Ramesh Sippy (1947- )

Total Page:16

File Type:pdf, Size:1020Kb

Ramesh Sippy (1947- ) HUMANITIES INSTITUTE Stuart Blackburn, Ph.D. Ramesh Sippy (1947- ) Life Ramesh Sipahimalani (Sippy) was born in today’s Pakistan, but his family, as wealthy Hindus, moved to Bombay during the Partition when he was only a year old. His father soon became a successful producer in Bollywood, and it is no exaggeration to say that Ramesh Sippy grew up on movie sets. He acted in a film when he was nine and began to learn the art of directing as a teenager. After years as an assistant, Sippy directed his first film in 1971 and became well-known with his hit Embers (Sholay) in 1975, which is now recognised as a true classic. None of his later films has matched Embers as a sensational hit, although Pride (Shaan) is regarded as a highpoint in terms of production values. In recent years, he has turned to directing television dramas, with moderate success. Sippy has been married twice and has three children. His second wife, Kiran Junega, is a well-known actress, and his son, Rohan Sippy, is a film director. Achievements Ramesh Sippy was honoured in 2005, when Filmfare named Embers the best film of the past half- century. In 2012, he received an IIFA (International Indian Film Academy) award for his significant contribution to Indian cinema. And in 2013, he was given the Padma Shri, a national award honouring cultural achievement. List of films (as director) Crazy Times, Zamana Deewana (1995) Alone, Akayla (1991) Corruption, Bhrashtachar (1989) Land, Zameen (1987) Sea, Saagar (1985) Power, Shakti (1982) Pride, Shaan (1980) Embers, Sholay (1975) Sita and Gita, Seeta Aur Geeta (1972) Style, Andaz (1971) (Ramesh Sippy) .
Recommended publications
  • Ek Paheli 1971 Mp3 Songs Free Download Ek Nai Paheli
    ek paheli 1971 mp3 songs free download Ek Nai Paheli. Ek Nai Paheli is a Hindi album released on 10 Feb 2009. This album is composed by Laxmikant - Pyarelal. Ek Nai Paheli Album has 8 songs sung by Anuradha Paudwal, Lata Mangeshkar, K J Yesudas. Listen to all songs in high quality & download Ek Nai Paheli songs on Gaana.com. Related Tags - Ek Nai Paheli, Ek Nai Paheli Songs, Ek Nai Paheli Songs Download, Download Ek Nai Paheli Songs, Listen Ek Nai Paheli Songs, Ek Nai Paheli MP3 Songs, Anuradha Paudwal, Lata Mangeshkar, K J Yesudas Songs. Ek paheli 1971 mp3 songs free download. "Sunny Leones Ek Paheli Leela Makes Over Rs 15 Cr in Opening Weekend - NDTV Movies. The Indian box office is still reeling from Furious 7's blockbuster earnings of over Rs 80 . Jay Bhanushali: Really happy that people are enjoying 'Ek Paheli Leela' It's Sunny side up: Ek Paheli Leela touches Rs 10.5 crore in two days. More news for Ek Paheli Leela Full Movie Ek Paheli Leela - Wikipedia, the free encyclopedia. Ek Paheli Leela is a 2015 Bollywood musical-thriller film, written and directed by Bobby Khan and . The full audio album was released on 10 March 2015. Ek Paheli Leela Online 2015 Official Full Movie | NOORD . 1 day ago - Ek Paheli Leela Online 2015 Official Full Movie; Ek Paheli Leela; 2015 film; 4.8/10·IMDb; Ek Paheli Leela is a 2015 Bollywood musical-thriller . Ek Paheli Leela Full Movie Online Watch Bollywood Full . onlinemoviesgold.com/ek-paheli-leela-full-movie-online-watch- bollywo.
    [Show full text]
  • The Hindu, the Muslim, and the Border In
    THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí.
    [Show full text]
  • Kishore Booklet Copy
    08. Tum Aa Gaye Ho Noor Aa Gaya with Lata Mangeshkar Film: Aandhi 01. The Evergreen Kishore Kumar 09. Asha Bhosle reminisces 02. Yeh Sham Mastani Kishore Kumar Film: Kati Patang 10. Piya Piya Piya Mora Jiya 03. Roop Tera Mastana with Asha Bhosle Film: Aradhana Film: Baap Re Baap 04. Yeh Jo Mohabbat Hai 11. Main Hoon Jhoom Jhoom Film: Kati Patang Film: Jhumroo 05. Aanewala Pal Janewala Hai 12. Dekha Ek Khwab Film: Golmaal with Lata Mangeshkar Film: Silsila 06. Oh Hansini Film: Zehreela Insaan 13. Meri Bheegi Bheegi Si Film: Anamika 07. Hamen Tumse Pyar Kitna Film: Kudrat 14. Kehna Hai Kehna Hai Film: Padosan 2 3 15. Raat Kali Ek Khwab Mein 23. Mere Sapnon Ki Rani Film: Buddha Mil Gaya Film: Aradhana 16. Aate Jate Khoobsurat Awara 24. Dil Hai Mera Dil Film: Anurodh Film: Paraya Dhan 17. Khwab Ho Tum Ya Koi 25. Mere Dil Mein Aaj Kya Hai Film: Teen Devian Film: Daag 18. Aasman Ke Neeche 26. Ghum Hai Kisi Ke Pyar Mein with Lata Mangeshkar with Lata Mangeshkar Film: Jewel Thief Film: Raampur Ka Lakshman 19. Mere Mehboob Qayamat Hogi 27. Aap Ki Ankhon Mein Kuch Film: Mr. X In Bombay with Lata Mangeshkar Film: Ghar 20. Teri Duniya Se Hoke Film: Pavitra Papi 28. Sama Hai Suhana Suhana Film: Ghar Ghar Ki Kahani 21. Kuchh To Log Kahenge Film: Amar Prem 29. O Mere Dil Ke Chain Film: Mere Jeevan Saathi 22. Rajesh Khanna talks about Kishore Kumar 4 5 30. Musafir Hoon Yaron 38. Gaata Rahe Mera Dil Film: Parichay with Lata Mangeshkar Film: Guide 31.
    [Show full text]
  • Film Streams Programming Calendar Film Streams Supporters Want To
    Film Streams Programming Calendar The Ruth Sokolof Theater . July – September 2013 v7.1 Devdas 2002 Bollywood and Beyond July 26 – October 3, 2013 Devdas 2002 3 Idiots 2009 Sholay 1975 Nishabd 2007 Om Shanti Om 2007 Jalsaghar Dilwale Dulhania (The Music Room) 1958 Le Jayenge 1995 Patang 2011 Omkara 2006 Monsoon Wedding 2001 Generously supported by Sam Walker. A comprehensive overview of India’s prolific film- “Curry Western” tradition through its unforgettable assortment of action, musi- making traditions would be impossible to offer in a cal, melodrama, and comedy—and you’ll find its influence in the more recent year, much less a season. Even a ten-film spotlight DEVDAS, with its grandiosity, opulence, music, and timeless story of tragedy. focused on classics from a given era of Bollywood— But we’ve gone beyond masala film to include PATANG, whose cinematogra- Mumbai-made, Hindi-language films—would phy blends the lines between documentary and fiction, and we’ve gone beyond leave glaring omissions. So for our Bollywood and Bollywood with the classic JALSAGHAR (THE MUSIC ROOM) by the master Beyond series, we’ve put together a small sampling Bengali filmmaker Satyajit Ray. What all of these films have in common is one of cinema that’s a bit like a masala—a mixture thing: They are captivating, beautifully rendered experiences whose sights and of spices that in Indian cinema refers to a genre sounds are truly intended to be experienced on the big screen. that combines conventions into a feast. You’ll find that mix in films like SHOLAY, which birthed the See reverse side for more information and dates.
    [Show full text]
  • Soviet-Indian Coproductions: Ali Baba As Political Allegory
    Soviet-Indian Coproductions: Ali Baba as Political Allegory by MASHA SALAZKINA Abstract: This essay considers the history of Soviet Indian coproductions focusing on Ali Baba and 40 Thieves (1980) as a political allegory over the fate of the multination state. It addresses the formal utopian character of the fi lm and the excessive threat of sexual violence in the song-and-dance numbers. he subject of this essay is the little studied phenomenon of the Soviet-Indian cinematic coproductions. While giving a general outline of the history of these coproductions, I focus primarily on the most commercially successful of these joint efforts, Ali Baba and 40 Thieves (Alibaba Aur 40 Chor/Priklyucheniya Ali-Baby Ti soroka razboinikov, Latif Faiziyev and Umesh Mehra, 1980), henceforward Alibaba. I argue that the fi lm contains a political allegory expressing anxiety over the fate of the multination state; that anxiety lies beneath the formal utopian character of the fi lm, which attempts to show the constitution of a new community on the screen and to defi ne the role of its political subject in the face of crime and governmental corruption. I will address these issues through discussing the directors’ choice of the material (a story from One Thousand and One Nights, or The Arabian Nights, as it is better known in English); the narrative structure of the fi lm; performance histories of the Indian and Soviet actors; and, fi nally, through a reading of the excessive threat of sexual violence concentrated in the fi lm’s song-and-dance numbers. Alibaba, I con- tend, is of interest not only due to the formal and institutional hybridization of two autonomous cinematic traditions, Indian and Soviet, but also as a cultural object which displays a shared anxiety over the role of the state as its existing political and economic order moves palpably toward the brink of collapse.
    [Show full text]
  • 375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women
    INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82,
    [Show full text]
  • Download Download
    Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship.
    [Show full text]
  • Été Indien 10E Édition 100 Ans De Cinéma Indien
    Été indien 10e édition 100 ans de cinéma indien Été indien 10e édition 100 ans de cinéma indien 9 Les films 49 Les réalisateurs 10 Harishchandrachi Factory de Paresh Mokashi 50 K. Asif 11 Raja Harishchandra de D.G. Phalke 51 Shyam Benegal 12 Saint Tukaram de V. Damle et S. Fathelal 56 Sanjay Leela Bhansali 14 Mother India de Mehboob Khan 57 Vishnupant Govind Damle 16 D.G. Phalke, le premier cinéaste indien de Satish Bahadur 58 Kalipada Das 17 Kaliya Mardan de D.G. Phalke 58 Satish Bahadur 18 Jamai Babu de Kalipada Das 59 Guru Dutt 19 Le vagabond (Awaara) de Raj Kapoor 60 Ritwik Ghatak 20 Mughal-e-Azam de K. Asif 61 Adoor Gopalakrishnan 21 Aar ar paar (D’un côté et de l’autre) de Guru Dutt 62 Ashutosh Gowariker 22 Chaudhvin ka chand de Mohammed Sadiq 63 Rajkumar Hirani 23 La Trilogie d’Apu de Satyajit Ray 64 Raj Kapoor 24 La complainte du sentier (Pather Panchali) de Satyajit Ray 65 Aamir Khan 25 L’invaincu (Aparajito) de Satyajit Ray 66 Mehboob Khan 26 Le monde d’Apu (Apur sansar) de Satyajit Ray 67 Paresh Mokashi 28 La rivière Titash de Ritwik Ghatak 68 D.G. Phalke 29 The making of the Mahatma de Shyam Benegal 69 Mani Ratnam 30 Mi-bémol de Ritwik Ghatak 70 Satyajit Ray 31 Un jour comme les autres (Ek din pratidin) de Mrinal Sen 71 Aparna Sen 32 Sholay de Ramesh Sippy 72 Mrinal Sen 33 Des étoiles sur la terre (Taare zameen par) d’Aamir Khan 73 Ramesh Sippy 34 Lagaan d’Ashutosh Gowariker 36 Sati d’Aparna Sen 75 Les éditions précédentes 38 Face-à-face (Mukhamukham) d’Adoor Gopalakrishnan 39 3 idiots de Rajkumar Hirani 40 Symphonie silencieuse (Mouna ragam) de Mani Ratnam 41 Devdas de Sanjay Leela Bhansali 42 Mammo de Shyam Benegal 43 Zubeidaa de Shyam Benegal 44 Well Done Abba! de Shyam Benegal 45 Le rôle (Bhumika) de Shyam Benegal 1 ] Je suis ravi d’apprendre que l’Auditorium du musée Guimet organise pour la dixième année consécutive le festival de films Été indien, consacré exclusivement au cinéma de l’Inde.
    [Show full text]
  • Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
    University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema.
    [Show full text]
  • 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta
    Alphaville: Journal of Film and Screen Media no. 21, 2021, pp. 239–243 DOI: https://doi.org/10.33178/alpha.21.21 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta. Rowman & Littlefield, 2019, 283 pp. Darshana Chakrabarty Among the many film industries of South Asia, the Indian film industry is the most prolific, specifically Hindi language film, more commonly known as Bollywood, which produces almost four hundred films annually. Bollywood films dominate the national market. These films have also been exported successfully to parts of the Middle East, Africa, and the Asiatic regions of the former Soviet Union, as well as to Canada, Australia, the UK, and the US. The success of these films abroad is largely down to the presence of Indian communities living in these regions; as the conventional melodramatic plot structures, dance numbers and musicals tend to deter Western audiences. Within India and abroad “the traditional division between India’s popular cinema and its ‘art’ or ‘parallel’ cinema, modelled after India's most prestigious film-director Satyajit Ray, often produced the uncritical assumption that Indian films are either ‘Ray or rubbish’” (Chaudhuri 137). Recently, Indian film criticism has begun focusing on popular Indian cinema, assessing the multi-discursive elements of the cinematic creations. Bollywood “gained prominence within academia due to its growing popularity and unique manner of glorifying Indian familial values” (Sinha 3). From a history and origin of Indian motion pictures to selecting films that best represent the diversity, integrity and heritage of the nation, 100 Essential Indian Films by Rohit K. Dasgupta and Sangeeta Dutta is a concise book on Indian cinema for connoisseurs and for film enthusiasts taking an interest in India’s classic and contemporary cinema.
    [Show full text]
  • 100 Years of Indian Cinema
    REGD. NO: KARENG/2009/29264 ISSN 0975 - 5810 ArtConnect An IFA Publication An IFA Publication Volume 7, Number 1 January-June 2013 Volume 7 Number 1 ArtConnect January-June 2013 Contents Rs.150 EDITORIAL 3 100 Years of Indian Cinema GOING UNDERGROUND: NOTES ON AN UNCONTROLLED CINEMA Ashim Ahluwalia 4 Volume 7, Number 1 7, Number Volume WRITING HISTORY IN THE DARK: FATMA BEGUM IN CONVERSATION WITH MS KITTY Rashmi Sawhney 20 OUT OF SIGHT: ARCHIVING HIDDEN HISTORIES OF PRACTICE Debashree Mukherjee 42 January-June 2013 January-June SOUNDBAAZI: SPACE, PLACE AND MEANING IN THE HINDI FILM SOUNDTRACK Gautam Pemmaraju 60 FOLLOWING FANS: THE CURIOUS CASE OF THE MAN FROM JAPAN Lawrence Liang 82 India Foundation for the Arts ‘Apurva’ Ground Floor, No 259, 4th Cross Raj Mahal Vilas IInd Stage, IInd Block, Bangalore-560 094 Phone/Fax: 91- 80 - 2341 4681/82 Email: [email protected] www.indiaifa.org ArtConnect corrected_Layout 3 6/24/2013 5:27 PM Page 1 Contents EDITORIAL 3 GOING UNDERGROUND: NOTES ON AN UNCONTROLLED CINEMA Ashim Ahluwalia 4 WRITING HISTORY IN THE DARK: FATMA BEGUM IN CONVERSATION WITH MS KITTY Rashmi Sawhney 20 OUT OF SIGHT: ARCHIVING HIDDEN HISTORIES OF PRACTICE Debashree Mukherjee 42 SOUNDBAAZI: SPACE, PLACE AND MEANING IN THE HINDI FILM SOUNDTRACK Gautam Pemmaraju 60 FOLLOWING FANS: THE CURIOUS CASE OF THE MAN FROM JAPAN Lawrence Liang 82 ArtConnect corrected_Layout 3 6/24/2013 5:27 PM Page 2 ArtConnect An IFA Publication Volume 7 Number 1 January-June 2013 Editor C.K. Meena Design Mishta Roy Printed by B Narahari, published by Anmol Vellani on behalf of India Foundation for the Arts and printed at Manipal Press Ltd., Press Corner, Tile Factory Road, Manipal, Udipi, Karnataka - 576 104 and published at India Foundation for the Arts, 'Apurva', Ground Floor, No 259, 4th Cross, Raj Mahal Vilas IInd Stage, IInd Block, Bangalore - 560 094.
    [Show full text]
  • IFFLA Celebrates the Richness of Indian Film by PARIMAL M
    Section C • April 22, 2011 C7 Meet Miss India World C22 A Chat with 60s Icon Sadhana C10 Tarangini Dancers in Kathak Show IFFLA Celebrates the Richness of Indian Film By PARIMAL M. ROHIT for Indian cinema in the U.S. Our Special to India-West audiences were captivated by the diversity of our offerings,” OLLYWOOD, Calif. — Marouda said. For the ninth consecu- “We are thrilled at the enormous tive year, the Indian response to this year’s program. HFilm Festival of Los We look forward to celebrating Angeles took over the ArcLight our momentous tenth year in 2012 Cinemas here in Hollywood for in Los Angeles and have already six days April 12-17 to highlight begun preparations.” the best and brightest in Indian Opening the festival April 12 cinema, be it filmmakers, actors, was the Smile Foundation’s “I Am writers, or executives. Kalam,” setting the tone for six- In all, about 7,000 moviegoers day event with its wholehearted attended the six-day event to story of poor Rajasthani boy who watch 32 feature, documentary, has a strong desire to learn how and short films and interact with to read. Disney’s child superhero dozens of filmmakers and actors. production of “Zokommon” made Among the popular talent who its world premiere on April 17 and attended the festival included brought the festival to a close. Bollywood stars Gulshan Grover, “In the last 10 years, cinema has Anupam Kher and Pooja Batra; changed completely, globally, and filmmaker Vikramaditya Mot- in India, especially,” Kher told In- wane; and rising Indian Ameri- dia-West.
    [Show full text]