#bimal roy

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Madhumati (1958) | dir. Bimal Roy

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Bandini (Bimal Roy, 1963)

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Tributes to legendary singer #TalatMahmood on his 26th death anniversary (May 9, 1998).

This photo features #BimalRoy, Talat Mahmood, #MohammedRafi, and #SachinDevBurman during the recording session for the movie 'Devdas' (1955).

What are your favorite Talat Mahmood songs?

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Madhumati (1958)

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Karan Deol and fiancé Drisha Acharya spotted on lunch date, see pics inside | Hindi Movie News - Times of India

Sunny Deol’s son Karan will soon be tying the knot with his longtime girlfriend Drisha Acharya. The duo already got engaged a few months ago, the date coincided with grandparents Dharmendra and Prakash Kaur’s anniversary.The two will reportedly be tying the knot between June 16-18. The couple, who has been dating for six years now, recently stepped out for a lunch date. The duo twinned in black…

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Bandini (1963) dir. Bimal Roy

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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:

[srbachchan]

DAY 5754

Jalsa, Mumbai Nov 18/19, 2023 Sat/Sun 1:13 AM

Chhat Puja (Pratihar Sashthi/Surya Sashthi) Sunday, 19 November

Birthday - EF Rubina Mulchandani ; Ef Pravin Ahuja (noida) 'poet sahab' Sunday, 19 November ... birthday greetings to you and the affection f the Ef family .. ❤️

.. that strain again .. and again .. and again ... at this hour of having just finished work .. no work no play .. yes .. began at 7 am and now in completion .. that is and be the essence of day of us that work .. no work no play .. without it , like the sun never came out .. clouded in its translucent obliquity .. 'abrupt and angular but the very' ... aahh forgot those precious words of Hrish Da's brother on set on one of his films .. 'soul of magnanimity and rectitude' .. found it .. yaaaayyyy !

abrupt and angular but the very soul of magnanimity and rectitude ..

.. he had described the character I played in 'NamakHaram' .. Hrishi Da's film with Rajesh Khanna .. an Indian Becket .. that incredulous film with Peter O' Toole and Richard Burton , playing King and his confidant a commoner , almost .. christenned in the Court much to the dislike of the Church Archbishop .. but what an envious casting and performance abilities of these two giants .. and what a story .. ably adapted by Hrishikesh Mukherjee in the local version of a business tycoon, his empire and his dear friend, whom he has trusted to death and who turns the tide when he discovers the inappropriateness of the labour force that works for his friend's factory and the continued conflict that arises between these two inseparable friends ..

.. the description of the character .. but how mutedly significant in the environment of the day, when the surya devta plays truant ..

o .. lost my thought process .. in the wonderment of the days of this shoot at Mohan Studios .. now sold and converted into a multi storied real estate monstrosity , like many others .. never a word or thought of the massive creativity it encountered during its functionality .. Bimal Roy and his genius, Hrish Da, Prakash Mehra and their huge structured films and so many many others .. lost and gone to the concrete .. but in the memories of archives , now finding it difficult to survive ..

but life and work as I said needs to go on .. each day and enthusiastic run for the glory of the audience- the ones that made and make you !!

i retire ..

Amitabh Bachchan

[abigail55]

Exploring the Vibrant World of Hindustani Cinema: A Kaleidoscope of Culture, Art, and Storytelling

Hindustani cinema, often referred to as Bollywood, is a vibrant tapestry of culture, art, and storytelling that has captivated audiences worldwide for decades. Rooted in the rich traditions of Indian culture, Hindustani movies offer a unique blend of melodrama, music, dance, and larger-than-life narratives that have left an indelible mark on global cinema. In this article, we embark on a journey to explore the essence of Hindustani cinema, delving into its history, evolution, and enduring appeal.

Origins and Evolution: The roots of Hindustani cinema can be traced back to the early 20th century, with the screening of India's first silent feature film, "Raja Harishchandra," directed by Dadasaheb Phalke in 1913. This landmark moment marked the beginning of a new era in Indian filmmaking, paving the way for the emergence of an industry that would eventually become one of the largest in the world.

In the following decades, Hindustani cinema underwent a rapid evolution, embracing sound technology with the release of "Alam Ara" in 1931, India's first talking picture. This innovation revolutionized the medium, allowing filmmakers to incorporate dialogue, music, and song into their narratives, shaping the distinctive style of Bollywood movies that we know today.

The Golden Age: The post-independence period witnessed the emergence of what is often referred to as the Golden Age of Hindustani cinema. Filmmakers like Satyajit Ray, Raj Kapoor, Guru Dutt, and Bimal Roy crafted masterpieces that not only entertained but also challenged societal norms and explored complex themes with depth and nuance.......watch more.

Movies such as "Pather Panchali," "Awaara," "Pyasa," and "Do Bigha Zamin" garnered critical acclaim both at home and abroad, earning Indian cinema international recognition and respect. These films transcended linguistic and cultural barriers, resonating with audiences around the world and cementing the legacy of Hindustani cinema on the global stage.

The Rise of Bollywood: The 1970s and 1980s witnessed the rise of the Bollywood masala film, characterized by its formulaic blend of romance, action, comedy, and music. Filmmakers like Yash Chopra, Manmohan Desai, and Subhash Ghai created larger-than-life spectacles that catered to the masses, introducing iconic characters, memorable dialogues, and timeless songs that became ingrained in the collective consciousness of Indian audiences.

During this period, stars like Amitabh Bachchan, Dharmendra, Sridevi, and Rekha rose to superstardom, becoming cultural icons whose influence extended far beyond the silver screen. Their larger-than-life personas and charismatic performances defined an era and contributed to the enduring popularity of Bollywood cinema.

Global Reach and Recognition: In recent years, Hindustani cinema has experienced unprecedented growth and recognition on the global stage. Films such as "Lagaan," "Slumdog Millionaire," and "3 Idiots" have garnered widespread acclaim at international film festivals and award ceremonies, showcasing the diversity and talent of Indian filmmakers to audiences around the world.

The success of these films has not only opened doors for Indian cinema in international markets but has also sparked a renewed interest in Indian culture and storytelling on a global scale. With streaming platforms like Netflix and Amazon Prime offering a vast array of Bollywood movies to a worldwide audience, Hindustani cinema has never been more accessible or influential.

Challenges and Opportunities: Despite its global success, Hindustani cinema continues to grapple with challenges, including piracy, censorship, and the dominance of formulaic storytelling. However, filmmakers are increasingly pushing boundaries and exploring new avenues of creativity, tackling taboo subjects, and experimenting with narrative techniques to engage audiences in fresh and innovative ways.

Moreover, the rise of independent cinema and digital platforms has provided a platform for emerging filmmakers to showcase their talent and reach audiences directly, bypassing the traditional studio system. This democratization of filmmaking has led to a proliferation of diverse voices and perspectives within the industry, enriching the cinematic landscape and offering new opportunities for artistic expression.

The Future of Hindustani Cinema: As we look to the future, the possibilities for Hindustani cinema seem limitless. With advancements in technology, changing audience preferences, and a growing global market, Indian filmmakers are poised to continue pushing boundaries and redefining the cinematic landscape.

From small-budget independent films to big-budget blockbusters, from traditional storytelling to experimental narratives, Hindustani cinema remains a dynamic and evolving art form that reflects the complexities and contradictions of Indian society. As long as there are stories to be told and dreams to be shared, the magic of Bollywood will continue to captivate audiences around the world, bridging cultures and inspiring generations to come.

Conclusion: In conclusion, Hindustani cinema occupies a unique and cherished place in the pantheon of global cinema. From its humble beginnings over a century ago to its current status as a cultural juggernaut, Bollywood has captivated audiences with its colorful characters, melodious music, and larger-than-life narratives.

As the industry continues to evolve and adapt to changing times, one thing remains constant: the enduring appeal of Hindustani cinema as a celebration of life, love, and the human experience. Whether you're a casual moviegoer or a die-hard fan, there's something magical about Bollywood that transcends borders and brings people together in joyous celebration of the art of storytelling.

[theincorrigiblemagpie]

I watched Madhumati (1958) last night. I can't believe it took me so long to watch this movie given its legacy.

And I enjoyed it very much.

I've never been a Dilip Kumar fan but after this... I get it. I really do.

I have been a Vyjayanthimala fan and she's delightful, as always.

I had no idea Ritwik Ghatak wrote the script? And you see it. The "raja" wields his unearned wealth and power like a bludgeon. He's an entitled, lecherous, boorish thug who has no respect or consideration for those he considers his social inferiors.

He both admires and resents the hero for his ability to stand up to him.

The raja's corruption has tainted his staff at the timber mill which is the economic backbone of the estate.

The supervisor takes a cut from the meagre earnings of the daily wage workers. The foreman hides discrepancies in the accounts. And they're in conflict with the local Kumaoni people.

Right off the bat, the foreman and an assistant warn our hero that the locals are all thieves. But they're the only thieves we encounter.

And all of this is just the background to the central storyline, which is a romance. A good one!

Anyway, I get the Madhumati hype. And I get why Bimal Roy's daughter accused Om Shanti Om of plagiarism. OSO walks a thin line between referencing Madhumati and basically having a near identical climax.

(I personally do think OSO is a solid tribute to not just Madhumati, but a lot of Bollywood storytelling conventions, people, incidents, and more, and I'd let it go.)

Also, what a bananas good soundtrack. Salil Chowdhury and Shailendra casually landing basically every song.

If you enjoy old fashioned Bollywood entertainers, I think you should deal with the grainy film and sound, and watch Madhumati.

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Sujata (1959) | dir. Bimal Roy

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Madhabi Mukherjee, Soumitra Chatterjee, and Haradhan Bannerjee in The Coward (Satyajit Ray, 1965)

Cast: Soumitra Chatterjee, Madhabi Mukherjee, Haradhan Bannerjee. Screenplay: Satyajit Ray, based on a story by Premendra Mitra. Cinematography: Soumendu Roy. Film editing: Dulal Dutta. Music: Satyajit Ray.

Satyajit Ray's romantic drama The Coward owes something, I think, to that greatest of romantic dramas, David Lean's Brief Encounter (1945). Both are drenched in what might have been, and both have directors who know how to create tensions that are never resolved. There's no resort in either film to the feel-good ending. The characters in both films are trapped in custom and convention. But this is explicitly a Satyajit Ray film -- a minor one, perhaps, but a gem nevertheless. The still above is an almost perfect encapsulation of the essence of the characters and their relationships: Karuna (Madhabi Mukherjee) masked by sunglasses and giving the coldest of shoulders to Amitabha (Soumitra Chatterjee), whose desire and cowardice are written on the actor's expressive face, while Bimal (Haradhan Bannerjee) lies passed out in the background, oblivious to what's going on between the other two. Or is he? It's one of the delicious ambiguities of Ray's screenplay and Bannerjee's performance that we're never entirely certain that Bimal doesn't know that Amitabha and Karuna knew each other at university and were once in love, and that Amitabha hopes to renew that love in her. Bimal is a man enjoying his power and wealth, and he's not above employing it to abuse not only his wife but also the other man. He taunts the teetotaling Amitabha into drinking alcohol, first a glass of sherry and later a swig of whiskey from his flask, enjoying the coughing fit that the latter brings on in his victim. Ray beautifully builds tension in the scene above by occasional cuts to the cigarette between the supine Bimal's fingers as it burns down and eventually wakes him up. Meanwhile, Amitabha is making typically tentative moves toward Karuna, attempting to remedy his past mistake: When they were students, she tried and failed to persuade him to elope with her after her wealthy family objected to her relationship with a poor student. Even now, the best the dithering Amitabha can do is leave her to make the decision once again: He scribbles a note to her, asking that she leave Bimal and meet her at the train station. Once a coward, always a coward, it seems.

[bollywoodirect]

Remembering Hindi & Bengali cinema actor Abhi Bhattacharya on his 31st death anniversary (11/09/93). He was a renowned actor in both Hindi and Bengali film industries. He gained fame for his performances in iconic movies from the 1950s and 1960s, including titles like Yatrik (1952), Jagriti (1954), Anuradha (1960), Subarnarekha (1965), and Amanush (1975). Over a career spanning four decades, he appeared in over 150 Hindi films and 21 Bengali films. He had the privilege of collaborating with some of India's most distinguished filmmakers, such as Ritwik Ghatak, Guru Dutt, Bimal Roy, and Satyen Bose. What are your favorite Abhi Bhattacharya films?

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madhumati (1958)

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20 decade Of Indian Cinema: Greatest Actors and Actresses.

*Rare clipping* 💓

*Raj Kapoor, Dev Anand, Nargis, Nirupa Roy, Balraj Sahani, Bimal Roy* in the capital city of Tbilisi, Georgia in 1954...Vintage video...

Also see rare footage of *Putin's father Vladimir Spiridonovich Putin with Raj Kapoor*.