DOCSLIB.ORG

Shemaroo Pays Tribute to Guru Dutt on His 86Th Birth Anniversary by : INVC Team Published on : 13 Jul, 2011 12:05 AM IST

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shemaroo Pays Tribute to Guru Dutt on His 86Th Birth Anniversary by : INVC Team Published on : 13 Jul, 2011 12:05 AM IST Shemaroo pays tribute to Guru Dutt on his 86th Birth Anniversary By : INVC Team Published On : 13 Jul, 2011 12:05 AM IST INVC,, Mumbai,, A film maker who painted each frame in his mind with the touch of perfection and then carved it out effortlessly in each scene of his film is Guru Dutt. Shemaroo Entertainment releases a Collectors DVD Pack of the documentary “In Search of Guru Dutt” directed by Nasreen Munni Kabir on the occasion of his 86th birth anniversary of the legendary film maker and actor at Planet M, Churchgate. The occasion was graced by Shyam Benegal, known Director, Lalita Lajmi, well-known Indian painter, Kalpana Lajmi, the famous film maker Arun Dutt, Son of Guru Dutt and Hiren Gada, Director Shemaroo Entertainment. “In Search of Guru Dutt” is a moving and haunting 85 minute film that has been greatly appreciated by audiences around the world. Presented through evocative film excerpts and insightful comments by colleagues and near ones like Dev Anand, Waheeda Rehman, Abrar Alvi, Majrooh Sultanpuri, Kaifi Azmi, Johny Walker, Shyam Benegal, Atmaram, Kalpana Lajmi and many more. The collector’s pack also has a book along with the DVD which has few of the most rare photos of Guru Dutt and his close ones. In Search of Guru Dutt is a fine documentary that paints a fine and thoughtful portrait of an exceptional director of Indian cinema. Nasreen Munni Kabir is an India-born television producer based in the UK, best known for producing an annual season of Indian films for the British terrestrial television channel - Channel 4. She has also recently published 3 well received coffee table books called “In Search of Lata Mangeshkar”; "A. R. Rahman : The Spirit of Music" and “ The Dialogue of Pyaasa”. Shyam Benegal shares his thoughts on the occasion, “Nasreen Munni Kabir made this documentary film 20 yrs ago. This was the first comprehensive documentary film made about Guru Dutt on his work and continues to remain one of the best sources of information on Guru Dutt’s films, his technique and work” Arun Dutt says “When I saw In Search of Guru Dutt for the first time, I was truly impressed by the portrayal of my father’s films, the interviews with the family and his co- workers, and the way in which Nasreen had visualized it. I consider it to be the best documentary today or in the future” Nasreen Munni Kabir talks about her documentary “This is perhaps one of the first long documentaries on an Indian film personality, and I feel most fortunate to have recorded the many fine minds of Indian Cinema, many of whom have now passed away and whose contribution will always remain a vital part of Indian film history.” Kalpana Lajmi speaks about the film “Its fascinating to know that Nasreen Munni Kabir, brought up in London had enough passion & vision to capture Guru Dutt by sheer watching him on screen. She has evolved herself as a film maker during the journey. She adds "Nasreen is an amazing film maker. Though she never met Uncle Guru Dutt but has portrayed him very well in the film. She has actually brought him to life again with this film. The film is very poetic and analytical and actually reflects the love and tenderness of a woman's touch while the journey of Guru Dutt unfolds through his work and cinema." Hiren Gada, Director, Shemaroo Entertainment says, “In search of Guru Dutt is a fine documentary film that captures the essence of Guru Dutt’s personal life, his contribution to the industry and the different phases of his career. This film is made with a lot of passion and we are sure that it will evoke a feeling of admiration and nostalgia among audiences.” URL : https://www.internationalnewsandviews.com/shemaroo-pays-tribute-to-guru-dutt-on-his-86th-birth-anniversary-2/ www.internationalnewsandviews.com 12th year of news and views excellency Committed to truth and impartiality Copyright © 2009 - 2019 International News and Views Corporation. All rights reserved. www.internationalnewsandviews.com www.internationalnewsandviews.com.
Load more

Recommended publications
  • My God, That's My Tune'
    The composer recently made it on the New York hit parade with a song titled In every city. In an interview R. D. Burman talks about his craft. Left: R. D. Burman with Latin American composer Jose Flores. Below: The 'Pantera' team, among others R.D. Burman (centre), Jose Flores and (far right) Pete Gavankar. HENEVER an Indian achieves a Wmilestone abroad, he instantly gets more recognition in his own coun- try. Perhaps it's the colonial hangover that still makes us believe that they are always right over there. In this case however, the distinction is not going to make any difference as the person gaining it is already a household name here. Rahul Dev Burman, who has given music for 225 Hindi films, has made it to the New York hit parade with a song titled In every city. He is all set to launch the album—'Pantera'—in India. Two people have been responsible for getting him there—his father Sachin Dev Burman who was the only member of the family willing to let him enter films, and Pete Gavankar, a friend of thirty years who goaded him into seek- ing new pastures and has financed the album. Intrigued, we decided to find out just how the international album had come about and while we were at it, also gauge just how much R.D. had already packed into his life of 45 years. It turned out to be much more than we had thought as we had to have several sittings before we were through. But R.D.
    [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]
  • 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]
  • 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]
  • SD Burman Booklet
    SD BURMAN - 200 SONGS 11. Phoolon Ke Rang Se Artiste: Kishore Kumar 01. Kora Kagaz Tha Film: Prem Pujari Artistes: Lata Mangeshkar & Lyricist: Neeraj Kishore Kumar 12. Aaj Phir Jeene Ki Film: Aradhana Artiste: Lata Mangeshkar Lyricist: Anand Bakshi Film: Guide 02. Khoya Khoya Chand Lyricist: Shailendra Artiste: Mohammed Rafi 13. Tere Mere Sapne Ab Film: Kala Bazar Artiste: Mohammed Rafi Lyricist: Shailendra Film: Guide 03. Teri Bindiya Re Lyricist: Shailendra Artistes: Lata Mangeshkar & 14. Hum Aap Ki Ankhon Mein Mohammed Rafi Artistes: Geeta Dutt & Mohammed Rafi Film: Abhimaan Film: Pyaasa Lyricist: Majrooh Sultanpuri Lyricist: Sahir Ludhianvi 04. Mana Janab Ne Pukara 15. Ab To Hai Tumse Har Artiste: Kishore Kumar Artiste: Lata Mangeshkar Film: Paying Guest Film: Abhimaan Lyricist: Majrooh Sultanpuri Lyricist: Majrooh Sultanpuri 05. Mere Sapnon Ki Rani 16. Din Dhal Jaye Haye Artiste: Kishore Kumar Artiste: Mohammed Rafi Film: Aradhana Film: Guide Lyricist: Anand Bakshi Lyricist: Shailendra 06. Ek Ladki Bheegi Bhagi Si 17. Aasman Ke Neeche Artiste: Kishore Kumar Artistes: Lata Mangeshkar & Film: Chalti Ka Nam Gaadi Kishore Kumar Lyricist: Majrooh Sultanpuri Film: Jewel Thief 07. Tere Mere Milan Ki Lyricist: Majrooh Sultanpuri Artistes: Lata Mangeshkar & 18. Aaye Tum Yaad Mujhe Kishore Kumar Artiste: Kishore Kumar Film: Abhimaan Film: Mili Lyricist: Majrooh Sultanpuri Lyricist: Yogesh 08. Gaata Rahe Mera Dil 19. Yeh Dil Na Hota Bechara Artistes: Lata Mangeshkar & Artiste: Kishore Kumar Kishore Kumar Film: Jewel Thief Film: Guide Lyricist: Majrooh Sultanpuri Lyricist: Shailendra 20. Hum Bekhudi Mein Tum Ko 09. Dil Ka Bhanwar Artiste: Mohammed Rafi Artiste: Mohammed Rafi Film: Kala Pani Film: Tere Ghar Ke Samne Lyricist: Majrooh Sultanpuri Lyricist: Hasrat Jaipuri 21.
    [Show full text]
  • Download File
    ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 43 The poster of Zabak (1961) directed by Homi Wadia. Out of Sight: Archiving Hidden Histories of Practice Debashree Mukherjee All photographs courtesy Priya Paul Our understanding of Indian cinema would remain incomplete until we acknowledged its supporting cast of hairdressers, poster painters, costume designers, still photographers, makeup artists and numerous other specialists invisible to the public eye. In January 2013, Debashree Mukherjee curated an exhibition of Hindi film memorabilia titled ‘Maya Mahal’, which featured artefacts from the private collection of Priya Paul, Chairperson of Apeejay Surrendra Park Hotels. In this essay, Mukherjee uses examples from the collection to point to hidden histories of work and practice, and to give us a fragmented view of low-budget films, lost genres and the wage-workers who mark each film with their individual skills. ArtConnect corrected_Layout 3 6/24/2013 5:29 PM Page 44 ArtConnect: The IFA Magazine, Volume 7, Number 1 eterodox in its scope and the elemental contract of cinema range, Priya Paul’s itself: to deliver sensory excitement, Hcollection of film voyeuristic delight and magical memorabilia represents an eccentric worlds. Thus, the exhibition mix of films. There are archives larger showcased genres, practitioners and than this, there are archives that are aesthetics that are often forgotten in more systematic, but the pleasure of a bid to celebrate auteurs and ‘classics’. serendipity springs from This is an alternative history of juxtaposition, not from order and Hindi cinema—one that is decidedly expanse. Comprising approximately excessive, melodramatic, even 5,000 paper artefacts, the Priya Paul utopian.
    [Show full text]
  • Majrooh: the Poet Who Captured the Times
    Majrooh: The poet who captured the times. The Hindu Business Line, March 18, 2021 https://www.thehindubusinessline.com/blink/watch/majrooh-sultanpuri-wrote-songs- for-more-than-250-films-in-his-five-decade-long-stint-in-bollywood/article34099511.ece Few people would have heard what can possibly be classified as the first pseudo-rap song in Hindi films- the song “Dekhiye, Sahibo, Who koi, Aur thi”, from the 1966 musical suspense thriller “Teesri Manzil”. All the other songs of this film are heard on the radio even now. All, except this one. And yet, this is an amazingly creative composition with words and phrases sung in a staccato fashion, which could easily pass for what later became the rap style. The song, sung brilliantly by Rafi and Asha and composed by R.D. Burman was written by the eminently versatile Majrooh Sultanpuri. R.D.Burman was a young, unknown composer then. Majrooh of course knew him well as S.D. Burman’s son and assistant. After all Majrooh had worked with S.D. Burman in many of Dev Anand films from the 1950s and the duo had given us hit songs like “Hum hain Rahi pyaar ke hum se kuch na boliye” and “Chal ri sajni ab kya soche” among many others. The story goes that Majrooh recommended him to Shammi Kapoor who was very picky about his songs. Shammi Kappor agreed to listen to this young upstart. The first composition that R.D. Burman played was the one which ultimately became “Deewana mujh sa nahin”- Kapoor immediately recognized it as based on a Nepali folk song which he had heard in Darjeeling! And the rest was history- Teesri Manzil was Burman’s first major hit.
    [Show full text]
  • The Changing Role of Women in Hindi Cinema
    RESEARCH PAPER Social Science Volume : 4 | Issue : 7 | July 2014 | ISSN - 2249-555X The Changing Role of Women in Hindi Cinema KEYWORDS Pratima Mistry Indian society is very much obsessed with cinema. It is the and Mrs. Iyer) are no less than the revered classics of Ray or most appealing and far reaching medium. It can cut across Benegal. the class and caste boundaries and is accessible to all sec- tions of society. As an art form it embraces both elite and Women have played a number of roles in Hindi movies: the mass. It has a much wider catchment area than literature. mythical, the Sati-Savitri, the rebel, the victim and victimizer, There is no exaggeration in saying that the Indian Cinema the avant-garde and the contemporary. The new woman was has a deep impact on the changing scenario of our society in always portrayed as a rebel. There are some positive portray- such a way as no other medium could ever achieve. als of rebels in the Hindi movies like Mirch Masala, Damini, Pratighat, Zakhm, Zubeida, Mritudand and several others. Literature and cinema, the two art forms, one verbal in form The definition of an ideal Indian woman is changing in Hindi and the other visual, are not merely parallel but interactive, Cinema, and it has to change in order to suit into a changing resiprocative and interdependent. A number of literary clas- society. It has been a long hundred years since Dadasaheb sics have been made popular by the medium of cinema. Phalke had to settle for a man to play the heroine in India’s first feature film Raja Harishchandra (1913) and women in During its awesome journey of 100 years, the Indian Cinema Hindi cinema have come a long way since then.
    [Show full text]
  • Analyzing Imtiaz Ali As an Auteur
    Amity Journal of Media & Communication Studies (ISSN 2231 – 1033) Copyright 2017 by ASCO 2017, Vol. 7, No. 1 Amity University Rajasthan Analyzing Imtiaz Ali as an Auteur Kanika Kachroo Arya Dnyanasadhana College, Mumbai University, India Abstract Imtiaz Ali is a contemporary Bollywood director whose genre is love stories. He has a stream of experimental love stories to his credit, some bench markers are Jab We Met, Rockstar and Tamasha. Not only is his storytelling a well nurtured individualistic style, but the use of techniques of cinema are also experimental. My research paper will analyse this director in the boundaries of Auteur theory. The research will be a qualitative study and methodology used will be in-depth interviews and observation and use of secondary research resources to build up affirmation towards my hypothesis. This director’s style will be compared with other stalwarts of the genre like Raj Kapoor and Yash Chopra. This will carve out his style more specifically. Imtiaz Ali has a unique style aesthetically as well as technically. He understands the psychology of his target audience and that’s what has carved a niche for him in Bollywood - a cult director of romance genre. Key words: Auteur Theory, Direction, Niche, Bollywood. Introduction Imtiaz Ali is one amongst the contemporary directors of Bollywood. His directorial debut was Socha Na Tha released in 2005. Though the movie did not do well but he received a lot of critical acclaim for it. Jab we Met (2007) and Rockstar (2011) brought him into limelight. Jab We Met was a box office success and Rockstar was appreciated in critical circles for superb rendition of a careless musician.
    [Show full text]
  • Magazine-2-3 Final.Qxd (Page 3)
    SUNDAY, JANUARY 31, 2021 (PAGE 3) SACRED SPACE FORBEARANCE helps face difficulties How to be a failure? Akhtar Ul-nisa it to grow strong and pure we need to be regular in our spiritual practices and assert our Ankush Sharma stories", nobody gives a damn to the "failure stories". But it Forbearance is the ability to respond to a independence from the desire in the mind. It needs must not be ignored that the failed people have faced multi- situation of failure, disappointment, pain patience, presence, grace and focus. Failure! Yes, you have read right. This write-up will surf dimensional hurdles in their struggle and are more experi- you through the various paths leading to the failure. It may enced compared to the toppers especially those who got suc- or conflict with understanding and Significance of forbearance seem absurd but believe me, it would make sense in a few cess early. It is not to say that the toppers are not insightful minutes read. In fact, it has something crucial to offer to rather what I mean is that some people have inbuilt brilliance The quality of forbearance is of the highest importance composure. those who are aspiring to achieve success in their lives. or a good schooling background which might not be every- to every human being. Forbearance and nonviolence are It is bearing the physical, mental and emotional pain Success may have different meanings to different people but one's case. So, it's the failed people who can actually eluci- manifestation of inner strength. Reactivity and retaliation with strong and steady faith without lamenting or worry- the paths leading there have a common and a simple princi- date the worst struggle scenarios and impediments allowing make us to lose precious energy, forbearance on the other ing.
    [Show full text]
  • NFAI Acquires Rich Haul of 2500 Film Posters
    National Film Archive of India Ministry of Information and Broadcasting Government of India Press Note NFAI acquires rich haul of 2500 Film Posters A rare 6-sheet poster of Mughal-e-Azam is a part of the collection In one of the major acquisition in recent times, NFAI has acquired about 2500 film posters of Indian cinema. The collection includes about 1500 Hindi film posters, in addition to a number of Tamil, Telugu, Kannada and Malayalam ones. These posters range from 1942 onwards till recent times. The collection showcases the evolution of film publicity covering various techniques of poster-making. The highlight of the acquisition is a very rare 6-sheet poster of Mughal-e-Azam (1960). The poster consists of six separate sheets and is of the dimensions 10 ft x 5 ft. It’s an offset print of a hand-painted poster. Thanks to its massive size, the poster achieves the astonishing feat of conveying volumes about the film. The poster has everything – from long shot depictions of the war sequence to a colourful snapshot of the sheesh mahal sequence, all done in beautiful brushstrokes. To balance the grandeur of these two depictions, the poster also features two intimate portraits. Akbar (Prithviraj Kapoor) sheds a tear in an emotional moment with his son and heir Salim (Dilip Kumar) as they are about to go to war. The shadow of Akbar’s war gear on his face is gorgeously detailed. And to cap things off, there’s a heartrending portrait of Anarkali (Madhubala) in chains, one of the iconic images of Hindi cinema.
    [Show full text]
  • Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
    DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr.
    [Show full text]