Release date1974 (1974) Based onAthara Sooraj Ke Paudhe
by Ramesh Bakshi Music directorHariprasad Chaurasia, Bhubaneshwar Misra CastRakhee Gulzar (Shalini), M. K. Raina (Sanjay), Om Shivpuri (Anna) Similar moviesM K Raina appears in 27 Down and Genesis, Mammo (1994), Raakhee Gulzar appears in 27 Down and Shakti, Dharavi (1992), Mathilukal (1989)
27 Down is a 1974 Indian drama film directed by Awtar Krishna Kaul, starring Raakhee and M.K. Raina. The film is based on a Hindi novel Athara Sooraj Ke Paudhe by Ramesh Bakshi about a railways employee who meets a girl on the train. Film's music was classical musicians, Hariprasad Chaurasia and Bhubaneshwar Mishra, while the production design was by Bansi Chandragupta.
At the 21st National Film Awards, the film won the Award for Best Feature Film in Hindi as well as Best Cinematography for Apurba Kishore Bir. Film's director Avatar Kaul, died in an accident the same week the awards were announced. It was his only film.
27 down a film by awatar krishna kaul
The film is set on 27 Down, the Bombay-Varanasi Express, Sanjay (M.K. Raina) is on a pilgrimage journey to Varanasi (Banaras), and remembers his life in flashbacks. Sanjay gives up his dreams to become an artist, in order to support his family he takes up his father's profession of railways employee. He spends his days as railways ticket checker, till he meets a Life Insurance Corporation employee, Shalini (Raakhee), on the suburban train. After a few more meetings, they fall in love, and Sanjay starts seeing life differently, but when his father finds about their relationship, he fixes his marriage with some other girl.
Raakhee as Shalini
M.K. Raina as Sanjay
Rekha Sabnis as Sanjay's Wife
Om Shivpuri as Anna (Sanjay's father)
Sudhir Dalvi as Sanjay's friend
Nilesh Vellani as young Sanjay
"Chuk Chuk Chuk" - Ravi Kichlu
The film was shot on location on Mumbai trains, platforms, and at Mumbai's Victoria Terminus station, the cinematographer of the film, Apurba Kishore Bir was 22 years old, when he got the project, he shot 70 percent of the film using a hand-held camera, inspired by The Battle of Algiers, a 1966 war film with an aim to put the camera right in the conflict, he shot with wide lenses rather than zooms. Bir chose to shoot the film in black and white, as he wanted stark contrasts. As it was difficult to control across crowd, most of the film's platform scenes were shot in the night, or at side platforms, and extras made it look like a busy time.