#female actors in South Indian cinema

[travellingwithhemant]

PK Rosy birth anniversary: Google Doodle celebrates first lead Malayalam actress. Who was she?

PK Rosy, the first lead Malayalam actress, is being celebrated by Google Doodle on her birth anniversary. The Indian actress and dancer, who made her debut in the South Indian film industry in the 1930s, paved the way for generations of actors and actresses in the Malayalam film industry. PK Rosy’s debut film was Vigathakumaran (The Lost Child, 1928).(Google) Born in Thiruvananthapuram, India…

[brokoala-soup]

South Indian cinema: Part 1

I think we (I) don't talk enough about my obsession with the South Indian film industry. I'm less of a star or fame powered fangirl and most of my obsessions start from very niche observations and qualities. Both me and my mom are good cinema enthusiasts, that being said, we love not just watching movies but also analyze them and talk about them in great lengths and detail; and it isn't always just about the actors but also the scenes, the cinematography, the dialogues and so on. We enjoy a good story based cinema that's more about carrying the characters in place and action than about how much hype a movie gets. I enjoy old movies, including monochrome movies of the yesteryears and the faded coloured classics of the 70's and 80's.

Let me go from one obsession to other. First, comes my unexplainable obsession with actors who are also trained dancers. That's a sexy characteristic because it adds an edge to the actor's identity over being just a movie star and IMHO, it also refines the depth of character and acting skills (many talented actors who aren't dancers do exist, this is just my view). I have this captivation with dancers because something in them, be it the unseeable depth of efforts and practice and hurdles they cross before they set foot on the stage or be it the inordinate amount of beauty they express and portray in both costumes and jewelry or be it the grace with which they carry themselves or be it the way the fluidity, fragility and fierceness of dance entwines with their soul and body making it indistinguishable, obvious and redefines their identity and adds meaning to their character for the better. Irrespective of gender, classical dance forms in my opinion, have a profound effect on the individual and somehow makes them all the more charming to me because it's art that flows in their body and art has that unique fragrance to which you can never turn a blind eye to. It also anchors you down to your inner zen because gender conforms and norms are all broken (atleast in Indian classical dances) as both male and female dancers play either roles in dances and it's all the more about expression and emotion than the role per se. And that I think is a very liberating thing and I love Indian classical dances for it.

So here goes the list: Kamal Haasan is a trained Bharatanatyam and Kathak dancer; the best of which is seen in his performance in the movie Sagara Sangamam which is a majorly dance based movie. My most favorite scene is when he humbles Sailaja when she opposes his critique. Padmini, one of the famous Travancore sisters, was a trained Bharatanatyam dancer and in her retired days also opened a dance school and taught abroad. Shobana, one of my favorite actresses, who is also the niece of the Travancore sisters is a trained Bharatanatyam dancer; she also received a national award for her performance in the Malayalam movie Manichitrathazhu which was the original for the famous Chandramukhi, Bhool Bhulaiya, Nagavalli, Aatmamitra etc. I rate her acting top notch because her expressions and her eyes often speak way more than the dialogues. Revathi, is again a trained Bharatanatyam dancer and has delivered multiple box office hits and is also one of my favorite actresses. Bhanupriya, who's pretty famous in tamil and telugu cinema, is a trained Kuchipudi dancer and appeared in the film Sitaara which went on to win the National award for that year. Jayalalitha, apart from her successful political career was a leading film actress in the tamil industry. She was trained dancer of multiple forms like Bharatanatyam, Kuchipudi, Mohiniyattam, Kathak etc. Sukanya, who famously starred against Kamal Haasan in Indian, is a trained Bharatanatyam dancer. Prabhu Deva, who we all know as the Michael Jackson of India, is a trained Bharatanatyam and Udupi dancer. Amala Akkineni, is a trained Bharatanatyam dancer and also has a degree bachelor degree for the same from Kalakshetra. Vineeth, who works mostly in tamil, telugu and malayalam films is a trained Bharatanatyam dancer; lesser known but he's Shobana's cousin and Padmini's nephew from her husband's side. Asin, who is well known for her role in Ghajini, is also a trained Bharatanatyam dancer. Jayam Ravi, now well known as the Ponniyin Selvan after the famous novel adaptation, is also a trained Bharatanatyam dancer.

This is in my list (can't think more, brain fried) do feel free to add more. Tagging @sister-of-satan @voidsteffy and @bipdf because I think y'all will enjoy reading this

Do reblog and tag people who'd enjoy reading this

[a-film-app]

Exploring the vibrant worlds of the Gujarati, Bhojpuri, and Marathi film industries.

Among the oldest and biggest cinema industries around the globe is found in India. A public screening of an Indian movie occurred at the beginning of 1913. It was called Raja Harischandra. Finding someone to play female characters at the time was quite difficult. It has only recently been questioned whether the middle and lower classes still associate acting with a decline in virtue, female chastity, and credibility.

Gujarati Film Industry

Among the important regional and popular film industries in Indian cinema is Gujarati Cinema. The business has reached its best point over the past ten years thanks to sane and competent directors who have won the audiences' high praise. The movies have original stories, excellent acting, beautiful music, and a wide range of genres, including Family, Tragedy, Comedy, Mystery, Sports, Sci-Fi, Historical Drama, Action, and Relationship.

At the 64th National Film Awards, the movie "Wrong Side Raju" won the National Film Award for Best Motion Picture in Gujarati. The next film, "Reva," took up the 66th National Film Award for Best Motion Picture in Gujarati.

The Gujarati film industry's most admirable quality is that it consistently embraces Bollywood stars who are not Gujarati (Bollywood). Amitabh Bachchan, a Bollywood celebrity, and Jaya Bachchan both had cameo appearances in "Carry On Kesar."

The Gujarati film sector has produced numerous films filmed outside of India, demonstrating the sector's rapid expansion. The industry supports artistic filmmaking and its promotion across various media.

More than 8 crore Gujaratis and a global audience have been reached by Gujarati cinema thanks to innovation and art over the years. Gujaratis are wealthy, and the Gujarati movie business will soon reach new heights of development. There are several Gujarati actors in Bollywood as well.

Bhojpuri Film Industry

In recent years, Bhojpuri cinema has seen a significant evolution. This has enticed numerous prominent Bollywood actors to join the Bhojpuri film industry.

Bhojpuri film was fighting for its life and was on the verge of extinction until lately. However, the collaborative effort of the Bhojpuri film industry's creators, directors, and producers brought the sector back to life by turning it profitable once more.

Bhojpuri cinema has established a niche today, and its popularity on the international market has skyrocketed. There is a worldwide audience for Bhojpuri films, not just in Bihar and Uttar Pradesh. The Indian diaspora living in Brazil, Fiji, South Africa, Guyana, Suriname, Mozambique, and Trinidad & Tobago enjoys watching Bhojpuri films. To know more about this in detail you can log into our Bhojpuri film industry app.

Marathi Film Industry

The Marathi film industry has continuously produced works of art. The business has developed a reputation for being content-centric and important thanks to movies like Fandry, Court, and Kaasav. A few years ago, the phenomenal box office success of Marathi films like Sairat, Natsamrat, and Lai Bhaari gave the impression that the industry was prosperous. But, the reality of Marathi cinema's box office performance could be better. 2019 witnessed 11 weeks where three or more Marathi films were released on the same day, which is unusual in an industry where even a solo movie struggles to maintain at the box office. This gives these movies no chance at the box office.

The Marathi movie business has its work cut out for it as the pandemic effect on the box office fades over time, and the box office throughout languages starts to rebound. It must address some fundamental structural issues for more sustained success at the box office. To know more about this in detail, you can log into our Marathi film industry app.

Bollywood is acknowledged as having the biggest global film production sector. In all, 2961 films were made in India, including 1602 features in 2012. India offers some of the lowest prices in the planet for movie tickets.

[yamigautam56982]

Yami Gautam Biography: From Law Student to Bollywood Star

Yami Gautam Dhar, a name synonymous with grace and talent, has carved a niche for herself in the dynamic world of Indian cinema. But her journey to the silver screen wasn't as linear as one might think. Let's delve into the captivating story of Yami Gautam, from her humble beginnings to her reign as a leading Bollywood actress.

Early Life and Family Ties

Born on November 28, 1988, in Bilaspur, Himachal Pradesh, Yami Gautam hails from a Punjabi family with a strong connection to the film industry. Her father, Mukesh Gautam, is a renowned Punjabi film director and former VP of the PTC Network [Wikipedia: Yami Gautam]. Yami, raised in Chandigarh alongside her younger sister Surilie (also an actress) and brother Ojas, initially dreamt of pursuing a career in law. However, destiny had other plans, and at the age of 20, while studying law, Yami decided to embrace her passion for acting.

Television Debut and Stepping into South Indian Cinema

Yami's foray into the entertainment world began with television. She starred in popular soap operas like "Chand Ke Paar Chalo" and "Yeh Pyar Na Hoga Kam," showcasing her natural talent and charming screen presence. But Yami's ambitions extended beyond the small screen. In 2010, she made her film debut with the Kannada movie "Ullasa Utsaha," marking her entry into South Indian cinema. She subsequently went on to star in Telugu, Tamil, and Malayalam films, showcasing her versatility across regional languages.

Bollywood Breakthrough and Critical Acclaim

The year 2012 proved to be a turning point in Yami's career. She landed a lead role in the Bollywood film "Vicky Donor," a quirky comedy-drama that tackled a sensitive subject with humor and sensitivity. The film became a critical and commercial success, propelling Yami into the spotlight. Her performance earned her the prestigious Zee Cine Award for Best Female Debut, solidifying her place in the competitive world of Hindi cinema.

A Career Highlighted by Milestones and Accolades

Yami didn't rest on her laurels after her successful debut. She went on to deliver critically acclaimed performances in films like "Bala" (which earned her a Screen Award for Best Comedian) and "Batti Gul Meter Chalu." Her filmography boasts a diverse range of roles, from the fierce warrior princess in "Vicky Kaushal" to the headstrong social activist in "Dasvi." Yami's dedication to her craft and her ability to portray complex characters have garnered her a loyal fan following and numerous accolades, including an IIFA Award for Star Debut of the Year – Female.

Beyond the Spotlight: Personal Life and Interesting Facts

Yami Gautam is known for maintaining a private life. In 2021, she married director Aditya Dhar in an intimate ceremony. Interestingly, even before entering the film industry, Yami battled a skin condition during her teenage years. This experience shaped her perspective and made her a strong advocate for self-acceptance and inner beauty.

Yami Gautam's story is an inspiration for aspiring actors. From her humble beginnings to her meteoric rise in Bollywood, she has proven that dedication, talent, and the courage to chase one's dreams can pave the way for success. With her captivating screen presence and her commitment to diverse roles, Yami Gautam is sure to continue captivating audiences for years to come.

[cinemapremi]

Mrunal Thakur's To Marry This South Indian Actor

Actress Mrunal Thakur, renowned for her success in both Bollywood and the South Indian film industry, has been in the limelight due to her potential wedding plans. Recent reports suggest that the "Sita Ramam" star is deeply in love with a Telugu actor and is considering taking their relationship to the next level. This romantic revelation was sparked by renowned film producer Allu Aravind's statement during an award function. Hrithik Roshan’s Heartwarming Birthday Post for Saba Azad

The Allu Aravind Connection

During the award event, Allu Aravind, a giant in the South Indian film industry, presented the Best Female Actor award to Mrunal Thakur for her exceptional performance in "Sita Ramam." In a heartfelt moment, Aravind extended his warm wishes to the actress and expressed his hope that she would find a suitable husband and settle down in Hyderabad, emphasizing the importance of her finding happiness and companionship in the city.

Mrunal's Reaction

The news of Allu Aravind's comments and the speculation about her wedding have created a buzz among fans and netizens. However, Mrunal Thakur has not officially responded to these reports yet. In a previous interview with India Today, the 31-year-old actress shared her belief in the institution of marriage, highlighting her observation of numerous successful marriages around her. She emphasized the significance of marrying the right person, regardless of one's age, and stated that finding the ideal life partner can happen at any stage of life.

Mrunal's Journey

Mrunal Thakur gained recognition for her role as Bulbul in the immensely popular Indian television series "Kumkum Bhagya." Her foray into films began with the Marathi movie "Vitti Dandu" in 2014. Nevertheless, it was her impactful performance in the Bollywood film "Love Sonia" in 2018 that catapulted her to national prominence.

Upcoming Ventures

Pippa Trailer Release on Ishaan Khatter Birthday: A Special Celebration On the professional front, the talented actress is actively involved in promoting her latest film, "Aankh Micholi," which hit the big screens on November 3. Additionally, she is set to star alongside Ishaan Khatter in the upcoming movie "Pippa." Moreover, fans will have the opportunity to see her make her debut in Telugu cinema in the film "Hi Nanna," where she will share the screen with popular actor Nani. https://www.instagram.com/p/Cyky71Ht_Ki/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA== https://www.instagram.com/p/CyaZ_EMNVs3/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==

The South Connection

Mrunal Thakur's connection with the South Indian film industry has taken center stage, with rumors of her potential marriage to a Telugu actor. Her remarkable journey from television to Bollywood and now to South Indian cinema showcases her versatility and widespread acclaim. As fans eagerly await official confirmation of her relationship and wedding plans, the actress continues to shine in the world of Indian cinema. Also checkout: Read the full article

[24hrsallnews]

The first female spy of YRF Spy Universe

The YRF Spy Universe is an Indian shared universe revolving around a series of spy action films produced by Yash Raj Films (YRF). Various fictional RAW agents have appeared and are popular in Indian cinema. YRF has announced that the trailer of Tiger 3 will be out on October 16. Yash Raj Films Tweet, "Say hello to the first female spy of the YRF Spy Universe, Zoya! All heart & total badass!." Tiger 3 is directed by Manish Sharma and written by Aditya Chopra, Ankur Chaudhary, Sridhar Raghavan.   View this post on Instagram   A post shared by Salman Khan (@beingsalmankhan)

Tiger 3 Cast & Crew

Salman Khan as the lead actor in the film, Salman Khan, Katrina Kaif, Emraan Hashmi and the rest of the cast includes Revathi, Riddhi Dogra, Vishal Jethwa, Kumud Mishra, Anant Vidhat Sharma, Gavi Chahal and many other notable. Salman Khan plays the role of Avinash "Tiger" Singh Rathore, a RAW agent, and Katrina Kaif plays the role of Zoya, a Pakistani secret agent and Tiger's wife. Pritam has composed the music for the film and cinematography is done by Anay Goswami.   What is the budget of Tiger 3? The budget of Tiger 3 film is up to Rs 300 crores. The production house and distributor of Tiger 3 movie is Yash Raj Films.   Tiger 3 initial release Tiger 3 was initially scheduled to release on 21 April 2023 but the release date of the film was postponed. Now Tiger 3 will be released during Diwali.   View this post on Instagram   A post shared by Tiger 3 (@___tiger3__) Tiger 3 Villian Emraan Hashmi's role in the film has been kept under wraps for some time, but it has been reported that he will play a villain. Emraan Hashmi's role in Tiger 3 has not been clearly stated. Tiger 3 belongs to the YRF spy universe. Katrina Kaif is playing the role of a female agent in this and you can see her action role in Tiger Zinda Hain. The trailer of Tiger 3 will be released on 16 October.   YRF Spy Universe Movies List Ek Tha Tiger, Tiger Zinda Hai, War, Pathaan   YRF Spy Universe Upcoming Movies List Tiger 3, War 2, Tiger vs Pathaan There are several films under the YRF Spy Universe. Pathaan film will be released this year. Tiger 3, War 2, is an upcoming movie under YRF Spy Universe. As per reports, Alia Bhatt upcoming film will go on floors in 2024. Read more   Read More - Scam 2003: The Telgi Story Teaser, release date, Star-cast, and Update - Which Ott platform does Gadar 2 release? - Ponniyin Selvan 2 OTT Release Date on Mani Ratnam’s birthday - Exploring the Intense Persona of 'Big Daddy' Shiva Rajkumar in Ghost Movie - Love, Death, and Horror: 1920 Horrors of the Heart - Best Comedy South Indian Movies Dubbed in Hindi list - Kushi movie review, Reaction and box office collection - Salaar and Dunki to release on 22 December 2023 - Welcome to the jungle story, cast and update - Leo Hindi Poster has been released today - Ram Pothineni starrer Skanda movie cast, budget and Box office collection Prediction - Unleashing the Ultimate Battle: Skanda vs Chandramukhi 2 - Brace Yourself for the Clash of masterpiece! - Loki Season 2 Release date and time, Our favorite God of Mischief returns to TVA Read the full article

[futuretvott]

67th Parle Filmfare Awards South 2022 with FutureTV.

The 67th Parle Filmfare Awards South 2022 is here and movie buffs across the country are excited! On October 9, some of the biggest names in south Indian cinema will be honored. To get you ready for the big day, we’ve brought you all the latest news and updates about this blockbuster event. Also, be sure to check out our list of award winners and nominees. Don’t miss this year’s 67th Parle Filmfare Awards South! Mark your calendar, and stay tuned for all the happenings!

FutureTV by Kamar Film Factory

The 67th Parle Filmfare Awards South 2022 sets to take place on october 9th at the Bangalore International Exhibition Centre. Gathered under one roof, this event will see some of the industry’s biggest stars on stage. To get you prepared for the big day, here’s a sneak peak of what to expect from FutureTV! Along with live coverage of the event, we’ll be bringing you all the latest news and updates from the red carpet.

67th Parle Filmfare Awards South 2022

The 67th Parle Filmfare Awards South 2022 are definitely going to be a night to remember! Hosted by FutureTV, this event is sure to bring stars and fans alike together for an evening of glamour and excitement. Fans can expect to see a lot of amazing performances, including some lip sync battles that are sure to get them on their feet. To catch all the action live, make sure to tune in on October 9th at 9 PM EST/6 PM PST!

The 67th Parle Filmfare Awards South 2022 Winners Have Been Announced

The 67th Parle Filmfare Awards South 2022 held on 9th october and it was a star-studded event! Winners of the major categories were announced and it’s interesting to see who took home top honours this year. Here’s a look at the winners of the big awards: Best Picture, Best Director, Best Actor (Male), Best Actress (Female), and more! Make sure to check out our blog for all the details of this years event! You can see more articles like this just clicking.

67th Parle Filmfare Awards South 2022 live news and updates

The 67th Parle Filmfare Awards South 2022 are just around the corner, and we’re excited to exclusively bring you live news and updates. Be sure to stay tuned to FutureTV for all the latest updates on this year’s awards ceremony, which marks the silver jubilee of the event. This year’s awards will be extra special as they celebrate the landmark of its silver jubilee. Make sure you tune in to find out who wins this year’s awards, including best films, actors, and music. Stay tuned for more details! Winners and nominees of the 67th Parle Filmfare Awards South 2022 The 67th Parle Filmfare Awards South 2022 have been announced with FutureTV! Congratulations to all the winners and nominees! Many popular films have received nominations across categories, including Soorarai Pottru, Ayyappanum Koshiyum, Pushpa: The Rise Part 1, Jai Bhim, Badava Rascal, and Love Mocktail. This has generated a lot of excitement among fans, who are rooting for the films they love. The nominee list contains super-hit actors and performers such as Rashmika Mandanna, Sai Pallavi, Jyotika, and Shobana. There are some gorgeous stars like Pooja Hegde, Mrunal Thakur, Krithi Shetty, Saniya Iyappan, and Aindrita Ray in this film. And performances by Allu Arjun, Suriya, Dulquer Salmaan, Mohanlal, and Raj B Shetty have also been nominated.

LIVE Updates for the 67th Parle Filmfare Awards South 2022

It’s time for the 67th Parle Filmfare Awards South 2022! To keep you updated on all the action, we’re bringing you live updates right here on FutureTV. Starting from 7:00 PM IST today onwards, you won’t want to miss a thing. As always, make sure you vote for your favourite stars and movies, and let us know who you think will take home the coveted awards this year!

Conclusion

Congratulations to all the winners and nominees of the 67th Parle Filmfare Awards South 2022 with FutureTV! We are excited to bring you live updates and news from the event as it happens. Stay tuned to FutureTV for all the latest updates on this awards ceremony.

[sfbanana]

Anu sithara old pics

#Anu sithara old pics movie

#Anu sithara old pics serial

#Anu sithara old pics movie

She has received numerous awards such as 65th Filmfare Awards South, Nandi Awards, Filmfare Awards South, 2nd South Indian International Movie Awards and CineMAA Awards etc. She was born on 8 April 1988, in Bengaluru, Karnataka, India. Nitya Menon is an Indian film actress and singer who mainly works in Malayalam, Telugu, Tamil, Kannada and Hindi films. She worked in more than 14 Malayalam films. Malayalam movie actress Parvathy has worked in many successful south Indian movies as “ Ennu ninte moideen, Take Off, Notebook, Uyare, Virus, Charlie, Bangalore Days, Maryan and Koode etc. However, the name Menon has not been used on any of his identity cards or school documents. Malayalam actress Parvathy Thiruvothu also known as “Parvathy Menon” but She objected that she has never used the name “Menon”. She has won 2 times Filmfare Award for Best Actress Malayalam, 2 times Kerala State Film Award for Best Actress and IFFI Best Actor Award (Female) for movie Take Off. Usha Kumari, both are lawyer by the their profession and has a brother Aum Thiruvoth (Karunakaran). Malayalam actress Parvathy Thiruvothu made her Malayalam film “ Out of Syllabus” in 2006. Parvathy Thiruvothu is an Indian film actress and model who primarily works in Malayalam, Telugu and Tamil films, She was born on 7 April 1988, in Kolikode (Kozhikode), Kerala, India. She has worked on more than 40 Malayalam films. Malayalam movie actress Manju is one of the leading Malayalam actress and worked in many successful south Indian movies like “Thooval Kottaram, Sallapam, Ee Puzhayum Kadannu, Asuran, Lucifer and Odiyan” etc. She has won 6 times Filmfare Award for Best Actress – Malayalam and also National Film Award. Warrier started her film career with Malayalam film “Sakshyam” in 1995.

#Anu sithara old pics serial

She first appeared in the Malayalam television serial Moharavam, which was telecast on Doordarshan. Kerala actress She is one of the most successful actresses of Malayalam film industry. She was born on 10 September 1978, in Nagercoil, Kanyakumari, Tamil Nadu. Shooting for the movie was an amazing experience.Manju Warrier is an Indian film actress and dancer who mainly works in Malayalam films. We just finished the shoot, dubbing is ongoing. So, I consider myself very fortunate to be a part of Mamaangam. "Period dramas are rare in Malayalam cinema. Malayalam cinema is focusing on movies with great scripts nowadays as well," she added.Īnu said she is very excited about her next movie Mamaangam, a period drama, starring Mammootty in the lead role. As long as the script is good, then I'd take it up. I am not very keen on being a 'heroine' in all the movies. Presently, I am looking at how comfortable I am with the script as well as the character. Now I'd like to focus on doing Malayalam movies. "Earlier, to get a foothold into the industry I would take up any movie. And this one was definitely interesting." Speaking about her future projects, Anu said she intends on focusing on Malayalam cinema at the moment. "I got to learn from them," she added.Īnu called her role in Subharathri, "an extremely different character." She said, "I usually take on characters I am very comfortable with. She added, "Dileep is an actor I have been seeing since my childhood, it's probably because of that, and because he made me feel so comfortable, that I felt like I was acting opposite someone I've known for a very long time." Anu also said she enjoyed the opportunity to learn immensely from senior actors such as Siddique, KPSE Lalitha, and Nedumudi Venu to name a few. However, ahead of the shooting, he had called, and we spoke about the movie." "It's my first movie with Dileep, and honestly, I was initially stressed out about starring opposite him. Speaking about her own character Anu said, "Sreeja is someone who is obsessed with her husband, kids she lives in a small little bubble of her own. It is relatable and connects with viewers with the simplicity and the social message that needs to be heard." Co-starring Dileep, Siddique, Asha Sharath, and a legion of other veteran actors, Subharathri is also the first time the 23-year old is starring opposite Dileep.Ĭritics in Kerala are calling director KP Vyasan's Subharathri a story that stays away from the stereotypical portrayal of Muslims. She added, "It's a wonderful movie based on human goodness. "If I reveal even a tiny detail, even a character sketch, I will ruin the movie for viewers," laughed the actor. In a candid chat with City Times ahead of the movie's release today, the actress was extremely secretive about the movie's plot. Subharathri or 'Goodnight' is a movie packed with much-needed goodness, according to its leading lady Anu Sithara.

[dweemeister]

Kaagaz Ke Phool (1959, India)

Almost a quarter of the way through the twenty-first century, globalization has pierced the remotest corners of the planet. The examples academics and politicians cite demonstrating this globalization are almost always economic, but the most profound examples are cultural. Once known only in South Asia, Indian cinema has burst onto a global stage. Its stars and its most popular directors seem larger than life. Reading on some of modern Bollywood’s (Hindi-language cinema) personalities, I find few of their biographies compelling beyond their unquestionable status as South Asian and international celebrities – I won’t name names here because that is for another time. That is partly a result of not watching enough Bollywood films. It is also because I am making unconscious comparisons between those modern actors to actor-director Guru Dutt. Dutt was a tragic romantic – off- and on-screen – to the point where those personas can become indistinguishable.

As an actor, Dutt can be as charming a romantic male lead as anyone, as well as lend a film the dramatic gravitas it needs. As a director, he refined his sweeping visuals and theatrical flairs over time. That artistic development culminated with Pyaasa (1957) and his final directorial effort, Kaagaz Ke Phool (“Paper Flowers” in English). The latter film is the subject of this piece. Both films elevate themselves to a cinematic altitude few movies anywhere, anytime ever accomplish. They are, for lack of a better word, operatic* – in aesthetic, emotion, storytelling, tone. In Kaagaz Ke Phool, Dutt once again lays bare his artistic soul in what will be his final directed work.

An old man enters a film studio’s empty soundstage, climbs onto the rafters, and gazes wistfully at the darkened workspace below. We learn that this is Suresh Sinha (Dutt), a film director whose illustrious past exists only in old film stock. The film is told in flashback, transporting to a time when his marriage to Bina (Veena) is endangered – the parents-in-law disdain his film work as disreputable to their social class – and he is embarking upon an ambitious production of Devdas (a Bengali romance novel that is among the most adapted pieces of Indian literature to film, the stage, and television). He is having difficulty finding someone to play Paro, the female lead. Due to this conflict, Bima has also forbidden their teenage daughter, Pammi (Kumari Naaz), from seeing Suresh. Pammi is sent to a boarding school far from Delhi (where Bima and her parents reside) and further from Mumbai (where Suresh works), without any sufficient explanations of the spousal strife.

One rainy evening, Suresh generously provides his coat to a woman, Shanti (an excellent Waheeda Rehman). The next day, Shanti arrives at the film studio looking to return the coat. Not knowing anything about film production, she accidentally steps in front of the camera while it is rolling – angering the crew who are tiring of yet another production mishap. Later, while viewing the day’s rushes, Suresh casts Shanti as Paro after witnessing her accidental, but remarkable, screen presence. She achieves cinematic stardom; Suresh and Shanti become intimate. When the tabloid gossip eventually reaches Mumbai and Pammi’s boarding school, it leads to the ruin of all.

What did you expect from an operatic film – a happy ending?

Also starring in the film are Johnny Walker (as Suresh’s brother-in-law, “Rocky”) and Minoo Mumtaz (as a veterinarian). Walker and Mumtaz’s roles are vestigial to Kaagaz Ke Phool. Their romantic subplot is rife with the potential for suggestive humor (she is a horse doctor), but the screenplay never justifies their inclusion in the film.

Shot on CinemaScope lens licensed by 20th Century Fox to Dutt’s production company, Kaagaz Ke Phool is Dutt’s only film shot in letterboxed widescreen. From the onset of his directorial career and his close collaboration with cinematographer V.K. Murthy, Dutt exemplifies an awesome command of tonal transition and control. Murthy’s dollying cameras intensify emotion upon approach: anguish, contempt, sober realization. These techniques render these emotions painfully personal, eliminating the necessity of a few lines of dialogue or supplemental motion from the actor. The effect can be uncomfortable to those who have not fully suspended their disbelief in the plot or the songs that are sung at the time. But to the viewers that have accepted that Dutt’s films exist in a reality where songs about infatuation, love, loss, and regret are sung spontaneously (and where revelations are heard in stillness), this is part of the appeal. Dutt and Murthy’s lighting also assists in directing the narrative and setting mood: a lashing rainstorm signaling a chance meeting that seals the protagonists’ fates, the uncharacteristically film noir atmosphere of the soundstage paints moviemaking as unglamorous, and a beam of light during a love melody evokes unspoken attraction. That final example represents the pinnacle of Dutt and Murthy’s teamwork (more on this later).

As brilliant as his films (including this) may be, Dutt suffered during mightily during Kaagaz Ke Phool’s production. In writings about Dutt, one invariably encounters individuals who believe Dutt’s life confirms that suffering leads to great art. Though I think it best to retire that aphorism so as not to romanticize pain, I believe that the reverse is true with Guru Dutt – his later directing career contributed to his personal tribulations. In some ways, that suffering informed his approach to what I consider an informal semiautobiographical trilogy of his films: Mr. & Mrs. ’55 (1955), Pyaasa, and Kaagaz Ke Phool. Dutt directed and starred in each of these films. In each film he plays an artist (a cartoonist, poet, and film director, respectively); with each successive film his character begins with a greater reputation, only to fall further than the last. The three Dutt protagonists encounter hardship that do not discriminate by caste, professional success, or wealth.

For Dutt’s Suresh, he is unable to consummate his love for Shanti because the specters of his failed marriage haunt him still. He never speaks to his de facto ex, but marital disappointment lingers. Why does he bother visiting his stuffy in-laws when he knows they will never change their opinions about him? Abrar Alvi’s (the other films in the aforementioned informal Dutt-directed trilogy, 1962’s Sahib Bibi Aur Ghulam) screenplay is silent on the matter. Also factoring into Suresh’s hesitation is his daughter, Pammi. Pammi is young, looks up to both her parents, and cannot fathom a parent being torn from her life. Her reaction to learning about Shanti implies that neither of her parents have ever truly talked to her about their separation. Pammi does not appear to blame herself, but it seems that her parents – intent on protecting their child, perhaps speaking to her not as a soon-to-be young adult – are loath to maturely talk about the other. In a sense, Pammi has never mourned her parents’ marriage as we see her deny the tabloid reports about Suresh’s affair and express anger towards her father when she learns the truth.

When Suresh’s film after Devdas flops, his film career is in tatters. But Shanti’s popularity is ascendant, creating a dynamic reminiscent of A Star is Born. In a faint reference to Devdas, Kaagaz Ke Phool’s final act contains anxieties about falling into lower classes. If Kaagaz Ke Phool is contemporaneous to its release date, one could also interpret this as concerns about falling within India’s caste system (reformist India in the late 1950s was dipping its toes into criminalizing caste discrimination, which remains prevalent). Suresh’s fall is stratospheric and, in his caste-conscious, masculine pride, he rejects Shanti’s overtures to help him rebuild his life and film career. This tragedy deepens because Shanti’s offer is in response to the contractual exploitation she is enduring. We do not see what becomes of Shanti after her last encounter with Suresh, but his final scenes remind me, again, of opera: the male lead summoning the strength to sing (non-diegetically in Suresh’s case) his parting, epitaphic thoughts moments before the curtain lowers.

Suresh’s and Shanti’s respective suffering was preventable. Whether love may have assuaged his self-pity and alcoholism and her professional disputes is debatable, but one suspects it only could have helped.

Composer S.D. Burman (Pyaasa, 1965’s Guide) and lyricist Kaifi Azmi (1970’s Herr Raanjha, 1974’s Garm Hava) compose seven songs for Kaagaz Ke Phool – all of which elevate the dramatics, but none are as poetic as numbers in previous Dutt films. Comments on two of the most effective songs follow; I did not find myself nearly as moved by the others.

“Dekhi Zamane Ki Yaari” (roughly, “I Have Seen How Deeply Friendship Lies”) appears just after the opening credits, as an older Suresh ascends the soundstage’s stairs to look down on his former domain. The song starts with and is later backed by organ (this is an educated guess, as many classic Indian films could benefit with extensive audio restorations as trying to figure out their orchestrations can be difficult) and is sung non-diegetically by Mohammed Rafi (dubbing for Dutt). A beautiful dissolve during this number smooths the transition into the flashback that will frame the entire film. That technique, combined with “Dekhi Zamane Ki Yaari”, prepares the audience for what could be a somber recollection. However, this is only the first half of a bifurcated song. The melodic and thematic ideas of “Dekhi Zamane Ki Yaari” are completed in the film’s final minutes, “Bichhde Sabhi Baari Baari” (“They All Fall Apart, One by One”; considered by some as a separate song). Together, the musical and narrative arc of this song/these songs form the film’s soul. For such an important musical number, it may have been ideal to incorporate it more into the film’s score, but now I am being picky.

Just over the one-hour mark, “Waqt Ne Kiya Haseen Sitam” (“Time Has Inflicted Such Sweet Cruelty On Us”; non-diegetically sung by Shanti, dubbed by Geeta Dutt, Guru’s wife) heralds the film’s second act – Suresh and Shanti’s simultaneous realization of their unspoken love, and how they are changed irrevocably for having met each other. Murthy’s floating cameras and that piercing beam of light are revelatory. A double exposure during this sequence shows the two characters walking toward each other as their inhibitions stay in place, a breathtaking mise en scène (the arrangement of a set and placement of actors to empower a narrative/visual idea) foreshadowing the rest of the film.

Dutt’s perfectionist approach to Kaagaz Ke Phool fueled a public perception that the film was an indulgent vanity exercise with a tragic ending no one could stomach viewing. Paralleling Suresh and Shanti’s romantic interest in each other in this film, the Indian tabloids were printing stories claiming that Dutt was intimate with co-star Waheeda Rehman and cheating on Geeta Dutt. These factors – perhaps some more than others (I’m not versed on what Bollywood celebrity culture was like in the 1950s, and Pyaasa’s tragic ending didn’t stop audiences from flocking to that film) – led to Kaagaz Ke Phool’s bombing at the box office. Blowing an unfixable financial hole into his production company, Guru Dutt, a man who, “couldn’t digest failure,” never directed another film. Like the character he portrays here, Dutt became an alcoholic and succumbed to depression in the wake of this film’s release. Having dedicated himself entirely to his films, he interpreted any professional failure as a personal failure.

Kaagaz Ke Phool haunts from its opening seconds. Beyond his home country, Dutt would not live to see his final directorial effort become a landmark Bollywood film and his international reputation growing still as cinematic globalization marches forth. Dutt’s most visually refined films, including Kaagaz Ke Phool, are films of subtraction. The cinematography and music make less movement and dialogue preferable. Kaagaz Ke Phool is a film defined about actions that are not taken and scenes that are never shown. The result is not narrative emptiness, but a receptacle of Dutt’s empathy and regrets. Exploring these once-discarded, partially biographic ideas is not for faint hearts.

My rating: 9/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

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

* I use this adjective not to reference operatic music, but as an intangible feeling that courses over me when watching a film. Examples of what I would consider to be operatic cinema include: Crouching Tiger, Hidden Dragon (2000, Taiwan); Greed (1924); The Red Shoes (1948); and The Wind (1928). Some level of melodrama and emotional unpackaging is necessary, but the film need not be large in scope or have musical elements for me to consider it “operatic”.

[salmankhanholics]

★ SWOT for Salman Khan: Identifying the strength, weakness, opportunities and threats for the box office Sultan!

February 17, 2021

Decoding Salman Khan. The analysis of his superstardom, his probable shortfalls, the opportunity that looms in the market and the threats that can pull him down. Pinkvilla discusses

Over the years, SWOT analysis has been conventionally used to identify and analyze the Strength, Weakness, Opportunities and Threats of an organization in the business world. It is among the most accepted principals, alongside PESTLE analysis, used in making a holistic business decision by the stakeholders. As a method, SWOT can be applied in all mediums of work, and in a first, we at Pinkvilla now bring this methodology to application for the top male and female stars of Bollywood. We start this segment with Salman Khan, and here’s decoding the factors that have worked in favour of, gone against as also, the opportunities waiting to be explored by bypassing the threats for the box office Sultan.

S: Strengths

A loyal fan following:

Salman Khan is among the rare actors in today’s time who commands a fan following that extends across the country, with an unprecedented reach in the interiors. The loyal fan following is a testimony of the fact the actor is on the top of the ladder right now in terms of stardom with as many as 16 films in the Rs 100 crore club. The fact that he has managed to do this for 16 consecutive times makes this achievement even bigger. None in Bollywood can boast of this achievement, and given the at present dynamics, it’s difficult for anyone to attain this feat in the near future. His loyal fan following is also a result of chain reaction of the on-ground word of mouth, that spreads due to his human side - helping nature, standing for the needy via the charitable activities.

Strong goodwill in the family audience:

Films like Maine Pyaar Kiya, Hum Aapke Hai Kaun, Hum Saath Saath Hai and Baghban, coupled with the “no kissing”, “no abuse” policy has worked wonders for Salman Khan, making him the hot favourite among the family audience. He is among those actors, whose films can be watched by entire family as an outing without any hesitation or awkward moments. The reruns of the aforementioned films on television, as put Salman in the pedestal of being the ideal “prem”.

W - Weakness

Too much dependence on remakes and sequels

A glance at Salman’s filmography since post the release of Sultan, and one can conclude that he is starting to slowly find a comfort zone by depending too much on remakes and sequel. Sultan was followed by Tubelight (Remake), Tiger Zinda Hai (Sequel), Race 3 (Sequel), Bharat (Remake), Dabangg 3 (Sequel), Radhe (Remake), Antim (Remake) and Tiger 3 (Sequel). While one may also call it dearth of creativity in Bollywood, and sequels aren’t as much an issue as remakes, but we have seen the magic that Salman can create in original films last decade with the likes of Dabangg (1), Ek Tha Tiger, Bajrangi Bhaijaan and Sultan. The Tiger franchise is one of those which creates genuine excitement and falls in the franchisee space, but that apart, we would love to see Salman in an original human drama, comedy or even a film in a different sub-set of action. How about a jungle adventure? How about a sci-fi or period epic?

O - Opportunity

Hunt for the right director

While there aren’t many directors in Bollywood at present, who can do justice to the aura of Salman, it’s time that the actor looks down south at the directors. Sukumar, AR Murugadoss, Puri Jagannadh, or many others from the southern industry, have the wish to collaborate with the actor once on a Pan-Indian film, primarily because, he is among the very few in Bollywood, who has the personality that gels well in their world of cinema. It’s time, Salman teams up with an able director who is a master at his craft and an actual captain of the ship, letting Salman off the stress to work all aspects of making a film.  He can also elevate his reach down south, with his production house (SKF) coming on board as a presenter of the Hindi version of the promising Pan-India films.

Comedy in post covid times:

Salman has his own brand of humour, and he has seen success in the comic space with films like Judwaa, Biwi No. 1, Mujhse Shaadi Karogi, No Entry, Maine Pyaar Kyun Kiya, Partner and Ready to name a few. But since 2011, one is yet to see Salman jump into the comic space again. In the post covid times, comedy is a genre that would excel, and it well might be the right opportunity for him to get into this zone, and let go of his macho, action image.

Salman Khan, the unexplored actor

The superstardom has limited Salman from taking up characters with different arc, there still lies a lot for Salman Khan, the actor, to be explored. Two of his three blockbusters till date, Sultan and Bajrangi Bhaijaan, are more of a “drama” than “action”. His biggest opener till date, Bharat too falls in the “drama” space. The industry myth that Salman should do only action films needs to be broken, as he has over the years found success in all genres, and even today, he can draw the audience in all spaces. In-fact, his last release, an action film that too a franchise (Dabangg 3), didn’t do as well at the box-office. The concentration at the moment should be to sign on for “good films” rather than just “action”. And the good film can be anything – comedy, drama, rom-com, family or even action - that has the potential to breach the commercial sensibilities.

T - Threats

As Salim Khan once said, the biggest threat to Salman Khan is Salman Khan himself

With over 30 years of experience in the industry, the fan following will stay intact for Salman, but the wrong choices in terms of films might take a dent on the frequency of their visit to the big screen. If Salman signs on for interesting films, there would be no stopping him for the next 5 to 6 years, but if he comes on board below par and substandard products, the impact will be gradually seen on the box-office collections. He was indispensable till the release of Tiger Zinda Hai (2017) but there has been a slight dent in his standing post that due to the wrong choices like - hurriedly made “Race 3”, and poorly made “Dabangg 3”.  The biggest threat for Salman is to not dilute his stardom by signing on for wrong films, or working with talents who are far off from deserving the opportunity of working with him.

On the work front, he will next be seen in Radhe, which is gearing up for an Eid 2021 release.

[weilongguo]

A Few Thoughts About World Cinema

Watching only American films and claiming to be a cinephile is like saying you’re a world traveler even though you’ve never left the United States. At least, after continued exposure to international films over the last few years, that has been my personal experience with cinephilia. In the last few weeks, I have had several encounters online with people who have dismissed non-English films. Their views range from “not interested” to an American exceptionalist attitude toward the whole concept of international cinema. I recently read comments in the official Turner Classic Movies group on Facebook, where members expressed their disdain for subtitles. A few acquaintances of mine recently voiced their disinterest in stories from other countries as well. And I know more than one individual who didn’t think Parasite should have won the Academy Award for Best Picture because it wasn’t made in the USA.

Whether it’s an aversion to something new, an unwillingness to read subtitles, or outright racism, one cannot exactly pinpoint a single reason behind this opinion. However, these conversations have prompted me to think about international cinema and what it means to me.

Even though I have always loved movies, I first began to realize that I knew nothing about them when I learned a shocking lesson: the United States does not produce the most films of any country, and some nations produce almost as many titles as Hollywood. India has the largest film industry in the world, making several hundred more films than America each year; the Nigerian film industry also releases more films than American studios. China, Japan, the United Kingdom, South Korea, France, and Germany also make hundreds of films per year. Looking at the entire global marketplace, Hollywood accounts for only a modest percentage of the whole. Upon learning this, I began to ask myself: How can I claim to know anything about cinema when I don’t watch most of it? Even after watching hundreds, if not thousands of films from other countries in my lifetime, I still feel as though I have barely scratched the surface. To be sure, the film world is as diverse and multifaceted as the actual world: the Japanese master Akira Kurosawa, whose samurai characters are among the most unforgettable; the understated comedy of French comedian Jacques Tati, who is in many ways the inverse of Charlie Chaplin; the life-affirming works of Satyajit Ray, the Indian director whose humanism and feminism transcends national borders; Senegal’s Ousmane Sembène, whose Moolaadé exposed me to the disturbing practice of female circumcisions. Jean Renoir, Ingmar Bergman, Jacques Becker, Agnes Varda, Federico Fellini, Masaki Kobayashi, Edward Yang—these are the names, some of them introduced to me through The Criterion Collection, that led me to explore world cinema, thus enabling me to explore the world through cinema. 

Perhaps that feeds into why I take issue with the term “foreign film,” and by extension the somewhat more acceptable “international film,” which implies not only an American exceptionalism but an Otherness to the cinemas from other countries. Not only does the term implicate Hollywood cinema as central to the world but it diminishes the work of global filmmakers. I imagine that a similar line of thinking prompted the Academy of Motion Picture Arts and Sciences to change their category for “Best Foreign Language Film” to “Best International Feature” this year.

The history of cinema cannot be written without considering works from countries outside of the United States. Stylistically and narratively, Hollywood cinema would not have advanced the way it did without influences from Germany, France, Italy, Japan, and the entire international network of national cinemas borrowing from one another, communicating with one another through artistic inspiration and homage. There wouldn’t have been The Magnificent Seven or A Fistful of Dollars without Kurosawa’s Seven Samurai and Yojimbo. The idiosyncrasies of Wes Anderson could not have developed without French New Wave directors François Truffaut and Jean-Luc Godard exploring the limits of cinema first. And we wouldn’t have the intimacy of Noah Baumbach’s Marriage Story without Swedish master Ingmar Bergman penetrating relationships in films like Scenes from a Marriage and Persona. The examples are endless.

Charting this cycle of influences between various nations, and therein the development of all film style, takes one on a journey around the world over a period spanning more than a century. By trying to outline these progressions as a viewer of international cinema, I realized as a young cinephile that film is a language whose grammar was written, and continues to evolve—not unlike linguistics—through an ongoing conversation between filmmakers the world over. All of which is to say that any accounting of a national or Hollywood cinema probably entails some investigation into its influences from other countries.  

But American audiences, more than any other country in the world, remain jealously devoted to their own cinematic output. American theaters have far fewer imports from other countries—it’s quite rare to find a non-English film outside of arthouses, besides oddities such as Crouching Tiger, Hidden Dragon or Parasite—whereas films from the US dominate most international multiplexes. Hollywood’s dominion over the world market creates a kind of tunnel vision, where many audiences throughout the world are more versed in US movies than those made by their own countries. 

The problem, as many postcolonial theorists have observed, is one of cultural colonization. Since the heyday of Classical Hollywood, American movies have immersed so many countries with exported product that local filmmakers have struggled to create a thriving national cinema of their own. If film is a product of a culture, then the spread and authority of Hollywood products in the international marketplace may diminish the local culture by crushing their films at the box office and Americanizing the audience. In fact, the problem of Hollywood films invading international theaters has resulted in some countries enacting laws that prevent Hollywood cinema from oversaturating the local marketplace. Even so, some countries have less than 20% of their own nation’s movies playing in their theaters at any given time. In all reality, Hollywood could not survive without the international marketplace; the major studios depend on the overseas box office to earn a profit. 

Moreover, Hollywood’s dominance in world cinema has Westernized international filmmakers, who have learned the trade and craft by adopting a film grammar that was written in America. In some cases, making films that closely resemble something familiar and marketable to the American viewer is the only way filmmakers outside of the US have been able to find an audience and earn a profit, without which a national cinema cannot sustain itself. But let’s set aside the can of worms that is America’s cultural and economic colonization. I’ll just say how surprised I was when I started to watch works of 1930s French poetic realism, such as Marcel Carné’s Le jour se lève from 1939, and I noticed a striking similarity to many Warner Bros. gangster films starring James Cagney and Edward G. Robinson. Hollywood exports are so prevalent that other countries have emulated them in their own cinema, sometimes at the cost of developing their own unique styles and methods of screen storytelling. 

Though many international films have drawn from the dominant Hollywood methods in the development of their own national cinemas, resulting in films that look and feel like Hollywood products, there are exceptions. Some international filmmakers have rebelled against the Hollywood mode of cinema with an oppositional style that dismisses Western visual and narrative archetypes in favor of something wholly distinct. Some of these international styles progressed naturally after the introduction of the film medium at the turn of the last century, as directors experimented with editing, camera placement, and formal intention. Sergei Eisenstein in Russia redefined film grammar through his development of montage, most famously applied to Battleship Potemkin (1925), by experimenting with how editing can imply an action between the cuts. Without Eisenstein, for instance, we wouldn’t have the shower scene in Alfred Hitchcock’s Psycho; Hollywood would still be shooting movies like a sitcom, with one or two cameras pointed at a stage. 

Elsewhere, filmmakers throughout Cuba and South America deviated from the Hollywood style as an act of political rebellion, a rejection of capitalism and American imperialism. Their use of cinema was not commercial; it was a statement designed to carve out an identity of their own. In the 1968 Cuban film Memories of Underdevelopment, Tomás Gutiérrez Alea experimented with narrative structure and editing to convey a sense of social alienation, a reflection of his country’s national isolation. It’s a film that you sense wasn’t made to sell tickets; it was meant to inflame a culture. And yet, it uses techniques such as open-air location shooting, unprofessional actors, and disenfranchised character types like those found in Italian Neorealism films of the 1940s. Both of these Italian and Cuban styles would later find a place in American independent cinema of the early 2000s, such as Kelly Reichardt’s stripped-down style in Wendy and Lucy.

By adopting Western styles of filmmaking, however, international filmmakers deny themselves the potential of creating their own film grammar unique to their culture. Only a few isolated examples, such as India and Nigeria, have seen their local industry succeed in a cultural bubble, with relatively few exports of their own, a limited number of Hollywood films, and a devoted national audience. Watching films from “Bollywood” and “Nollywood,” you will find cinemas that play by different rules. They’re not trying to imitate Hollywood standards, and there’s simply no comparison to anything the average American viewer is familiar with. Watch a three-hour Bollywood musical and you discover an aesthetic with a fragmented tempo, chaotic plotting, and hyper-stimulated energy. Search Netflix for 2003’s Koi… Mil Gaya—a hilariously strange film with music, aliens, dirt bike racing, basketball, and dancing—and you’ll have some idea what I mean.  

What I have discovered after years of exploring international cinema is not surprising. Film style may deviate and distinguish itself from country to country, but humanity remains constant, blended. Aside from geographical lines and our personal sense of location, these films showcase identities that cannot help but resemble our own. Rather than reaching for universality or pandering to an American audience to achieve commercial success, as some of the most hollow international films do, films with an unsubmissive cultural specificity draw curious viewers and expose new ideas, new empathies, and new perspectives. And yet, the international film becomes inextricable from the Hollywood film given enough exposure; the connections between them are multifarious. 

These remarks may not convince the xenophobic or the lazy. But in my experience, if you let your cinephilia expand with a freedom that holds no prejudice against borders, or subtitles, it all becomes one big cinema with countless distinctions and possibilities, no less diverse or worth exploring than the many gradations among human beings. 

[bollywoodirect]

Veteran actor, director Vijaya Nirmala passes away Veteran South Indian film actor and director Vijaya Nirmala passed away while undergoing treatment at a private hospital in Hyderabad on June 26 night. She is survived by her husband and hero of yesteryears Krishna. She was 73. In 2002, she entered the Guinness Book of Records as the female director of the most number of films. In 2008, she received the Raghupathi Venkaiah Award for her contribution to Telugu cinema. Nirmala went on to play the lead roles in films like Alluri Seetharama Raju, Meena, Poola Rangadu, Asadhyudu, Bangaru Gajulu, Mosagallaku Mosagadu, Thatha Manuvadu, Engaveettu Penn, Panama Paasama, En Annan, Gnanaoli, Uyira Maanama, Bhargavi Nilayam and Udhyogastha among more.

[themovieblogonline]

The Bromantic Duo's Return As Daredevils In BADE MIYAN CHOTE MIYAN!

Witness the resurgence of the “Big Master” and “Little Master”. This time it’s not Amitabh Bachchan and Govinda but the “action hero” duo of the “Khiladi” Akshay Kumar and the “Baaghi” Tiger Shroff! The daring duo of Akshay and Tiger refurbish the popular Bade Miyan as “Freddy” and Chote Miyan as “Rocky” to take on a mysterious masked scientist (Prithviraj Sukumaran) who intends to destroy India with his artificial intelligence-based hi-tech weapons. Will Freddy and Rocky be successful in foiling his evil plan? Wait and watch! This time Akshay Kumar and Tiger Shroff team up as Bade Miyan Chote Miyan! https://youtu.be/ovK-9hXK0z8?si=QI_1ey1Vl6fpYuty Writer, producer, and director Ali Abbas Zafar brings back the famous duo of Bade Miyan and Chote Miyan to the Bollywood big screens in action-packed avatars. Not the comical duo of the 90s whom you may remember! Bade Miyan Chote Miyan (2024) Official Trailer: https://youtu.be/IGzLHNPO4QI?si=Gd_E118Q0OsRSKyK The Good: Since the teaser of Bade Miyan Chote Miyan was released, it was evident that the masked antagonist is South’s award-winning actor Prithviraj Sukumaran. So, there’s no spoiler over here! This violent action-thriller is not about who the masked man is but about how Freddy and Rocky will overpower him and his evil intentions. The screenplay is a visual extravaganza of raw action! The action choreography is heavy-hitting with murderous gunfights, blood-boiling fistfights, and eardrum-cracking bomb blasts that will blow up your mind! You will witness jaw-dropping stunts involving horses, cars, and bike chases. There are intense aerial stunts involving planes and helicopters, and ground warfare involving battle tanks! Filming locations include Mumbai, Scotland, London, and Abu Dhabi. The exotic visuals and beautiful set locations will surely leave you awestruck. I have to say, after watching Akshay as Bade Miyan and Tiger as Chote Miyan, the image of the comical duo of Amitabh and Govinda that I had in my mind has been completely erased! The image of Bade Miyan and Chote Miyan in my mind has now revived to that of two brave Indian soldiers who are ready to go up to any extent to save India. What a character transformation Ali Abbas Zafar has come up with! I must say, Akshay and Tiger do make a courageous bromantic duo. Both these actors are fearless and are well known for performing dangerous stunts on sets all by themselves. So, there can be no better team than these two when it comes to high-octane action! Bade Miyan Chote Miyan (2024): Introducing the Masked Villain Kabir played by Prithviraj Sukumaran! https://youtu.be/0UEhu4uWUAM?si=1nl8P9gOMCNJR08G Talking of Prithviraj Sukumaran, this star actor needs no introduction. He has created a revolution in South Indian cinema. His recent movie “Salaar: Part 1 - Ceasefire” where he starred as the antagonist opposite “Rebel star” Prabhas was a Box Office hit. With his masked madman character, I am sure, he as the antagonist in Bade Miyan Chote Miyan will rock the Box Office once again! The lead female cast includes Manushi Chhillar and Alaya Furniturewala and both actresses have significant roles as they pair up with the audacious duo of Freddy and Rocky. Some of the tracks are bouncy and will make you tap your feet with their rhythmic beats. Check out Akshay and Tiger in the track “Mast Malang Jhoom” where they pair up with Sonakshi Sinha in a special appearance. The romantic track “Rang Ishq Ka” by singer Vishal Mishra is melodious. And not to forget the remastered Title Track. You surely wouldn’t want to miss this one! The track “Mast Malang Jhoom” featuring Akshay and Tiger with Sonakshi in a special appearance https://youtu.be/QoXwBD44O4E?si=JdQCtjP_V_fO4wta The Bad: A disappointing aspect is the story. It’s highly predictable and is not anything new. I have watched dozens of Bollywood movies that showcase the same plot, the villain trying to harm our country and braveheart heroes battling him to save the day! I would have appreciated it if Ali Abbas Zafar had come up with something new, a new suspenseful story that would have left us wondering till the end. Moreover, the TRP of this action film is so high that way before its release it was revealed who the antagonist is going to be. So, this spoils the thrill to a great extent. The Verdict: Mind it, this is no remake or sequel of the 1998 Bollywood movie by the same name. Bade Miyan Chote Miyan (2024) is a combo of violence and heroism. “Dil Se Soldier, Dimaag Se Shaitaan Hain Hum. Bachke Rehna Humse, Hindustaan Hain Hum!” translated as “By heart we are soldiers but by mind, we are the Devil. Beware of us, we are India!” The dialogues are fiery just like the action! If you are fond of action heroes demolishing supervillains to save the day, then this is just the movie for you. Although the plot disappoints in thrill to some extent, I am sure you wouldn’t want to miss out on the fierce action that Akshay and Tiger perform! So, what are you waiting for? It’s time you booked your theater tickets to witness the comeback of Bade Miyan and Chote Miyan in their lethal avatars. Trust me, it's entertainment guaranteed! Check Out Akshay and Tiger as they pair up with Manushi and Alaya in the romantic track "Wallah Habibi"! https://youtu.be/3K7x7Vp_eDk?si=LBJpYF68vBGuEx5O Read the full article

[currylangs]

telugu vocab: film

movie:  చిత్రము, సినిమా [chithramu, sinima]  role: పాత్ర [paatra] actress: నటి [nati] actor: నటుడు [natudu] director: దర్శకుడు [darsakudu] direction: దర్శకత్వం [darsakatvam] music: సంగీతం [sangeetham] songs: పాటలు [paatalu] music director: సంగీత దర్శకుడు [sangeetha darshakudu] lyricist: కవి [kavi] singer (male): గాయకుడు [gayakudu] singer (female): గాయకురాలు [gaayakuraalu) composer: స్వరకర్త [svarakarta] dance: నాట్యం [natyam] dancer (female): నర్తకి [nartaki] dancer (male): నర్తకుడు [nartakudu] writer: రచయిత [rachayita] light: వెలుతురు [veluthuru] sound: శబ్దము, ధ్వని [sabdamu, dvani] sound effects: ధ్వని ప్రభావాలు [dvani prabhaavaalu] visual effects: దృశ్యమాన ప్రభావాలు [drusyamaana prabhaavaalu] story: కథ [katha] 

notable people:

directors

l. v. prasad: actor & director in/of some of the first telugu films (i.e.: bhakta prahlada (actor) and pelli chesi choodu (director)

k. v. reddy: director of mayabazaar and patala bhairavi

ram gopal varma: director of kshana kshanam, gaayam, and other bollywood films

s. s. rajamouli: director of  baahubali 1 & 2, eega, magadheera

k viswanath: focused mainly on stories relating to classical dance and music; notable films: swarnakamalam, sagara sangamam

pasupuleti krishna vamsi (known as krishna): also producer and choreographer; notable films include ninne pelladatha and antahpuram

playback singers:

ghantasala: one of the first composers and playback singers in the telugu film industry

s. p. balasubramaniam: also music director, producer and dubbing artist; has recorded over 40,000 songs

p. susheela: recognized by the guinness book of world records for singing the most songs in the most languages

s. janaki: also composer, has recorded ~48,000 songs in 17 languages

  actors

savitri: also director and singer, made 250 movies in 5 languages, considered one of the first superstars of the south indian film industry, also called “mahanati” (great actress); notable films include mayabazaar and devadasu

jamuna: leading actress of 50s and 60s, along with savitri

bhanumathi: also writer, singer, music director, and director; widely known as the first superstar of south indian cinema; notable films include malleswari and tenali ramakrishna

anjali devi: also producer; acted in ~350 films in telugu and tamil; notable films include lava kusa and anarkali

kanchana: acted in all four south indian industries + hindi cinema; notable films include aatma gowravam and daana veera soora karna

manorama: has starred in over 1000 films

brahmanandam: comedic actor, starred in 1000+ films

sunil: comedic actor

akkineni nageswara rao (anr): leading actor of the 40’s and 50’s, founder of annapurna studios; notable films include devadasu (in which he played the titular character) and mayabazaar

nandamuri taraka rama rao (ntr): leading actor of the 40’s and 50’s, later became chief minister of the state of andhra pradesh; notable films include ramudu bheemudu (in which he played both titular characters) and mayabazaar

samarla venkata ranga rao (s.v.r): character artiste; notable films include mayabazaar

suryakantham: character artiste

chiranjeevi: one of the first “mass”/action heroes of telugu cinema; notable films include gharana mogudu and rudraveena

venkatesh: leading actor of the 80′s/90s; notable films include kshana kshanam and swarnakamalam

krishna: also producer and director; credited with several “technological firsts” (i.e.: color flilm, 70mm film) and the introduction of the western/cowboy genre to telugu film

nagarjuna: son of anr, another leading actor of the 90s; notable films include geetanjali and ninne pelladatha

sobhan babu: leading actor of the 70’s; notable films include jeevana jyothi and nartanasaala

mohan babu: leading actor of the 70’s/80’s; notable films include pedarayudu and kondaveeti donga

rao gopal rao: actor in khaidi and challenge; later joined the rajya sabha of andhra pradesh

sridevi: considered the first female superstar of indian cinema; notable telugu films include kshana kshanam and jagadeka veerudu atiloka sundari

tabu: actress; now mostly active in bollywood films; notable telugu films include ninne pelladatha

jayasudha: a leading actress of the 80’s/90’s; notable films include adavi ramudu and thoti kodallu; now plays supporting roles

jayaprada: a leading actress of the 80’s/90’s; notable films include sagara sangamam and adavi ramudu

bhanupriya: leading actress of the 80s, also trained in classical dance; notable films include sitaara and swarnakamalam

silk smitha: actress; became a sex symbol due to the promiscuity of most of the roles/movies she took on

[hirakdesherrani]

Just finished watching Rajeev Masand’s interview with Tamannaah Bhatia, Parul Yadav and Kajal Aggarwal on their remake of Queen in Tamil, Telugu and Kannada. A very insightful interview. Aside from the process of the remake and other things, few things I noted:

I know this conversation is really old, but seriously its 2019 fgs, and still the North Indian knowledge of South India is embarrassing. Like the actresses pointed out, somehow North Indians just find it difficult to grasp the idea that South India is *not* a homogenous unit (”Madrasi”🙄). However, its not just South India. As a Bengali, born and brought up in Delhi, I have witnessed this clubbing first-hand. All the five (including Telangana) states of South are “Tamil”, Bengali, Assamese and Odia (all very different btw) are clubbed together 🙄, while the Eastern states are clubbed together as “North East” (Manipur and Mizoram are the same, no fucks given 🙄). I had to actually sit down with a person and explain that just like Bhojpuri and Maithili are not the same, and Punjabi and Haryanvi is not the same, Telugu and Kannada is not the same either. Same goes for Assamese and Bengali, or Tripuri and Manipuri. 

Another interesting thing they discussed in the interview was how all three females were Mumbai-born girls themselves who joined the South Indian film industry. Not just these three but we also have Taapsee (who’s from Delhi) and quite a few actresses start out in the South. Conversely, so many South Indian females have made their careers in Bollywood/Hindi Cinema like Aishwarya and DP. This reminded me of what one of my batch-mates said in college, that South India doesn’t have pretty females so they get girls from the North 🙄, to which I replied that just two days back he was almost salivating over DP in Race 2, and she is a South Indian 😒. Interestingly, while girls crossover from North to South, the rate of male actors doing back and forth between North and South, is relatively less. Why tho?

They also talk about the arrogance of Bollywood film makers and audience in the belief that everyone in India has watched the Bollywood film, so remakes are no issue; however, like the actresses pointed out, its not completely true. When I was studying in Hyderabad, I noticed that my Telugu friends were way more excited for their Telugu films than Hindi cinema, and rightly so. My own grandparents were more into Bengali cinema, despite living outside West Bengal, in North Indian hinterland. “Regional” films (sigh!😒) don’t become less attractive because of Hindi films.

Oh, another thing I noticed: Kajal’s put-on accent. Girl, why? Also, these actresses were way more comfortable with each other and mature conversationalists than the actresses in the Roundtable.😒 

I just wish I didn’t have the subtitle issue, otherwise I would be so down with South Indian films. Unfortunately my choice is limited to Hindi and Bengali, and the occasional English film. 

[filmytune]

Latest Hindi Bollywood Movie Songs

If you want to discover the best Bollywood songs, there are many things you can do to find them. This article will give you a brief description of the most popular Bollywood songs, as well as the lyrics and singers. You can also learn more about the Bollywood songs by reading the following article. We will also discuss some of the best Bollywood movies that have music videos. In addition, we will give you a list of the best Hindi films.

Lata Mangeshkar's voice

A legendary singer, Lata Mangeshkar's iconic voice has been featured in the vocals of more than 5 thousand Hindi Bollywood movie songs. She has a distinguished list of credits that includes songs from over 30 languages and has performed on over five hundred soundtrack albums. She was also the first Indian female singer to have her name appear on a film poster. Lata acted in eight films to support her family's financial needs.

Indian cinema is heavily dependent on music. The quality of song compositions can make or break a Bollywood film. Filmmakers sought Lata Mangeshkar's voice to provide the soulful and emotional appeal of song-and-dance numbers. Her incredibly high notes and expressive delivery made her a sought-after star. Her voice could stretch four octaves! After her success with Gajabhau, Mangeshkar recorded thousands of songs.

Amitabh Bachchan's song lyrics

In a recent film, Amitabh Bachchan and Kishore Kumar sing a classic song. The Kishore-Lata duet is one of the most memorable songs of the past decades. The lyrics of this Amitabh Bachchan song were written by Javed Akhtar, who also penned the original song. The two actors bring the Keukenhof gardens to life with their beautiful voices. The movie's soundtrack also has many images associated with it, including chiffon sarees, the Swiss Alps, and pain of separation. Amitabh Bachchan's lyrics capture the theme of the movie, a love story about insecurity and separation, as well as a satirical perspective on human relationships.

The film Rang Barse was picturised on Amitabh Bachchan. Shiv-Hari composed the music. Bachchan sung the song in his own unique style, and other actors have since copied his vocal technique. Amitabh Bachchan is India's most successful actor and still rules hearts today. Despite his age, the star continues to reinvent himself and continues to rule hearts around the world.

Nazia Hassan's song lyrics

One of the most iconic song lyrics in Bollywood is "Jaana", which was written by Nazia Hassan and sung in the 1982 film Star. While the original is a classic, the remake is quite easy to understand. Nazia Hassan was nominated for the Filmfare Best Female Playback Award for this song. Her most recent album, 'Raasleela', features two tracks from her second album, which is an amazing listen.

She started her professional music career in the United Kingdom. Her brother Zoheb Hassan introduced her to the music industry in London, where he was a guest of honor. The two had met each other at a party in the UK and Biddu, a London-based Indian music composer, signed her up to write a song for Qurbani. The result of the collaboration was a hit song titled "AapJaisa Koi," which became a rage in India. It brought Hassan instant recognition and led her to be the first Pakistani to win the Filmfare Award for Best Female Playback.

Raj Kapoor's film

The latest Hindi Bollywood movie songs are out and they are absolutely spectacular! The film is a masterpiece, a quintessential piece of Indian cinema. Raj Kapoor's performance as Sunder is nothing short of perfection. The film was shot in France and Switzerland and the music is nothing short of stunning. Raj Kapoor and his cast of talented actors were unmatched in this film, which had the greatest ensemble of talent.

The next Bollywood film that Raj Kapoor directed was Shree 420. The film was a cultural phenomenon and a sensation in South Asia and beyond. The film dealt with the problems of post-independence India, the growing inequality and disenchantment of the population, and the inability of government to create employment opportunities. The film is still remembered for its memorable song, "MeraJoota Hai Japani".