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hotvintagepoll · 11 months ago

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Suchitra Sen's impending loss is tearing my heart out. How can Bengali cinema's greatest female icon lose out in round 2 itself? I won't let her go down without a fight!

Suchitra Sen entered films as a married woman and a mother which was highly unusual for not just Bengali cinema, but for the whole of Indian cinema as well. In an age when actresses tried their best to hide the fact that they were married and had children, Suchitra Sen was not afraid to swim against the tide.

Hailing from erstwhile East Bengal (present day Bangladesh) she left with her family for present day West Bengal in India following Partition in 1947 and she had to adapt to the dialect and pronunciations used in Bengali films made in India.

Many talk about Suchitra Sen's quiet dignity on screen, but summing it up so briefly does her injustice. She played melodramatic without resorting to melodramatic acting. Her screen presence was so heartbreakingly real and didn't have the theatrical nature that was associated with Indian cinema of that era.

Starting from the 1950s, Bengali rom coms were all Suchitra Sen and Uttam Kumar. They had incredible chemistry on screen. But Suchitra Sen was determined to prove that she was not just Uttma Kumar's other half on screen but a capable and frankly good actress in her own right. So, in the 1960s she went on to do many women centric films opposite other lead actors (such as Bikash Roy and Soumitra Chatterjee), thus giving us some gems of Bengali cinema like Uttar Falguni (1963) and Saat Pake Bandha (1963), the latter won her the best actress award at the Moscow International Film Festival making her one of the first Indian actresses to win an International award.

In Uttar Falguni (1963), she plays a woman who flees an abusive marriage and becomes a courtesan to support her daughter. In Saat Pake Bandha (1963), she plays a young woman whose marriage disintegrates due to her mother's interference. In both these films, Sen doesn't need words, her loss, her pain, her anger are all etched on her face in different moments but never does it fall to melodramatic theatrics.

In Devdas (1955), Bimal Roy's classic production of Sarat Chandra Chattopadhyay's celebrated novel, she plays the role of Paro and is in my opinion the best of the many Paro's I've seen on screen in adaptations ranging from 1936 to 2002 and beyond.

In Aandhi (1975), she played a politician estranged from her husband dealing with a clash of love and career.

Suchitra Sen was a classic Bengali beauty and an icon, not just of Bengal but of India as a whole

https://www.youtube.com/watch?v=kSV2xoFQCJ8&list=PLA_A9T_Uj7IxMGFk5Pif7gjJR46v8FRPZ&index=5

Suchitra Sen vs Cyd Charisse

The linked video:

youtube

#suchitra sen #propaganda

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bollywoodirect · 5 months ago

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Remembering Mahanayak #UttamKumar on his 98th birth anniversary (03/09). Uttam Kumar, born Arun Kumar Chattopadhyay on September 3, 1926, and passing away on July 24, 1980, was a multi-talented figure in Indian cinema. Widely revered as the Mahanayak, he was an actor, producer, director, screenwriter, composer, and playback singer, primarily in the Bengali film industry. His illustrious career spanned over three decades, from the late 1940s until his untimely death in 1980.

Kumar's extensive filmography includes over 200 films, with some of his most celebrated works being Agni Pariksha, Harano Sur, Saptapadi, and Nayak. He also produced seven films and directed titles like Sudhu Ekti Bochor, Bon Palashir Padabali, and Kalankini Kankabati. Additionally, he composed music for several of his projects.

Regarded as one of the most influential actors in Bengali cinema history, Kumar was the first recipient of the National Film Award for Best Actor for his roles in Antony Firingee and Chiriyakhana in 1967. He also received the BFJA Best Actor Award and the Filmfare Award for Best Actor. His legacy is honored through the Mahanayak Uttam Kumar metro station in Tollygunge and the Mahanayak Samman Award by the West Bengal government.

Kumar had on-screen chemistry with several leading actresses, but his pairing with Suchitra Sen remains iconic. In 1955, he starred in the musical blockbuster Shapmochon, where every song became a hit, solidifying his legendary status alongside singer Hemanta Kumar. That same year, he won his first BFJA Best Actor Award for his role in Hrad, where he portrayed a man suffering from memory loss.

Throughout the late 1950s, Kumar continued to dominate the box office with hits like Harano Sur, Pothey Holo Deri, and Chandranath. In the 1960s, he maintained his leading star status, delivering hits like Maya Mriga and Saptapadi, for which he won his second BFJA Best Actor Award.

Notably, acclaimed director Satyajit Ray initially wanted Kumar for a role in his film Ghare Baire, written in 1956. However, Kumar declined, feeling the role was better suited for a more established actor. The film was eventually made in 1984, after Kumar's death, with Soumitra Chatterjee in the role.

Kumar first collaborated with Ray in 1966 for the film Nayak. The film's premiere was a significant event; when Kumar arrived, he was mobbed by fans, highlighting his immense popularity. He won his third BFJA Award for Best Actor for this role and even caught the attention of Hollywood actress Elizabeth Taylor, who expressed a desire to work with him.

In 1967, Kumar teamed up with Ray again for Chiriyakhana, becoming the first actor to portray the iconic Bengali detective Byomkesh Bakshi. When the National Film Awards were instituted by the Indian government, Kumar was the first to receive the Best Actor award in 1968 for his performances in Chiriyakhana and Antony Firingee.

#uttam kumar #bengali cinema #satyajit ray #bollywoodirect

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hwdownandout · 1 month ago

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Ursula Thiess with Rock Hudson on the set of Bengal Brigade (1954).

She was a German film actress and model who had a brief Hollywood career in the 1950s after signing a contract with Howard Hughes of RKO Pictures. She married actor Robert Taylor, her second husband.

#rock hudson #ursula thiess

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mediazone786 · 2 months ago

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Khadaan (Bengali) Collection Day 5: Birthday Boy Dev's Film Smashes Records; Beats Bohurupi On 1st Tues

Khadaan (Bengali) Box Office Collection Day 5: It's indeed a Happy Birthday for superstar Dev. The actor-turned-politician, who has turned 42 years old today, is currently basking in the success of his latest release 'Khadaan'. Directed by Soojit Dutta, the Bengali-language action-thriller has had a massive start at the box office with audiences flocking to the theatres, leaving up to the high buzz around the release. Amid high anticipation, Khadaan hit cinemas on 20th December across Bengal.

#films #auto news #bbc news #public news #uk politics #usa news #movies #breaking news #cinema

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masalafilmsrevival · 1 year ago

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Hello! I'm writing a final Essay about Indian parallel cinema or new Indian cinema and I kinda got lost, there are so many movies and themes to explore! since the deadline is pushing me, I don't have much time to explore it deeply, i've watched Charulata and Apu's trilogy but couldn't move forward from there. (all of them mind-blowingly amazing btw) Could you please please please give me some direction on which way should i keep looking/researching or any of your favorite themes that are recurring in 50's-70's Indian "new wave" films ? anything would be really helpful. Thank you in advance, hope you have an amazing day!!

oh my god, i did not see this until now as i typically only see notifications for this blog when i'm on desktop, i'm so sorry!! i really hope this isnt too late to respond. okay so i'm no expert but just some thoughts:

so obviously its a film movement that originated in bengal, a lot of parallel cinema is bengali indian OR bangladeshi, i'm not sure if theres a specific reason you're focusing on indian parallel cinema for your essay but thats something to keep into consideration especially because it spans past the 70s well into the 80s and somewhat 90s so after the independence of bangladesh. and that does impact and put context to the narrative of many films

the themes that are recurring tend to be class consciousness and disillusionment, religious and racial discrimination, casteism, more frank portrayals of the topic of sex, marxist thought, the burden of patriarchal society and expectation, to some extent borderline nihilism in my opinion, essentially the polar opposite of bollywoods pristine glamorized and polished portrayal of life and society that borders on science fiction from how removed from reality it is. in spite of it often.

if you want an outline of some filmmakers, actors, and films that can give you a decent idea of the movement, off the top of my head:

films i can think of that will give you a decent understanding of the tone and themes of the movement at least:

mirch masala

a river called titas and cloud capped star

donkey in a brahmin village

the apu trilogy and charulata as you said as well as devi and shatranj ke khilari. (the coward is also one of my personal favorites but not a necessary watch)

mammo, mandi, and bhumika

dont cry for salim the lame, the strange fate of arvind desai

arth

rat trap

maya darpan

duvidha, nazar, uski roti

quintessential filmmakers to at least get a decently rounded understanding (in my opinion):

saeed akhtar mirza

mani kaul

satyajit ray

ritwik ghatak

shyam benegal

mrinal sen

actors whose work or work during the period of early parallel cinema to look to:

smita patil (!) (probably the most important to look into if youre interested in this movement)

shabana azmi (early work)

madhabi mukherjee

soumitra chatterjee

naseeruddin shah (early work)

om puri (early work)

all of this is really just what came to mind immediately, i had planned on writing up a comprehensive summary of parallel cinema and what i considered essential viewing and themes and i will do that eventually, but i wanted to answer this as quickly as possible so i could easily be leaving out an insane amount of things. also i primarily used the english translations for these films unless i couldnt remember them. if youre in the usa (and maybe outside of it as well im not sure) MANY of these works or works made by these directors are on youtube or archive.org. i hope this is of some help and eventually i will post more comprehensive detail + scans of books i have about this. hope this helps someone and you have a good day!

#asks #anonymous #parallel cinema #this ask was sent about 2 weeks ago im hoping ur deadline wasnt up b4 now :')

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dweemeister · 5 months ago

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Devi (1960, India)

One year following his stunning Apur Sansar (The World of Apu) (1959), director Satyajit Ray reunited actors Sharmila Tagore and Soumitra Chatterjee. By this point, Ray was no longer the studious yet inexperienced hand that shepherded the Apu trilogy to its conclusion. But his lead actors were still only starring in their second-ever film. Bengali cinema (Tollywood, based in West Bengal) had a proud history before Ray’s Apu trilogy (1955-1959), but now had caught the attention of audiences beyond India – disproportionately so, as Bollywood (Hindi cinema, based in Mumbai) has always been the largest part of the nation’s film industry. Unlike some of the most popular Tollywood and Bollywood films of the time (and now), Ray never showed interest in romantic-musical escapism and instead dared to make films challenging India’s caste system, sexism, and religious fanaticism.

In his first work addressing religious fanaticism (and arguably his first truly political film) comes Devi, also known by its English-language title as The Goddess. Unlike 1965’s Mahapurush (The Holy Man), which also covers the same topic, Devi is thoroughly a drama, with no hint of comedy or satire. The film’s somber tone did not sit well with general Indian audiences used to lighter fare, and its willingness to criticize the extremes of Hindu religiosity saw the film’s harshest critics deem it (and Ray) as anti-Hindu. If released today, Devi almost certainly would receive a similar, if not more intense, backlash from groups and individuals in India criticizing it out of bad faith.

Somewhere in a rural town in nineteenth century Bengal, younger brother Umaprasad (Soumitra Chatterjee) is ready to depart for Kolkata for university and to study English. Umaprasad’s family is wealthy, with numerous servants tending to their multistory mansion. All is well in their richly-furnished, well-kempt home as he leaves his teenage* wife Dayamayee‡ (Sharmila Tagore) to take of his aging father/her father-in-law Kalikinkar Choudhuri (Chhabi Biswas). One night, Kalinikar awakens from a marvelous dream. An adherent of the goddess Kali, his visions lead him to believe that his daughter-in-law is Kali’s physical incarnation. Upon awakening, he rushes to Dayamayee and falls to his feet in worship. Dayamayee’s life as Umaprasad’s wife has ended. Against her will, she becomes an object of religious devotion as word spreads of Kalikinkar’s dream and a supposed miracle shortly thereafter.

Devi also stars Purnendu Mukherjee as Umaprasad’s brother, Taraprasad; Karuna Banerjee as Harasundari, Taraprasad’s wife; and Arpan Chowdhury as Taraprasad and Harasundari’s son (Dayamayee’s nephew).

Where a year prior Apur Sansar was Soumitra Chatterjee’s movie, Devi is likewise Sharmila Tagore’s. Tagore, sixteen years old upon the film’s release year, again finds herself in a role with little dialogue, even less than her supporting role in Apur Sansar. The moment Tagore’s Dayamayee becomes a devotional figure, her dialogue and ability to exert her own agency disappears. Until Umaprasad returns home shortly after the halfway mark, so much of Tagore’s performance before and after seems spliced from a great silent film. Perched on a small block, a pedestal if you will, she almost never looks at the camera or those intoning “Mā” (“Mother” in Bengali; Kali is the avatar of Durga, and both are forms of the Mother Goddess, Devi) as men and women pray and prostrate themselves in front of her. At times, Dayamayee’s mental and physical exhaustion is clear, even if she is looking sideways or into the ground, as she sits in place for several hours at a time. Is there any one there to make sure that this “goddess” is properly being taken care of? It seems doubtful.

It is unclear how long it takes for word to reach Umaprasad in order for him to return home to see the daily scenes at his family’s residence. Even for less than a day, this whole situation is intolerable to Dayamayee. Her resignation is evident in her slightly hunched back, unable to find a psychological or physical escape. The scene where Umaprasad returns home to see Dayamayee venerated as a goddess contains striking facial acting from both Tagore and Chatterjee. In Chatterjee, we see Umaprasad comprehending the situation in real time, as his horror renders him almost speechless. In Tagore, Dayamayee looks up, and in a figment of hope, there is utter heartbreak. These long days of adoration and miracle-seeking pilgrims have even shaken her sense of reality, as almost all vestiges of her past life wither away. In a rare private moment with Umaprasad, she questions her very being: “But what if I am a goddess?”

Satyajit Ray, who also wrote this screenplay based on the 1899 Bengali short story of the same name by Prabhat Kumar Mukhopadhyay, was part of the Brahmo Samaj movement, which advocates for a monotheistic interpretation of Hinduism. Brahmos, crucially, reject the caste system and avatars/incarnations of gods and goddesses. Ray’s adherence to the reforms of Brahmo Samaj color his filmography more obviously as his career progresses (I have not seen too much of Ray’s work, but I have not yet encountered a film of his that inelegantly portrayed his beliefs). Ray’s reformist and Western-leaning stances are embodied by Chatterjee’s Umaprasad, who we see clash with his more traditional father over social mores (the latter is distrustful of his son’s education, and derides his son for supposedly espousing Christian beliefs). Except for the scenes of a religious procession immediately after the opening credits, at no point does Ray imbue any of the religious images with any sense of glory, wonder, or veneration. Cinematographer Subrata Mitra (the Apu trilogy, 1966’s Nayak) dispenses of any ethereal lighting until the closing seconds, and his medium to close shots capture the uncomfortable anguish on both sides – Dayamayee’s alternating ambivalence and despair, the worshippers’ desire for comfort, deliverance, and the miraculous.

Like in several of Ray’s films including Mahapurush and Ganashatru (An Enemy of the People) (1989), Devi rejects dogmatism, miracles, superstitions, and anything that cannot have a rational or scientific explanation. Simultaneously, Ray realizes that most Indians, in the face of events profound and improbable, find science and rationality cold, confusing, and unsatisfying. Faith endows meaning to such moments. Faith ascribes purpose to happiness and suffering – something rationalism cannot provide. The unsuitability of both to provide a solution in Devi is the film’s secondary tragedy, as belief systems confront a scenario where a middle ground is impossible.

Devi’s principal tragedy is the religious objectification of Dayamayee. Of all of Ray’s female protagonists from Pather Panchali (1955) to this point, none of them are as constrained as Tagore’s Dayamayee. She may not live in poverty like Apu’s sister and mother in the Apu trilogy, nor is she the wife of an indulgent husband (1958’s Jalsāghar or The Music Room). And though she is not bound by shackles or subject to physical or sexual abuse, Dayamayee is nevertheless a victim of the unpredictable whims of men (and it is almost entirely men who worship her). Her portrayal is nuanced: she does not succumb entirely to self-pity, nor does she possess the strength to tell her father-in-law and his fellow worshippers to halt their devotional displays. She is aware of the communal damage she will cause if she so much renounces her unwanted divinity. At the same time, she cannot help but yearn for freedom, for others to speak to her like a human again – complete with aspirations, desires, and fears that no one can associate with a god.

Too often in cinema – wherever and whenever it hails from, including midcentury India – women play simplistic roles: the lover, the damsel in distress, the spurned wife. Where numerous filmmakers and actresses in the Hollywood Studio System were actively working to dismantle this element of patriarchy, I do not detect a similar level of rebellion in mainstream Indian cinema in the 1950s and 1960s (and, to some extent, this remains true). Ray did not stand alone in attempting to endow female characters with complexity (within and outside Bengali cinema), but his contributions to this development within the context of midcentury Indian cinema are crucial. Many of his films attempt a cinematic dialogue that critiqued patriarchal abuses with subtlety and bluntness – often to the chagrin of the public and government officials. The public outrage following Devi’s initial domestic release saw the film banned from seeking international distribution. Prime Minister Jawaharlal Nehru intervened and reversed that decision.

Nevertheless, consider some of the works in Ray’s first decade as a filmmaker: The Apu trilogy, Devi, Teen Kanya (1961), The Big City (1963), and Charulata (1964). Together, all seven of those films reveal a filmmaker willing to take mainstream Indian filmmaking to task for regressive and simplistic portrayals of women, whether in lead or supporting roles. Devi might be the most shattering of that collection, caught between human weakness and the unknowability of the divine.

My rating: 8.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* There were no child marriage laws in India in the nineteenth century, when this film is set. Child marriage remains prevalent in India, despite loophole-filled laws and a lack of enforcement.

‡ Multiple spellings of the protagonist's name are out there from reputable sources. I am using either the most or second-most common spelling here.

#Devi #The Goddess #Satyajit Ray #Sharmila Tagore #Soumitra Chatterjee #Chhabi Biswas #Purnendu Mukherjee #Karuna Banerjee #Arpan Chowdhury #Anil Chatterjee #Subrata Mitra #Dulal Dutta #Ustad Ali Akbar Khan #Bengali cinema #TCM #My Movie Odyssey

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republic-world · 2 years ago

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The Kerala Story: Adah Sharma Pens Heartfelt Note After Film Crosses Rs. 175 Cr Mark At BO

As The Kerala Story crossed Rs. 175 crore mark at the domestic box office, Adah Sharma took to social media and penned a heartfelt note.

Adah Sharma is currently basking in the success of her film The Kerala Story. Ever since, its release the film gathered both praise and criticism. As the film crossed Rs. 175 crore mark at the domestic box office, the actress took to social media and penned a heartfelt note.

Adah shared a series of photos. The first photo was the film's poster with "175 cr* Net collection India" written on it. The second photo gives a glimpse of her look from the film. She is seen wearing an orange short kurta paired with a checkered skirt. In the third photo, she can be seen posing with an elephant. Sharing the post on Instagram, she wrote, "Badhai ho to you ,to all of us.. #TheKeralaStory success is all yours. Soon in West Bengal. (hopefully) and now released internationally (in the UK As well finalllyy) We are grateful for such an amazing response, for the #TheKeralaStory . Dreaming is everyone's birthright. I hope my story can be a story of hope for every actor stepping foot into the film industry that they can be part of something historic.

The Kerala Story crosses Rs. 175 crore mark

The Kerala Story recently entered the third week of its release. Without the movie being screened in West Bengal and Tamil Nadu, Sudipto Sen's directorial managed to cross Rs. 175 crore mark at the box office. As of now, the film has collected approximately Rs. 178.32 crores.

Producers Guild of India objects to state-enforced bans

Producers Guild of India recently reacted to state-enforced bans on The Kerala Story. They released an official statement that read, "The Producers Guild of India is distressed by, and would like to record its strong objection to, state-enforced bans on The Kerala Story. As emphasised by us on several occasions in the past, film releases are regulated by CBFC and any film that complies with this statutory requirement should face no further hurdles in having the paying public decide on its fate."

For More latest entertainment news only on www.republicworld.com

Republic World is a dynamic and most trusted source of news and information, founded by journalist and entrepreneur Arnab Goswami. We cater live and in-depth coverage of comprehensive news headlines and articles, covering a wide range of topics including India news, entertainment news, sports news and much more. Republic World features breaking news in India, current news headlines, India news live and today’s India News.

#the kerala story #adahsharma #elephant whisperers #boxoffice #200cr

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atwozstory · 2 years ago

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Sabyasachi Chakraborty: A Legend of Tollywood

Introduction:

One of the most gifted performers working in Indian cinema now is

Sabyasachi Chakraborty. Over the course of his many years in the

business, he has given some of the most enduring performances

in Indian film history. We shall examine his life, career, and accomplishments

in more detail in this blog.

Early Life and Education:

1956 saw the birth of Sabyasachi Chakraborty in Kolkata,

West Bengal.After completing his education at South Point School,

he went on to earn his degree from the University of Calcutta.

His mother, Jharna Chakraborty, was a stage performer, and his father,

Subhendu Chakraborty, was both an actor and a director in the Bengali

cinema business.

Early Career:

In the 1970s, Sabyasachi Chakraborty began his acting career in

Kolkata's theater scene.

He collaborated with some of the most gifted playwrights and

directors of his day and was

involved with a number of theater organizations in the city. He

made his debut in the Bengal

i cinema business at the beginning of the 1980s with Aparna

Sen's "Paroma."

Film Career:

In his more than three decades-long acting career, Sabyasachi

Chakraborty has appeared

in more than 200 movies. He is renowned for his acting flexibility and

has appeared in films

as a variety of characters. His roles in the movies "Hirak Rajar Deshe,"

"Ganashatru," "Chokher Bali," "

Dosar," "Feluda," and "Kahaani" include some of his most enduring

performances.

Career in television:

In addition to movies, Sabyasachi Chakraborty has been in a number

of widely watched Indian

television series. His appearances on the television programs Byomkesh

Bakshi, Kababu, Satyajit Ray

Presents, and Gaaner Oparey are well remembered.

Awards and Recognition:

For his services to the Indian cinema industry, Sabyasachi Chakraborty has

won numerous accolades

. For his roles in the movies "Hirak Rajar Deshe" and "Kahaani," he has twice

taken home the National

Film Award for Best Actor. For his contributions to Indian cinema, he has also

received numerous

honors at foreign film festivals.

Conclusion:

In Indian cinema, Sabyasachi Chakraborty is a genuine legend. He has inspired

numerous

generations of performers and filmmakers in addition to entertaining audiences

with his performances.

His fans and the film community alike will always remember and love what he

contributed to the worlds

of cinema, television, and theater.

#story #legendary actor

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totoblgf · 29 days ago

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Celebrity Cricket League (CCL) 2024 Schedule: Complete Details on Dates, Venues, and Results

The Celebrity Cricket League (CCL) 2024 is set to captivate fans once again with its electrifying blend of cricket and entertainment. This star-studded cricketing event has grown immensely in popularity over the years, bringing together celebrities from various film industries in India. To ensure you stay informed about all the action, we've compiled a comprehensive guide to the CCL 2024 schedule, venues, match dates, and results.

What is the Celebrity Cricket League (CCL)?

The Celebrity Cricket League is a unique cricket tournament that features teams composed of celebrities from India’s film industries, such as Bollywood, Tollywood, Kollywood, and more. Established in 2011, the league bridges the gap between sports and entertainment, offering fans an opportunity to see their favorite stars compete in a cricketing arena.

CCL 2024 Schedule Overview

The CCL 2024 promises to deliver high-octane matches as celebrities battle it out for glory. Here's a detailed breakdown of the schedule, featuring match dates, venues, and key fixtures:

Key Dates for CCL 2024

Start Date: [Insert exact start date here]

End Date: [Insert exact end date here]

League Format

The CCL 2024 follows a round-robin format, with each team playing multiple matches. The top teams will advance to the semifinals, culminating in a thrilling final.

Teams Participating in CCL 2024

This year, the tournament features the following teams representing various film industries:

Mumbai Heroes (Bollywood)

Chennai Rhinos (Kollywood)

Bengal Tigers (Tollywood)

Karnataka Bulldozers (Sandalwood)

Kerala Strikers (Mollywood)

Bhojpuri Dabanggs (Bhojpuri Cinema)

Punjab De Sher (Punjabi Cinema)

Telugu Warriors (Tollywood)

Each team is packed with star power, boasting popular actors, directors, and other celebrities who are passionate about cricket.

Match Schedule and Venues

Below is the detailed CCL 2024 schedule with match dates and venues:

Date

Match

Venue

Time

[Insert Date]

Mumbai Heroes vs. Chennai Rhinos

Wankhede Stadium, Mumbai

[Time]

[Insert Date]

Bengal Tigers vs. Karnataka Bulldozers

Chinnaswamy Stadium, Bengaluru

[Time]

[Insert Date]

Kerala Strikers vs. Bhojpuri Dabanggs

Jawaharlal Nehru Stadium, Kochi

[Time]

[Insert Date]

Punjab De Sher vs. Telugu Warriors

Rajiv Gandhi Stadium, Hyderabad

[Time]

(Note: Ensure the above table is updated with the official schedule.)

Highlights of CCL 2024

Star-Studded Opening Ceremony

The CCL 2024 kicks off with a dazzling opening ceremony featuring musical performances, dance acts, and appearances by leading film personalities. This grand spectacle sets the tone for the tournament.

Exciting Rivalries

Fans can look forward to iconic rivalries such as Mumbai Heroes vs. Chennai Rhinos, which always deliver edge-of-the-seat action.

Final Match and Closing Ceremony

The grand finale will witness the top two teams battling for the coveted title, followed by a star-studded closing ceremony celebrating the tournament's success.

Live Streaming and Broadcast Details

Fans unable to attend matches in person can enjoy live broadcasts and online streaming. Leading sports channels and digital platforms will cover CCL 2024, ensuring fans don't miss a single moment. Stay tuned for updates on streaming services and TV channels broadcasting the matches.

CCL 2024 Results

As the tournament progresses, we'll provide up-to-date results for each match. Bookmark this page for regular updates and detailed match summaries, including the standout performances by your favorite stars.

Match

Winner

Highlights

Mumbai Heroes vs. Chennai Rhinos

[Insert Winner]

[Insert Key Highlights]

Bengal Tigers vs. Karnataka Bulldozers

[Insert Winner]

[Insert Key Highlights]

Why You Should Watch CCL 2024

The Celebrity Cricket League schedule is more than just cricket—it's an extravaganza that celebrates the spirit of entertainment and sportsmanship. Here’s why it’s a must-watch event:

Witness your favorite film stars showcase their cricketing skills.

Experience the thrill of competitive matches combined with glamour.

Enjoy family-friendly entertainment with something for everyone.

How to Get Tickets for CCL 2024

Tickets for CCL 2024 can be purchased online through official ticketing partners. Early booking is recommended as the matches are expected to draw large crowds. Keep an eye on the official CCL website for announcements on ticket availability.

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news365timesindia · 1 month ago

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[ad_1] Director Vivek Ranjan Agnihotri, who is known for ‘The Kashmir Files’, ‘The Tashkent Files’ and ‘The Vaccine War’, recently gave a peek into the making of his upcoming film, ‘The Delhi Files’.Vivek took to his social media to share a behind-the-scenes (BTS) video, which has sparked excitement among his fans as they are eager to see what the director has to offer in his upcoming project.The director wrote in the caption, “Every frame, every story, every detail, crafted with passion, dedication and tireless effort by our team working day and night to tell the untold truth of the Hindu genocide. This is more than a film; it’s a mission to give voice to the silenced. #TheDelhiFiles releasing on 15 August 2025”.The clip offers a sneak peek into the intense atmosphere on set, featuring the director in action, actors immersed in their roles, and the crew working meticulously to bring the story to life. The amount of dedication, attention to detail which leads to perfection will be witnessed by the audiences once the film hits the big screen.The video shows him briefing his crew, handling the equipment, and designing the shots as they journey on the movie progresses forward.‘The Delhi Files: The Bengal Chapter’ is helmed by Vivek Ranjan Agnihotri and Jointly produced by Abhishek Agarwal and Pallavi Joshi.The film went on floors in November, the director had shared the update with his fans back then. For the film, Vivek claims to have done extensive research. He travelled from Kerala to Kolkata to Delhi to gather the information for his film.Earlier, he visited Gandhi’s Ashram, as he took to social media to share pictures from his visit to Gandhi’s Ashram.He immersed himself in literature, reading over 100 books and more than 200 articles related to the historical events that form the backbone of his film. He and his team also travelled across 20 states for research, studying over 7000+ research pages and 1000 above archives articles were also studied other than books.The film, presented by Tej Narayan Agarwal & I Am Buddha productions, and is set to release in theatres worldwide on August 15, 2025 on the occasion of Independence Day.--IANS-- [ad_2] Source link

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bollywoodirect · 1 year ago

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Tributes to Bhupen Hazarika, one of India’s finest film musicians, on his 12th death anniversary (05/11/11). Bhupen Hazarika was a renowned Indian artist from Assam who wore many hats. He was a singer known for his rich baritone voice, a lyricist who wrote meaningful songs, a musician, poet, actor, editor, filmmaker, professor, and even a politician. His songs, mostly in Assamese, are loved for their themes of humanity and brotherhood and have been sung in various languages, including Bengali and Hindi. In West Bengal, Assam, and Bangladesh, his music is celebrated for promoting unity, justice, and empathy. Hazarika brought Assam and Northeast India’s culture and folk music to the broader Indian audience, significantly influencing Hindi cinema. He won many prestigious awards, including the National Film Award for Best Music Direction, the Padma Shri, Padma Bhushan, and after his death, the Padma Vibhushan and Bharat Ratna. He was also Chairman of the Sangeet Natak Akademi. His work included adaptations of American Black Spirituals learned from his friend Paul Robeson. His song “Manush Manusher Jonno” is highly regarded in Bangladesh, and his “Bistirno Parore” reflects influences from Robeson’s “Ol’ Man River.” A documentary film about his life, “Moi Eti Zazabor” (‘I am a Wanderer’), was started in 1986 by directors Waesqurni Bora and Arnab Jan Deka, featuring music by Jim Ankan Deka. Despite production delays, work on the film continues, aiming for release in multiple languages. Two books by co-director Arnab Jan Deka document the film’s journey, with one released at an event organized by Hazarika himself.

#bhupen hazarika #cinema #art #music #poet #bollywoodirect

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news365times · 1 month ago

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atplblog · 2 months ago

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Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] There are only so many filmmakers fearless or foolhardy enough to tackle a challenging novel, like Yann Martel's Life of Pi, but adaptation specialist Ang Lee (Brokeback Mountain) was well positioned to take it on. As a structuring device, he uses an interview between a journalist (Rafe Spall) and Pi Patel (The Namesake's Irrfan Khan), a Montreal immigrant with an unusual back story. As he tells the writer, his parents oversaw a zoo in French Indian Pondicherry and he found himself drawn to the Bengal tiger, Richard Parker the name resulted from a clerical error but his father (Adil Hussain) warned him to stay away. On his own, Pi became entranced by Islam, Hinduism and Catholicism, which comes in handy when his family relocates to Canada by freighter and a brutal storm as believably horrific as anything in Titanic leaves Pi (now played by Suraj Sharma) stranded in a lifeboat with a zebra, an orangutan, a hyena, and the tiger. Soon, it's just Richard and Pi struggling against the elements for 227 days and since he doesn't want to end up as cat food, he spends most of his time in a make shift raft attached to the boat. It's giving nothing away to say that he makes it out alive, but the point of the journey remains more enigmatic, since fate tests Pi's faith at every turn. Whether that makes this visually spectacular film a religious allegory or not, Richard (a marvel of CGI technology) remains the biggest mystery of all. Is Discontinued By Manufacturer ‏ : ‎ No Language ‏ : ‎ English Package Dimensions ‏ : ‎ 18.03 x 13.76 x 1.48 cm; 100 g Item part number ‏ : ‎ 8901736065702-MIG Director ‏ : ‎ Ang Lee Media Format ‏ : ‎ Dolby, PAL Run time ‏ : ‎ 2 hours and 36 minutes Release date ‏ : ‎ 25 June 2013 Actors ‏ : ‎ Suraj Sharma, Irrfan Khan, Adil Hussain Dubbed: ‏ : ‎ Hindi, Telugu, Tamil Subtitles: ‏ : ‎ English Studio ‏ : ‎ 20th Century Fox | Excel Home Videos ASIN ‏ : ‎ B00DN19W8E Country of Origin ‏ : ‎ India

Number of discs ‏ : ‎ 1 Manufacturer ‏ : ‎ 20th Century Fox | Excel Home Videos Packer ‏ : ‎ Excel Productions Audio Visuals Pvt Ltd Importer ‏ : ‎ Excel Productions Audio Visuals Pvt Ltd Item Weight ‏ : ‎ 100 g Net Quantity ‏ : ‎ 1.00 count [ad_2]

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