#nabendu ghosh

[bollywoodirect]

47 years of Do Anjaane (26/11/1976)

"Do Anjaane" was produced by Tito and directed by Dulal Guha. It's adapted from Nihar Ranjan Gupta's story "Rater gari." The film features a star-studded cast, including Amitabh Bachchan, Rekha, Prem Chopra, Pradeep Kumar, Utpal Dutt, Lalita Pawar, and a young Mithun Chakraborty before his rise to fame. This film inspired remakes in other languages, with "Maavari Manchitanam" in Telugu (1979) and "Aaseya Bale" in Kannada (1987).

The screenplay was written by Shafiq Ansari and Nabendu Ghosh, based on Gupta's story. The cinematography was handled by M. Rajaram, and Bimal Roy was responsible for the editing. The music, a critical aspect of the film, was composed by Kalyanji Anandji, with lyrics penned by Anjaan and Verma Malik.

[books-and-the-occasional-meme]

Just finished reading this book. And although it is terribly written, it’s still pretty great, full of interesting anecdotes and a pretty vivid picture of the amazing man Ashok Kumar was. Also had no idea he had mentored so many talents.

The whole Bombay Talkies saga deserves to be a book on its own.

[filmstruck]

Love and Loss: DEVDAS (’55) by R. Emmet Sweeney

DEVDAS (’55) is a devastating Bollywood melodrama about the slow decline of a childhood love. It is based on an endlessly adapted novel, but it is the 1955 film directed by Bimal Roy that is considered the definitive version. Much of its reputation lies in the remarkably masochistic performance of Dilip Kumar as the title character, an idle rich youth who spends his life in an alcoholic haze of regret for rejecting a marriage with his lower-class girlfriend Paro (Suchitra Sen). This is not a rise and fall narrative, but rather a precipitous drop and plateau, lingering in the depths with Devdas as he dreams of Paro, drinks away his fortune and squanders the affections of a sweet ex-prostitute. Kumar’s eyes reflect a deadness inside, as this man hollowed out by life gets a little high off of his own self-destruction. It gives him a kind of anti-charisma, one that leaves waves of sorrow in its wake. DEVDAS is now streaming on FilmStruck, along with eight other films directed by Bimal Roy.

The Devdas novel by Sarat Chandra Chattopadhyay was first published in 1917, and waited until 1928 for its first film adaptation. Eventually the story became so ingrained into the culture that, according to the Indian Express newspaper, the term Devdas became shorthand for a certain kind of artistic man in love with their own pain. Bimal Roy first became engaged with the story in 1935, when he worked as a cameraman on a version of DEVDAS directed by Pramathesh Barua. Twenty years later, Roy was able to make his own version, shot through with pains both utterable and not.

As children in their small village Devdas (Kumar) and Paro (Suchitra Sen) are best friends, causing mischief wherever they go. Devdas is sent away by his father for discipline in Calcutta, and by the time he returns they both have changed significantly. But Paro still recognizes Devdas’ sensitive soul, and places herself at his mercy, dangerously going to his house after dark. Such an action by a woman could mark her for life, but she risks it in order to plead her case for marriage, despite the gulf in their classes (he’s rich/she’s not). Devdas’s parents forbid the union, and he fatally abides by their decision. He sends Paro a letter declaring the split, and though he has second thoughts, he cannot stop the letter from arriving. So, Paro marries an older merchant instead, and Devdas spends his time getting hammered in the city, regretting his decision more with each passing day. As he continues to hemorrhage money and prestige, the only person willing to put up with him is Chandramukhi (Vyjayanthimala), a prostitute who is intrigued by Devdas’s disinterest in her flirtatious routine. So, she tries to rescue him from himself, but instead only gets entrapped by his misery. As Devdas’s health declines, all he wishes is to see Paro one more time, if only his body can hold out…

Screenwriter Nabendu Ghosh recalls the issues they ran into with casting:

We wanted Meena Kumari as Paro, and Nargis as Chandramukhi. Meena Kumari would have been the ideal Paro --- she had Paro's quietness. Unfortunately, she could not do the role because [husband] Kamal Amrohi laid down certain conditions, which Bimalda did not agree with. I remember Meena Kumari broke down --- she was that keen to do the role. Nargis refused --- she wanted the lead role of Paro. Then we approached Bina Rai. She refused, too. Suraiya, too, wanted Paro's role.

Everyone wanted the part of Paro except for the actress they offered it to. There was still a stigma attached to portraying a prostitute on-screen, so the agreement of Vyjayanthimala to take on the role saved the production. An actress from the Tamil and Telugu industry in South India (outside of the Bollywood system), she was better known as a classical dancer, but DEVDAS soon made her a crossover star, and she graces this film with radiant, ambivalent close-ups. Her character is a doomed type who can’t help but love an unlovable man, one who is incapable of reciprocating that affection. She accepts what scraps Devdas gives her, and her expression, when Devdas rather reluctantly tells her he loves her, is of rapt, sublime happiness. She is fully aware of his vices and his unshakable attachment to Paro, but even so, in the shimmering close-ups Roy takes of her, she closes her eyes and cries, as if imagining another life in which this love could blossom.

Devdas only has eyes for Paro, who is played with a brooding self-sacrificial intensity by Suchitra Sen, a Bengali actress who would retreat from the public eye after her retirement in the 1970s. Dilip Kumar wrote about her for The Times of India after her passing in 2014:

Suchitra had peerless, expressive eyes…she conveyed volumes with a single look. During an intense scene in DEVDAS I had to look straight into her eyes and convey romance filled with pathos. She reacted uniquely…looking with equal intensity at me and doing a slight lip movement which was excellent.

Professional to the core, Suchitra maintained a distance from film folk and never opened up unless she was comfortable with the person she was interacting with. She preferred to work in silence. But she never disrespected anyone. As an artiste, she gave full respect to even a spot boy.

She does exquisite things with silence, with those eyes Kumar mentions. But the script offers her plenty of opportunity to explore the double standards inherent to Indian society. In the pivotal sequence where Paro visits Devdas’s quarters after dark, she is taking on all of the risk. As she admits to him, if she gets caught, her life will be ruined, if he does, he will be fine the next day. Chandramukhi is in the position Paro implies, that of the fallen woman. Though her background is vague, it is clear she had little choice in the life she lives, doing it only to make a living in a city unforgiving to poor women.

For both Paro and Chandramukhi, Devdas represents an escape, for he has the money to free them from penury, and the intellectual sensitivity to treat them with respect. But as it turns out, he is more in love with his own pain than either of the women. And they all suffer the consequences.

[shankarjaikishanfansassnintl]

Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di Judaai

August 30, 2019 | By Ratnottama Sengupta

Teesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Was it 1966 or 1967? Radio was big then. There was no television, so cinema lived in the lives of us pre-teenagers only through the songs. There was this kid who was boasting to his friend— both about ten years old— that his father had bought a new car. This had raised the social status of his family, a fact both the kids were aware of even at that juvenile age. Just then, Mukesh’s voice rang out, Na haathi hai, na ghoda hai, wahaan paidal hi jana hai… Sajan re jhootth mat bolo…” As if on cue, the second child responded, “Heard that? We will all have to go to God on foot. So what good is your father’s car?”

Song link Sajan re jhooth mat bolo (Shankar-Jaikishan/ Shailendra/ Mukesh)

That was the impact of the enchanting combination of Shailendra’s words, Mukesh’s voice, and Shankar-Jaikishan’s melody. And the song got further etched in my consciousness once I saw the film – albeit long after its release in 1967. By then it had got the National Award for the Best Film of 1966. Shailendra had passed away. Waheeda Rehman was a major star for me after Guide. I had come to revere Subrato Mitra as a hero who had made Pather Panchali – in fact the Apu Trilogy – a lesson in cinematography. Phanishwar Nath Renu had come to our house in Malad, to discuss Maila Aanchalwith my father – Nabendu Ghosh – and I had learnt that Baba was a screenplay writer who was soon turning director with that novel. And what is screenplay? “It is direction on paper,” my mother Kanaklata had simply explained.

Got the hang of it? Teesri Kasamwas made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Yes, Raj Kapoor was somewhat flabby, and looked too sophisticated as a gaadiwaan. Yes, the film could have been edited more tightly. Yes, it was rooted in a region that was far, far away from the world of Sangam and Guide, Mamta and Teesri Manzil – the megahits of that time – so the average viewer had to recalibrate his sensitivity in order to relate to a Nautanki dancer in rural Bihar who leaves her company rather than crush the love of a naïve bullock cart driver who worships her as a goddess. Love stories such as Hiraman and Hirabai’s are the stuff of folklore.

song link Laali laali doliya mein (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

But let me today unfold the other loves that went into the making of Teesri Kasam. And, no two ways about it, I must begin with Shailendra. For, even today, people believe that the lyricist who was anointed Kaviraj by The Raj Kapoor died heartbroken because of the commercial failure of the film which was his first production and his last ‘child’, carrying forward his name in the world of moving images. The truth, his son asserts, is a long way away: “Shailendra was commanding a princely sum for writing songs like Wahaan kaun hai tera. So he would have certainly recovered his financial investment. He was shattered by the shards of his dream!”

Shailendra met Basu Bhattacharya, in all probability, during the making of Parakh. Bimal Roy was an icon for whom he had already written unforgettable songs for Do Bigha Zameen, Madhumati and Yahudi, which anointed him the Best Lyricist at the 6th Filmfare Awards. And Basu was a regular visitor to his house, along with the director’s daughter he would soon marry. Basu Bhattacharya had a striking ability to cast a spell when he spoke: every one from Shailendra to Raj Kapoor, Rajesh Khanna to Sharmila Tagore, Sanjeev Kumar to Rekha— why, even Indira Gandhi!— was to come under his spell.

But, and perhaps more importantly, Shailendra was in love with the rustic simplicity of the two personas, Hiraman and Hirabai, who called each other Meeta. It was a love story rooted in the soil of Bihar, the land of his ancestors who had travelled all the way from Ara district to Rawalpindi where Shailendra was born, and then moved to Mathura. The song writer made up his mind to produce it, perhaps also because the short story had every possibility of becoming a musical masterpiece. Basu Da was to direct it; Mehmood was to be the gaadiwaan, and Nutan the dancer.

Song link  Chalat musafir moh liyo re (Shankar-Jaikishan/ Shailendra/ Manna Dey)

The first roadblock came from the actress who had played Sujata. She was pregnant with Mohnish, and refused to shoot any film at that point. Waheeda Rehman was a natural choice, being a dancer and also having acted for Satyajit Ray’s Abhijaan. Subrata Mitra was already on board, remember? Even today we cannot imagine a better Hirabai. Just think Paan khaaye saiyyan hamaro, Laali laali doliya mein, or watch the Mahua ghatwarin sequence!

Song link Paan khaaye saiyyan hamaro (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

For the sake of realism, actors were picked up from theatre groups. And umpteen other roles were to be enacted by his own family of friends and mates. What a chest of delights the credit titles are! Nabendu Ghosh, who transcripted the short story into ‘a love-lyric on celluloid’ played a drunkard who gets beaten up by Hiraman for suggesting that he pimp on his behalf for the “nautanki ki bai”.

There was Kesto Mukherjee who would later get typed in the role of an alcoholic. It marked the debut of A K Hangal on screen. Iftekhar stepped into the role of the zamindar when a theatre actor from Bihar failed to deliver a single line. Dulari got under the skin of Hiraman’s bhaujai. Pacchi, who had produced Jaali Note in 1960 (directed by Shakti Samanta), was then directing Around the World(1966) pairing Raj Kapoor with Rajshri. And there was the Producer himself, playing a villager, who tries to peep in on the romantic couple when Hiraman and Hirabai are sitting in the open, eating curds and rice. Shailendra runs away when Raj Kapoor chases him. It was a fun role that got deleted in the final cut.

However I am more surprised to see that the credit titles attribute the lyrics to ‘Shailendra-Hasrat’. Why did the man who wrote O Sajna barkha bahar aayi, Yeh mera deewanapan hai, Mera joota hai Japani, among hundreds of other unforgettables, share the songs of his own film with a peer who one expects to be seen as a rival? My reading: The producer was perfecting the mood of the scene since Hasrat Jaipuri had penned the number, Maare gaye gulfaam. There’s another reason, says Dinesh. “Shailendra wanted the team of Shankar-Jaikishan, Hasrat Jaipuri and Shailendra to be together. That is why he shared the credit for lyrics with a peer.”

Song link Maare gaye gulfam (Shankar-Jaikishan/ Hasrat Jaipuri/ Lata Mangeshkar)

So, the unit was one big family of friends in an era of celluloid camaraderie. But that was to take its toll on the producer in terms of both, production cost and emotional turbulence. The first day Shailendra took Basu to meet Raj Kapoor, he hugged the lyricist of Awara hoon and said, “You’ve discovered a genius.” However, after the first day’s shoot, he took Kaviraj aside to say, “You are screwed. This gentleman is a novice in cinema.” This, by some accounts, was not off the mark as Basu had not graduated to be one of Roy’s trusted lieutenants. Later, “Subrata Mitra’s outbursts during the shooting would bear him out,” says Dinesh Shankar, the youngest son of Shailendra.

“The cinematographer, whom Kodak would send their newly developed raw stock for his approval, had startled Mumbai technicians by putting white paper on the walls to obtain ‘bounce light’. He was a very important person all through,” he adds, “as Basu Chatterjee, who was the chief assistant, left even his job as a cartoonist to pursue his own interest in direction. BR Ishara proved to be the only qualified man to shoot a film.” He is said to have written some of the dialogues too. Thus started the journey of a man (BR Ishara) who rose from being a Tea Boy serving on the sets to be a director who, at one point of time, was completing a film virtually every other month – including watershed titles like Chetana – and presenting talents like Rehana Sultan, Anil Dhawan, and Parveen Babi among others.

Another casualty of investing in friends was that a large chunk of the film was shot in Bina in Madhya Pradesh. I know for sure that the riveting last scene, where Hiraman glances back, to see Hirabai’s train recede into the horizon was shot in Borivali, close to Malad in Bombay, and no one can fault it for not being in Bihar. Much else could have easily been shot in some rural pocket outlying Bombay. Yet, the entire bullock cart journey was taken to a far-flung location, only to help the Production Controller Santosh— Shailendra’s wife’s brother— court a lady, later recognised as Nandita Thakur. Their romance had a happy ending when they got married. But in the process, the shooting of the entire film became a picnic for everyone, at the producer’s cost. So much so, that they would shoot during the day, and at night they would go hunting!

One funny incident happened when Pachhi shot what he thought was a Neelgai – and it turned out to be a buffalo owned by the village Pradhan. As a result, the group of shooters were taken into custody and Shailendra had to pay a fine. But at the Police Station they were royally treated by the constables who stood at attention, with folded hands, before the ‘hunters’ as it included Raj Kapoor too! Funny? Yes, but would you like to know the cost of the entertainment? When all the arrangements were made for the outdoor shoot, the Distributor said he had no money to finance the film that was in the making from 1961 till 1966. Further, the leading lady could not be expected to join in until she was paid.

Naturally, the producer was dejected. Seeing his downcast chehra his wife asked him, “What’s the matter?” Once he confided in her, she opened her cupboard, took out her saris one by one, and shook them. As she did so, currency notes started falling on the floor like leaves in autumn. And by the time she touched the bottom of her pile of saris, Shailendra had enough to see him through the shoot – “and more,” Dinesh laughed as he narrated the incident during a screening at Nandan, in March 2016. It had marked the 50th year of Teesri Kasam; of Shailendra’s passing, and had also set off the Nabendu Ghosh Centenary Celebrations.

Song link Haaye gajab kahin taara toota (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

For those interested in saris, here’s a bit more. Mrs Shailendra, like you and I, was fond of saris and every now and then she would buy what caught her eye. But, instead of taking them home, she would give them for stitching falls and then drop it at the laundry. When the poet husband noticed his wife in a sari he had never seen before, he’d ask her if it was new. She’d point to the laundry tag and say, “This is what happens if one is married to a poet. He doesn’t even notice his wife is wearing only old saris!” What’s more, every day after he came home, the smart lady would siphon off the ‘small change’ he carried in his pocket and stow away the notes in the folds of her ‘fresh from the laundry’ drapes. That’s why she could rise to his assistance when he was let down by his investment in people.

The song book of Teesri Kasam— one of my prized possessions from my school days— opens a can of memories. I had not recognised Baba when I first saw the classic: A beggarly fella who’s beaten up not once but twice by the hero! Not surprisingly, an aunt of his had advised my mother, “Bouma (bahu), don’t you go to watch this movie. Mukul (Nabendu’s pet name) has got such a thrashing from that no-good gaadiwaan!”

My brother Subhankar, director of Woh Chhokri and of the teleserial Yugantar, adds another anecdote. “One night, Shailendra came to Baba accompanied by Renu. ‘Dada, I will trash what I have shot but I will not change the ending just because Raj Saab wants me to,’ he told Nabendu Da. ‘But why would he want that?’ Baba asked. ‘So that the film has a happy ending with Hiraman and Hirabai becoming man and wife. But that would kill the story!’ Renu joined in, ‘Dada you must explain this to Rajji.’ At midnight, they set out to meet the star who told the screenwriter, ‘You have the pen in your hand, you must change the ending.’ Nabendu Da said, ‘Certainly the ending can be changed but before that you must change the Title of the film.’ ‘Why?’ Raj Kapoor was startled. ‘Because, if they marry and settle down, why would he take the third vow and promise that – like smuggled goods and bamboo poles – he will never ferry a dancer in his cart?’ That settled it and— like Bandini— it went on to play out its inevitable resolution, flowing unabated like a river.

Song link Aa aa bhi ja (Shankar-Jaikishan/ Shailendra/ Lata Mangeshkar)

More than half a century ago, when Shailendra screened the completed film for his friends, he meticulously noted down the comments of all those present. While Trade Guide had ranked it as ‘Average’ and Bunny Ruben had written ‘Press report excellent but audience conflicting’, Hrishikesh Mukherjee had predicted, ‘Award film.’

Teesri Kasam remains one of the gems in the filmography of actor Raj Kapoor. The showman knew the potential of the character and had therefore bulldozed his way into the role that had not an iota of glamour about it. But, in return, he did not come forward to give financial tips when his trusted Kaviraj was in deep waters. The optimist that he was, Shailendra had jotted down in his diary, ‘It will be a hit.’ But he was shattered when, though he was too unwell to step out and his entire family was suffering in silence, his dream film was premiered in Delhi with celebrations in full swing.

Song link Sajanva bairi ho gaye hamaar (Shankar-Jaikishan/ Shailendra/ Mukesh)

Some listeners have pointed out that sifting through the songs he penned between 1961 and 1966 gives an insight into his dejection. Sample this: Dost dost na raha… Zindagi hamein tera aitbar na raha in Sangam. When friends offer ‘reasons’ for staying away, he says, Sajan re jhootth mat bolo, Khuda ke paas jaana hai. He questions himself, Tune toh sabko raah bataayi, Tu apni manzil kyoon bhoola (Guide). He concludes: Rula ke gaya sapna mera (Jewel Thief).

“Mukesh was the only one of his many ‘friends’ who had rushed to Northcote Nursing Home on December 14, 1966 when he heard Shailendra’s condition is worsening,” recounts Dinesh. Mukesh alone was let in, while Shailendra’s wife and children stood in the corridor outside the room and the hospital staff kept rushing in and out of the room. Alone, the Voice of Raj Kapoor watched the AwaraPoet give up his battle for life. Two days later, the creditors procured a court order and attached every piece of furniture in Rimjhim, the bungalow in Khar, that had been mortgaged to complete his Teesri Kasam.

But the story has a silver lining. Mukesh came forward to inform Mrs Shailendra that he had paid off the mortgage amount and the bungalow was free again. ”It’s not a favour,” he assured her. For, his company, Mukesh and Sons had acquired the distribution rights of Teesri Kasam for Bombay. That was Mukesh – not only a balmy voice but a friend indeed. The company ensured the film’s release in late 1967, but only for a week, as the theatre was pre-booked for Duniya.

Was it poetic justice that viewers of this film came out singing Hiraman’s lines –

Duniya bananewale, kya tere mann mein samaayi!

Kaahe ko ‘Duniya’ banaayi…?

Song link Duniya banane waale (Shankar-Jaikishan/ Hasrat Jaipuri/ Mukesh)

(The views expressed by the author are personal.)

Courtesy : https://learningandcreativity.com/silhouette/shailendra-teesri-kasam/?utm_campaign=shareaholic&utm_medium=facebook&utm_source=socialnetwork&fbclid=IwAR1D5vibOMN2I2XzA9DR2kYCVeW-8TwMNdP0Gw7f_OnCPtsqtvN1Kob6uMc

[bharatiyamedia-blog]

Tracing the evolution of his visible aesthetic, depiction of social issues- Leisure Information, Firstpost

http://tinyurl.com/y3wlqtec Our photos and reminiscences of Calcutta and Bengal in the present day can be incomplete with out the work of Bimal Roy, a cameraman-turned-director, whose movies have formed and contributed to a really invaluable a part of Indian cinema. Roy’s half on this historical past is akin to the roles that Rabindranath Tagore and Satyajit Ray have performed in portraying and speaking the life, occasions and tradition of India. The event of Roy’s visible aesthetic Roy began his work in cinema as a digicam assistant to Nitin Bose within the New Theatres in Calcutta. Earlier than this, as a toddler, he had already developed a liking for drawing, portray, and taking part in the violin, and was expert within the artwork of image making. He had additionally spent a while experimenting with a field digicam offered to him by his elder brother. Bose, who might be termed Roy’s first tutor, talks about his sincerity and dedication of objective, “There was one thing in Bimal, in his light method, in his silence which impressed deep confidence. I used to be completely captivated by his attachment to work. Once we had no work, he would stand subsequent to the digicam, sprucing the lens until it sparkled. Dedication to work was one among Bimal’s biggest property.” Roy was quickly working independently as a cameraman. A number of the movies photographed by him embody these of the legendary Pramathesh C Barua, corresponding to Devdas in 1935 and Mukti in 1937. He additionally labored on some well-known documentary movies; How Kerosene Tins Are Made and Grand Trunk Street are two examples. In 1943, BN Sircar was requested by the British Authorities to doc the Bengal famine, and he selected Roy for the digicam work. The crew shot throughout Calcutta, and have been in a position to seize the “gruesomely actual” and pathetic state of the folks. Sadly, this documentary footage was by no means proven, neither is it traceable. A nonetheless from Devdas. Twitter/tweetria Udayer Pathey, filmed in Bengali in 1944, was Roy’s subsequent movie as a cameraman. Its important success took town by storm and prompted a remake in Hindi, titled Humrahi (1945). In regards to the movie, director Mrinal mentioned, “What was hanging was the outstanding approach it was shot, the extremely exact second of the digicam gave the picture of a statue within the movie, a really particular distinction.” Thus, Roy was already reaching out to folks by way of the ability and language of the photographs that he made. The Tamil movie Nalla Thangal gained Bimal Roy his first award for excellence in digicam work, following which he served because the cameraman in two extra Bengali movies, Anjangarh (1948) and Mantramugdha (1949). The spirit of his movies The spirit and persona of Roy are key components that come by way of in all of the movies that he has labored on. Particularly, Roy’s digicam was virtually all the time at eye degree, very right down to earth and reasonable. The human component was foremost in them. Roy’s household had misplaced all their ancestral zamindari or land in East Bengal and had then migrated to Calcutta. So he understood the feudal set-up and felt the heart beat of the folks throughout him – each the displaced migrants within the cities, and the impoverished villagers left behind. A few of his greatest movies are about these folks, the place his perception into their lives brings a never-seen-before realism into cinema. He walked right into a world with silent footsteps and unquestionably crammed it with the efficacy of his photos. Conscious as he was of the technological implications of behind-the-lens work, he portrayed the true reaches of social, emotional and financial devastations, small and huge by way of his command over his artwork. A nonetheless from Biraj Bahu. Twitter/FilmHistoryPic In all his movies, one also can sense that Roy stayed near his roots. The rivers of Bengal, the Baul music, the closeness to nature, the landscapes — all discover expression in his work. Most significantly, he selected the works of Sarat Chandra because the tales for a lot of of his movies. Changing into a director In 1950, Roy was invited to Bombay, the place he was given a one-film contract by Bombay Talkies to direct Maa (1952), and his distinctive under-played but shifting model of film-making made it an instantaneous success, prompting Roy to proceed to remain in Bombay, as a substitute of returning to Calcutta. By now, he had put collectively a crew of technicians for this movie, which included scriptwriter Nabendu Ghosh, assistant administrators Asit Sen and Nasir Hussein, editor Hrishikesh Mukherjee and music director Salil Chowdhury, and he continued to work with this crew additional. The 1953 movie Parineeta, primarily based on Sarat Chandra Chattopadhyay’s novel, adopted, and this was additionally one among Roy’s masterpieces. Its success led to the institution of Roy’s personal manufacturing unit, Bimal Roy Productions, now making him an impartial filmmaker. This was adopted by the discharge of his much-acclaimed breakthrough movie, Do Bhiga Zamin. It was impressed by Rabindranath Tagore’s poem of the identical title, and is predicated on the travails of a poor farmer and his experiences. Roy’s daughter Aparajita Sinha says concerning the movie’s story, “Industrialisation was consuming away on the livelihood of the agricultural farmer, a ache which he so sensitively portrays within the closing scene of Do Bigha Zameen. Within the movie, which gained an award at Cannes, Shambu loses his land to industrialisation; commerce wins and the peasant loses. The entire theme of migration of labour and the sense of displacement felt by migrants on shifting to the cities is depicted with feeling. Shambu and his household come again to the village, solely to see a manufacturing facility on their ‘do bigha zameen‘. The sense of loss is heart-rending. It was a landmark movie and until date stays a touchstone in Indian cinema.” A nonetheless from Do Bigha Zamin. Wikimedia Commons This movie was impressed by the neo-realistic movies of Italy, significantly Vittorio de Sica’s Bicycle Thieves. It was launched the yr after the primary Worldwide Movie Pageant held in India in 1952; this was one of many earliest occasions the place the movie world was uncovered to European classics by Roberto Rosellini, Vittorio De Sica and Lucino Visconti. When launched in India, the movie ran at Bombay’s Metro Theatre for under a month, regardless of the premiere being aired on radio and being compered by Sunil Dutt, who was then often called Balraj Dutt. Elementary to the formation of Roy’s filmmaking notion was his allegiance, and significantly, his ardour for Soviet cinema. He was a member of the primary Indian movie delegation to the previous Soviet Union; the publicity to socially conscious movies on the worldwide circuit etched itself into his experiences considerably. Roy recalled, “On the pageant, the Finest Image Prize was gained by the Russian movie Man’s Future, primarily based on the novel by Sholokhov. An fascinating truth which the pageant delivered to the discover of all collaborating nations was the progress made by Mongolia and Korea in filmmaking. One other notable function of the pageant was the appreciation of Indian movie music by the members of the jury in addition to the viewers. The music of Jalsaghar was unanimously voted one of the best.” Important acclaim Whereas it wasn’t a hit within the nation, Do Bigha Zamin gained industrial recognition overseas, underneath the title Two Acres Of Land and likewise turned a important milestone for Roy. He bagged awards at Cannes and the Karlovy Fluctuate Movie Festivals overseas, whereas additionally successful the Finest Movie and Finest Director awards on the inaugural Filmfare Awards in Bombay. Inspired by these successes, Roy started work on one other movie primarily based on one among Sarat Chandra’s tales, Biraj Bahu, which was additionally a success after which adopted this up with Devdas, one more of Sarat Chandra’s novels. In 1955, Roy felt that he may interpret Devdas in another way from the sooner PC Barua variations (Hindi and Bengali), each of which Roy himself had photographed 20 years earlier. The truth is, he devoted this movie to Barua and was assured that there was a brand new technology that had not learn the e-book or seen the Barua movie, who would come to see this story in a contemporary new setting and elegance. Whereas Roy efficiently gave this tragic story a brand new notion, even handpicking the solid to incorporate Dilip Kumar as Devdas, Suchitra Sen as Paro and Vyjayantimala as Chandramukhi, Devdas was nonetheless not a industrial victory. A nonetheless from Madhumati. Twitter/Bollywoodirect Two successes adopted, nevertheless: Madhumati written by Ritwik Ghatak and Yahudi in 1958. Madhumati, when seen in its entirety, had all the weather wanted to achieve success: a terrific script, Salil Chowdhury’s musical rating, and the tune ‘Aaja Re Pardesi,’ sung by Lata Mangeshkar. Depiction of ladies in Roy’s movies Roy’s subsequent two releases have been movies starring Nutan, which have been particular person hits – Sujata and Bandini. A facet pivotal to the success of the movie, each critically and commercially, was in Roy selecting Nutan to play the position, the place he recognised and was in a position to carry out the extraordinary realism in her efficiency, which was important to each roles. Bandini offers with a girl prisoner who’s pushed by life to homicide, after which she is punished however receives deliverance too, and is taken into account by many to be Roy’s most interesting and most full work. For the movie, Roy tailored Charuchandra Chakravarty’s brief story, coping with the finer nuances of the female thoughts and feminism. A nonetheless from Bandini. Twitter/karanbali Sujata, which offers with social ostracism, gained the President’s Certificates of Benefit in 1959, 5 Clare (Filmfare) Awards and an Indian entry to Cannes in 1960. Each these movies, whereas depicting the hardships of ladies, are additionally progressive and reformist of their message. The ladies in these movies had reached crises of their lives, but there’s a very liberal method to them and it’s not a judgmental view. It is a significantly spectacular presentation, as ladies within the nation have been dealing with a number of sorts of social prejudices. But Roy’s movies gave the feminine protagonist a really highly effective voice, even in her helpless state of affairs. Roy turned one of many first and few Indian filmmakers who created a separate area of interest and definitive identification for girls in cinema, thus additionally empowering ladies outdoors movies. Shaping lives Bimal Roy’s final manufacturing earlier than he died in 1966 was Benazir (1964) directed by S Khalil. The physique of labor that he has left behind is remembered most for its portrayal of the on a regular basis, non-sensational facets of life. His movies report the social, financial and ethical traits within the India of his day and age. One of many greatest legacies gifted to Indian cinema by Roy is the crew that he nurtured: Hrishikesh Mukherjee, Gulzar, Basu Bhattacharya, Salil Chaudhary, and lots of others. With Roy, and in a while their very own, these people made movies and music on very Indian themes, selected tales that questioned social norms and issues confronted by the post-independent society. Roy impressed and guided; in flip, they’ve additionally acknowledged that he formed the lives of everybody he met. A nonetheless from Pehla Admi. Twitter/NFAIOfficial Whereas talking of Do Bigha Zamin, Satyajit Ray mentioned, “It’s a movie that also reverberates within the minds of those that noticed it – and it stays one of many landmarks of Indian cinema. He was thus undoubtedly a pioneer.” Roy’s themes have been easy. Within the on a regular basis ordinariness of Indian life, he noticed the manifestation of his ideology. A definite sympathy for social, financial and non secular exploitation are themes that happen usually in Roy’s work. One can cite Roy as being instrumental in bridging the gulf between new cinema and that of the post-independence period. Probably the most important factor Roy did for Indian cinema, was to maintain it Indian. Up to date Date: Jun 15, 2019 15:32:08 IST !function(f,b,e,v,n,t,s) {if(f.fbq)return;n=f.fbq=function() {n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments)} ; if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)}(window,document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '259288058299626'); fbq('track', 'PageView'); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "http://connect.facebook.net/en_GB/all.js#xfbml=1&version=v2.9&appId=1117108234997285"; fjs.parentNode.insertBefore(js, fjs); }(document, 'script', 'facebook-jssdk')); Source link

[kidspreschool]

Watch Panchavati (1986) Hindi Full Length Movie | Suresh Oberoi, Deepti Naval, Seema Burman | Hindi Movies Hub Panchavati hindi full movie starring Suresh Oberoi, Deepti Naval, Seema Burman, Nabendu Ghosh, Akbar Khan, M.K. Raina, Shanti Tanang, Anuradha Tarafdar, Jayendra Thakur and others. Directed by Basu Bhattacharya. Subscribe for More Videos: https://goo.gl/JTdAJM For More Videos: https://goo.gl/Y9CxV5

[releasesoon]

And They Made Classics: Documentary on screenwriter Nabendu Ghosh brings legend into the limelight

It is often said that the screenplay is the soul of a film. The greatest filmmakers from all over the world have stressed on the importance of the script and the role it plays in turning a film into a great film. In the Indian film industry, for an astonishingly long period of time, very few people seemed to talk about the script. This, however, in no way meant that the script was considered…

[bollywoodirect]

Remembering Asit Sen, the renowned Hindi film comedian of yesteryears, on his 30th death anniversary (18/09/1993).

Born on 13 May 1917, Asit Sen was a multi-talented figure in the Hindi film industry, initially gaining recognition as a film director before becoming a celebrated comedian. Over the course of his four-decade career, from 1953 until his passing on 18 September 1993, Sen directed two films and starred in over 200, leaving an indelible mark on Indian cinema.

Known for his unique acting style, Sen often portrayed characters in positions of authority—be it a police inspector or a landlord—but always with a comedic twist. His slow-paced dialogue delivery and thin voice stood in striking contrast to his imposing physical frame, adding layers of humor and depth to his roles. He was particularly prolific during the 1960s, 1970s, and early 1980s, sharing the screen with many of the industry's biggest names.

Sen's journey in the film industry began under the mentorship of director-producer Bimal Roy in Kolkata. However, as the Kolkata-based film industry began to decline, Roy, along with his team—including Sen, Hrishikesh Mukherjee, Nabendu Ghosh, Kamal Bose, and later Salil Chaudhury—relocated to Bombay (now Mumbai) in 1950. Before fully embracing acting, Sen directed two films for his mentor's production house: "Parivar" in 1956 and "Apradhi Kaun" in 1957.

Today, we pay tribute to Asit Sen, whose contributions to Indian cinema as both a director and a comedian continue to be cherished. His legacy lives on, bringing smiles and laughter to generations.

[asksabhaniblog]

Asit Sen was born on 24 September 1922 in Dhaka (now known as Bangladesh), Bengal in British India. His only son name is Partha Sen. He was a cinematographer, screenwriter and film director, who has worked both for Bollywood film Industry and Bengali film Industry. Asit Sen has directed many films in his career. A total 17 films have been directed by him both in Bengali and Hindi. He became popular for the films like Uttar Falguni which was released in the year 1963, Deep Jweley Jai in 1959, Mamta in 1966, Khamoshi in !969, Safar in 1970, and Anokhi Raat in 1968.

Asit Sen kick-started his career at new theaters in Kolkata as Assistant to Bimal Roy. In 1950, when Kolkata Film Industry was going down and declining, Asit Sen decided to move to Mumbai along with his team. His team members were Nabendu Ghosh, Hrishikesh Mukherjee, Salil Chaudhury, and Kamal Bose. In the year 1952, he restarted his career with the movie named “Maa” which was released in the year 1952. He has also made Assamese film named Biplabi in the year 1948. His Hindi debut film’s name was Parivaar which was released in the year 1956 and was produced by Bimal Roy with Usha Kiran and Kishore Kumar in the lead role.

After coming to Hindi Cinema, Asit didn’t leave the Bengali Industry and continued making Bengali films. He also worked as an assistant director with Roy in the movies like Biraj Bahu which was released in the year 1954 and Parineeta which was released in the year 1953. In the year 1956, he made a Bengali film named Chalachal with Arundhati Devi in the lead role. Later on, due to its great success, he made a remake of this movie in Hindi and named it as “Safar,” which again was a blockbuster. He has worked with many Bollywood biggies like Suchitra Sen, Rajesh Khanna, Waheeda Rehman, etc. The film named “Khamoshi” was directed by him and was the Hindi version of Bengali movie- Deep Jwele Jaai. A movie named “Mamta” was also a Hindi version of Bengali movie named “Uttar falguni.” In the year 1993,

Asit Sen became the Vice Principal and joined National Institute of Film and Fine Arts. He has worked for film education for the society till his last breath. Asit Sen was nominated for Best Director Award in Film fare, twice and has won the Award, once. He got nominated for the movie named “Mamta” and won the Award for the movie named “Safar.” He died at the age of 79 on 25 August 2001 at a Kolkata hospital.

[banglabooksme]

Bhed-Bibhed by Bhadreshwar Mandal Bangla book pdf file ebook name- Bhed-Bibhed Author- Various Edited by- Bhadreshwar Mandal File format- PDF Pages- 579 File size- 16mb Quality- good, without any watermark

The contents of this book are Danga, Deshbhag O Sampradayikatabirodhi Sarbabharatiya Galpo Sankalan. There is fifty one short-stories in the book and all this ageless stories are written by various eminent Bangla authors as Rabindra Nath Takur, Jyotirmoyee Debi, Bibhuti Bhushan Bandopadhyay, Ramesh Chandra Sen, Annadashankar Roy, Satinath Bhaduri, Achinta Kumar Sengupta, Manik Bandopadhyay, Narendra Nath Mitra, Narayan Gangopadhyay, Somen Chandra, Nabendu Ghosh, Ritwik Ghatak, Salil Chowdhury, Ramapada Chowdhury, Santi Ranjan Bandopadhyay, Kamakhi Prasad Chattopadhyay, Samaresh Basu, Mohashweta Debi, Syed Mustafa Siraj, Prafulla Roy, Dipendra Nath Bandopadhyay, Amalondu Chakrabarty, Debesh Roy, Avrow Roy, Manobendra Bandopadhyay, Dibendu Palit. Dear readers, collect this exceptional book as pdf file from link below. Table of contents below-

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Bangla book pdf Bhed-Bibhed Bhed-Bibhed by Bhadreshwar Mandal Bangla book pdf Bhed-Bibhed by Bhadreshwar Mandal Bangla book pdf file ebook name- Bhed-Bibhed Author- Various Edited by- Bhadreshwar Mandal…

[bollywoodirect]

Remembering Asit Sen, the famous Hindi film comedian of Yesteryears, on his 106th birth anniversary (13/05/1917).

Over the course of his career from 1953 to 1993, Sen directed two films and appeared in over 200 films. As an actor, he specialized in portraying characters of authority, such as police inspectors or landlords, in a comedic manner, often with a slow-speaking, deliberate delivery. He was particularly prolific in the 1960s, 1970s, and early 1980s, and was known for his very thin voice and imposing physical presence.

Sen began his career as an assistant to director-producer Bimal Roy in Kolkata. However, as the Kolkata film industry declined, Roy moved his team, including Sen, Hrishikesh Mukherjee, Nabendu Ghosh, Kamal Bose, and later Salil Chaudhury, to Mumbai in 1950. After directing two films for Roy's production house, Parivar (1956) and Apradhi Kaun (1957), Sen chose to focus on his career as an actor and became a popular comic performer who worked with many of the biggest names in the Hindi film industry. Today, on his birth anniversary, we remember his contributions to Indian cinema.

Asit Sen with Kishore Kumar.

[bollywoodirect]

Remembering Bimal Roy on his 109th birth anniversary. Bimal Roy (12 July 1909 – 8 January 1966) was a film director. He is particularly noted for his realistic and socialistic films like Do Bigha Zamin, Parineeta, Biraj Bahu, Madhumati, Sujata, and Bandini, making him an important director of Hindi cinema. Inspired by Italian neo-realistic cinema, he made Do Bigha Zameen after watching Vittorio De Sica's Bicycle Thieves (1948). His work is particularly known for his mise en scène which he employed to portray realism. He won a number of awards throughout his career, including eleven Filmfare Awards, two National Film Awards, and the International Prize of the Cannes Film Festival. Madhumati won 9 Filmfare Awards in 1958, a record held for 37 years. Bimal Roy moved to Calcutta and entered the field of cinema as a camera assistant with New Theatres Pvt. Ltd.. During this time, he assisted director P.C. Barua as Publicity Photographer, on the hit 1935 film Devdas, starring K.L. Saigal. In the 1940s and 1950s Roy was part of the parallel cinema movement in post-war India. He made with Anjangarh (1948), one of the last major films of the New Theatres, however Kolkata based film industry was now on the decline, thus Roy shifted base to Bombay (now Mumbai) along with his team in 1950, which included Hrishikesh Mukherjee (editor), Nabendu Ghosh (screenwriter), Asit Sen (assistant director), Kamal Bose (cinematographer) and later Salil Chaudhury (music director), and by 1952 he had restarted the second phase of his career with Maa (1952) for Bombay Talkies. He was famous for his romantic-realist melodramas that took on important social issues while still being entertaining. He was a filmmaker of great and indepth understanding of human strengths and weaknesses. In 1959, he was a member of the jury at the 1st Moscow International Film Festival. He died of cancer on 8 January 1966 at the age of 56. He was survived by four children, being daughters Rinki Bhattacharya, Yashodhara Roy and Aparajita Sinha, and his only son, Joy Roy. His eldest daughter, Rinki Bhattacharya, married the director Basu Bhattacharya against the wishes of both their families. The marriage collapsed within a few years, but resulted in the birth of a son, the actor and screenplay writer Aditya Bhattacharya. Rinki Bhattacharya now heads the Bimal Roy Memorial Committee.

[bollywoodirect]

Remembering Bimal Roy on his 108th birth anniversary.

Bimal Roy (12 July 1909 – 8 January 1966) was a film director. He is particularly noted for his realistic and socialistic films like Do Bigha Zamin, Parineeta, Biraj Bahu, Madhumati, Sujata, and Bandini, making him an important director of Hindi cinema. Inspired by Italian neo-realistic cinema, he made Do Bigha Zameen after watching Vittorio De Sica's Bicycle Thieves (1948). His work is particularly known for his mise en scène which he employed to portray realism. He won a number of awards throughout his career, including eleven Filmfare Awards, two National Film Awards, and the International Prize of the Cannes Film Festival. Madhumati won 9 Filmfare Awards in 1958, a record held for 37 years.

Bimal Roy moved to Calcutta and entered the field of cinema as a camera assistant with New Theatres Pvt. Ltd.. During this time, he assisted director P.C. Barua as Publicity Photographer, on the hit 1935 film Devdas, starring K.L. Saigal. In the 1940s and 1950s Roy was part of the parallel cinema movement in post-war India. He made with Anjangarh (1948), one of the last major films of the New Theatres, however Kolkata based film industry was now on the decline, thus Roy shifted base to Bombay (now Mumbai) along with his team in 1950, which included Hrishikesh Mukherjee (editor), Nabendu Ghosh (screenwriter), Asit Sen (assistant director), Kamal Bose (cinematographer) and later Salil Chaudhury (music director), and by 1952 he had restarted the second phase of his career with Maa (1952) for Bombay Talkies. He was famous for his romantic-realist melodramas that took on important social issues while still being entertaining. He was a filmmaker of great and indepth understanding of human strengths and weaknesses. In 1959, he was a member of the jury at the 1st Moscow International Film Festival.

He died of cancer on 8 January 1966 at the age of 56. He was survived by four children, being daughters Rinki Bhattacharya, Yashodhara Roy and Aparajita Sinha, and his only son, Joy Roy. His eldest daughter, Rinki Bhattacharya, married the director Basu Bhattacharya against the wishes of both their families. The marriage collapsed within a few years, but resulted in the birth of a son, the actor and screenplay writer Aditya Bhattacharya. Rinki Bhattacharya now heads the Bimal Roy Memorial Committee.

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