Answered On:08.03.2002 Income of Film Personalities P.D

Total Page:16

File Type:pdf, Size:1020Kb

Answered On:08.03.2002 Income of Film Personalities P.D GOVERNMENT OF INDIA FINANCE LOK SABHA UNSTARRED QUESTION NO:1400 ANSWERED ON:08.03.2002 INCOME OF FILM PERSONALITIES P.D. ELANGOVAN Will the Minister of FINANCE be pleased to state: (a) whether the Government have any proper documentation on the income earned by the film personalities in the country; (b) if so, the details thereof; and (c) the list of film personalities who have paid income tax to the tune of Rs.10 lakhs or above in the last three years and the total income generated through the income-tax paid by them to the Government? Answer MINISTER OF STATE IN THE MINISTRY OF FINANCE (SHRI GINGEE N. RAMACHANDRAN) (a)&(b):Yes Sir, the returns of income filed by assessees with the Department are indicative of the income earned by them. Documentations are available in the form of returns and various registers kept by the assessing officers. (c): The list of film personalities who have paid income tax to the tune of Rs.10 lakhs or above in the last three years is enclosed as per the Annexure. The total income generated through the income-tax paid by them is Rs.94.60 crore. ANNEXURE S.No. Name of the Assessee 1. Aishwarya Rai 2. Amitabh Bachchan 3. Jaya Bachchan 4. Abhishek Bachchan 5. Amrishlal Puri 6. Salman Khan 7 Rani Mukherji 8. Shahrukh Khan 9. Yash Johar 10. Karishma Kapoor 11. Madhuri Dixit 12. Anu Malik 13. David Dhawan 14. Bharat Shah 15. Abhijeet Bhattacharya 16. Alka Yagnik 17. Anand Bakshi 18. Anupam Kher 19. Archana Puran Singh 20. Asha Bhosale 21. Asha Parekh 22. Dimple Kapadia 23. Farah Khan 24. Fardeen Khan 25. Govind Ahuja 26. Gulshan Grover 27. J.P. Dutta 28. Juhi Chawla 29. Jyotika Sadanah 30. Kadar Khan 31. Lata Mangeshkar 32. Manisha Koirala 33. Manoj Bajpai 34. Mithun Chakravorthy 35. Mukesh Khanna 36. Nana Patekar 37. Nasiruddin Shah 38. Om Puri 39. Pankaj Kharbanda 40. Preity Zinta 41. Raj Kanwar 42. Raj Babbar 43. Rajesh Roshan 44. Rakesh Roshan 45. Raveena Tandon 46. Rishi Kapoor 47. Sachin Pilgaonkar 48. Saif Ali Khan 49. Salim Akhtar 50. Sanjay Dutt 51. Shankar Mahadevan 52. Shekar Suman 53. Shridev Anand 54. Sonu Nigam 55. Twinkle Khanna 56. Udit Narayan 57. Vijaysingh Deol 58. N. Balakrishna 59. K. Kalyan Kumar 60. V. Jagapathi Rao 61. A. Nagarjuna Rao 62. Rajinikanth 63. A.R. Rehman 64. G. subramaniam @ Manirathinam 65. A. Sreedevi 66. K.J. Yesudoss 67. Ramyakrishnan 68. K.S. Ravi Kumar 69. A. Vijayakanth 70. Sathyaraj 71. A. Ramesh 72. S. Ajeeth Kumar 73. Arjun 74. S.P. Balasubramaniam 75. R.B. Chowdhury 76. K. Chiranjeevi 77. K. Coundamani 78. C. Joseph Vijay 79. D. Meena 80. Mohanlal 81. Kamal Hassan 82. T.L. Prasanth 83. R. Madhavan 84. K.S. Soumaya 85. T.N. Venkatesh 86. Puttaswamy alias Shivaraj Kumar 87. Basant Kumar Patil.
Recommended publications
  • 28112003 Dt Mpr 01 D L C
    DLD‰†‰KDLD‰†‰DLD‰†‰MDLD‰†‰C A class apart: It’s Item numbers: THE TIMES OF INDIA back to school for Yana Gupta Friday, November 28, 2003 Pamela Anderson eyes a century! Prisoners in love seek extended term Page 9 Page 10 A Danish judge has receiv- sentence as a way to spend ed requests from two pris- more time with each other. oners — a Scottish man and Why don’t they just get out Swedish woman — for exte- and get married? Both of nded prison ti- them are alrea- me. Both have dy married asked for two and also have extra months children. behind bars to ‘‘There is no help fight alco- way my wife holism. will agree to It was later this arrangem- discovered that the Scott ent,’’ says the Scot, Kenne- and Swede had fallen in lo- th Graham. Ironically, nei- ve while in prison and wan- ther prisoner was granted ted to use their extended a longer sentence. OF INDIA ENTERTAINMENT PLUS PRASHANT NAKWE Polls wheel in flashy cars ARUN KUMAR DAS possession of a Fiat in his poll papers; Vishwa Bandhu Times News Network Gupta, chief of the Congress’ publicity committee, is moving around in a Mercedes Benz; and Delhi health nce upon a time, life in the fast lane of netadom minister AK Walia is using a Tata Sumo for electionee- was all about the good ol’ Amby.However,for aaj ring purposes after returning the Ambassador official- Oka MLA on the campaign trail, nothing but the ly allocated to him. Walia, it may be mentioned, has not snazziest dream machine will do.
    [Show full text]
  • TIARA Research Final-Online
    TIARAResearch Insight Based Research Across Celebrities Indian Institute of Human Brands 2020 About IIHBThe Indian Institute of Human Brands (IIHB) has been set up by Dr. Sandeep Goyal, India’s best known expert in the domain of celebrity studies. Dr. Goyal is a PhD from FMS-Delhi and has been researching celebrities as human brands since 2003. IIHB has many well known academicians and researchers on its advisory board ADVISORY Board D. Nandkishore Prof. ML Singla Former Global Executive Board Former Dean Member - Nestlé S.A., Switzerland FMS Delhi Dr. Sandeep Goyal Chief Mentor Dr. Goyal is former President of Rediffusion, ex-Group CEO B. Narayanaswamy Prof. Siddhartha Singh of Zee Telefilms and was Founder Former Managing Director Associate Professor of Marketing Chairman of Dentsu India IPSOS and Former Senior Associate Dean, ISB 0 1 WHY THIS STUDY? Till 20 years ago, use of a celebrity in advertising was pretty rare, and quite much the exception Until Kaun Banega Crorepati (KBC) happened almost 20 years ago, top Bollywood stars would keep their distance from television and advertising In the first decade of this century though use of famous faces both in advertising as well as in content creation increased considerably In the last 10 years, the use of celebrities in communication has increased exponentially Today almost 500 brands, , big and small, national and regional, use celebrities to endorse their offerings 0 2 WHAT THIS STUDY PROVIDES? Despite the exponential proliferation of celebrity usage in advertising and content, WHY there is no organised body of knowledge on these superstars that can help: BEST FIT APPROPRIATE OR BEST FIT SELECTION COMPETITIVE CHOOSE BETTER BETWEEN BEST FITS PERCEPTION CHOOSE BASIS BRAND ATTRIBUTES TRENDY LOOK AT EMERGING CHOICES FOR THE FUTURE 0 3 COVERAGE WHAT 23 CITIES METRO MINI METRO LARGE CITIES Delhi Ahmedabad Nagpur (incl.
    [Show full text]
  • Use and Abuse of Female Body in Popular Hindi Films: a Semiotic Analysis of Item Songs
    Use and Abuse of Female Body in Popular Hindi Films: A Semiotic analysis of Item Songs *Dr. G. K. Sahu Assistant Professor Dept. of Mass Communication Aligarh Muslim University Aligarh- 202002 & **Sana Abbas Research Scholar Dept. of Mass Communication Aligarh Muslim University Aligarh-202002 India Abstract The item songs have become an important element of Bollywood movies. Women are featured as a commodity, only to satisfy male urge and their bodies are featured in a way as if they are meant for male consumption. In an environment where a plethora of movies are releasing every year, putting a peppy item song in a movie, is a good trick to gain the attention of viewers . Brazen lyrics are used to enhance the popularity of these songs. Many established film makers in the industry are using this trick to gain huge financial returns. They are attracting and engaging audiences by using as well as abusing female body in their films. The paper makes an attempt to analyze the item songs by employing semiotic method to examine the use and abuse of female body in Hindi films. Key Words: Hindi Films, Item Songs, Female Body, Use & Abuse, Portrayal, Commoditization. www.ijellh.com 14 Introduction Cinema and dance have had a long history of engagement. Cinema enlisted dance from its very beginnings – the spectacular display of movement. The shared investment in movement ensured a spontaneous intermediality (transgression of boundaries) between early cinema and dance. Songs with dance have always played a crucial role in Hindi movies. The role of song and its demand changed with the entry of „item songs‟.
    [Show full text]
  • Ripped, Retro and Ravishing
    23 SCREEN CHANGE SATURDAY, DEC 31, 2011 2011 2012 Telly bellies and old flames Saas-bahus and their kitchen politics made way for old-fashioned, and mature, romance on television this year KKAHANI MEIN TWIST: Unlike the typical AVIJIT GHOSH 20-nothing telly TIMES NEWS NETWORK couples, Ram and Priya (left) are “Have you ever been in love? Horrible isn’t it? middle-aged and It makes you so vulnerable. It opens your Dr Ashutosh and Dr Nidhi (right) chest and it opens up your heart and it means have an 18-year that someone can get inside you and mess you age gap up. You build up all these defenses, you build up a whole suit of armour, so that nothing can a 20-plus intern with flowing hair and forest-fire and complicating one’s life. By a twist of of a girl half his age. In times when most heroes tured enormous mindspace. And in the Dec 17 hurt you, then one stupid person, no different eyes. Nidhi brims with life. Her smile carries the circumstance, they get married. And slowly, are 20-nothings and almost as pretty as the TAM rating, Bade Achche... was at 9th place. from any other stupid person, wanders into smell of the finest winter flowers and she can like shit, love too happens. And that ‘crazy little heroine, these serials put forward an alternative The love stories have become a late evening your stupid life...and then your life isn’t your light up a room by just stepping into it.
    [Show full text]
  • Clare M. Wilkinson-Weber
    Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp.
    [Show full text]
  • Om Shanti Om
    Om Shanti Om REŻYSERIA FARAH KHAN W KINACH OD 30 MAJA 2008 DYSTRYBUCJA W POLSCE ul. Zamenhofa 1, 00-153 Warszawa tel.: (22) 536 92 00 fax: (22) 635 20 01 e-mail: [email protected] http://www.gutekfilm.pl Reżyseria Farah Khan Producent Gauri Khan Scenariusz Farah Khan Mushtaq Sheikh Mayur Puri Muzyka Vishal Dadlani Shekhar Ravjiani Pyarelal Ramprasad Sharma Choreografia Farah Khan Występują Shah Rukh Khan Arjun Rampal Deepika Padukone Shreyas Talpade Kirron Kher Produkcja Eros International Red Chillies Entertainment Indie rok produkcji: 2007 czas trwania: 162 minut kolor – Dolby SR – 1.85:1 2 Om Shanti Om to drugi film w karierze reżyserskiej Farah Khan. Pierwszy – Jestem przy tobie, zdobył serca wielu widzów dzięki roli Shah Rukh Khana, jako majora Rama poszukującego swojego brata i broniącego córki generała w przebraniu studenta. Najnowszy film Farah Khan to zrealizowany z ogromnym rozmachem film ku czci króla Bollywoodu – Shah Rukh Khana. Om Shanti Om jest filmem o marzeniach, miłości i zemście. Akcja filmu rozpoczyna się w roku 1977. Om Prakash Makhija (Shah Rukh Khan) jest statystą, zakochanym bez pamięci w gwieździe indyjskiego kina Shanti (Deepika Padukone). Om jest jej najwierniejszym fanem, gotowym w razie potrzeby oddać za nią życie. Gdy na planie ich wspólnego filmu wybucha pożar, Om ratuje Shanti i zostaje jej przyjacielem. Marzy o wspólnej przyszłości, jednak życie Shanti nie jest tak piękne, jak mogłoby się wydawać. Om przez przypadek poznaje tajemnicę Shanti. Wkrótce potem oboje giną… Druga część filmu rozpoczyna się w roku 2007. Om Kapoor (Shah Rukh Khan) jest wielkim gwiazdorem. Żyje beztrosko, wydaje się, że ma cały świat u swoich stóp.
    [Show full text]
  • Amfar India to Benefit Amfar, the Foundation for AIDS Research
    amfAR India To Benefit amfAR, The Foundation for AIDS Research November 2014 Mumbai, India Event Produced by Andy Boose / AAB Productions A Golden Opportunity amfAR held its inaugural Indian fundraising gala in Mumbai in November 2013. The event was hosted by amfAR Global Fundraising Chairman Sharon Stone, and Bollywood stars Aishwarya Rai Bachchan and Abhishek Bachchan. It was chaired by amfAR Chairman Kenneth Cole, Vikram Chatwal, Anuj Gupta, Rocky Malhotra, and Hilary Swank. Memorable Moments The black-tie event, presented by Dr. Cyrus Poonawalla and held at The Taj Mahal Palace Hotel, featured a cocktail reception, dinner, and an exquisite gold-themed fashion show that showcased three of India’s most important fashion designers -- Rohit Bal, Abu Jani- Sandeep Khosla, and Tarun Tahiliani. The evening concluded with a spirited performance by pop sensation Ke$ha, whose Hilary Swank for amfAR India songs included her hits Animal, We R Who We R, and Tik Tok. Among the Guests Neeta Ambani, Torquhil Campbell, Duke of Argyll, Sonal Chauhan, Venugopal Dhoot, Nargis Fakhri, Sunil Gavaskar, Parmeshwar Godrej, Lisa Haydon, Dimple Kapadia, Tikka Kapurthala, Nandita Mahtani, Rocky The Love Gold Fashion Show for amfAR India Abhishek Bachchan, Sharon Stone, Nita Ambani, and Aishwarya Rai Bachchan for amfAR India Malhotra, Dino Morea, among many others. Kenneth Cole and Sharon Stone for amfAR India Total Media Impressions: 2.4 Billion Total Media Value: $1.6 Million Aishwarya Rai Bachchan for amfAR India The Love Gold Fashion Show for amfAR India A Star-Studded Cast amfAR’s fundraising events are world renowned for their ability to attract a glittering list of top celebrities, entertainment industry elite, and international society.
    [Show full text]
  • Hindu-Muslim Relationship in Bollywood in Post 26/11: a Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3
    Hindu-Muslim Relationship in Bollywood in post 26/11: A Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3 1. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran (Corresponding author) ([email protected]) 2. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran ([email protected]) 3. M. A. in Indian Studies, University of Tehran, Tehran, Iran ([email protected]) (Received: Jan. 2, 2019 Revised: Feb. 28, 2019 Accepted: Ma r. 28, 2019) Abstract This study investigates the representations of Hindu-Muslim relationship in Bollywood movies from 2008 to 2018. It is assumed that after 2008 Mumbai terrorist attacks, which are known as 26/11, conflicts between Hindus and Muslims have escalated. Since Indian people are extreme fans of movies, especially Bollywood movies, in this regard, it is expected that media could play a significant role in increasing or alleviating the conflicts by influencing people’s attitudes and opinions. This research seeks to examine the extent and modality of the representation of Hindu-Muslim relationships in Bollywood after the 2008 Mumbai attacks. The study was conducted through a content analysis of 11 Bollywood movies, which were selected from 70 Muslim-characters-based movies. Favorable, unfavorable, neutral and unclear were the four factors through which the movies’ contents were analyzed. The overall analysis of these factors indicate that 66.17% of the scenes were favorable, 14.70% were unfavorable, 2.94% were neutral, and 16.17% presented unclear images of Hindu-Muslim relationship in Bollywood movies.
    [Show full text]
  • Shah Rukh Khan from Wikipedia, the Free Encyclopedia "SRK" Redirects Here
    Shah Rukh Khan From Wikipedia, the free encyclopedia "SRK" redirects here. For other uses, see SRK (disambiguation). Shah Rukh Khan Shah Rukh Khan in a white shirt is interacting with the media Khan at a media event for Kolkata Knight Riders in 2012 Born Shahrukh Khan 2 November 1965 (age 50)[1] New Delhi, India[2] Residence Mumbai, Maharashtra, India Occupation Actor, producer, television presenter Years active 1988present Religion Islam Spouse(s) Gauri Khan (m. 1991) Children 3 Signature ShahRukh Khan Sgnature transparent.png Shah Rukh Khan (born Shahrukh Khan, 2 November 1965), also known as SRK, is an I ndian film actor, producer and television personality. Referred to in the media as "Baadshah of Bollywood", "King of Bollywood" or "King Khan", he has appeared in more than 80 Bollywood films. Khan has been described by Steven Zeitchik of t he Los Angeles Times as "perhaps the world's biggest movie star".[3] Khan has a significant following in Asia and the Indian diaspora worldwide. He is one of th e richest actors in the world, with an estimated net worth of US$400600 million, and his work in Bollywood has earned him numerous accolades, including 14 Filmfa re Awards. Khan started his career with appearances in several television series in the lat e 1980s. He made his Bollywood debut in 1992 with Deewana. Early in his career, Khan was recognised for portraying villainous roles in the films Darr (1993), Ba azigar (1993) and Anjaam (1994). He then rose to prominence after starring in a series of romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To P agal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham..
    [Show full text]
  • Letting the Other In, Queering the Nation
    Letting the Other in, Queering the Nation: Bollywood and the Mimicking Body Ronie Parciack Tel Aviv University Bombay’s film industry, Bollywood, is an arena that is represented and generated by the medium as a male intensively transmits cultural products from one na - homosexual body. tionality to another; it is a mimicking arena that in - cessantly appropriates narratives of Western Culture, particularly from Hollywood. Hence its nick-name Bollywood and the work of mimicry that contains the transcultural move back and forth Bollywood, Mumbai’s cinematic industry, is an inten - between and Bombay/Mumbai, all the while retain - sive arena absorbing foreign cultural products, mainly ing the ambivalent space positioned betwixt and be - Western. Characters, cultural icons, genres, lifestyle tween, and the unsteady cultural boundaries derived accoutrements such as clothing, furnishing, recreation from the postcolonial situation. styles, western pop songs and entire cinematic texts This paper examines the manner in which this have constantly been appropriated and adapted dur - transcultural move takes place within the discourse of ing decades of film-making. gender; namely, how the mimicking strategy forms a The mimicry phenomenon, with its central locus body and provides it with an ambiguous sexual iden - in the colonial situation and the meanings it contin - tity. My discussion focuses on the film Yaraana ues to incorporate in the postcolonial context, is a (David Dhawan, 1995) – a Bollywood adaptation of loaded focus in current discourse on globalization and Sleeping with the Enemy (Joseph Ruben, 1989). The localization, homogenization and heterogenization. Hollywood story of a woman who flees a violent hus - This paper examines the way in which the mimicking band exists in the Bollywood version, but takes on a deed can highlight the gendered layout of the mim - minor role compared to its narrative focus: an (insin - icking arena.
    [Show full text]
  • Mujhse Shaadi Karogi Download 720P in Hindi
    Mujhse Shaadi Karogi Download 720p In Hindi 1 / 4 Mujhse Shaadi Karogi Download 720p In Hindi 2 / 4 3 / 4 Mujhse Shaadi Karogi 2015 Hindi 720p Torrent > DOWNLOAD. f27b91edd8 . mujhse shaadi karogi full movie hd 720p , mujhse shaadi karogi .... Mujhse Shaadi Karogi 2002 720p Hindi BRRip Full Movie Download. February 24, 2018. Poster of Mujhse Shaadi Karogi 2002 720p Hindi BRRip Full Movie .... Mujhse Shaadi Karogi Full Movie Watch Online, Mujhse Shaadi Karogi Full Movie Direct Download Free, ... Hindi 2CH SUBTITLES.. Mujhse Shaadi Karogi 2004 BluRay 720p x264 AAC ShAaNiG. Download Free Full Movie......... http://bit.ly/1MYbzha · http://bit.ly/1I3Xdiy.. Gabbar Ki Shaadi Honeymoon Basanti Ka Hindi Film Song Download ... Tvlogy 720p HD Quality Online Links Yeh Rishta Kya Kehlata Hai 11th March 2019 ..... Hai Dillagi Mujhse Shaadi Karogi, Mujhse Shaadi Karogi Mujhse Shaadi Karogi, .... Download Mujhse Shaadi Karogi (2004) 720p Hindi Mp4 Video Songs.. Download Mujhse Shaadi Karogi Part 1 In Hindi Dubbed In 3gp. Karogi 2 ... 3gp Mujhse Shaadi Karogi Full Movie Hd 1080p video Download,. Смотреть Mujhse Shaadi Karogi (Eng Subs) Hindi Full Movie & Songs- Salman Khan, Akshay Kumar, Priyanka Chopra Скачать MP4 360p, .... Mujhse Shaadi Karogi (Eng Subs) Hindi Full Movie & Songs- Salman Khan, ... Priyanka Chopra scenes from Mujhse Shaadi Karogi - Comedy Hindi Movie.. Mujhse Shaadi Karogi 2004 Full Movie Download 720P HD Quality HDRip Hindi Film Watch Online 9xmovies Khatrimaza WorldFree4u On HDmovie16.. Mujhse shaadi karogi full movie download dailymotion, . ... 2018 New Released Full Hindi Dubbed Movie Nithin Goldmines .. Trending Hindi Movies and Shows ... Salman Khan and Priyanka Chopra in Mujhse Shaadi Karogi (2004) Priyanka Chopra in Mujhse Shaadi Karogi (2004) ...
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]