#bhakti barve

[bollywoodirect]

"Desh ki unnati ki pehchaan, agar kisi cheez se hoti hai ... toh woh hai gutter"

38 Years of #JaaneBhiDoYaaro (12/08/1983)

#NaseeruddinShah, #RaviBaswani, #SatishShah, #OmPuri, #PankajKapur, #SatishKaushik, #BhaktiBarve, #DeepakQazirKejriwal and #NeenaGupta were still new in the film business when this film was made and truly make the film what it is today.

What are your favourite dialogues/scenes from the film?

#bollywood #bollywoodirect

[tentativetalker]

The book

The link for very iconic Bhakti Barve version of Tula Shikvin Changla Dhada

And the full play performed by Girish Oak and Mrunali Kulkarni on YouTube

Many many many many (so very many) thanks!!!

Sometimes you whisper to the universe that you're teaching pygmalion to your students and the universe answers with a resounding affirmation! ✨✨✨✨✨✨✨

[classyfoxdestiny]

Excerpt: Regrets, None by Dolly Thakore

Excerpt: Regrets, None by Dolly Thakore

In July 1979, Rani Dube passed through Bombay. She’d brought Richard Attenborough with her. Richard’s long-cherished dream project, Gandhi, was close to realization. Rani was the co-producer, and she had brokered a meeting between Richard and Indira Gandhi. Mrs Gandhi had given the project her blessing and introduced the two of them to the National Film Development Corporation of India (NFDC)…

375pp, ₹599; HarperCollins

On the 25th of July, Rani brought Richard over to my apartment at around 3 in the afternoon. I was breastfeeding Quasar. We chatted for a while. The walls of our home, as ever, were covered with photographs from plays Alyque had directed. Talk turned to the theatre, to the BBC, to children and life. At half five, I rang Alyque to say, “Ahem, Richard Attenborough is here, and would you come home and we can all have dinner, because, you know, Richard Attenborough?”

I remember we went to Copper Chimney and had Kakori kebabs. But the moment Alyque walked in through the door, Richard turned to me and said, “That’s my Jinnah.”

Two days later, he rang me up.

“Dolly, it’s Richard,” he began. “We’re starting work on Gandhi, as you know. And I was wondering if you’d like to be the casting director?”

It was on the strength of the photographs and the long chat we had that day, about my years in the theatre and my work as a model coordinator and as a host. But mostly, I suspect, it was just a hunch.

I jumped at it. Although no one I knew really knew what ‘casting’ entailed. So, it was just like every other job I ever had.

By November of 1979, Quasar and I moved to the Ashoka Hotel in Delhi. We lived there for the next six months. I was casting director for Gandhi, but I was also the unit publicist and PR liaison.

Richard had already decided on his Gandhi: Ben Kingsley. He was going to cast all the white parts from Britain (and in the case of Martin Sheen and Candice Bergen, the US). I had to find all the Indian actors.

I also worked as a theatre critic at the time, and I watched almost every play on the boards, across the city. I spotted Rohini Hattangadi and called Richard in Delhi.

“There’s a young actress I want you to see,” I said.

“Kasturba?” he asked.

“Kasturba,” I agreed.

Richard was leaving Delhi for London that night. But he would stop in Bombay if he could meet this actress. Would I be able to take a room at the Airport Centaur? He’d nip out, see her and then go back across the street for his flight to London. International flights operated from the same terminal.

Rohini had a show that night. It was past 11.30 before she made it to the Centaur. Richard and I were sitting on the couch, and the moment Rohini walked in through the door, he clutched my thigh.

“This is it, Doll!” he whispered.

Richard had seen something intangible – a quality, an essence. He had a hunch about Rohini. She’d fit into his vision and further it. He could see her on screen. That was what casting was about. That was what one half of filmmaking was.

…”If she can lose about eleven kilos, that’s my Kasturba.”

This, then, was the other half of filmmaking: the journey from casting to the shoot. I rang Rohini the next day. Together, we went to see a Dr Vishnu Khakkar at Kemp’s Corner. He was a dietician…He examined Rohini, heard the brief and then told her that she could eat two chapattis and a bowl of dal for lunch and dinner, and nothing in between. And she had to walk for an hour and a half every day.

Rohini lived in Wadala at the time. Right or wrong, I was convinced that she might follow the dal-roti diet but, left to her own devices, there was no way she was going to take a walk every day. So she’d come to mine, we’d go to Vishnu’s office and lock ourselves into the second room. I’d sit in the chair and she’d walk around the table for an hour and a half. We did this every day for three weeks. She lost five kilos, and I called Richard with a progress report.

“Send her,” he said.

The delegation to London comprised Rohini, Smita Patil, Bhakti Barve and Naseeruddin Shah.

Smita Patil was very much the trendy pick. She was quite a big star by then. She was critically acclaimed and shared, in particular, a wonderful creative relationship with Shyam Benegal. But she wasn’t right for the role. She was too sultry, too aware, had too much spark for that version of that story. It would’ve been bad casting.

My pick – so much water under the bridge now – was actually Bhakti Barve. She was a fine actress. And I felt that she looked like Kasturba. That was enough to seal the deal in my mind.

Naseer’s trip was a political move. He’d made it clear that he was only interested in playing Gandhi. And Richard was set on Ben. But Naseer was a star, a name in the Bombay film industry, and Richard wanted to pitch a host of other parts to him – Nehru, in particular. Which shows how well he knew Naseer. Because that was never going to happen.

Money wasn’t a problem. We put this group of actors on a flight to London to shoot some tests. In fact Gandhi, as my first film, was a bit of a ruinous experience. The producers allowed – “empowered”, I think, is the right word – me to take decisions and paid for them without asking any questions. In other words, they trusted me to do the job they’d hired me to do. They delegated and left it at that; if I screwed up, that was completely my responsibility. No other job has come close.

Richard said ‘no’ to Naseer playing Gandhi. Naseer, in turn, said ‘no’ to Nehru. He wasn’t part of the film which – to this day – feels odd, given that I cast 498 Indian actors. A lot of people remember him being in the film! They’ve ghosted him in, because it feels logical that he would’ve been there. Naseer would have to wait about two decades to play Gandhi in Feroze Khan’s stage production.

Richard called from London to say that Rohini was his Kasturba. He loved her simplicity and naivety – things that are difficult to fake on screen.

The next step was to better her English. I got Kusum Haider to be her teacher in Delhi. I suppose that would be her ‘dialect coach’ in this day and age. Rohini was a model pupil. She maintained her diet and her exercise routine, and she was serious about her English lessons and the spinning class she took with Ben.

Wait. What I mean is that both Rohini and Ben learnt how to weave cotton. They weren’t on exercise bikes, peddling madly.

One of the major criticisms at the time was that Ben Kingsley was too ‘muscular’ to play Gandhi. Ben did all he could to remedy that. He was on a strict diet, and he did a lot of yoga. When he arrived in India, we removed all the furniture from his hotel room so he had to sit and sleep on the floor. The walls were covered with pictures of the Mahatma.

The backlash to the casting decision was inevitable. We were always going to have to confront the question: How could a foreigner play Gandhi? Bizarrely, the makers of ‘parallel cinema’ were the only ones who raised the issue. They showed up on the first day of shoot, waving black flags. I spotted my friend Shama Zaidi amongst the picketers. On our side of the fence was Govind Nihalani, one of the leading lights of the parallel movement but also our second unit cameraman. The protests were orderly. No one ran around breaking things; there were a number of write-ups and opinion pieces. Richard was polite, but firm – Ben Kingsley was his Gandhi. All said and done, Ben was of Indian stock. His grandfather had migrated from India. I mean, we were really straining the boundaries of credibility with his Indian ancestry, and everyone knew it. But we had Mrs Gandhi’s backing. Doors opened for us, trains ran on time and locations were a cinch. Gandhiji’s contemporaries, Ramkrishna Bajaj and Bharat Ram, were closely involved. The NFDC had given us nine crores.

The protests made it to the newspapers and were duly praised; the film rumbled on.

At the pre-shoot party for the Indo-British unit, Roy Button turned to Kamal Swaroop, both third ADs, and asked for a glass of water. Kamal replied, “The Raj went a long time ago.” That was about it for on-set strife.

Would we get to make it the same way again? Today? With a British director and a British lead? I don’t know. That’s dinnertime conversation. Would they get to make Apocalypse Now the same way?

We rolled on the 26th of November 1979. And it really was an army on the move. It had taken Richard decades to get to that moment, and you could see how much it meant to him, because every single minute on that production had been accounted for. People knew exactly what they were supposed to be doing.

Amal and Nissar Allana worked as set decorators. Their universe ranged from trains to cars to jewellery, costumes, shoes. Every detail had a separate team, and all roads led back to Richard – casting meetings, production meetings, lighting meetings, script meetings. And somewhere within that maelstrom, Richard found time to concentrate on the performances, to create a work of great integrity and beauty that has stood the test of time.

We shot in Porbandar, Bombay, Pune. Never Ahmedabad. The scenes set in South Africa were shot in Okhla. The shot of Gandhi silently giving a poor woman his safa by letting it drift across to her in the river was shot in Udaipur.

…In a strange way, I became the doorkeeper for the production. The outside world had to get through me before they got to the film, for anything. The requests ranged from the routine to the ridiculous. Everyone wanted a slice of the pie: producers, hangers-on, friends, politicians. People wanted to visit the set. People wanted to meet the actors. People wanted a say on the screenplay.

We were lucky that Richard had been dealing directly with Mrs Gandhi. That meant we could be firm. Sometimes, we just had to buy peace. Ben occasionally wanted a beer at the end of a day’s work, and we had to ensure he wasn’t seen by the press. We’d already had one headline: ‘Ben Kingsley, Gandhi, drinking beer.’ He was also an attractive man in the middle of a career-defining performance, so we had to shield him from the ladies. If he did stop to speak to someone, the press couldn’t get wind of it. For a while, I was his minder in the modern sense – the advance party, the bodyguard, the person pulling strings, just out of shot.

It was an exhilarating time, but it was bloody hard work. Luckily, Richard and I had found our wavelength early with Kasturba, and I had a strong sense of what he was looking for.

My old friend Roshan Seth played Nehru. We’d tested Victor Banerjee as well but Roshan had the sophistication of Nehru and won hands down.

…

Dolly Thakore with her son Quasar Thakore-Padamsee (L) and Alyque Padamsee (Courtesy the publisher)

Richard cast Saeed Jaffrey as Sardar Patel. I didn’t agree with that call. I still don’t. He just wasn’t right for the role. Harsh Nayyar played Godse. He was another Indian actor from the West (America or England, I forget) who wrote to Richard and won the part.

I had a hand in everything else. From Supriya Pathak to Neena Gupta, and Om Puri (God rest his soul, that brilliant, brilliant man) to Shekhar Chatterjee, who played Suhrawardy and whom I’d spotted in Calcutta. I mostly cast actors from the theatre. I mentioned Bhanu Athaiya to Richard, and she went on to win the Academy Award for costume design. She was a very well-established designer before Gandhi. What I loved, though, was her mumbled complaint at one point, “All I’m making is kurta pyjamas.” But then, that’s all the Congress leaders wore at that time, with the sole exception of Jinnah, who had some rather excellent suits. Alyque was hopeful that he’d get to keep his clothes from the shoot and was most disappointed when they were on the next flight to England.

Of course, when Bhanu won the Oscar, it was all “… yes, Jodhpuri pyjamas but, you know, I had to cut them in a very specific way.” Ah, show-business.

…The Indian premier was at Regal. I can confirm that Indira Gandhi did not, in fact, attend. At the time, I thought it the most exhilarating moment of my life, the crowning glory. With the passage of years, I’ve gained a little perspective. But that film taught me so much and gave me a set of memories I’ll never forget, some of them the proudest of my career. …And that funeral scene – one of the greatest ever filmed.

It went to the Oscars and won so many awards. But, by then, it was a British film, Richard’s film, and seemed very far away indeed.

Richard and I remained friends until his death in 2014. Ben Kingsley visited India again in 1990, and I had everyone over for a meal at my house. It was lovely. He’s now a Knight of the Realm. And I hear he prefers to be called ‘Sir Ben’.

I’m glad I was there; I’m glad I was part of it.

. Source link

[globalworship]

Jai Jai Jagadisha (Marathi hymn, India)

Marathi Christians (मराठी ख्रिस्ती; Marāṭhī Khristī) are an ethno-religious community of Indian state of Maharashtra. According to the Census of India, there are over a million Christians in Maharashtra constituting 1.5% of the state's population. https://en.wikipedia.org/wiki/Marathi_Christians

Here is a popular Marathi Christian song recently recorded; an English summary of the lyrics is below.

“Jai Jai Jagadisha” composed by Rev. Narayan Vaman Tilak , a very composer and theologian (see below). Hear two other versions below.

+++

I asked on the Youtube page if someone could help me understand the lyrics, and Besty Reuben kindly responded with this:

This Marathi hymn is a praise to the Triune God. It is a cry invoking God's presence among men. The words come out of an intimate relationship with the Creator, thanking him for all that He is and therefore blessing the name of The Father, The Son and the Holy Spirit. The writer wants the glory of God to fill Him and wants the same for the entire world. He wants to convey the message that "God is all we need". The earth is personified as longing for God's mercy, grace and blessing. We can also say that the writer may be in deep personal thought about how wonderful the world would be if Immanuel - God is with us. This song was popularly sung as an opening hymn in schools, church gatherings and Christian get-togethers. One of my favourite hymns.

+++

About the composer:

Narayan Vaman Tilak (6 December 1861 – 9 May 1919) was a Marathi poet from the Konkan region of then Bombay Presidency in British India, and a famous convert to Christianity from Chitpavan Brahmin Community.

Read a lengthy summary of his life and ministry at https://en.wikipedia.org/wiki/Narayan_Waman_Tilak

He was an early leader in contextualization of local art forms to carry the Christian message. Here’ are some excerpts from the WIkipedia article:

From his Hindu years, he composed kirtans (musical religious services with a mixture of poetry and dramatic retelling of Hindu stories of religious inspiration, ...  This continued into his Christian years when he led kirtans, trained Christian kirtankars, including his wife Laxmi, and published a little handbook Kirtan Kalap as a guide ...  Owing to the very many hundred of devotional hymns which Rev. Tilak composed for church worship and for singing in villages, others saw him as the "Tagore of Western India."

After about ten years as a Christian he began expressing his faith in local idioms, particularly the poetic style of the Varkari Hindu sampradaya of Maharashtra. The many songs he composed remain very popular among Marathi speaking Christians. But Tilak was a critic of traditional Christianity, and for the last two years of his life moved beyond the church to focus on developing a new brotherhood of baptized and unbaptized disciples of Jesus. This new approach never took root due to Tilak's early death in Mumbai on May 9, 1919.

Tilak's son, Devdatt Narayan Tilak, edited and published the epic poem Christayana.

Tilak composed over a hundred Christian devotional songs in Marathi in either abhanga (अभंग) or ovi (ओवी) form. They were published in a book titled "Abhanganjali" (अभंगांजली).

Besides the initial parts ofthe eopic Khristayan (ख्रिस्तायन), Tilak wrote over 2,100 long poems comprising several hundred lines each.

+++

I recommend these books by my cholarly friend and mentor in :contextualization issues of India, who wrote two detailed books on Tilak’s life and art.

Richard, H.L., Following Jesus in the Hindu Context: The intriguing implications of N.V. Tilak’s life and thought. Revised American edition. Pasadena: William Carey Library, 1998.

Richard, H.L., Christ-bhakti: Narayan Vaman Tilak and Christian Work among Hindus. Delhi: ISPCK, 1991.

Read a short essay by H.L. Richard on Rev. Tilak’s life and ministries, with lessons for today, at http://www.bhaktivani.com/volume2/number3/tilak.html

+++

Dr.Amit Kamle and Pornima Kamle presents Glorify Christ 4, JAI JAI JAGADISHA song sung by Priyanka Barve. This Marathi Christian Worship song from the Upasana Sangeet is penned and composed by Rev.Narayan Vaman Tilak. This worship song has been conceptualized by Dr.Amit Kamle.

+++

Here is the same song from a Marathi church in northern Dallas, Texas.

+++

And one last version which has some women singing the same song, in addition to the primary male vocalist.

[marathistars]

Movie : Bandhishala (2019) | बंदिशाळा

Producer : Swati Sanjay Patil

Director : Milind Lele

Studio : Shantaai Motion Pictures in association with shree mauli motion pictures

Star Cast :

Mukta Barve

Sharad Ponkshe

Umesh Jagtap

Anand Alkunte

Ananda Karekar

Pankaj Chemburkar

Krutika Gaikwad

Pravin Tarade

Madhav Abhyankar

Shivraj Wavlekar

Vikram Gaikwad

Asha Shelar

Hemangi Kavi

Savita Prabhune

Ashwini Giri

Umesh Jagtap

Varsha Ghatpande

Anil Nagarkar

Story : Sanjay Patil

Screenplay and Dialogues : Sanjay Patil

Lyrics : Sanjay Patil

Sound : NA

Music : AmitRaj

Background Music : NA

Cinematography (DOP) : NA

Editor : Bhakti Mayalu

Art Director : Narendra Haldankar

Costume : NA

Make-up : NA

Presenter : NA

Choreography : Vithhal Patil

Co-Producer : Mangesh Ramchandra Jagtap , Payal Kadam

Visual Promotions : NA

Digital Promotions : NA

DI Colorist : NA

Genre : Drama

Release Date : 21 June 2019

Synopsis : Madhavi Sawant is a resilient police officer who tries to root out the corrupt administration in the prisons. However, she makes powerful enemies who plot a gangrape against her. The harrowing incident leaves a strong Madhavi, broken. The film attempts to bring out the discrimination and crimes against women to the forefront through Madhavi`s story.

Movie Name Marathi Movie Poster/Photos :

#gallery-0-4 { margin: auto; } #gallery-0-4 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-4 img { border: 2px solid #cfcfcf; } #gallery-0-4 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Movie Name Marathi Movie Trailer :

Bandhishala (2019) - Marathi Movie Movie : Bandhishala (2019) | बंदिशाळा Producer : Swati Sanjay Patil Director : Milind Lele Studio : 

[arunashekhar]

#Repost from @bollywoodirect with @regram.app ... It’s been nearly 35 years (12 August 1983) since the release of Jaane Bhi Do Yaaron – one of the top Hindi comedies of all time. Naseeruddin Shah, Ravi Baswani, Satish Shah, Om Puri, Pankaj Kapur, Satish Kaushik, Bhakti Barve, Deepak Qazir Kejriwal and Neena Gupta were still new in the film business when this film was made and truly make the film what it is today. It's a rare sight to watch actors of such caliber, all working together. Jaane Bhi Do Yaaro is one of those films which will stay relevant for a long time. Follow @bollywoodirect For More Updates. #bollywoodclassics #jaanebhidoyaaro #bestmovie #indianmovies #instagood #instamovies #oneofthebest #satire #government #corruption #loveit

[dailydoss]

New Post has been published on Dailydoss

New Post has been published on http://www.dailydoss.com/award-winning-film-director-kundan-shah-passes-away/

Award-winning film director Kundan Shah passes away

Famed Hindi film director Kundan Shah passed away at his Mumbai residence on Friday night, after suffering a heart attack. He was 69.

Shah was best known for directing the 1983 satirical film, ‘Jaane Bhi Do Yaaro’ – his first – for which he received the National Award.

The film, featuring Naseeruddin Shah, Ravi Baswani, Om Puri, Pankaj Kapur, Satish Shah, Satish Kaushik, Bhakti Barve and Neena Gupta, received a poor response at the box office, but went on to achieve cult status.

He also co-directed popular Hindi TV show ‘Nukkad,’ which aired on Doordarshan from 1986 to 1987, and directed comedy sitcom ‘Wagle Ki Duniya,’ based on characters created by RK Laxman. The latter ran from 1988 to 1990.

Shah had studied direction at the Film and Television Institute of India in Pune.

Several Bollywood personalities condoled Shah’s death on Twitter.

Good bye #kundan shah. We all @FTIIOfficial @Whistling_Woods shall remember u for your great films with us n in history indian cinema.🙏🏽🙏🏽🙏🏽

— Subhash Ghai (@SubhashGhai1) October 7, 2017

RIP Kundan Shah…. a cult filmmaker …a solid story teller…..

— Karan Johar (@karanjohar) October 7, 2017

A brave man Kundan Shah, who added vigour to the alternate cinema stream with movies like Jaane bhi do yaaro has left us. Adieux Kundan 🙏🙏🙏

— Mahesh Bhatt (@MaheshNBhatt) October 7, 2017

Rip Kundan Shah…. A master storyteller no more. Condolences to the family and loved ones.

— Riteish Deshmukh (@Riteishd) October 7, 2017

[visionmpbpl-blog]

New Post has been published on http://www.visionmp.com/veteran-director-who-also-helmed-television-shows-like-nukkad-and-wagle-ki-duniya-breathed-his-last-on-saturday-morning/

Jaane Bhi Do Yaaro director Kundan Shah dies of heart attack, B-Town mourns his death

Mumbai: Filmmaker Kundan Shah died of a heart attack on Saturday morning at his Mumbai residence. He was 69 years old. Kundan Shah is best known for the cult classic Jaane Bhi Do Yaaro, which also marked his directorial debut, in 1983. The film, featuring Naseeruddin Shah, Ravi Baswani, Om Puri, Pankaj Kapur, Satish Shah, Satish Kaushik, Bhakti Barve and Neena Gupta, received a poor response at the box office, but went on to achieve cult status. He won a National Award for the same. He also helmed films like Kabhi Haan Kabhi Naa (1993), Kya Kehna (2000) and Dil Hai Tumhara (2002). “I just got to know about Shah ‘s demise. I have reached his house. It is really sad,” Satish Shah , who played one of the principal characters in ‘Jaane Bhi Do Yaaro’,” told a news agency. Shah also made his mark on the small screen by directing television shows like Nukkad (1986) and Wagle Ki Duniya (1988). Many B-Town celebs including Karan Johar, Farhan Akhtar and Manoj Bajpayee took to Twitter to mourn the director’s death.

[bollywoodirect]

Remembering Bhakti Barve​ on her 71st birth anniversary. Bhakti Barve (10 September 1948–12 February 2001) was a film, theatre and television actress in Marathi, Hindi, and Gujarati. She is best known for her role in Kundan Shah​’s comedy Jaane Bhi Do Yaaron​ (1983), where she acted alongside Naseeruddin Shah, Satish Shah and Ravi Baswani. In theatre which was her mainstay, she was associated with leading groups like Theatre Unit, Indian National Theatre, and Rangayan, and is remembered for performances in plays like “Ti Phularani”, “Nag Mandala”, “Aayee Retire Hote Aahe” and “Hands Up”. She was awarded the Sangeet Natak Akademi Award in Marathi theatre Acting in 1990 by India’s National Academy of Music, Dance and Drama, apart from Maharashtra Gaurav Puraskar, and Abhinay Puraskar. She was married to actor Shafi Inamdar, who died in 1996.Barve began her career by acting for Sudha Karmarkar’s Little Theatre. She also had a short stint as announcer on All India Radio, Mumbai and later as a news reader on Mumbai Doordarshan (India’s National broadcaster), and presenter of Saptahiki. While with Doordarshan she also performed the role of Bahinabai Choudhary, the poetess-saint, in critically acclaimed DD produced telefilm, Bahinabai. She shot to fame with her performance in plays like the Marathi drama Ajab nyaya vartulacha (‘Strange Justice of the Circle’) in 1973, C. T. Khanolkar’s adaptation of Brecht`s Caucasian Chalk Circle, Mohan Rakesh`s Adhe-adhure, “Tee Phul Rani” (Flower Queen) (1975), P.L. Deshpande’s noted adaptation of GB Shaw’s Pygmalion and in Jay Lerner’s My Fair Lady. She was widely appreciated in 2 super hit Marathi stage plays “Hands-Up!” (1982) and “Ranga Mazha Vegala” (1991) both co-starring Avinash Masurekar. She acted in many TV serials and dramas, besides Hindi films, Kundan Shah’s Jaane Bhi Do Yaaro (1983) and Govind Nihlani’s Hazaar Chaurasi Ki Maa (1998). She was also the chairperson of the Akhil Bharatiya Marathi Natya Sammelan.

[jamuura]

Lessons From 'Jaane Bhi Do Yaaro': How To Turn Adversity Into A Friend!

16SHARESshare on facebookshare on twitter It’s  been about 32 years since the 1983 black comedy Jaane bhi do yaaro, directed by Kundan Shah released and it’s still considered one of the greatest comedies ever made in Hindi cinema’s history. Bringing together some of the greatest actors like Naseeruddin Shah, Om Puri, Bhakti Barve, Satish Shah, Satish Kaushik, Pankaj Kapoor and…

Lessons From ‘Jaane Bhi Do Yaaro’: How To Turn Adversity Into A Friend! was originally published on Jamuura Blog

[profilecalendar]

Shafi Inamdar, Indian actor

Shafi Inamdar, Indian actor

Shafi Inamdar (1949 – 13 March 1996) was an Indian actor. He started his film career with the film Vijeta and continued it in Ardh Satya. He acted in a number of television serials including Yeh Jo Hai Zindagi. Shafi married actress Bhakti Barve. He died on 13 March 1996. His wife died in a road accident on 12 February 2001. Shafi’s most notable film roles include the inspector in Aaj Ki Awaz,…

[marathistars]

TV Serial : Zindagi not out | जिंदगी नॉट ऑउट

Also Known As : Jindagi not out

Producer : Mahesh Tagade – Jitendra Gupta

Director : Avinash Waghmare

Production House : Tel a Tell Media Pvt Ltd

StarCast :

Shailesh Datar as Aappa Desai

Vandana Waknis

Tejas Barve as Sachin Desai

Dnyanada Ramtirthkar as Sneha

Neha Ashtputre

Sayli Zurale

Tejashree Walawalkar

Swapnil Phadke

Ujwala Jog

Prasanna Ketkar as Subhash Ranade (Sneha’s Father)

Atharv Nakati

Rahul Mehendale as Sarpotdar (Nagarsevak)

Ashish Vaidya

Story : Jitendra Gupta

Screenplay & Dialogues : Pallavi Karekara – Kiran Kulkarni

Assistant Writer : Sumedh Kirloskar

Background Music : Prakash Viraj

Title Song : Mandar Cholkar

Title Song Music : A.V. Prafullchandra

Sound Recording : Sunil Tiwari

Cinematography (DOP) : Ajaaj Ahmad Sheikh

Art : Jitu Patnaik

Editor : Narpat Chaudhari

Co-Editor : A

Costumes : Bhakti Tagade, Ambarish Thakkar

Make-Up : Sagar Surve

Executive Producer : Akshay Suresh Sabale

Assistance  Director : A

Creative Head : Sanjali Shirodkar

Assistance Creative Head : Rahul Manerikar

Online Editor : Vijay Goriwale

Title Montage : Vividh Babali Korgavkar

Channel : Zee Yuva

Starting Date : 07 August 2017

Starting Time : 09:00 Pm Monday to Friday

Story Outline : 

Behind every successful person there are many people who believe in them & give them moral, emotional support. A family that comprises of a loving mother, a supportive father & sisters who keep bringing a smile on your face, that person will definitely succeed. This is the story of zee Yuva’s upcoming serial ‘Zindagi Not Out’ which will go on air from 7th August at 9 pm.

‘Zindagi Not Out’ will explore the beauty of different relationships from mother-father bond to the relation with siblings & the special person! 21 year old Sachin Desai loves the game of cricket & his journey towards becoming a successful cricketer is the plot of ‘Zindagi Not Out’. In sachin’s journey all those people who are close to him also contribute their bit.

This serial stars Shailesh Datar, Vandana Vakhnis, Tejas Barve, Dnyanda Ramtirthkar, Neha Ashtputre & others. ‘Zindagi Not Out’ is produced by Mahesh Tagde, Jitendra Gupta under their banner ‘Tell a Tale Media’. This serial promises to be inspirational to everyone who has a dream & is ready to work hard to make the dream a reality!

Zindagi not out Zee Yuva Marathi Tv Serial Photos :

#gallery-0-4 { margin: auto; } #gallery-0-4 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-4 img { border: 2px solid #cfcfcf; } #gallery-0-4 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Jindagi not out – Zee Yuva Serial Promo :

Zindagi not out - Zee Yuva Serial TV Serial : Zindagi not out | जिंदगी नॉट ऑउट Also Known As : Jindagi not out…

[bollywoodirect]

Remembering noted TV and stage actress and Mumbai Doordarshan's most loveable Marathi newsreader of yesteryear, Bhakti Barve on her 18th death anniversary today.

Bhakti Barve was an acclaimed film, theatre and television actress in Marathi, Hindi and Gujarati languages. She is better known for her role in cult classic comedy Jaane Bhi Do Yaaro (1983), directed by Kundan Shah.

Bhakti Barve started out with acting on stage and read news on All India Radio. But she entered the hearts, minds and homes of people across the country when she began appearing as a news anchor on Doordarshan, the only TV channel in the Seventies.

Shortly thereafter, in 1983, Kundan Shah’s cult comedy, Jaane Bhi Do Yaaron, added film glamour to Barve’s fame, making a star out of the young artist.

Broadcast journalists are adept at facing the camera, and so it wasn’t surprising when a news anchor made the switch to the silver screen.

Yet, in spite of this phenomenal film debut, Barve stuck to her first love: theatre. She was associated with leading groups like Theatre Unit, Indian National Theatre and Rangayan, and is remembered for performances in plays like Ti Phularani, Nag Mandala, Aayee Retire Hote Aahe and Hands Up.

Barve married actor Shafi Inamdar and co-star from the hit TV comedy show Yeh Jo Hai Zindagi. She returned to cinema with the 1998 critically-acclaimed film Hazaar Chaurasi Ki Maa.

She was left devastated after her husband’s death in 1996. Five years later, Barve herself died in a road accident on the Pune-Mumbai Expressway. Barve while returning to Mumbai after performing a solo act Pu La Fulrani Aani Mee, her tribute to writer, humorist, actor, musician P L Deshpande.

Barve was 52 when she passed away. Yet she had already accomplished more than most artists would have by that age.

[bollywoodirect]

34 years ago on 12th Aug’83 Kundan Shah’s cult classic film Jaane Bhi Do Yaaro released.

[bollywoodirect]

Remembering Bhakti Barve​ on her 69th birth anniversary.

Bhakti Barve (10 September 1948 – 12 February 2001) was a film, theatre and television actress in Marathi, Hindi, and Gujarati. She is best known for her role in Kundan Shah​'s comedy Jaane Bhi Do Yaaron​ (1983), where she acted alongside Naseeruddin Shah, Satish Shah and Ravi Baswani.

In theatre which was her mainstay, she was associated with leading groups like Theatre Unit, Indian National Theatre, and Rangayan, and is remembered for performances in plays like "Ti Phularani", "Nag Mandala", "Aayee Retire Hote Aahe" and "Hands Up". She was awarded the Sangeet Natak Akademi Award in Marathi theatre Acting in 1990 by India's National Academy of Music, Dance and Drama, apart from Maharashtra Gaurav Puraskar, and Abhinay Puraskar. She was married to actor Shafi Inamdar, who died in 1996.

Barve began her career by acting for Sudha Karmarkar's Little Theatre. She also had a short stint as announcer on All India Radio, Mumbai and later as a news reader on Mumbai Doordarshan (India's National broadcaster), and presenter of Saptahiki. While with Doordarshan she also performed the role of Bahinabai Choudhary, the poetess-saint, in critically acclaimed DD produced telefilm, Bahinabai.

She shot to fame with her performance in plays like the Marathi drama Ajab nyaya vartulacha ('Strange Justice of the Circle') in 1973, C. T. Khanolkar's adaptation of Brecht`s Caucasian Chalk Circle, Mohan Rakesh`s Adhe-adhure, “Tee Phul Rani” (Flower Queen) (1975), P.L. Deshpande's noted adaptation of GB Shaw's Pygmalion and in Jay Lerner's My Fair Lady. She was widely appreciated in 2 super hit Marathi stage plays "Hands-Up!" (1982) and "Ranga Mazha Vegala" (1991) both co-starring Avinash Masurekar.

She acted in many TV serials and dramas, besides Hindi films, Kundan Shah's Jaane Bhi Do Yaaro (1983) and Govind Nihlani's Hazaar Chaurasi Ki Maa (1998). She was also the chairperson of the Akhil Bharatiya Marathi Natya Sammelan.

Like बॉलीवुड डायरेक्ट​ Bollywoodirect​