoters of the proposed apna ghar co -

appl . 672 . 2014 . judgment . doc initials of plaintiff no . 1 . those have been forged . thus , the agreement and its execution is not prima facie denied . if it is vitiated by false assurances and mis - representation on the part of defendant no . 4 , then , the plaintiffs would have to explain as to how the consent terms in suit no . 3429 of 1991 have referred to land admeasuring 86 acres and 32 gunthas , within which the portions delineated on the plan are to be given to the chief promoters of the apna ghar co - operative housing society ( proposed ) and on the terms and conditions set out in exhibit ' b ' of the consent terms . there is a consent decree , under which , these lands have to be allotted to apna ghar co - operative housing society ( proposed ) . the terms which are referred to in exhibit ' b ' read as under : -

the deputy registrar co - operative societies , k - west ward by its letter dated 15th may , 2012 rejected the application of the plaintiffs on the grounds that another society with the very same name , defendant no . 5 i . e . apna ghar co - operative housing society limited had been formed and registered on 28 th february , 2012 with respect to the said property . the same was on the application of the alleged chief promoters / members claiming to be the chief promoter and its members .

b . that this hon ' ble court be pleased to declare that defendant no . 5 i . e . apna ghar co - operative housing society limited , or defendant nos . 6 to 60 are not entitled to be allotted or handed over possession of the said property . c . that this hon ' ble court be pleased to set aside or cancel the resolutions dated 24th december , 2011 passed by defendant no . 5 and defendant nos . 6 to 60 and declare that the same are not binding upon the plaintiffs .

( f ) i say that in the plaint , the plaintiffs refers to but has not annexed supplemental agreement dated 18 february 1981 entered between oshiwara land development company private limited on one hand and vasant mahadeo tikekar and the plaintiff no . 1 in their capacity as chief promoters of apna ghar co - operative housing society ( proposed ) whereby the lands admeasuring 86 acres was agreed to be acquired , which is the basis for allotment of the said lands , by virtue of consent terms ( exhibit ' g ' to the plaint ) in suit no . 3429 of 1991 .

they represented the interest of the members of an association , of which , they were chief promoters . that suit was in the process of being settled . the land was likely to be allotted to plaintiff no . 1 . in such circumstances , the development agreement was entered into between vasant tikekar and plaintiff no . 1 as chief promoters of apna ghar co - operative housing society ( proposed ) with defendant no . 4 for development of the suit land . mr . samdani placed reliance upon clauses 5 , 6 and 7 of the proposed terms of settlement , which have been

39 ) then , mr . samdani invited our attention to the copy of the development agreement dated 11 th november , 2004 . mr . samdani relies upon clauses 5 , 6 , 7 and 13 of this agreement . he submits that this agreement is unstamped . later it was stamped on 16 th january , 2012 . similarly , he invited our attention to the consent terms in suit no . 3429 of 1991 and particularly the clauses under the caption / title exhibit ' b ' . he invited our attention to the exemptions and the restrictions therein to submit that it is only the apna ghar co - operative

appl . 672 . 2014 . judgment . doc long as he constructs the building / s comprising of the flats to be handed over to the members of the respondent no . 5 society . mr . chagla has pointed out that by clauses 5 , 6 and 7 , it is evident that the chief promoters of the apna ghar co - operative housing society limited ( proposed ) did not retain any rights in the property but handed over the same to the developer . if these clauses are undisputed and unchallenged throughout , then , they have been accepted even by the original plaintiffs and particularly plaintiff no . 1 mr . ashok kulkarni .

( h ) i say that it is not in dispute even by the plaintiffs that the development agreement ( exhibit ' d ' to the plaint ) or the development agreement ( exhibit ' e ' to the plaint ) refer to the address of apna ghar co - operative housing society ( proposed ) as 11 - a , suyash , near amar hind mandal , gokhale road ( n ) , dadar ( west ) , mumbai 400028 and even the registered address of the defendant no . 4 in 2004 has been 11 - a , suyash , near amar hind mandal , gokhale road ( n ) , dadar ( west ) , mumbai 400028 on this document .

appl . 672 . 2014 . judgment . doc development and protection of the land , along with interest thereon . it was the obligation of the society to submit the list of members within one year for the approval of the government and that the society will not be able to construct flats with more than 700 square feet . further , 20 % members of the society must be from backward class . thus , the terms were executed later on , but in the backdrop of the above policy of the government . yet , prior to the execution of the terms , the development agreement came to be executed and with the background noted above . that background is the pendency of suit no . 3429 of 1991 . in the recital on internal pages 2 to 4 of the agreement dated 11th november , 2004 , there is specific reference to the understanding between the state and the apna ghar co - operative housing society limited ( proposed ) , by which , the land would be obtained by this proposed society . the land would be acquired by the chief promoters of the apna ghar co - operative housing society limited ( proposed ) and to have the property developed for providing housing accommodation to the members of the society or societies . if they did not have the financial means to undertake the development of the property and were therefore desirous of handing over the development rights in relation thereto even before the property was handed over to the proposed society , then , the execution of the development agreement and with the clauses and stipulations thereof , to our mind , should have been

kulkarni , the chief promoters of apna ghar co - operative housing society ( proposed ) . the suit was filed against the state of maharashtra and mhada for a declaration that the plaintiffs therein are absolute owners of the suit land , more particularly described in exhibit ' b ' to the plaint and that none of the defendants have any right , title or interest in the same . certain orders passed by the authorities under the maharashtra land revenue code were also challenged in the suit . in addition , a permanent injunction to restrain the defendants to that suit and / or any of them , their servants , agents , from in any manner interfering with and / or disturbing the plaintiffs ' possession of the suit land was claimed . a development agreement was signed on 11 th november , 2004 between plaintiff no . 1 / appellant no . 1 and one v . m .

74 ) we are of the opinion that even the allegations , which are now made and by amending the plaint , would have to be proved . the allegations with regard to the agreement being not stamped or insufficiently stamped and therefore cannot be received in evidence need not detain us . the disputed portion of the agreement is commencing from the recital after 2 pages of the agreement and from page 3 . in clause ( 1 ) there appears to have been an addition of certain words and at page 3 of the agreement 7700 square feet ( built up ) area to be given free of cost by the party of the second part , namely samarth development corporation to apna ghar co - operative housing society limited ( proposed ) are prima facie inserted . this flies in the face of the consent terms in suit no . 3429 of 1991 and particularly exhibit ' b ' thereto and the order of the hon ' ble supreme court . thus , a tenement

68 ) this meeting of 24th december , 2011 has been assailed by the plaintiffs on several grounds and particularly absence of notice and that it was the builder and developer ( defendant no . 4 samarth development corporation ) who was instrumental in causing the removal of plaintiff no . 1 surreptitiously . thus , all the steps taken allegedly to convene and hold the meeting so also the decisions taken thereat ( the minutes of the meeting dated 24 th december , 2011 ) are challenged in this suit . that , the plaintiff no . 1 never informed anybody that he was not interested in continuing as a chief promoter of the apna ghar co - operative housing society ( proposed ) and that he had no intimation of the meeting of the members convened on 24 th december , 2014 nor was he aware of any decisions taken thereat are the allegations which have been made extensively in the plaint , but they will have to be proved by the appellant no . 1 and other plaintiffs .

appl . 672 . 2014 . judgment . doc purpose of opposing ad - interim reliefs . however , we find from a perusal thereof that it is fairly extensive . the objections to the maintainability of the suit and on various grounds are set out from para 2 and it is urged that the basis of the present suit is identical to writ petition no . 4882 of 2013 . thus , this is a case where both proceedings are identical . in the light of the suit being a copy of the writ petition and containing the same allegations , it was urged that the suit is not maintainable . then , it was urged that the plaintiff no . 1 has , only in the year 2012 , enrolled plaintiff nos . 2 to 10 and defendant nos . 61 and 62 as members of the so called apna ghar co - operative housing society limited ( proposed ) . the plaintiff nos . 2 to 10 and defendant nos . 61 and 62 are complete strangers . the suit is thus filed by plaintiff no . 1 alone . the plaintiff nos . 2 to 10 and defendant nos . 61 and 62 are put up by the plaintiff no . 1 to make a semblance of an association to raise false and frivolous disputes against defendant no . 5 society and its members being defendant nos . 6 to 60 .

tikekar as promoters of apna ghar co - operative housing society ( proposed ) and by defendant no . 4 . after signing the development agreement , some of the members and plaintiff no . 1 started making demands on defendant no . 4 for provision of free flats in the buildings to be constructed on the said land . defendant no . 4 did not intend to have any dispute on this ground and therefore , he agreed to the demand of the members of the proposed society , including the plaintiff no . 1 for provision of flats admeasuring 7 , 700 square feet built up in the buildings to be constructed on the land , free of cost . that is how clause ( 1 ) of the development agreement was modified and by an insertion . the development agreement , a soft copy of which was available at the office of defendant no . 4 , was thus reprinted with this insertion i . e . by replacement of pages 3 and 4 of the previously executed development agreement . after the pages 3 and 4 were replaced in the already executed development agreement , plaintiff no . 1 and defendant no . 4 initialed the said pages . mr . tikekar agreed to this arrangement , but his initials on the said pages remained to be obtained . the insertion of pages 3 and 4 was made at the insistence of the members of the proposed society , which included plaintiff no . 1 and

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an indian government official tries to remain loyal to his job and the state when his career is threatened by a criminal cartel who plan on ruining him as well as his son whom deals with the hoodlums in his own way of justice .

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the collector of anokhapur , jagatpratap singh , thwarts attempts by bhushannath bhadbhole and kabza kanhaiyalal to bribe him . things only get worse after bhushan gets elected and become the minister of fisheries , and is determined to humiliate and crush him at any cost . while attempting to deal with this abuse , jagatpratap faces another challenge when his rowdy and out - of - control son , ravi kumar , decides to take the law in his own hands .

dilip kumar worked with both sanjay dutt and nutan for the second and last time after vidhaata and karma respectively .

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लोटपोट कर देने वाली कॉमेडी - kadar khan - comedy - hindi full hd - t . v . series

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jagatpratap singh is the collector of anokhapur who refuses to buckle under any pressure nor accept any bribe from politician bhushannath bhadbhole and his friend kabza kanhaiyalal - under whose orders all unlawful activities are carried out . while jagatpratap wants to prosecute them under the fullest extent of the law ; his son , ravi kumar proves to be the opposite who wants to take law into his hands .

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the collector of anokhapur , jagatpratap singh ( dilip kumar ) urges on law and order . however his son ravi ( sanjay dutt ) believes that sometimes illegal means should be adopted to bring control . this causes discomfort between father and son . bhushannath ' dharmendra ' bhadbhole ( kader khan ) is a corrupt minister of fisheries . his son kailash ( gulshan grover ) and kabza kanhaiyalal ( anupam kher ) rape and kill jagatpratap ' s maid - servant and also kill ravi ' s friend . but they are acquitted because of a faked alibi . ravi decides to put these criminals to punishment which they deserve . but his father ' s . . . ( more )

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ramji mandir narsinhji and ors . vs narsinh nagar co - operative . . . on 1 december , 1978

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shivshankar shivram singh and 3 . . . vs state of maharashtra nad 4 ors on 4 may , 2016

jitendra manohar dixit and anr . vs gopal babulal upadyay and ors . on 16 april , 2001

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reserved on : - december 22 , 2014 pronounced on : - february 20 , 2015 judgment : - ( per s . c . dharmadhikari , j . ) this appeal under clause 15 of the letters patent challenges the order of a learned single judge of this court dated 7 th

appl . 672 . 2014 . judgment . doc october , 2014 in notice of motion no . 1352 of 2013 in suit no . 730 of 2013 . by this order , the learned single judge of this court has proceeded to dismiss this notice of motion with costs .

2 ) the appeal is admitted . the contesting respondents waive service . by consent , the appeal is heard finally .

3 ) the original plaintiffs are in appeal before us . the appellants instituted the above suit in this court claiming the following reliefs : -

" a . that this hon ' ble court be pleased to declare that the plaintiffs and defendant nos . 61 and 62 are entitled to allotment and possession of all those pieces of parcels of land or ground bearing ( i ) survey no . 120 ( part ) bearing c . t . s . no . 1374 / a / 8 / 1 to 5 admeasuring 39 , 790 . 80 sq . mtrs ; ( ii ) survey no . 120 ( part ) bearing c . t . s . no . 1374 / a / 4 admeasuring 41 , 570 . 10 sq . meters ;

( iii ) survey no . 120 ( part ) bearing c . t . s . no . 1374 / a3 admeasuring 13 , 500 . 40 sq . mtrs ; in all aggregating to 94 , 861 . 30 square meters all of village versova , taluka andheri , district mumbai suburban ( the said property ) .

d . that this hon ' ble court be pleased to set aside or cancel the agreement dated 9th april , 2013 executed by defendant no . 5 .

appl . 672 . 2014 . judgment . doc the same is not binding upon the plaintiffs and defendant nos . 61 and 62 .

e ( i ) . that this hon ' ble court be pleased to declare that the alleged development agreement ( exhibit e ) hereto is forged , fabricated , null and void and not binding on plaintiffs and defendant nos . 61 and 62 . "

5 ) it was further stated that the original defendant no . 1 is state of maharashtra . respondent / defendant no . 2 is maharashtra housing and area development authority ( ' mhada ' for short ) and which is an authority constituted under the maharashtra housing and area development act , 1976 . the original defendant no . 3 is the collector of mumbai suburban district . the original defendant no . 4 is a partnership firm registered under the provisions of the

, 1932 . the original defendant no . 5 is a society allegedly formed and registered under the maharashtra co - operative

appl . 672 . 2014 . judgment . doc societies act , 1960 , but by mis - representation and fraud . the original defendant no . 6 claims to be the chief promoter / chairman of this society ( original defendant no . 5 ) and original defendant nos . 6 to 60 are its purported members .

a . byramjee jeejeebhoy pvt . ltd . and / or its predecessors ( hereinafter called ' predecessors ' ) were vested with the entire survey no . 41 in village oshiwara by virtue of a kaul or grant dated 12th october , 1820 . the said grant and / or archival record from pune mentions the aggregate area of survey no . 41 at the date of vesting in the said predecessors to be 1270 acres and 20 gunthas out of which 184 acres and 12 gunthas of land is separately shown as ' khajan ' and the remaining 1086 acres and 8 gunthas has also been shown separately .

b . the said predecessors as vendors and one govindbhai appaji bhatte and others as partners of new swastik land development corporation as purchasers ( subsequently named as " oshivara land development corporation private limited " and hereinafter referred to as " the said oshiwara development " ) entered into an agreement for the sale of the entire survey no . 41

appl . 672 . 2014 . judgment . doc of village oshiwara , as recorded by an agreement for sale dated 25th january , 1964 , modified by writings dated 6 th august , 1964 , 23rd december , 1964 , 9th march , 1966 , 18th august , 1966 and 11th september , 1967 .

d . due to pending disputes and differences , the said oshiwara development along with the plaintiff no . 1 ( plaintiff no . 4 therein ) and others had filed suit bearing no . 3429 of 1991 ( the said suit ) in the hon ' ble high court at bombay against defendant no . 1 i . e . the government of maharashtra and defendant no . 2 i . e . mhada therein . the said proceedings pertained to disputes in connection with the ownership and entitlement of a larger piece of property that included the property ( now numbered as ) i . e . all those pieces or parcels of land or ground bearing ( i ) survey no . 120 ( part ) bearing c . t . s . no . 1374 / a / 8 / 1 to 5 admeasuring 39 , 790 . 80 sq . mtrs ; ( ii ) survey no . 120 ( part ) bearing c . t . s . no . 1374 / a / 4 admeasuring 41 , 570 . 10 sq . meters ( iii ) survey no . 120 ( part ) bearing c . t . s . no . 1374 / a3 admeasuring 13 , 500 . 40 sq .

appl . 672 . 2014 . judgment . doc mtrs ; in all aggregating to 94 , 861 . 30 square meters all of village versova , taluka andheri , district mumbai suburban ( the said property ) .

e . the said predecessor purportedly claiming certain rights in respect of the said property filed suit no . 1096 of 2009 . the suit is filed on the basis of writing dated 5 . 11 . 1990 said to be executed between the said predecessor and the said oshiwara development .

another purported writing dated 21 . 10 . 1999 is also referred in the said suit along with mr . vasant tikekar , an erstwhile chief promoter as defendant no . 3 , the chief promoters of proposed plaintiff society .

f . on 11th november , 2004 , a purported agreement titled as development agreement is alleged to have been entered into by plaintiff no . 1 in the instant suit , namely , suit no . 730 of 2013 with defendant no . 4 thereto . the said agreement was executed on the basis of false assurances , misrepresentations and undue influence . the said agreement was without consideration . the same was not valid in law and was void ab - initio . the said agreement was on a stamp paper of rs . 100 / - purchased in the name of vikas kamlakar walawalkar . the stamp paper is dated 3 rd january , 2004 , the said agreement runs into 11 pages . on page 3 ,

appl . 672 . 2014 . judgment . doc the main body of the agreement begins , the said page 3 bears the initial of three persons . page 4 of the agreement also bears the initials of three persons . the said agreement could have never have been acted upon .

g . an fir has been registered against the partners of defendant no . 4 and the alleged chief promoters / members of defendant no . 5 in connection with forgery , cheating and fraud , as they have interpolated and fabricated 2 pages of the said agreement . even otherwise the said agreement being inadequately stamped cannot be looked into and should have not been acted upon .

h . consent terms dated 19th december , 2006 were filed in the said suit no . 3429 of 1991 . the high court by an order dated 29th june , 2007 , declined to pass decree in terms of the consent terms on record . appeal bearing no . 674 of 2007 was filed against the said order dated 29 th june , 2007 . the division bench of this court , vide its order dated 17 th january , 2008 quashed and set aside the order dated 29th june , 2007 and the matter was remanded back to the trial court for de - novo consideration .

appl . 672 . 2014 . judgment . doc i . the said order dated 17th january , 2008 passed by the division bench of this court was challenged / impugned before the hon ' ble supreme court , in which , the hon ' ble supreme court , in civil appeal no . 6245 of 2008 ( arising out of slp ( c ) no . 9785 of 2008 ) by its order dated 23rd october , 2008 , ordered that suit no . 3429 of 1991 is disposed of by way of consent terms dated 19th december , 2006 and decree be passed and drawn up in the said suit .

k . after the passing of the order dated 17 th january , 2008 , the plaintiffs were confronted with various conflicting claims by the said predecessor and the said oshiwara development and untenable demands by defendant no . 4 i . e . samarth development corporation as the plaintiff no . 1 was also impleaded in suit no . 1096 of 2009 in respect of the said property . an interim order dated 25th august , 2009 was passed therein inter alia requiring

appl . 672 . 2014 . judgment . doc information to be furnished to the said predecessors as directed therein on allotment of land in terms of consent terms in suit no . 3429 of 1991 .

( ii ) no notice or intimation thereof had been given to the plaintiff no . 1 in his capacity as a chief promoter and / or member .

operative housing society ( proposed ) i . e . defendant no . 5 as proposed in the said meeting .

( iv ) it was inter alia recorded therein that the plaintiff no . 1 was not interested in acting as the chief promoter . the status of the plaintiff no . 1 as a member bears no reference at all .

( v ) vikas walavalkar the partner of defendant no . 4 was also present in the said meeting . on the basis of the purported development agreement , members were inducted by the said vikas walavalkar as members of defendant no . 5 .

( vi ) the copy of the development agreement enclosed to the application for registration of defendant no . 5 was interpolated and forged .

( vii ) no document was annexed to indicate the manner in which shri . sudhakar sitaram jadhav became the chief promoter .

( viii ) no document was annexed as to whether plaintiffs were given notice of the alleged meeting or not .

( ix ) the application to register was made on 18th february , 2012 and defendant no . 5 was registered within 10 days on 28th february , 2012 .

( x ) it is obvious that the special general body meeting and the minutes thereof are sham and bogus .

west ward that the plaintiff no . 1 was now not the chief promoter and further that other members were inducted by following proper procedure .

( xii ) the application for registration of the defendant no . 5 by shri . sudhakar sitaram jadhav in the capacity as the purported chief promoter is unlawful , invalid , mischievous and fraudulent .

o . being aggrieved by the order of grant of registration of defendant no . 5 by the deputy registrar , co - operative societies , k - west ward , the plaintiff no . 1 filed application no . 22 of 2012 before the divisional joint registrar , co - operative societies under

p . the alleged chief promoters / members of defendant no . 5 filed two separate replies in the above matter .

q . the plaintiff no . 1 filed his affidavit in rejoinder dated 6 th october , 2012 dealing with the contents of the said replies .

r . the divisional joint registrar , co - operative societies , by his order and judgment dated 22nd february , 2013 rejected the application filed by the plaintiff no . 1 .

operative societies , the plaintiff no . 1 filed appeal under section 152 of the said act before defendant no . 1 .

t . it is thereafter learnt and revealed that the competent authority has issued letter dated 2nd february , 2013 in favour of defendant no . 5 purportedly allotting the said property to defendant no . 5 . the plaintiff no . 1 has addressed letter dated

appl . 672 . 2014 . judgment . doc 13th may , 2013 to the attorneys of the said predecessors intimating inter alia about the same .

u . the plaintiff no . 1 has filed criminal complaint against defendant no . 4 and its partners and all the members of defendant no . 5 , before 65 th court at andheri in connection with the forgery and tampering with the purported development agreement . the magistrate court has , on 20th march , 2013 passed an order directing the police authorities to investigate and submit its report under section 156 ( 3 ) of the criminal procedure code .

v . defendant no . 1 by its judgment and order dated 8 th may , 2013 dismissed the said appeal .

w . the plaintiffs have , by their letter dated 4 th june , 2013 , terminated the said agreement out of abundant precaution as not valid in law and not binding upon the plaintiffs .

x . the plaintiffs have filed civil writ petition no . 4882 of 2013 impugning the said orders dated 22 nd february , 2013 and 8th may , 2013 . on 6th june , 2013 , the vacation judge of this court has passed an order to maintain status quo in connection with the said property .

appl . 672 . 2014 . judgment . doc y . at the hearing of the said writ petition for ad - interim reliefs , on 6th june , 2013 , a reference was made by advocate for the defendant no . 5 to an agreement dated 9 th april , 2013 between defendant no . 3 and defendant no . 5 . the defendant no . 5 had deliberately suppressed and had not disclosed the said agreement at the time of hearing of the appeal .

7 ) thus , it is alleged that original defendant no . 4 in collusion and connivance with defendant nos . 5 to 60 , purportedly , without any authority , have enrolled members and got registered defendant no . 5 .

these acts on their part are vitiated by impersonation . they are termed as mischievous , malafide and fraudulent . the claim is that the registration of the defendant no . 5 is purportedly done on the basis of a resolution dated 24th december , 2011 but none of the promoters / members were present in the said meeting . none of the members , namely , the plaintiffs , have been given notice of the said meeting . the original plaintiff no . 1 has never made a statement to defendant no . 4 that he is not willing to act as a chief promoter or chairman of the proposed society . there is no basis for the defendant nos . 5 to 60 to rely upon any such representation by defendant no . 4 .

defendant no . 5 and / or defendant no . 6 had no authority to call for a special general body meeting . defendant no . 4 , along with defendant

appl . 672 . 2014 . judgment . doc nos . 6 to 60 has fraudulently and behind the back of the plaintiffs held the special general body meeting of this proposed society , wherein , plaintiff no . 1 has been purportedly removed as the chief promoter thereof on the false pretext that he was not interested in acting as the chief promoter of the proposed society . no notice of the alleged meeting dated 24th december , 2011 was given to the plaintiffs . the chief promoter , thus , did not lose his status as a member of the society .

defendant no . 4 and defendant nos . 6 to 60 perpetrated fraud and misrepresented the competent authorities in getting the defendant no . 5 society registered .

8 ) it is claimed in paras 5 and 6 of the plaint that since inception , all throughout and till the date of the institution of the suit , plaintiff no . 1 has acted as the chief promoter of the proposed society .

the proposed society of the plaintiff no . 1 has 11 other members , namely , plaintiff nos . 2 to 10 and defendant nos . 61 and 62 . they were regularly holding meetings and resolutions have also been passed .

in such circumstances , none of the acts of the defendant nos . 6 can be said to be valid and they are vitiated as above .

9 ) the development agreement dated 11 th november , 2004 cannot be looked at , as the same is without consideration . the agreement has been made on a stamp paper of rs . 100 / - purchased in

appl . 672 . 2014 . judgment . doc the name of vikas kamlakar walawalkar . the stamp paper is dated 3 rd january , 2004 . the agreement runs into 11 pages . on page 3 , the main body of the agreement begins and the said page 3 bears the initials of 3 persons . page 4 of the agreement also bears the initials of 3 persons .

appl . 672 . 2014 . judgment . doc in law . it is inadequately stamped . there are interpolations therein , which have been made fraudulently and deliberately . page nos . 3 and 4 of the agreement have been changed . the alleged development agreement produced by defendant no . 5 in collusion and connivance with defendant nos . 6 to 60 , before the deputy registrar has different page nos . 3 and 4 and even the clauses / terms as mentioned in the agreement have been changed fraudulently . defendant no . 4 has , with malafide intention , committed forgery and tampered with the said agreement without knowledge , consent or concurrence of the plaintiffs .

these and other allegations , as are found in the original and amended plaint , have led to the institution of the suit and claiming the aforereproduced reliefs . the original plaint was filed sometime in 2013 . there are amendments made to the plaint , based on which , prayer clause [ e ( i ) ] is inserted and prior thereto , there are certain averments and allegations , essentially to demonstrate as to how the documents executed by the contesting defendants are vitiated in the manner alleged above .

10 ) it is in such suit that the application for interim relief was filed and the events disclosed that on 21st january , 2014 , an application for ad - interim reliefs in terms of the prayers of the notice of motion was made , but those were refused . in appeal ( l ) no . 56 of 2014 , this court

appl . 672 . 2014 . judgment . doc passed an order directing the parties to maintain status quo . the plaint was amended by order dated 3rd april , 2014 .

11 ) the prayers in the notice of motion are essentially of an injunction to restrain the original defendant nos . 4 and 5 , their servants , agents or nominees and / or persons or entities claiming through or under them and / or their nominees and / or any persons or entities claiming through or under them from creating any third party rights , title and / or interest of whatsoever nature in connection with the said property . that pending the hearing and final disposal of the above suit , the effect , implementation of the resolution dated 24 th december , 2011 be stayed and / or suspended . there are prayer clauses ( c ) and ( d ) to this notice of motion , which read as under : -

" ( c ) that pending hearing and final disposal of the above suit all further proceedings , acts , deeds and / or things done or to be done by defendant nos . 4 to 60 or their servants , agents , representatives with a view to take over possession of the said property from defendant nos . 1 to 3 to be stayed , suspended and / or kept in abeyance .

( d ) that pending the hearing and final disposal of the above suit , defendant nos . 4 to 60 or their servants , agents , representatives or persons claiming through or under them be directed to maintain status quo in respect of the said property . "

12 ) this motion was supported by an affidavit of the appellant no . 1 / original plaintiff no . 1 . there are affidavits filed to oppose grant of any ad - interim relief as also final reliefs . the affidavit of the original defendant no . 5 dated 9th july , 2013 is stated to be filed for a limited

13 ) the affidavit in reply adopts the stand adopted in a reply affidavit dated 15th june , 2013 filed in writ petition no . 4882 of 2013 .

then , without prejudice and alternatively it was submitted that the entire suit is an abuse to process of the court . the plaintiffs seek to re -

agitate issues which are already settled by orders dated 22 nd and 8th may , 2013 ( annexures ' p ' and ' t ' to the plaint ) .

14 ) further , the reliefs are barred by delay and laches . as far back as on 28th february , 2012 , vide certificate of registration ( annexure ' k ' to the plaint ) defendant no . 5 society has been registered and the intent and object thereof being to have allotment of the land , plaintiff no . 1 is fully aware of this registration and that the 5 th defendant is interested in obtaining allotment of the land in its favour . the plaintiffs have acquiesced in the registration of the defendant no . 5 society and the allotment of the said land in favour of the defendant no . 5 society .

they have allowed the defendant nos . 6 to 60 to pay rs . 58 , 25 , 30 , 376 / -

and incur several costs and liabilities . the plaintiffs have allowed the defendant nos . 6 to 60 and / or defendant no . 5 and / or defendant no . 4 to alter their position to their detriment and now , after more than 1 and half year , are belatedly seeking orders against the contesting defendants . the developments leading to the filing of an application challenging the registration are then set out in para 7 ( a ) to ( d ) of this affidavit . then , in para 8 , it is submitted that there is no question of this court passing any order in terms of prayer clause ( c ) of the plaint to set aside or cancel the special general body resolution dated 24 th december , 2011 , a copy whereof is annexed to application no . 22 of 2012 . that resolution was passed by the members of the proposed society inter alia for electing the new chief promoter in place of the plaintiff no . 1 , for adopting the development agreement dated 24 th

appl . 672 . 2014 . judgment . doc november , 2004 and for registration of the defendant no . 5 society .

after registration of the society , as evidenced by registration certificate dated 28th february , 2012 , the effect and object of the said resolution has been worked out . in such circumstances , prayer clause ( c ) of the plaint is rendered infructuous . no interim relief can be granted .

15 ) para 9 of this affidavit sets out as to how the reliefs in terms of other prayers of the plaint also cannot be granted . apart from the plaintiffs having no right to claim such reliefs , which amounts to interfering with the affairs of the defendant no . 5 , it was pointed out that the aforementioned huge sum has been paid for acquiring the land and defendant no . 5 is absolute and lawful owner of the land . reliance was placed upon an agreement dated 9th april , 2013 ( annexure ' x ' to the plaint ) , which is duly registered with the sub - registrar of assurances . there were several efforts and which have been undertaken by a core group of members , forming the association , of which , the plaintiff no . 1 and shri . v . m . tikekar were the promoters .