Indian cinema has long had a trusty following in far flung corners of the world…and it isn’t just the diaspora pining for a slice of the homemade masala mix. Indian movie fans are everywhere – “Awara” former soviets have an abiding love for Raj Kapoor, Amitabh fans belt out songs atop mountains of Afghanistan, young British girls imitate Shahrukh’s dance moves and while Peruvian fans are fida on Fanaa, Chinese damsels hide their mouths as they giggle over Aamir Khan
Category Archives: Bollywood
The simplest of people can have the most epic stories to tell, case in point— Neerja Bhanot from the film NEERJA. A rarest of the rare experience—Neerja made me shed a tear, and not one but plenty. I purposely started with this, because firstly I am not a Bollywood film-goer as such and secondly because I have hardly cried in a film till as long as I can remember now. To cut it short, it is really a rarity that
It was a chance walk past a Hindu temple and the overhearing of a bhajan by Surdas, that turned a young boy towards his lifelong love for poetry. Like many of his era, he reached Mumbai in 1964 in search of work and started writing for the magazines, Dharmyug and Blitz. After partition, he had refused to move to Pakistan, even though his father did. As a student of literature, young Nida Fazli found solace in words and hope in
Very few film-goers might know that there was a ‘Mother India’ made much earlier in 1938. The significance of this older film lies not merely in the fact that it was also made in color but that it was the second fully Indian attempt to shoot and process a color film locally, after ‘Kisan Kanya’, made a year earlier.
Mostly dealing in sham and counterfeit, the art director makes mountains out of mole- hills, palaces out of pasteboard, picturesque countryside out of painted canvas. He is ready and able to forge and fabricate into shape anything under and over the sun you want duplicated within the few hundred square feet of space in a film studio – be it a dense forest, a starry sky, a sea in storm, a snow covered mountain, a grimy slum, a fashionable city street or the architectural glory of a by-gone age.
Guest Post by Syed Tauheed. The era of TV serial making in country began with Harish Khanna, the head of Doordarshan (DD). Khanna, categorically was in favour of entertainment,educational and patriotic content. DD ably carried ahead the responsibility of infotainment media. Patriotic TV serials consistently were shown on DD achieved phenomenal success towards meaningful and popular broadcasting.
‘Light of Asia’ was jointly produced by the Emelka Film Company of Munich and the Great Eastern Corporation, Lahore in 1925. But the man who was originally obsessed with the idea and later realized it (both commercially and artistically) was Himanshu Rai, then an amateur actor in London. He not only co-directed it with Franz Osten but also played one of the two principal roles (that of Siddhartha), the other being Siddhartha’s wife played by Sita Devi.
If there is one classic of the Indian Cinema tackling a burning social problem, that has left an everlasting mark on the pages of film history as well as on the minds of the moviegoers of that generation, it is easily the 1937 film ‘Duniya Na Mane’ directed by V. Shantararam for Prabhat.
Kuldeep Singh, the man who felt that the Filmfare award was overdue to him was born on January 21, 1924, in a village in the Rawalpindi district. As his father, who was an officer in the Foreign and Political Department, was alternately stationed in Delhi and Shimla, Kuldeep’s earlier schooling was divided between the two cities.
Cinematographer Pandurang Naik, was on the sets for 48 years – no mean achievement in the film industry. Sturdily built, of an imposing stature, he photographed countless stars and cranked the camera for more pictures than any of our other cinematographers.