Happy Birthday to Dharam Paaji. In Citizen Kane, Orson Welles, playing the deeply flawed yet gifted title role, in a moment of honest introspection says to his lifelong friend, “You know, Mr. Bernstein, if I hadn’t been very rich, I might have been a really great man.” This line can be paraphrased to define Dharmendra career as well, “Had he not been so devastatingly good looking, he would have been recognized for the truly great actor he is.”
Category Archives: Bollywood
Respected and worthy rivals on screen and best friends off it, Dilip Kumar poignantly recalled his relationship with Dev Anand after his death on 03 Dec 2011. Guest Post by Syed S Tauheed.
Deven Verma breathed his last today, 02 Dec 14 in Pune, but he is engraved, in the film psyche of the classicists, as the bumbling, hemp loving, dog faithful servant Bahadur (double role, 3rd Filmfare award) in Angoor and as the barber Murli Manohar, Aamir Khan’s father in Andaz Apna Apna, of the cultists.
Remembering Ace cinematographer V K Murthy on his birthday – 26 Nov. No video assist. No jibs. No DI. Only his eye and an unerring steady hand made the shy, slight of build, V. K. Murthy one of the topmost cinematographers of Bollywood.
Remembering Tun Tun on her death anniversary today. She has probably acted in more classics of Hindi cinema than any other heroine and was a Guru Dutt favorite – Aar Paar, Shri 420, Pyaasa, Kohinoor, Kagaz ke Phool, Ganga Jamuna, Kashmir ki Kali, Upkar and over 400 others.
In an era dominated by mythological/historical films, Baburao wagered everything to make Savkari Pash (1925), which can be described as India’s first social film. Based on the celebrated novel of Narayan Hari Apte and given the poverty infused rural atmosphere, Painter cast according to character and had actors playing the roles in tattered clothes and without makeup, another first. However, the extreme attention to detail and the technical finesse left nothing more to be desired.
As a special presentation on the doyen director V Shantaram’s birthday today (18-Nov), we reproduce an article written by him in January 1956 for Filmfare. Personalizing the age old conflict of art and commerce in cinema the world over, he cites anecdotes from his experience of donning the two hats on one head and the frustration of deciding what was best for the final product – the film.
Remembering the lion-heart Sohrab Modi (02 Nov 1897 – 28 Jan 1984) on his birthday. Through his towering talents, the essence of Indian stage and drama evolved to paint, on films, the glowing picture of our history and cultural heritage in a remarkable fashion.
Prabhat’s devotional films of the Thirties were as notable for their brave, progressive thought and reformist zeal as its audacious and rebellious social pictures directed by V. Shantaram. A fine example of this is ‘Sant Dnyaneshwar’ (1940), made in Hindi and Marathi, directed by V Damle and S Fatehlal from paperwork by Shivram Washiker.
If Phalke brought mythologicals, Dhiren Ganguly introduced comedy to the Indian screen. Treating subjects closer to the times than Phalke, it’s inscrutable why Ganguly never really became the dominant film personality he was destined to be.