Ah the Eighties. When hair was big, shoulder pads were bigger and glitter eyeshadow was essential. Khoon Bhari Maang is a quintessential eighties movie that I love, despite its addiction to gore and systematic overuse of Khader Khan. I can’t say that it’s a good movie, or even that it falls into the ‘so-bad-it’s-good’ category we all know and love, but somehow once I start watching I’m hooked by Rekha’s transformation and quest for revenge. It’s over the top, trashy and melodramatic, but for a nostalgic wallow in the swamp that was eighties drama, you can’t go past Khoon Bhari Maang!
The film is based on an Australian miniseries from 1983 called Return to Eden. I’ve never seen the show, but Wikipedia makes sound like Australia does Dallas, so it may be worth tracking down online too.
The story starts with Aarti (Rekha), a young widow with 2 young children, who is also the heir to her father’s huge business empire. In the first 5 minutes her father (Saeed Jaffrey) is murdered by his close friend Hiralal (Kader Khan) who then wastes no time in introducing Aarti to his wastrel nephew Sanjay (Kabir Bedi). Sanjay has a penchant for removing his shirt and a plan to marry Aarti to gain control of her millions, despite carrying on an affair with Aarti’s best friend Nandini (Sonu Walia).
Aarti’s husband Vikram (Rakesh Roshan) was killed in a car accident some years before and she lives for her children, so Sanjay befriends Kavita (Baby Shweta) and Bobby (Master Gaurav) as the way to Aarti’s heart. There are a few flashbacks to happier times with Aarti and her husband where Rakesh Rohan looks incredibly uncomfortable on the other side of the camera, as he frolics with a frumpily dressed Rekha. And for the first part of the movie, Rekha does look rather dreary. She’s still Rekha, but has dark shadows under her eyes, a large mole on her face and rather protuberant teeth. Sanjay describes her as ugly, but she just looks exhausted and in need of a brighter wardrobe, especially when compared to the dazzling Nandini.
Nandini is a model who is drawn into Sanjay’s machinations because of her love for a man who can look good in swimming trunks and very short shorts. It has to be noted that Kabir Bedi does look rather fine, and he makes the most of scenes at the pool and every other possible opportunity to remove his shirt. However, rather than his sleek chat up lines and body flaunting, it’s his attentions to her children that convinces Aarti she should marry Sanjay and provide them with a father figure. With the bonus of someone she trusts to run the business.
It doesn’t take long after the wedding (actually the next day), for Sanjay to rid himself of his troublesome wife by throwing her to the jaws of a waiting crocodile. Queue screams, lots of fake blood and Sanjay threatening Nandini to keep schtum about her part in his devious plan. But Aarti escapes! After being rescued by an old man (Paidi Jairaj) she sells the jewellery she was wearing at the time of her attempted murder and heads off to the US for some needlessly graphic plastic surgery. The now apparently unrecognisable Aarti returns home as model Jyoti and is immediately picked up by Nandini’s photographer J.D. (Shatrughan Sinha). Naturally this doesn’t go down well with Nandini, and the rivalry between the two models culminates in a wonderfully crazy dance-off where attitude and sheer sass seem to be the criteria needed to win. After destroying Nandini’s professional career, with her new glamourous looks and the support of JD, Jyoti sets out for her next goal: revenge on her murderous husband.
The story builds slowly during the first half, but this is more than made up for by the drama and total fashion insanity of the second half. That’s not to say that there isn’t plenty of craziness in the first half, but it’s off set by the annoying presence of Khader Khan and Rekha’s irritatingly meek Aarti. Once Rekha transforms into Jyoti, everything gets bigger, bolder and much more dramatic – and that’s just the fashion! Jyoti is determined to get her revenge and she sets out to destroy Sanjay with the sort of bloody single-mindedness usually reserved for male heroes in Bollywood. I love that Rekha is given the opportunity to have her revenge without relying on anyone else, and that revenge is just as satisfyingly gruesome as could be expected. Despite all its faults, the saving grace of the film is that Aarti is quite capable of rescuing herself, saving her family and getting her revenge, all without any male assistance or even advice. You go girl!
Rekha is awesome throughout. She nails the meek and mild-mannered Aarti, but is so much better as the stunning model out for revenge. Her Jyoti is stardom personified with attitude that simply sizzles off the screen with a sneer sharp enough to draw blood. Rekha takes ownership of all the ridiculous outfits and outlandish hairstyles too, so that when she ends up in black leather and wielding a whip, it seems less an erotic fantasy and more a practical outfit for revenge – easier to get blood off leather I imagine. Kabir Bedi is excellent too in this negative role where he hams it up as a seductive suitor who quickly shows his true colours once the knot is tied. It’s a great performance and who can complain if he spends most of his time by the pool in various stages of undress. I do draw the line though at the needless appropriation of Vangelis Chariots of Fire theme into a tacky song visualising a romp in the pool between Kabir Bedi and Sonu Walia. But for the rest, Kabir is nicely wicked and appropriately charming as he woos Aarti and then Jyoti. Poor Sonu Walia doesn’t have anything like as good a time as her Nandini is a bit of a wet blanket who falls over herself to do whatever Sanjay wants.
One of the best parts of the film for me is right near the end when Jyoti removes her green contact lenses. A move that makes her INSTANTLY RECOGNISABLE!!! Who knew just changing the colour of your eyes could have such an effect? Also worth looking out for are Aarti’s heroic dog Jumbo and smart horse Raja, who know what is going on well before any of the human characters, and the various servants and supporters of Aarti who add more drama to the proceedings whenever possible.
Khoon Bhari Maang is not a good film, but Rekha makes it worth watching for her crazy outfits, huge eighties hairstyles and bloodthirsty quest for revenge. I know most people skip straight to the second half, but I like the slow build-up through the first half and the gradual monsterisation of Kabir Bedi as his true colours start to show through. For fans of 80’s Bollywood, big hair, crocodiles and revenge, this is surely as good as it gets. 4 stars.
I always THINK that I love “Khoon Bhari Maang” until I rewatch it, at which point I realize how much the first half feels like homework. I mind that it’s slow-moving, but instead the ample comedy business with the veterinarian (of which you have wisely omitted mention). I prefer to skim through the “funny” scenes and watch the rest. Anyway, it’s always better to have a bad first half than a bad second half!
In addition to the miniseres’ influence, I wonder how much the crocodile bit in “Khoon Bhari Maang” may owe to an earlier Rekha film I saw recently, “Kali Ghata.” (I wrote about it over here: https://rekhassousaphone.wordpress.com/2021/10/17/kaali-ghata-1980/). One of the two Rekhas gets thwacked overboard off of a houseboat in a storm–possibly by Shashi Kapoor, possibly by Danny Denzongpa. The sequence in which she washes up in the mud and is rescued by some well-intentioned character actors is extremely reminiscent of the equivalent passage in “Khoon Bhari Maang.”
Finally, re: contact lenses: somebody else had to tell me that Aruna Irani was in “Qurbani.” Her artificial irises were so startling that I couldn’t compute that it was her, despite the mole!
The less said about the ‘comedy’ in this film the better! Excellent write up of Kali Ghata – I must add that to my watch list. I’m especially intrigued by Aruna Irani in a snake song!
With Khoon Bhari Maang, the parts I like in the first half are the dorky scenes with the horse and the slow gradual build up of the plot. I love how Nandini comforts Aarti after her father’s death by suggesting a hot cup of coffee, while Aarti is clutching her dog and sobbing her heart out! Also, that Nandini says she should marry for her children, if not for herself. Nandini is so manipulative here before she becomes a total wet blanket! I also do like Kabir Bedi in this, and think he plays the role well.
But it definitely gets much better in the second half!
Love your comment about contact lenses. I’m an optometrist so I can always spot contact lenses and am always thrilled when there is an ‘eye’ plot point!
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Whoops, can’t type! Should have been “I *don’t* mind that it’s slow moving.”
Lovely writeup, there’s a wonderful Tamil remake called Thendral Sudum, I can’t find the movie anywhere but I’m dying to see how it compares to this
I haven’t been able to find the Tamil version either unfortunately – maybe some kind person will upload it onto Youtube if we’re lucky!