INDICE Parte Prima

Total Page:16

File Type:pdf, Size:1020Kb

INDICE Parte Prima INDICE Parte prima - Introduzione pag. 9 Quello che crediamo di sapere " 9 La baia " 12 L'esplosione " 15 Gli specchi danzanti " 17 L'evoluzione dei generi " 22 I problemi dello spettatore occidentale " 29 Le sorprese del box office, ovvero l'India che nessuno si aspetta " 34 Parte seconda - Cinquanta film, 1949-2006 tt 41 Premessa tt 41 MAHAL (II palazzo) Kamal Amrohi, 1949 u 43 ANDAAZ (Stile) Mehboob Khan, 1949 u 47 AWARA (II vagabondo) Raj Kapoor, 1951 u 51 AMAR Mehboob Khan, 1954 a 55 TAXI DRIVER Chetan Anand, 1954 " 59 DEVDAS BimalRoy, 1955 " 63 CID (Polizia centrale) Raj Khosla, 1956 " 67 MOTHER INDIA Mehboob Khan, 1957 " 69 PYAASA (L'assetato) Guru Dutt, 1957 " 73 MADHUMATI Bimal Roy, 1958 " 75 CE1ALTI KA NAAM GAADI (È un auto per modo di dire) Satyen Bose, 1958 " 77 MUGHAL-E-AZAM (II Gran Mocjol) Karimuddin Asif, 1960 *" " 81 GANGA JUMNA (Ganga e Jamuna) Nitin Bose, 1961 " 85 SAHIB, BIBI AUR GHULAM (Signore, signora e servitore) Abrar Alvi (Guru Duttr), 1962 " "89 WAQT (II tempo) YashChopra, 1965 " 93 THE GUIDE Vijay Anand, 1965 " 97 PHOOL AUR PATTHAR (Fiori e pietre) O. P. Ralhan, 1966 " 101 HAMRAAZ (II nostro segreto) Baldev Raj Chopra, 1967 " 105 PADOSAN (La vicina) Jyoti Swaroop, 1968 " 109 ARADHANA (Devozione) Shakti Samanta, 1969 " 111 PAKEEZAH (LA donna punì) Kamal Amrohi, 1971 "115 - MERA GAON MERA DESH (II mio villaggio, la mia patria) Raj Kliosla, 1971 " 119 - BOBBY Raj Kapoor, 1973 " 121 - ZANJEER (La catena) Prakash Mehra, 1973 " 125 - SHOLAY (Fiammate) Ramesh Sippy, 1975 " 129 - DEEWAR (II muro) Yash Chopra, 1975 " 133 - JAI SANTOSHI MAA (Viva la dea Santoshi) Vijay Sharma, 1975 " 137 - KABHI KABHIE (Qualche volta) Yash Chopra, 1976 " 141 - AMARAKBARANTHONY Manmohan Desai, 1977 " 145 - SATYAM SHIVAM SUNDARAM (Verità, bontà e bellezza) Raj Kapoor, 1978 "149 - DON diandra Barot, 1978 " 153 - MR INDIA Shekar Kapoor, 1987 " 157 - QAYAMAT SE QAYAMAT TAK (Di catastrofe in catastrofe) Mansur Khan, 1988 " 161 - PARINDA (Gli uccelli) Vidhu Vinod Chopra, 1989 " 163 - BETA (II figlio) Indra Kumar, 1992 " 165 - KHALNAYAK (II mascalzone) Subhash Ghai, 1993 " 169 - DARR (Terrore) Yash Chopra, 1993 " 173 - HUM AAPKE HAIN KAUN? (Che cosa sono io per tei) Sooraj Barjatya, 1994 " 177 - KARAN ARJUN (Karan e Arjun) Rakesh Roshan, 1995 " 179 - DILVVALE DULHANIYALE JAYENGE (II coraggioso prenderà la sposa) Aditya Chopra, 1995 " 183 - BOMBAY Mani Ratnam, 1995 " 187 - DIL SE (Di tutto cuore) Mani Ratnam, 1998 " 189 - SATYA (Verità) Ram Gopal Varma, 1998 " 193 - MISSION KASHMIR Vidhu Vinod Chopra, 2000 " 195 - ASHOKA Santosh Shivan, 2001 " 197 - LAGAAN (La tassa) Ashutosh Gowariker, 2001 " 201 - VEER ZARA (Veci- e Zar a) Yash Chopra, 2004 " 203 - KRRISH Rakesh Roshan, 2006 " 207 - KABHI ALVIDA NAA KEHNAA (Mai dirsi addio) Karan Johar, 2006 " 211 - LAGE RAHO MUNNABHAI! (Dacci dentro Munnabhail) Rajkumar Hirani, 2006 " 215 Appendice (2007-2011) " 217 Glossario minimo " 219 Appendice fotografica " 223 Bibliografia: Opere a carattere generale " 241 Opere su Bollywood " 243 Ringraziamenti " 247.
Recommended publications
  • Movie Aquisitions in 2010 - Hindi Cinema
    Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
    [Show full text]
  • Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films.
    [Show full text]
  • Magazine1-4 Final.Qxd (Page 3)
    SUNDAY, JULY 19, 2020 (PAGE 4) What we obtain too cheap, BOLLYWOOD-BUZZ we esteem too lightly Unforgettable Bimal Roy V K Singh Inderjeet S. Bhatia "Prince" Devdass (Dilip Kumar) and Paro's (Suchitra Sen). Child music and song " Yeh mera Diwanapan Hai" by mukesh are hood friendship blossoms into love. But Paro is forced to still popular. 'The harder the conflict, the more glorious The 111th birth anniversary of Bimal Roy, the father fig- marry a rich zamindar because Dev Dass's Father (Murad) "Kabuliwala" produced by Bimal Roy and released on the truimph'. These words of Thomas Paine ure of Indian Cinema was held on 12th was against this relationship. This turned Devdass into a 14th Dec,1961 was not a commercial hit but is still remem- written before the American Revolution July. Bimal Roy, lovingly called as depressed alcoholic. Chandramukhi (Vijayanthimala) too bered for power-packed performace of Balraj Sahni in the Bimal Da 1909 to a Bengali Baidya , sought to inspire Americans in their struggle could not provide solace to his bleeding heart. Released on title role of a Pathan called Rahmat whose wife is no more. Dhaka, which was part of Eastern Jan 1 , 1955 film created box office history by collecting He has a little daughter Ameena (Baby Farida) to whom he for freedom against Great Britain. They have Bengal before partition of 1947 (now more 1 crore in those times. Film bagged best actress in a cares like a mother. He also keep saving her from the wrath an evergreen freshness and resonate with the Dhaka division Bangladesh).
    [Show full text]
  • Jodhaa Akbar
    JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote
    [Show full text]
  • Yash Chopra the Legend
    YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today.
    [Show full text]
  • Bollywood Lens Syllabus
    Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences.
    [Show full text]
  • Chapter I Introduction
    CHAPTER I INTRODUCTION A. Background of the Study Life is struggle, sacrifice, and worthy. On the other side, the people say that life means study or effort. People must struggle their right and obligation too. The struggling, sacrificing, and affording are one of requisites for acquiring their appreciations, dreams, and aims. The appreciation is the last destination that is brought into reality by the people. So everyone needs appreciation in their life. The appreciation is like a dream, goal or destination. It is a soul in proving something done by people. Appreciation can give the spirit and energy for someone in reaching their aim in their life. Many people that have acquired appreciation, they would be proud and satisfy both for themselves and another people in surrounding. However, sometimes the people have wrong ways to prove their appreciations. Appreciation need includes self actualization of human needs. Self actualization is one fundamental need in humanistic psychological theory. This need is part of hierarchy need in humanistic psychological theory. Humanistic psychology views humans as active creature with freedom. Abraham Maslow had explained the humanistic analysis in the psychological theory. The theory of Maslow is the hierarchy of needs that are the 1 2 psychological needs, safety needs, love and belonging needs and esteem needs. The four points above is the deficient needs or the basic needs. Maslow next had explained the growth needs as a motivation of human. The growth needs include self actualization (Clearer perception of reality, Acceptance of self, Other and nature, Spontaneity, Problem-centering, Detachment and the need for solitude, Autonomy, Independent of culture and environment, Continued fresher of appreciation, The mystic experience, the oceanic feeling, Oneness with humanity, Deep interpersonal relations, Democratic character structure, Ethical means towards moral ands, Philosophical, Creativeness).
    [Show full text]
  • Bollywood As National(Ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti
    Third Text, Vol. 23, Issue 6, November, 2009, 703–716 Bollywood as National(ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti Neelam Srivastava This essay sets out to explore the relationship between violence, patrio- tism and the national-popular within the medium of film by examining the Indian film-maker Rakeysh Mehra’s recent Bollywood hit, Rang de Basanti (Paint It Saffron, 2006). The film can be seen to form part of a body of work that constructs and represents violence as integral to the emergence of a national identity, or rather, its recuperation. Rang de Basanti is significant in contemporary Indian film production for the enormous resonance it had among South Asian middle-class youth, both in India and in the diaspora. It rewrites, or rather restages, Indian nationalist history not in the customary pacifist Gandhian vein, but in the mode of martyrdom and armed struggle. It represents a more ‘masculine’ version of the nationalist narrative for its contemporary audiences, by retelling the story of the Punjabi revolutionary Bhagat Singh as an Indian hero and as an example for today’s generation. This essay argues that its recuperation of a violent anti-colonial history is, in fact, integral to the middle-class ethos of the film, presenting the viewers with a bourgeois nationalism of immediate and timely appeal, coupled with an accessible (and politically acceptable) social activism. As the 1. Quoted in Namrata Joshi, sociologist Ranjini Majumdar noted, ‘the film successfully fuels the ‘My Yellow Icon’, Outlook middle-class fantasy of corruption being the only problem of the coun- India, online edition, 20 1 February 2006, available try’.
    [Show full text]
  • Ajeeb Aadmi—An Introduction Ismat Chughtai, Sa'adat Hasan Manto
    Ajeeb Aadmi—An Introduction I , Sa‘adat Hasan Manto, Krishan Chandar, Rajinder Singh Bedi, Kaifi Azmi, Jan Nisar Akhtar, Majrooh Sultanpuri, Ali Sardar Jafri, Majaz, Meeraji, and Khawaja Ahmed Abbas. These are some of the names that come to mind when we think of the Progressive Writers’ Movement and modern Urdu literature. But how many people know that every one of these writers was also involved with the Bombay film indus- try and was closely associated with film directors, actors, singers and pro- ducers? Ismat Chughtai’s husband Shahid Latif was a director and he and Ismat Chughtai worked together in his lifetime. After Shahid’s death Ismat Chughtai continued the work alone. In all, she wrote scripts for twelve films, the most notable among them ◊iddµ, Buzdil, Sån® kµ ≤µ∞y≥, and Garm Hav≥. She also acted in Shyam Benegal’s Jun∑n. Khawaja Ahmed Abbas made a name for himself as director and producer for his own films and also by writing scripts for some of Raj Kapoor’s best- known films. Manto, Krishan Chandar and Bedi also wrote scripts for the Bombay films, while all of the above-mentioned poets provided lyrics for some of the most alluring and enduring film songs ever to come out of India. In remembering Kaifi Azmi, Ranjit Hoskote says that the felicities of Urdu poetry and prose entered the consciousness of a vast, national audience through the medium of the popular Hindi cinema; for which masters of Urdu prose, such as Sadat [sic] Hasan Manto, wrote scripts, while many of the Progressives, Azmi included, provided lyrics.
    [Show full text]
  • “YRF BIG SCREEN CELEBRATIONS” (“ Film
    Terms and Conditions of the YRF 50 BIG SCREEN CELEBRATIONS The YRF 50 film festival “YRF BIG SCREEN CELEBRATIONS” (“Film Festival”) is organized to celebrate 50 years of films produced under the Yash Raj Films banner /Yash Raj Films Private Limited (“YRF”) between November 12, 2020 till November 19, 2020 at select cities and cinemas across India. The below mentioned terms and conditions govern the Film Festival from YRF’s perspective. Terms and Conditions: 1. The following films which are owned and produced by YRF (“YRF Films”) will be screened as part of the Film Festival at the sole discretion of YRF’s exhibition partners which own and operate the cinemas – PVR Cinemas, INOX and Cinepolis (each “Cinema Partner”): a. Dilwale Dulhania Le Jayenge b. Veer-Zaara c. Daag d. Kabhi Kabhie e. Mashaal f. Dil To Pagal Hai g. Bunty Aur Babli h. Chak De India i. New York j. Ek Tha Tiger k. Dum Laga Ke Haisha l. Band Bajaa Baraat m. Mardaani n. Tiger Zinda Hai o. Chandni p. Lamhe q. Silsila r. Sathiya s. Rab Ne bana di Jodi t. Sultan u. War v. Darr w. Hum Tum x. Mohabbatein 2. The show timings, the price of the tickets, cinemas and cities of cinema where the YRF Films are exhibited would be solely controlled by the Cinema Partners without any liability to YRF. 3. The Film Festival will be governed by the terms and conditions of each Cinema Partner which may be available at the Cinema Partner’s websites and/or official social media handles. 4.
    [Show full text]
  • Swakshar Edition 3
    SCREENWRITERS ASSOCIATION NEWSLETTER M A R C H 2 0 2 0 E D I T I O N 3 SWA CELEBRATES ITS 'DIAMOND JUBILEE' IN YEAR 2020! S W A A W A R D S , C O N F E R E N C E , P I T C H F E S T , W O R K S H O P S A N D V A R I O U S E V E N T S L I N E D U P Established in 1954, by stalwarts like Ramanand Sagar, Khwaja Ahmad Abbas, Shailendra, Sahir Ludhianvi, Majrooh Sultanpuri and Kamal Amrohi, the Screenwriters Association (SWA; formerly the Film Writers' Association) is the strongest and the most well known trade union of film, TV and digital media writers and lyricists working in India. While the constitution of the Association was adopted in the General Body Meeting held in 1956, Film Writers’ Association, Bombay, got registered as a trade union under the Trade Union Act 1926 with Registration No. 3726 only on May 13th 1960. Thus, 2020 marks the 60th year for SWA from the day of its official functioning. The Executive Committee of SWA has planned a series of events, like SWA Awards (launch year), screenwriting workshops in prominent cities, pitching fest, the 6th edition of the Indian Screenwriters Conference (6ISC) and other events to mark the occasion. Stay tuned to SWA's official website www.swaindia.org and official social media pages for upcoming announcements. An Award for the Writer, By the Writers! A LONG-CHERISHED DREAM OF INDIAN SCREENWRITERS & LYRICISTS COMES TRUE SWA Awards 2020 are the only awards in India dedicated Hon.
    [Show full text]
  • Reconstructing the Indian Filmography
    ASHISH RAJADHYAKSHA Reconstructing The Indian Filmography Sitara Devi and the Indian filmographer A n apocryphal story has V.A.K. Ranga Rao, the irascible collector of music and authority on South Indian cinema, offering an open challenge. It seems he saw Mother India on his television one night and was taken aback to see Sitara Devi’s name in the acting credits. The open challenge was to anyone who could spot Sitara Devi anywhere in the film. And, he asked, if she was not in the film, to answer two questions. First, what happened? Was something filmed with her and cut out? If so, when was this cut out? Almost more important: what to do with Sitara Devi’s filmography? Should Mother India feature in that or not? Such a problem would cut deep among what I want to call the classic years of the Indian filmographers. The Encyclopaedia of Indian Cinema decided to include Sitara Devi’s name in its credits, mainly because its own key source for Hindi credits before 1970 was Firoze Rangoonwala’s iconic Indian Filmography, Silent and Hindi Film: 1897-1969, published in 1970 and Har Mandir Singh ‘Hamraaz’s somewhat different, equally legendary Hindi Film Geet Kosh which came out with the first edition of its 1951-60 listings in 1980. The Singh Geet Kosh tradition would provide bulwark support both on JOURNAL OF THE MOVING IMAGE 13 its own but also through a series of other Geet Koshes by Harish Raghuvanshi on Gujarati, Murladhar Soni on Rajasthani and many others. Like Ranga Rao, Singh and the other Geet Kosh editors have had his own variations of the Sitara Devi problem: his focus was on songs, and he was coming across major discrepancies between film titles, their publicity material and record listings.
    [Show full text]