Rattan Kumar

Total Page:16

File Type:pdf, Size:1020Kb

Rattan Kumar Rattan Kumar Titles: 35 Sources: 1 Stills: 1 Born: Syed Nazir Ali; Ajmer, India; August 24th 1942 A hungry waif of the streets – Bollywood style: BOOT POLISH Source: The Moving Picture Boy The Moving Picture Boy entry: operatic climax of pathos as the children are separated and a surprisingly plump Ratan “ "Master Ratan" - whose real name was Syed "starves" in the streets while his little sister Nazir Ali - studied in Bombay and had leading (Baby Naaz) is pampered by rich adopters. A roles in many films, most notably "DO similar suspension of disbelief is required BIGHA ZAMIN" ("Two Acres of Land") and when watching Pavarotti taking the role of a "BOOT POLISH". starving poet.” The latter begins as a traditionally roguish Indian proletarian musical, then plunges into sentimental drama and reaches an almost FILMOGRAPHY Year Age Title Role 47 5 DEKHOJI † (“Look, Dear”) 47 DIL KI AWAZ (“The Heart Speaks”) 47 GOWLAN † 47 PHOOL AUR KANTE † (“The Flower and the Thorns”) 47 SHYAMA † 49 7 BALAM (“Darling”) 49 HAMARI MANZIL (“Our Goal”) 49 MAA KA PYAR † (“Mother’s Love”) 49 ROOMAL (“The Handkerchief”) 50 8 ALAKH NIRANJAN † 50 APNI CHHAYA † (“One’s Own Shadow”) 50 HAMARI BETI † (“Our Daughter”) 50 SARGAM (“Seven-Note Scale”) 50 SARTAJ 51 9 AFSANA (“The Story”) 51 HUMLOG † (“We People”) 51 MALHAR † 51 SAUDAGAR (“The Trader”) 52 10 BAGHDAD 52 BAIJU BAWRA (“Crazy Baiju”) 52 BETAAB † (“The Restless One”) 52 DIWANA (“The Crazy One”) 52 INDRASAN † 52 LAILA MAJNU 52 MOTI MAHAL 52 RAJARANI DAMAYANTI 53 11 BHAGYAWAN (“The Lucky One”) 53 DARD-E-DIL (“Anguish of the Heart”) with Junior Surendra 53 DO BIGHA ZAMIN (“Two Acres of Land”) 53 NAYA GHAR (“The New House”) 54 12 ANGAREY (“Embers”) 54 BOOT POLISH with Baby Naaz 54 JAGRITI (“Awakening”) 55 13 EKADASHI (“The Eleventh Day”) 55 JALWA † indicates titles where he was credited as “Master Rattan” .
Recommended publications
  • Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
    No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations.
    [Show full text]
  • Copyright by Peter James Kvetko 2005
    Copyright by Peter James Kvetko 2005 The Dissertation Committee for Peter James Kvetko certifies that this is the approved version of the following dissertation: Indipop: Producing Global Sounds and Local Meanings in Bombay Committee: Stephen Slawek, Supervisor ______________________________ Gerard Béhague ______________________________ Veit Erlmann ______________________________ Ward Keeler ______________________________ Herman Van Olphen Indipop: Producing Global Sounds and Local Meanings in Bombay by Peter James Kvetko, B.A.; M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment for the Degree of Doctor of Philosophy The University of Texas at Austin May 2005 To Harold Ashenfelter and Amul Desai Preface A crowded, red double-decker bus pulls into the depot and comes to a rest amidst swirling dust and smoke. Its passengers slowly alight and begin to disperse into the muggy evening air. I step down from the bus and look left and right, trying to get my bearings. This is only my second day in Bombay and my first to venture out of the old city center and into the Northern suburbs. I approach a small circle of bus drivers and ticket takers, all clad in loose-fitting brown shirts and pants. They point me in the direction of my destination, the JVPD grounds, and I join the ranks of people marching west along a dusty, narrowing road. Before long, we are met by a colorful procession of drummers and dancers honoring the goddess Durga through thundering music and vigorous dance. The procession is met with little more than a few indifferent glances by tired workers walking home after a long day and grueling commute.
    [Show full text]
  • Desertion of Rural Theme from Hindi Cinema: a Study
    International Journal of Humanities & Social Science Studies (IJHSSS) A Peer-Reviewed Bi-monthly Bi-lingual Research Journal ISSN: 2349-6959 (Online), ISSN: 2349-6711 (Print) Volume-III, Issue-V, March 2017, Page No. 335-339 Published by Scholar Publications, Karimganj, Assam, India, 788711 Website: http://www.ijhsss.com Desertion of Rural theme from Hindi Cinema: A Study Neema Negi Research Scholar, Department of Journalism and Communication, Dev Sanskriti Vishwavidyalaya, Hardwar, U.K., India Abstract Hindi Cinema caters different themes from last 100 glorious years and in earlier phase it reflects the nation’s conflict, difficulties and struggle of a common man in a true manner. In past era one of the major themes rural has been an integral part of Bollywood storytelling. However over the year’s Hindi cinema has changed in terms of film making, content, representation of issues and technological changes. But during the transition of modern Cinema some of the popular themes have vanished. Cinema become bold and creative today and brings different genres with ample of independent filmmakers. The present paper deals with the study of films which depicted the village theme and also explore the causes of disappearance of village theme. Keywords: village theme, Hindi Cinema, farmers, social issues, vanished I- Disappearance of village theme: Indian Cinema acknowledged for the largest producer of films which caters the widest themes and genres from past 100 magnificent years. In every era Hindi cinema represents the social relevant issues in a very different narrative style. In the past six decades Hindi cinema has played a significant role in nation-building, constructing a national awareness, portraying an ideal family system, attacking terrorism, criticizing class prejudice and propagating various phenomena such as globalization, westernization, urbanization and modernization in India.
    [Show full text]
  • Reel to Realpolitik: the Golden Years of Indian Cinema Overseas
    International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 10 Issue 5 Ser. II || May 2021 || PP 09-16 Reel To Realpolitik: The Golden Years Of Indian Cinema Overseas Saumya Singh School of International Studies, Jawaharlal Nehru University, India ABSTRACT This paper seeks to establish the links between cinema and foreign policy of a state. An important illustration is the popular reception of Bollywood abroad in the heydays of cold war. In a world simmering with tensions, the nascent film industry of India reflected the crisis of existence that its newly independent state faced. The imagination of India seeped into the consciousness of the country’s artistic, cultural, political and social scene. Bollywood had produced the best movies like Awaara and Mother India with stars such as Raj Kapoor and Nargis winning the hearts of Turkish, Russians and Nigerians alike. The aim here is to connect the acceptance of Indian cinema in the corners of the world during the 1950s and 1960s as a success of the idea of third world. Now, in a multipolar order, when India seeks to acquire a global ascendancy, it can judiciously conceive it's hard and soft power resources to woo the world. Taking cue from history, we propose a cautious utilisation of cultural resources for foreign policy ends. KEYWORDS- soft power, diplomacy, foreign policy, Bollywood, Indian Culture --------------------------------------------------------------------------------------------------------------------------------------- Date of Submission: 08-05-2021 Date of Acceptance: 22-05-2021 --------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION The aim of this paper is to study how Bollywood functioned as a tool of promoting India’s soft power interests in the decade of 1950’s and 1960’s.
    [Show full text]
  • AF-118 April-2016 B.A., Sem.-VI CC-315 (EA) : English (English Language Teaching and Spoken English) [Only for the Regular Students]
    Seat No. : _______________ AF-118 April-2016 B.A., Sem.-VI CC-315 (EA) : English (English Language Teaching and Spoken English) [Only for the Regular Students] Time : 3 Hours] [Max. Marks : 56 Instructions : (1) Mention clearly the options you attempt. (2) Figures on the right indicate the marks 1. (a) Write a detailed note on the aims and objectives of teaching English in India. 14 OR (b) Discuss the importance of English language in India. 2. (a) Discuss the Direct Method in detail. 14 OR (b) Discuss the role of Information and Communication Technology (ICT) in language learning. 3. (a) Write a short note on any one of the following : 7 (1) Word Accent in English (2) Features affecting the international intelligibility of Indian English. (b) Mark the primary accents on the following words : 7 captain careful record (n) compose develop aloud accustom 4. Choose the correct options and answer the following questions : 14 (1) English is regarded as a _________ to the world. (a) a window (b) a door (c) an eye (d) an ear (2) The sentence ‘Close the window’ refers to __________. (a) Informative function (b) Expressive function (c) Directive function (d) None of the above AF-118 1 P.T.O. (3) __________ method lays emphasis on reading and writing but neglects speech. (a) Direct (b) Bilingual (c) Multilingual (d) Grammar-Translation (4) _________ is a collection of work selected to achieve a specific goal. (a) Hyperstudio (b) Dreamweaver (c) Portfolio (d) Adobe Acrobat (5) Who has developed the Bilingual Method ? (a) Prof. Rangnathan (b) Prof.
    [Show full text]
  • Bollywood Films
    Libraries BOLLYWOOD FILMS The Media and Reserve Library, located in the lower level west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. Aankhen DVD-5195 Johny Mera Naam DVD-5025 Amar Akbar Anthony DVD-5078 Junglee DVD-5079 Anand DVD-5044 Lagaan DVD-5073 Aradhana DVD-5033 Love is Life DVD-5158 Baiju Bawra DVD-5387 Madhumati DVD-5171 Bandit Queen DVD-5032 Maine Pyarkiya DVD-5071 Bobby DVD-5176 Marigold DVD-4925 Brave Heart Will Take the Bride DVD-5128 Meaning (Arth) DVD-5035 Bride and Prejudice DVD-4561 Mother India DVD-5072 C.I.D. DVD-5023 Mughal-E-Azam DVD-5040 Chupke Chupke DVD-5152 Naya Daur DVD-5211 Dark Brandon DVD-3176 Om Shanti Om DVD-5088 Deewaar DVD-5174 Paint it Saffron DVD-5046 Destroyed in Love DVD-6845 Pakeezah DVD-5156 Devdas DVD-5167 Parinda DVD-5111 Do Bigha Zamin DVD-5172 Pather Panchali DVD-8571 Garam Hawa DVD-5022 Patiala House DVD-6470 Goddess of Satisfaction DVD-5113 Pyaasa DVD-5041 Guide DVD-5168 Rangeela DVD-8587 Gunga Jumna DVD-5047 Roja DVD-5112 Happiness and Tears DVD-5124 Role DVD-5281 Hare Rama Hare Krishna DVD-5153 Saawariya DVD-3704 Heart is Crazy DVD-2695 Sahib Bibi Aur Ghulam DVD-5077 9/5/2017 Satya DVD-4720 DVD-5038 Say You Love Me DVD-5056 Shakespeare Wallah DVD-6476 Sholay DVD-5103 Shree 420 DVD-5155 Silsila DVD-5045 Taal DVD-5175 Tramp (Awara) DVD-5169 Trishul DVD-5092 Two Eyes, Twelve Hands DVD-5102 Umrao Jaan DVD-5090 Upkar DVD-5365 Veer Zaara DVD-5129 Villain DVD-5034 Waqt DVD-5324 What am I to You! DVD-5024 Yaadon Ki Baaraat DVD-5076 You Don't Get to Live Life Twice DVD-7132 Total Titles: 65 Page 2 9/5/2017.
    [Show full text]
  • LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
    LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No.
    [Show full text]
  • Cinema at the End of Empire: a Politics of Transition
    cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3.
    [Show full text]
  • 1St Filmfare Awards 1953
    FILMFARE NOMINEES AND WINNER FILMFARE NOMINEES AND WINNER................................................................................ 1 1st Filmfare Awards 1953.......................................................................................................... 3 2nd Filmfare Awards 1954......................................................................................................... 3 3rd Filmfare Awards 1955 ......................................................................................................... 4 4th Filmfare Awards 1956.......................................................................................................... 5 5th Filmfare Awards 1957.......................................................................................................... 6 6th Filmfare Awards 1958.......................................................................................................... 7 7th Filmfare Awards 1959.......................................................................................................... 9 8th Filmfare Awards 1960........................................................................................................ 11 9th Filmfare Awards 1961........................................................................................................ 13 10th Filmfare Awards 1962...................................................................................................... 15 11st Filmfare Awards 1963.....................................................................................................
    [Show full text]
  • SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
    B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments.
    [Show full text]
  • September 2009
    The Moving Mirror Cultural Calendar for September 2009 H A postage stamp is not only September 11 September 18 a piece of miniature art, it is Bharatha Natyam Recital Talk – Sons of Rama & Vali-Yakum according a moving mirror that by Nidheesh Kumar, Post Diplomate from to Ramayana & Vali-Yak Mangalaya catches the ever changing Bharatha Kalakshetra, India by Srilal Perera, Secretary, Sub-committee on S time in motion. The Venue & Time: ICC 6.00 p.m. Intangible Heritage September 25 unstifled cry 'Jai Hind' still of the National Trust of Sri Lanka r e v e r b e r a t e s a s t h e Venue & Time: ICC 6.00 p.m. Sakunthalam of Mahakavi Kalidasa - September 14 a musical dance drama proclamation of India's Hindi Day Celebrations independence in the first by the Hindi course students of the Indian September 22 E post-independence stamps. Cultural Centre Film: Sampoorn Ramayan (In Hindi) arma One of the first Gandhi stamps, a soft pink, lovingly saying 'Bapu' in Hindi Venue & Time: ICC 6.00 p.m. Venue & Time: ICC 5.30 p.m. Duration:3 hrs and Urdu, also remains perhaps the best postage stamp dedicated to the September 2009 Father of the Nation. The search of national identity in the first rush of post independence stamps portrayed great leaders, saints, poets, monuments September16 September 25 and icons of greatness. Almost all of them were single or double colour stamps, glorious in their Panel discussion on Indian cinema & Sri Lankan Sakunthalam of Mahakavi Kalidasa sharpness and majestic in the fluidity of illustration.
    [Show full text]
  • Cinema of India - Wikipedia, the Free Encyclopedia
    Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film Cinema of India From Wikipedia, the free encyclopedia (Redirected from Indian film) The cinema of India consists of films produced across India, including the cinematic culture of Mumbai along with the cinematic traditions of states such as Andhra Pradesh, Assam, Karnataka, Kerala, Punjab, Tamil Nadu and West Bengal. Indian films came to be followed throughout South Asia and the Middle East. As cinema as a medium gained popularity in the country as many as 1,000 films in various languages of India were produced annually. Expatriates in countries such as the United Kingdom and the United States continued to give rise to international audiences for Hindi-language films. Devi in the 1929 film, Prapancha Pasha (A Throw of Dice), directed by Franz Osten.jpg|thumb|Charu Roy and Seeta Devi in the 1929 film, Prapancha Pash . In the 20th century, Indian cinema, along with the American and Chinese film industries, became a global enterprise. [1] Enhanced technology paved the way for upgradation from established cinematic norms of delivering product, radically altering the manner in which content reached the target audience. [1] Indian cinema found markets in over 90 countries where films from India are screened. [2] The country also participated in international film festivals especially satyajith ray(bengali),Adoor Gopal krishnan,Shaji n karun(malayalam) . [2] Indian filmmakers such as Shekhar Kapur, Mira Nair, Deepa Mehta etc. found success overseas. [3] The Indian government extended film delegations to foreign countries such as the United States of America and Japan while the country's Film Producers Guild sent similar missions through Europe.
    [Show full text]