ABBAS, KHWAJA AHMAD (1914 - 87)

Hindi-Urdu director and scenarist mainly in the socialist-realist mode. Born in Panipat, Haryana; grandfather is the well-known poet Hali. Graduated from Aligarh Muslim University (1933). Journalist, novelist and short-story writer with prodigious output. Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935–47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest-running weekly political column, Last Page (1941–86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA and drew sustenance from Nehruite socialism’s pre-Independence, anti-Fascist and anti-communal commitments. Founder member of IPTA’s all-India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943. Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara, 1951; Shri 420, 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (Balraj Sahni). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism. Pardesi is the first Indian-Soviet co-production, co-directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre-censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani.

FILMOGRAPHY: 1946: Dharti Ke Lal 1947: Aaj Aur Kal; 1952: Anhonee; Rahi/Two Leaves And A Bud; 1954: Munna; 1957: Pardesi; 1959: Char Dil Char Raahein; 1960: Id Mubarak (Sh); 1961: Gir Game Sanctuary (Doc); 1962: Gyarah Hazaar Ladkiyan; 1963: Shaher Aur Sapna; Teen Gharaney 1964: Hamara Ghar; 1965: Aasmaan Mahal; Tomorrow Shall Be Better (Sh); 1967: Dharti Ki Pukaar (Sh); Bambai Raat Ki Bahon Mein; 1968: Char Shaher Ek Kahani (Doc); 1969: Saat Hindustani; 1971: Do Boond Pani; Lav Rush (Sh); 1972: Bharat Darshan (Doc); 1973: Kal Ki Baat (Sh); Juhu (TV-Sh); 1974: Faasla; 1975: Papa Miyan of Aligarh (Doc); 1976: Phir Bolo Aaye Sant Kabir (Doc); 1978: Dr Iqbal (Doc); 1979: The Naxalites; 1983: Hindustan Hamara (Sh); 1984: Nanga Fakir (TV); Mr. X (unfinished).

Romi (right) in K. A. Abbas’ Munna (1954)

ABRAHAM, JOHN (1937–87)

Malayalam director born in Changanacherry, Kuttanad Dist., Kerala; studied economics at a college near Kottayam. Educated by grandfather who gave him his first camera. Worked as insurance salesman in Bellary; went to the FTII and studied under Ghatak. Assisted Mani Kaul on Uski Roti (1969) and worked on unreleased Hindi feature shot in Kerala, Trisandhya (1972). First films: Vidyarthikale Ithile Ithile, made in Madras as group co-operative effort, and his internationally acclaimed Agraharathil Kazhuthai in Tamil. Lived a nomadic existence in the 70s, depending on support from friends and colleagues in Kerala, later the basis of the Odessa Collective (Est: 1984 in Calicut) launched with street play Nayakali staged in Fort Cochin (1984). Odessa funded Amma Ariyan through screening 16mm prints of e.g. Chaplin’s The Kid (1921) and Anand Patwardhan’s Hamara Shaher (1985) in towns and villages throughout Kerala in return for small donations. After his accidental death, he is often portrayed as an example of the romantic artist who by-passed the tyranny of the market-place through a direct relationship with his people, raising money by travelling from village to village beating a drum and asking for contributions to a genuine ‘people’s cinema’. Others point to the probably Christian theme of infantile innocence in his work and place his marginal lifestyle in the cultural context of Kerala and the contentious history of authorial identity he inherited and lived out, exploring its alternatives. Suffered from alcoholism. Also wrote his own films.

FILMOGRAPHY: 1967: Koyna Nagar (Doc); 1969: Priya (Sh); Hides And Strings (Doc); 1971: Vidyarthikale Ithile Ithile; 1977: Agraharathil Kazhuthai; 1979: Cheriyachente Kroora Krithyangal; 1986: Amma Ariyan.

ACHARYA, N. R. (1909–93)

Hindi director born in Karachi. Was a government contractor when he joined East India Film in Calcutta (1934). Later worked as production manager at Bombay Talkies, where he directed the first examples of S. Mukherjee’s new regime, e.g. Bandhan and the Abbas script Naya Sansar. Became producer with Sahu’s Kunwara Baap (1942). Continued producing under the Acharya Arts Prod, banner until 1950. Also made Gujarati films, e.g. Lagna Mandap.

FILMOGRAPHY: 1940: Bandhan, Azad; 1941: Naya Sansar; 1942: Uljhan; 1943: Aage Kadam; 1949: Parivartan; Shohrat (with K. Amarnath); 1950: Lagna Mandap; 1956: Dhola Maru.

ADVANI, JAGATRAI PESUMAL (B. 1903)

Hindi director born in Hyderabad (now Pakistan). Studied film-making in Germany in the 20s and returned to become Bhavnani’s assistant. Directorial début at Krishnatone with Heer Ranjha, then at Saroj Movietone where he directed Sardar Akhtar (Gafil Musafir, Johare-Shamsheer, Shah Behram, Tilasimi Talwar). Made the Sardar Akhtar film Farehi Duniya at the Karachi-based Golden Eagle company; then directed e.g. Khursheed films (Elaan-e-Jung, Shokh Dilruba, Sipahsalar) and Anil Biswas musicals such as Veena, Ladli and Lajawaab. Apparently known as a director who could handle female stars to their advantage, his films starring Nimmi included Wafaa and a title probably produced by the star, Danka. His Sassi Punnu is a Hindi/Punjabi bilingual.

FILMOGRAPHY: 1931: Heer Ranjha; 1933: Zehar-e-Lshq; 1934: Afghan Abla; Dilara; Gafil Musafir; Johar-e-Shamsheer; Tilasmi Talwar; Vasantsena; Flashing Sword; 1935: Bahar-e-Sulemani; Farebi Duniya; Shah Behram; 1936: Elaan-e-Jung; Shokh Dilruba; Sipahsalaar; 1937: Saqi; Insaaf 1939: Dekha Jayega; 1940: Dharma Bandhan; Sneh Bandhan; 1941: Shehzadi; 1942: Suhagan; 1943: Sahara; 1946: Sassi Punnu; 1948: Veena; 1949: Laadli; 1950: Wafaa; Lajawaab; 1952: Saloni; 1954: Danka; 1955: Hasina.

AGARWALA, JYOTIPRASAD (1903–51)

Aka Rupkonwar. First Assamese director. Born in Tezpur; radical playwright (e.g. Sonitkonwari, 1925; Karengar-Ligari, 1936; Rupalim, 1960). Stage director and songwriter who introduced traditional musical forms to contemporary Assamese stage. Graduate of Edinburgh University and Trinity College, Cambridge where he studied Western music (1926). Studied film-making at UFA, Germany (1930). Prominent political activist; jailed as member of Congress Party (1931–2); resigned from Tezpur Local Board protesting Assam government’s compulsory financial contributions to WW2 and was involved in CP-led uprising of 1942. President of first IPTA conference in Assam at Silchar, following 1942 struggles. Briefly edited daily newspaper Dainik Asamiya (1944). First film, Joymati, based on Sahityatri Bezbaruah’s militant play, made in improvised studio adjoining his family’s tea gardens near Tezpur, an event commemorated in Bhupen Hazarika’s film about the director, Rupkonwar Jyotiprasad Aru Joymati (1976).

FILMOGRAPHY: 1935: Joymati; 1939: Indramalati.

AGRADOOT

Best-known instance of phenomenon unique to Bengali cinema: group of film technicians signing collectively as director. The Agradoot core unit, formed in 1946, consisted initially of Bibhuti Laha (cameraman born in 1915), Jatin Datta (sound), Sailen Ghosal (lab work), Nitai Bhattacharya (scenarist) and Bimal Ghosh (production). Bibhuti Laha was the driving force and after most of the other members had left the group, he continued directing under the Agradoot name while working as a cinematographer under his own name. They made several commercially successful late 50s and 60s sentimental socials starring Uttam Kumar, esp. Agni Pareeksha (remade as Chhotisi Mulaqat, 1967) and the early colour production Pathe Holo Deri). Another hit, Lalu Bhulu, was remade as Dosti (1959). Other film-makers who passed through the group include Saroj De, Salil Dutta and Aravind Mukherjee. Other well-known collectives include Sabhyasachi (cf. Ajoy Kar), Agragami, Yatrik, Chitra Rath and Chitra Sathi.

FILMOGRAPHY: 1947: Swapna-o-Sadhana; 1948: Samapika; Sabhyasachi/Father Daabi; 1949: Sankalpa; 1951: Sahajatri; Babla, 1952: Aandhi; 1954: Agni Pareeksha; 1955: Anupama; Sabar Uparey, 1956: Trijama; 1957: Pathe Holo Deri; 1958: Surya Toran; 1959: Lalu Bhulu; 1960: Kuhak, Khokha Babur Pratyabartan; 1961: Agni Sanskar; 1962: Bipasha; Nabadiganta; 1963: Uttarayan; Badshah; 1965: Antaral; Surya Tapa; Tapasi; 1967: Nayika Sangbad; 1968: Kokhono Megh; 1969: Chiradiner; 1970: Manjari Opera; 1971: Chhadmabeshi; 1973: Sonar Khancha; 1974: Sedin Du-janay; 1977: Din Amader; 1981: Surya Sakhi; 1989: Aparanher Alo.

AHLUWALIA, SUKHDEV (B. 1932)

Mainstream Punjabi director who started as assistant cinematographer at the Modern Studios. Shot a number of Flindi films directed by Suraj Prakash before turning writer-director of ruralist melodramas (e.g. Taakra tells of a reformed black-marketeer accused of having killed his lover), often dealing with superstition. In Jai Mata Sheran Wali, daughter-in-law Radha overcomes oppression because of her belief in the mother goddess, but in the children’s film Sajre Phool the superstitions of the oppressive landowner’s wife are used to expose a crime. Currently works mainly in video. Also made Kashmeera about a lovable young tribal from Kashmir for the CFS.

FILMOGRAPHY: 1974: Do Sher; 1975: Dharamjeet; 1976: Taakra; 1977: Do Sholay; 1978: Jai Mata Sheran Wali; 1979: Til Til Da Lekha; Kunwara Mama; 1980: Ambe Maa Jagadambe Maa; 1981: Sajre Phool; 1983: Kashmeera; 1984: Maanwan Thandian Chhanwan; 1985: Takraar; 1987: Maahi Mera Chann Varga; 1990: Sounh Meno Punjab Di.

Akhtar, Javed see Salim-Javed

AKHTAR, SARDAR (1915–84)

Aka Sardar Begum. Hindi-Urdu actress, born in Lahore. Started on the Urdu stage, which supplied the mainstream historical film with most of its acting talent. Joined films at Saroj Movietone. Early films with A.P. Kapur. Broke through in the role of the washerwoman in Pukar, where she also sang Kaheko mohe chhede. Classic screen performance as the mother in Mehboob’s melodrama, Aurat. With Mukhtar Begum and Naseem Banu, she is one of the few Urdu stage actresses to make a successful transition to cinema. Her weighty, languid histrionics and gravelly voice invested her style with an earthy quality lost to the cinema after Independence. Other films in which she sang include Purnima (the bhajan Giridhar ke sang) and Piya Kijogan. She married Mehboob in 1942 and ran the Mehboob Studio after his death. Made a comeback with Hulchul.

FILMOGRAPHY: 1933: Id Ka Chand; Husn Ka Gulam; Malati Madhav; Naqsh-e-Sulemani; Roop Basant; 1934: Ajamil; Dilara; Gafil Musafir; Hothal Padmini; Jan Nissar; Johar-e-Shamsheer; Tilasmi Talwar; 1935: Delhi Express; Dharam Ki Devi; Dhoop Chhaon; Farebi Duniya; Misar Ka Khazana; Shah Behram; 1936: Karodpati; Piya Kijogan; Pratima; Prem Bandhan; Sangdil Samaj; Sher Ka Panja; 1937: His Highness; Bismil Ki Arzoo; Khwab Ki Duniya; 1938: Purnima; State Express; 1939: Pukar; 1940: Alibaba; Aurat; Bharosa; Pooja; 1941: Aasra; Nai Roshni; 1942: Duniya Ek Tamasha; Ghar Sansar; Phir Milenge; Uljhan; 1943: Fashion; Masterji; 1945: Rabat; 1971: Hulchul; 1973: Bandhe Haath; 1977: Jai Mata Di.

AKHTAR - UL - IMAN (1915–96)

Hindi-Urdu scenarist born in Bijnor Dist., UP. Joined Filmistan Studio as dialogue writer (1945). Major Urdu writer with seven poetry anthologies (e.g. Yaadein, 1961) and one verse play, Sabrang (1948). His Urdu poetry emphasises anti-romantic humanism, moving away from the traditional ghazal into new formal and symbolic articulations of modernity, as in the encounter between traditional metres and the rhythm of everyday prose in his major poem, Ahd-e-Wafaa [Time of Promise]. Directed one film, Lahu Pukarega (1980). Wrote Hindi scripts, dialogues or both for Najam Naqvi (Actress, 1948; Nirdosh, 1950), B.R. Chopra (Kanoon, 1960; Gumrah, 1963; Hamraaz, 1967; Dastaan, 1972; Dhund, 1973), Raj Khosla (Mera Saaya, 1966; Chirag, 1969), Yash Chopra (Dharmaputra, 1961; Waqt, 1965; Ittefaq and Admi Aur Insaan, both 1969; Daag and Joshila, both 1973), Ramesh Sharma (Flat No. 9, 1961), Nandlal Jaswantlal (Akeli Mat Jaiyo, 1963), A. Bhimsingh (Admi, 1968; Joru Ka Gulam, 1972) and Manmohan Desai’s Roti (1974). Wrote Sunil Dutt’s monologue, Yaadein (1964) and Vimal Tewari’s Kunwara Badan (1973). Further dialogue credits include: Protima Dasgupta’s Jharna (1948), Aspi’s Barood (1960) and Shabnam (1964), Rakhan’s Kalpana (1960), Ved-Madan’s Neeli Aankhen (1962), Vasant Joglekar’s Aaj Aur Kal (1963), Mehmood’s Bhoot Bangla (1965), Chopra/Hrishikesh Mukherjee’s Gaban (1966), Raja Nawathe’s Patthar Ke Sanam (1967), Deven Verma’s Bada Kabutar and Hari Dutt’s Naya Nasha (both 1973), Raj Tilak’s Ghhattis Ghante (1974), Ravi Chopra’s Bachchan movie Zameer (1975), Sanjay Khan’s Ghandi Sona (1977), Devendra Goel’s Do Musafir (1978) and actor Amjad Khan’s Chor Police (1983).

ALI, MUZAFFAR (B. 1944)

Hindi-Urdu director born in Lucknow. Eldest son of the Raja Sajid Husain of Kotwara. Science graduate from Aligarh Muslim University (1966). Worked in advertising agencies Clarion-McCann (1966) and Advertising & Sales Promotion (1968), and in publicity division of Air India (1970–81). Amateur painter with exhibitions in Aligarh, Lucknow, Calcutta and Bombay. First film, Gaman, about migrant labour in Bombay. Umrao Jaan returned to now rarely attempted (except in TV) genre of courtly melodrama set under Muslim rule. Worked with political themes with Subhashini Ali, a Kanpur-based trade unionist and one-time CPI(M) MP. Made and acted lead role of his TV serial Jaan-e-Alam, rehabilitating the Nawab Wajid Ali Shah, King of Avadh. The story was inspired by the Indmsabha, a nautanki ballet of the period (cf. Indrasabha, 1932). One of the founders of the MUKT (Marketing Union of Kinematograph Technicians) Co-operative. Last feature, Zooni, remains unfinished. Now a fashion designer. Supports the UP-based Samajwadi (Socialist) Party of Mulayam Singh Yadav; unsuccessfully contested the state legislature elections in October 1993.

FILMOGRAPHY: 1978: Gaman; 1981: Umrao Jaan; 1982: Vasiquedars: Pensioners of Avadh (Doc); Woodcraft of Sahranpur (Doc); Venue India (Doc); Laila Majnu Ki Nai Nautanki (Doc); 1983: Sunehre Sapne (Sh); Wah! Maan Gaye Ustad (Sh); Agaman; 1984: Vadakath: A Thervad In Kerala (Doc); Together Forever (Sh); Wapas Chalo (TV-Sh); Kue Yaar Mein (Doc); 1985: Ganga Teri Shakti Apaar (Doc); India: An Unusual Environment for Meetings (Doc); Sheeshon Ka Masiha (Doc); 1986: Anjuman; faan-e-Alam (TV); Aaya Basant Sakhi; Kali Mohini; Semal Ki Darakht (all Sh); 1991: Khizan (Doc).

ALL-INDIA FILM

Generic term introduced and used most consistently by critic Chidananda Das Gupta to signify mass-produced film formula pioneered by post-WW2 Hindi cinema and duplicated by regional film industries predominantly in Tamil, Telugu, Malayalam and Bengali. As chronicled by the S.K. Patil Film Enquiry Committee Report (1951), following the withdrawal in 1946 of the licensing system imposed upon film-making during WW2 and the lifting of restrictions on raw stock: ‘There was a sudden spurt in both production and exhibition. [T]heatre equipment imported in the two years 1946–47 and 1947–48 amounted in value to a crore of rupees. Studio equipment costing another crore of rupees was also imported and installed. [Wlithin three months of decontrol, over 100 new producers entered the field … and new films released numbered over 200 in 1946 and 283 in 1947.’ The All-India film appropriates aspects both from indigenous popular film and theatre genres and from Hollywood, subordinating them to an all-encompassing entertainment formula designed to overcome regional and linguistic boundaries. Das Gupta (1968) ascribes to this formula the function of a ‘cultural leadership [that reinforces] some of the unifying tendencies in our social and economic changes [a]nd provides an inferior alternative [to a leadership that] has not emerged because of the hiatus between the intelligentsia, to which the leaders belong, and the masses’. The contention that the All-India film performs by default an integrating nationalist function similar to the consciously stated aim of AIR and more recently Doordarshan, has had a crucial influence on India’s national film industry policies since the S.K. Patil Committee: the industry’s inability to be financially self-sustaining is usually counterbalanced by its alleged ability to foster a unified contemporary ‘indigenous’ culture.

ALTEKAR, PARSHWANATH YESHWANT (1897–1957)

Mainly Marathi director born in Kharepatan, Ratnagiri. Also worked in Hindi, Tamil and Kannada. Educated in Kolhapur and obtained arts degree from Wellington College in Sangli. Studied law in Bombay but turned to the theatre, acting in the first play he directed, Rajsanyas, in 1922. Marathi writer Mama Warerkar influenced Altekar’s theatrical work as well as his shift to films, later providing songs and dialogues for the director’s Geeta. Film début in Joshi’s Prithvi Vallabh. The following year (1925) he joined the United Pics. Syndicate where he played a series of major roles in Maratha historicals: Hansaji in Sarpotdar’s Chandrarao More and the title role in Chhatrapati Sambhaji (Altekar later remade the film in Marathi with Master Vithal). Acted in and was associated with the making of Sarpotdar’s seminal realist experiment Maharachi Por, conjoining film, journalism and the avant garde theatre movement, a mix that later culminated in the work of the Natyamanwantar group. Also played the role of Prithviraj in Deccan’s Prabhavati. Joined the Pendharkar brothers’ Vande Mataram Films, acting in and, according to some sources, helping to direct their controversial Vande Mataram Ashram. Turned director at United Pics with the mythological Jugari Dharma, also playing the role of Bhim. In 1928, he went to Imperial Film, making four films, e.g. Jagadguru Shrimad Shankaracharya, which featured his future theatre associate K. Narayan Kale as actor, and Gori Bala, scripted by Warerkar. Worked for Torney’s Saraswati Cinetone (1933) while continuing his work in the theatre with Radio Stars and the Natyamanwantar group. Directed the first Kannada sound feature, Bhakta Dhruva, from a Ratnavali Theatre play. After a stint at Master Vinayak’s Huns Pics (e.g. the Khandekar script Sukhacha Shodh) and CIRCO Films (Geeta, featuring Chandramohan in a double role; Mahatma Vidur with Vishnupant Pagnis and Durga Khote), he became an independent producer with his own Natraj Cinetone partnered by Durga Khote, Govindrao Tembe, Mubarak et al., making the important Tembe-Khote musical Savangadi. Made three Tamil films (Parvati Kalyanam, Pati Bhakti, Bhishma Pratigna, all 1936). Started a theatre training school (1938) and soon stopped making films, devoting his energies to theatre work. His films often continued his experiments with naturalist theatre for Natyamanwantar, Radio Stars and his repertory National Theatre Academy, for which he wrote several essays on the theory of stage performance in the Marathi journal Yashwant (e.g. Rangabhoomichi Avashyakta Kay? in December 1942; Udyacha Nat and Udyachi Rangabhoomi in November 1943).

FILMOGRAPHY (* only act/** also act): 1924: Prithvi Vallabh*; 1925: Maharachi Por*; Chandrarao More*; Chhatrapati Sambhaji*; Kangal Qaidi*; Mulraj Solanki*; Prabhavati*; Saurashtra Veer*; 1926: Vande Mataram Ashram*; 1927: Jugari Dharma**; 1928: Jagadguru Shrimad Shankaracharya**; 1929: Vasal Ni Raat**; Gori Bala; 1931: fanma Haq (all St); 1934: Bhakta Dhruva; Vasavadatta; Chhatrapati Sambhaji; 1936: Parvati Kalyanam; Pati Bhakti; Bhishma Pratigna; 1937: Begunah*; 1938: Savangadi/Saathi; 1939: Sukhacha Shodh/Mera Haq; 1940: Geeta; 1943: Mahatma Vidur; 1952: Chhatrapati Shivaji*; 1953: Maisaheb*.

AMAN, ZEENAT (B. 1951)

Actress. Former advertising model. First major role in Hare Rama Hare Krishna as emancipated ‘hippie’ sister of hero Dev Anand, heralding the 70s look of the Westernised, ‘liberated’ young woman in Hindi film. At its best, this attempt to represent ‘modernity’ redefined the love story (Yaadon Ki Baraai) by violating several moral codes advocated by earlier melodramas to control female sexuality. The image was adopted and negatively inflected, notably by Parveen Babi (the gangster’s moll in Deewar, 1975), in the context of Amitabh Bachchan’s vigilante themes. Raj Kapoor later used the image to stigmatise the obscenity of contemporary consumerist versions of religious symbolism in Satyam Shivam Sundaram.

FILMOGRAPHY: 1971: Hulchul; Hare Ramc Hare Krishna; Hangama; 1973: Dhund; Heera Panna; Yaadon Ki Baraat; 1974: Ajnabi; Ishq Ishq Ishq; Manoranjan; Prem Shastra; Roti Kapda Aur Makaan; 1975: Chori Mera Kaam; Warrant; 1976: Deewangee; 1977: Ashiq Hoon Baharon Ka; Chhaila Babu; Darling Darling; Dharam Veer; Hum Kisise Kum Nahin; Kalabaaz; Paapi; 1978: Chor Ke Ghar Chor; Don; Heeralal Pannalal; Satyam Shivam Sundaram; Shalimar; 1979: The Great Gambler; 1980: Abdullah; Alibaba Aur Chalis Chor; Bombay 405 Miles; Dostana; Insaaf Ka Tarazu; Takkar; Ram Balram; Qurbani; 1981: Qatilon Ke Qatil; Krodhi; Lawaris; Professor Pyarelal; Gopichand Jasoos; Vakil Babu; Daulat; 1982: Ashanti; Samrat; Teesri Aankh; Jaanwar; Pyaas; 1983: Bandhan Kachche Dhaagon Ka; Humse Hai Zamana; Mahaan; Namumkin; Pukar; Taqdeer; 1984: Jagir/Teen Murti; Meri Adalat; Pakhandi; Sohni Mahiwal; Yeh Desh; 1985: Amir Admi Gareeb Admi; Bhawani Junction; Yaar Kasam; Yaadon Ki Kasam; Haathon Ki Lakeeren; 1986: Aurat; Baat Ban Jaye; 1987: Daku Hasina; 1989: Gawahi; Tujhe Nahin Chhodunga.

AMARNATH, GELARAM KHETARPAL (1914–83)

Hindi and Tamil director born in Mianwali, now in Pakistan’s Punjab province. Studied at the Rangmahal High School (1931) and at Craik Technical School, Lahore. Joined films as an extra in Lahore a year before moving to Calcutta (1932). Then went to Bombay (1933) and became assistant director until débuting as director in 1936, making many of his early films in Tamil, including Minnalkodi, Known as a stunt film director associated with Mohan Pics, one of the major B-movie producers and filmed often with S. Nazir (Chashmavali, Midnight Mail, Bandookwali); made the Nazir-Lalita Pawar film Captain Kishori. Bazaar, with Shyam and Nigar Sultana, was a well-known musical success. Shifted to love stories in the late 40s with e.g. Nurjehan’s last big films in India (Village Girl and Mirza Sahiban, the first film he produced). In the early 50s he introduced Shammi Kapoor to films in romances such as Laila Majnu and Mehbooba. Started his own K. Amarnath Pics with Alif Laila. Directed Ajit’s leading roles in Baradari (with Geeta Bali), Bada Bhai (with Kamini Kaushal), Baraat (with Shakila) and the colour film Kabuli Khan (with Helen).

FILMOGRAPHY: 1936: Matwali Jogan; Madras Mail; 1937: Danger Signal; Minnalkodi; Pucca Rowdy; 1938: Veer Ramani; Bhagya Leela; 1939: Bahadur Ramesh; Midnight Mail; Chashmawali; 1940: Tatar Ka Chor; Captain Kishori; 1941: Bulbul-e-Baghdad; 1942: Zevar; 1943: Chhed Chhaad; 1944: Bandookwali; 1945: Village Girl; 1947: Mirza Sahiban; Roop Nagar; 1949: Shohrat (co-d N.R. Acharya); Bazaar; 1950: Beqasoor; Meharbani; 1951: Sarkar; 1953: Alif Laila; Laila Majnu; 1954: Mehbooba; 1955: Baradari; 1956: Naya Andaz; 1957: Bada Bhai; 1960: Baraat; 1963: Kabuli Khan; 1964: Ishara; 1971: Woh Din Yaad Karo.

AMROHI, KAMAL (1918–93)

Originally Syed Amir Haider Kamal. Writer, poet (Hindi-Urdu) and director. Born in Amroha, UP. Early writing was within the Shakespearean contours of the Urdu Parsee Theatre (e.g. the script for Akhtar Hussain’s Romeo and Juliet, 1947). Went to Bombay in 1938; worked as writer for S. Modi (Jailor, 1938; Pukar, 1939; Bharosa, 1940), Kardar (Shahjehan, 1946), and K. Asif’s spectacular Mughale-Azam (1960), reinvigorating the Urdu historical genre. Scenarist at Bombay Talkies which produced his feature debut, Mahal. Established his own Kamal Pics (1953) and Kamalistan Studio in Bombay (1958), leasing the Mahal Studios mainly to make Pakeezah, one of the most successful Indian films ever and a classic Urdu melodrama. Its star, Meena Kumari, was his third wife. They separated in 1964 but she nevertheless finished the film in 1971. Scripted his own films. Other scripts include Yusuf Naqvi’s Shankar Hussain (1977), dialogues for Jagirdar’s Main Hari (1940), Zahur Raja’s Mazaaq (1943) and K. Asif’s Phool (1944). Also produced Kishore Sahu’s Dil Apna Aur Preet Parayi (1960).

FILMOGRAPHY: 1949: Mahal; 1953: Daera; 1971: Pakeezah; 1983: Razia Sultan.

A. Na. Kru see Krishnarao, A.N.

ANAND, CHETAN (1915–97)

Hindi director, scenarist and actor; elder brother of Dev and Vijay Anand. Born in Lahore. Worked for the BBC and taught at the Doon School, Dehradun. Went to Bombay to act in Hindi films. Played the lead in the IPTA’s stage production of K.A. Abbas’s Zubeida directed by Balraj Sahni (1943). First film Neecha Nagar made in parallel with Abbas’s IPTA-backed Dharti Ke Lal (1946) and Uday Shankar’s Kalpana (1948) under government licence (required during WW2). Together with Dev Anand started Navketan Prod. (1949). Directed (and co-wrote with his ex-wife Uma) their début film, Afsar, adapted from Gogol’s The Government Inspector. With composer S.D. Burman and lyricist Sahir Ludhianvi, Navketan marked an influential transition of IPTA’s socialist realism into a brand of commercial Hindi cinema that drew from King Vidor, Capra, Huston and others to define a brief but crucial populist phase in Hindi films dealing with the working class (e.g. Taxi Driver). Influenced several cineastes such as Guru Dutt, Mohan Segal, Raj Khosla and Vijay Anand. Started his own Himalaya Films (1960). After the war film Haqeeqat, about the 1962 conflict with China, Anand remained the leading director associated with that genre, extending it into serial format for TV (Param Veer Chakra). His son, Ketan Anand, also became a director (Toote Khilone, 1978; Hum Rahe Na Hum, 1984).

FILMOGRAPHY (* also act): 1946: Neecha Nagar; 1950: Afsar; 1952: Aandhiyan; 1953: Humsafar (act only); 1954: Taxi Driver; 1955: Joru Ka Bhai; 1956: Funtoosh; 1957: Anjali*; 1960: Kala Bazaar (act only); 1963: Kinare Kinare*; 1964: Haqeeqat; 1966: Aakhri Khat; 1967: Aman (act only); 1970: Heer Ranjha; 1973: Hindustan Ki Kasam*; Hanste Zakhm; 1976: Jaaneman; 1977: Saheb Bahadur; 1981: Kudrat; 1985: Haathon Ki Lakeeren; 1988: Param Veer Chakra (TV).

ANAND, DEV (B. 1923)

Hindi star, producer and director. Born in Gurdaspur, Punjab, as Devdutt Pishorimal Anand. Arts degree from Punjabi University; went to Bombay to join elder brother Chetan Anand in the IPTA. Started acting at Prabhat (1945) where he met Guru Dutt. First hit, Ziddi, at Bombay Talkies. Launched Navketan (1949) with Chetan Anand, later (1953) joined by younger brother and star director Vijay Anand (e.g. Guide). Produced Guru Dutt’s directorial début, Baazi. Navketan spawned much new talent: directors Guru Dutt, Vijay Anand, Raj Khosla, composers S.D. and R.D. Burman, Jaidev, lyricists Sahir Ludhianvi and Neeraj, cameramen Fali Mistry, V. Ratra and D.K. Prabhakar, actors Johnny Walker, Zeenat Aman, Ekta Sharma, Tina Munim. Top star at Filmistan; made several of his most famous hits with Subodh Mukherjee (Munimji, Paying Guest) and other Filmistan-trained directors like Nasir Hussain and Shakti Samanta. Turned director in 1970. Directed, produced and starred in film launching his son, Suneil Anand (Anand Aur Anand). Now mainly produces and directs own starring vehicles deploying a more conventional heroic persona. Together with Raj Kapoor and Dilip Kumar, he ushered in the dominant acting idiom of post-Independence Hindi cinema. His style is demarcated from the naturalist method-acting modes of Motilal, Balraj Sahni and the Ashok Kumar of Kismet (1943). Amit Khanna noted: ‘Dev Anand’s forte was the boy next door, part lover, part clown and part do-gooder.’ Although never the reviewers’ favourite, he claimed that filming ‘should be brought as close as possible to the making of a newspaper’. His deliberately awkward pastiches invoke various sources (e.g. Cary Grant, Gregory Peck). With directors Chetan and Vijay Anand, Guru Dutt and Subodh Mukherjee, along with playback singer Kishore Kumar, he satirised and reconstituted generic styles such as Capra’s (Nau Do Gyarah), John Huston’s (Jaal), the thriller (Jewel Thief, CID), the love story (Tere Ghar Ke Saamne, Paying Guest) and the Hollywood epic in Guide. Directorial concerns include the alleged aimlessness of today’s youth contrasted with the civilisational glory of the freedom struggle (e.g. Hare Rama Hare Krishna). Acted in the films he directed. Married actress Kalpana Kartik in 1954.

Dev Anand shooting Loot Maar (1980)

FILMOGRAPHY (* also d). 1946: Hum Ek Ha in 1947: Aage Badho; Mohan; 1948: Hum Bhi Insaan Hain; Vidya; Ziddi; 1949: Jeet; Namuna; Shayar, Udhaar, 1950: Afsar; Birha Ki Raat; Dilruba; Hindustan Hamara; Khel; Madhubala; Nili; Nirala; 1951: Aaram; Baazi; Do Sitare; Nadaan; Sanam; Sazaa; Stage; 1952: Aandhiyan; Jaal; Tamasha; Zalzala; Rahi/Two Leaves And A Bud; 1953: Armaan; Humsafar; Patita; 1954: Baadhaan; Kashti; Taxi Driver; 1955: Faraar; House Number 44; Insaniyat; Milap; Munimji; 1956: CID; Funtoosh; Pocketmaar; 1957: Baarish; Dushman; Nau Do Gyarah; Paying Guest; 1958: Amar Deep; Kala Pani; Solva Saal; 1959: Love Marriage; 1960: Bambai Ka Babu; Ek Ke Baad Ek; Jaali Note; Kala Bazaar; Manzil; Sarhad; 1961: Hum Dono; Jab Pyar Kisise Hota Hai; Maya; Roop Ki Rani Choron Ka Raja; 1962: Asli Naqli; Baat Ek Raat Ki; 1963: Kinare Kinare; Tere Ghar Ke Saamne; 1964: Sharabi; 1965: Guide; Teen Deviyan; 1966: Pyar Mobabbat; 1967: Jewel Thief; 1968: Duniya; Kahin Aur Chal; 1969: Mahal; 1970: Johnny Mera Naam; Prem Pujari*; 1971: Hare Rama Hare Krishna*; Gambler; Tere Mere Sapne; 1972: Yeh Gulistan Hamara; 1973: Chhupa Rustom; Joshila; Shareef Badmash; Banarasi Babu; Heera Panna*; 1974: Ishq Lshq Ishq*; Amir Garib; Prem Shastra; 1975: Warrant; 1976: Bullet; Jaaneman; 1977: Darling Darling; Kalabaaz; Saheb Bahadur; 1978: Des Pardes*; 1980: Man Pasand; Lootmaar*; 1982: Swami Dada*; 1984: Anand Aur Anand*; 1985: Hum Naujawan*; 1989: Sachche Ka Bol Bala*; Lashkar; 1990: Awwal Number*; 1991: Sau Karod*; 1992: Pyar Ka Tarana (only d); 1995: Gangster*.

ANAND, INDER RAJ

Scenarist and dialogue writer born in Miani (now Pakistan); uncle of Mukul S. Anand. Student years in Lahore and Hyderabad. Closely associated with the IPTA’s Bombay branch. Major contribution as playwright for Prithviraj Kapoor’s Prithvi Theatres: Deewar and Ghaddar mark its IPTA-influenced early 40s radical phase. Publicist for Minerva when Raj Kapoor hired him to write Aag (1948), leading to further collaborations: Aah (1953), Chhalia (1960), Sangam (1964), Sapnon Ka Saudagar (1968). Also scripted Mohan Segal’s landmark satire New Delhi and the Dev Anand whodunit CID (both 1956). Since early 60s, worked mainly as a ‘genre professional’ for South Indian producers wishing to enter the Bombay-based mainstream: e.g. dialogues for the Hindi films of L.V. Prasad, K. Balachander, Adurthi Subba Rao and Bharathirajaa. Regular scenarist for 80s director Rajkumar Kohli. Wrote and directed one film, Phoolon Ki Sej (1964), influenced, he claimed, by James Jones’s From Here To Eternity and Doris Lessing. Other script and/or dialogue credits include: Phool Aur Kaante (1948); Birha Ki Raat (1950); Anari, Chhoti Bahen (both 1959); Sasural (1961); Dil Tera Diwana (1962); Bahurani, Hamrahi (both 1963); Beti Bete, Dulha Dulhan (both 1964); Aasmaan Mahal (1965); Chhota Bhai (1966); Vaasna (1968); Bhai Bahen, Nannha Farishta (both 1969); Devi, Safar (both 1970); Jawani Diwani, Anokha Daan (both 1972); Gaai Aur Gori, Samjhauta, Insaaf (all 1973); Prem Nagar, Shubh Din, Faasla, Aaina (all 1974); Julie, Raja, Sunehra Sansar (all 1975); Maa, Nagin (both 1976); Yahi Hai Zindagi (1977); Lovers, Yeh Ishq Nahin Asaan (both 1983); Ek Nai Paheli, Jeene Nahin Doonga, Raj Tilak (all 1984).

ANAND, MUKUL SUDHESHWAR (1951–97)

Hindi director associated with 90s Bachchan spectaculars (e.g. Hum). Born in Bombay. Son of a chartered accountant and nephew of Inder Raj Anand. Former assistant of Chetan Anand and Ravi Tandon; later ghost-directed several films in Hindi, Punjabi and Gujarati. Early films are low-budget remakes of foreign hits (Kanoon Kya Karega is based on J. Lee Thompson’s Cape Fear, 1961; Aitbaar on Hitchcock’s Dial M for Murder, 1954). Big-budget extravaganzas since Sultanat place him in new generation of Hindi commercial film-makers. Made advertising films in between features for MAD Entertainments Ltd. (Est. 1991). First major hit, Insaaf relaunched 70s stars Vinod Khanna and Dimple Kapadia. It created a fantasy world of sex, crime and sin despite its occasional references to the actual, widely reported death of a prostitute who ‘fell’ from a multi-storey block of flats belonging to a businessman suspected of criminal dealings. His films with Bachchan are also known for the star’s efforts to adapt his heroic image to his advancing age (Agneepath, Hum, Khuda Gawah). Returned to features with the big-budget commercial failure Trimurti, produced by Subhash Ghai.

FILMOGRAPHY: 1984: Kanoon Kya Karega; 1985: Aitbaar; 1986: Maa Ki Saugandh; Main Balwan; Sultanat; 1987: Insaaf; 1988: Mahasangram; 1990: Agneepath; 1991: Hum; Khoon Ka Karz; 1992: Khuda Gawah; 1995: Trimurti.

ANAND, VIJAY (B. 1935)

Accomplished Hindi actor, director and producer; younger brother of Dev and Chetan Anand, nicknamed Goldie. Born in Gurdaspur, Punjab. Arts degree from the University of Bombay. Scripted Taxi Driver (1954) and made some of Navketan’s best films with Dev Anand, shaping Dev’s screen personality. Made Guide, the first Indo-American co-production (US version directed by Tad Danielewski). Made remarkable musical sequences using location-derived sets (e.g. the song inside the Qutub Minar in Tere Ghar Ke Saamne) to achieve complex interactions between music, lyrics and story, at times evoking Western novelettes (Pearl Buck, A.J. Cronin) or Hollywood (Capra). Neo-realist overtones, inherited from brother Chetan, are used mainly as ballast to release the fantasy, a technique best exemplified by Guide and in the opening song ot Kala Bazaar. Wrote some of the films he directed and edited (Kala Bazaar, Chhupa Rustom, also co-lyricist for the latter) and returned to starring roles in e.g. Chor Chor, Hum Rahe Na Hum, Double Cross; also scenarist for Hum Dono (1961) and producer of Jaan Hazir Hai (1975). Played Sam the Detective in the TV series Tahqiqat, initially directed by nephew Shekhar Kapur.

FILMOGRAPHY (** also d/* only d): 1955: Joru Ka Bhai; 1957: Agra Road; Nau Do Gyarah*; 1960: Kala Bazaar**; 1963: Tere Ghar Ke Saamne*; 1964: Haqeeqat; 1965: Guide*; 1966: Teesri Manzil*; 1967: Jewel Thief*; 1968: Kahin Aur Chat*; 1970: Johnny Mera Naam*; 1971: Tere Mere Sapne**; 1972: Double Cross; 1973: Hindustan Ki Kasam; Chhupa Rustom**; Blackmail**; 1974: Kora Kagaz; Chor Chor; 1976: Bullet*; 1978: Main Tulsi Tere Aangan Ki; 1980: Ram Balram*; 1981: Ghunghroo Ki Awaaz; 1982: Rajput*; 1984: Hum Rahe Na Hum; 1988: Main Tere Liye*; 1994: Tahqiqat (TV).

ANJANEYULU, CHILAKALAPUDI SEETA RAMA (1907–63)

Born in Guntur Dist., AP. Actor and singer in stage mythologicals since early youth. Became one of the first major Telugu stars. Film début as Ram in East India Film’s Ramadasu. Early roles in Telugu mythologicals, esp. Krishna in Draupadi Vastrapaharanam and the title roles in Tukaram and in P. Pullaiah’s Shri Venkateswara Mahatyam. Changed to socials with Raja Sandow’s Choodamani; became a comic villain in L.V. Prasad’s Grihapravesham, repeating the character in e.g. Appu Chesi Pappu Koodu. Other famous roles include the villainous farmer in Rojulu Mar ay i, Ramappa Panthulu in Kanyasulkam and Kuchela in Krishna Kuchela. Best known for K.V. Reddy’s Maya Bazaar, setting the standard for the image of the popular Mahabharata character, Shakuni.

FILMOGRAPHY: 1933: Ramadasu; 1936: Draupadi Vastrapaharanam; 1937: Tukaram; 1939: Shri Venkateswara Mahatyam Jayapradha; 1941: Choodamani; Talliprema; 1942: Sumati; 1945: Mayalokam; Paduka Pattabhishekham; 1946: Grihapravesham; 1947: Ratnamala; 1948: Bhakta Siriyala; 1949: Laila Majnu; 1950: Vali Sugriva; Paramanandayya Shishyula Katha; 1951: Saudamini; Akasharaju; Patala Bhairavi/Pataal Bhairavi; Agni Pareeksha; 1952: Dharmadevata; Manavati; Prema/Kathal; 1953: Devadasu; Paropakaram; Vayyari Bhama; Chandirani; 1954: Anta Manavalle; Iddaru Pellalu; Sati Sakkubai; Kanyadanal Kanyadanam; Chakrapani; 1955: Ante Kavali; Rojulu Marayi; Kanyasulkam; 1956: Bhale Ramudu/Prema Pasam; Bhakta Markandeya; 1957: Repu Neede; Bhale Bhava; Bhale Ammayilu; Vaddante Pelli; Maya Bazaar; Suvarna Sundari; 1958: Ettuku Pai Ettu; Dongalunnaru Jagratha; Parvati Kalyanam; Appu Chesi Pappu Koodu; 1959: Pelli Sandadi; Rechukka Pagatichukka; Vachina Kodalu Nachindi; 1960: Jagannatakam; Nityakalayanam Pachathoranam; Rani Ratnaprabha; Bhakta Raghunath; Annapurna; Runanubandham; 1961. Jagadeka Veeruni Katha/Jagathala Prathapan; Bava Maradallu; Bhakta Jayadeva; Pelli Pilupu; Krishna Kuchela; Bikari Ramudu; 1962: Kalimilemulu; Chitti Tamudu; 1963: Irugu Porugu; Savati Koduku; 1964: Peetalameeda Pelli; Babruvahana; Bobbili Yuddham; 1967: Vasantsena; 1968: Chellelikosam.

ANNADURAI, CANJEEVARAM NATARAJAN (1909–69)

Tamil scenarist, playwright and DMK Party politician who founded the DMK Film propaganda genre. Born in Kanjeevaram; studied at university while translating for the Justice Party and stood for them as a candidate in the Madras City elections (1936). Worked in labour unions and edited a trade union weekly, Nava Yugam. Became a disciple of Periyar E.V. Ramaswamy Naicker (1937) and was his lieutenant when Periyar started the Dravidar Kazhagam Party (1944). Wrote his first major play Chandrodayam (1943), in which both he and his later protégé M. Karunanidhi acted, as Party propaganda. Broke away from the DK to start his own Party, the Dravida Munnetra Kazhagam (1949), which he led to victory in the Tamil Nadu elections (1967). As Chief Minister, his only film-related action was to reduce entertainment tax. His leadership of the DMK, often considered the golden years of the Party, included diluting Periyar’s anti-brahminism and anti-religious politics, while indulging in a nationalist Tamil rhetoric identifying Hindi, North India and the Congress Party collectively as the main enemy. The DMK’s main ideologue, he wrote extensively on politics, dispensing his views (in e.g. Kambarasam, critiquing the Ramayana for glorifying Aryans) by way of propagandist short stories, novels and plays. Wrote the historical play Shivaji Kanda Indhu Rajyam, propelling Sivaji Ganesan into stardom as the Maratha emperor. Started the successful DMK Film genre, writing the scripts for Velaikkari (1949; based on his own stage play) and Nallathambi (1949), followed by Ore Iravu (1951), Sorgavasal (1954) and Nallavan Vazhvan (1961). His novel Rangoon Radha was adapted to the screen by Karunanidhi (1956). His début, Velaikkari, inaugurated via its lead character, Anandan (played by K.R. Ramaswamy), the enduring convention of subjecting a poor hero to many travails, often seeing his family destroyed, until he stridently denounces his oppressors, often equating the gods with the landlords as joint exploiters of the poor. Ramaswamy and MGR, who was later named the ‘Makkal Thilakam’ (People’s Star), later became stellar figureheads of the DMK. Although Annadurai’s political standing in Tamil Nadu remains unassailable, his scripts have sometimes been seen as modelled on Hollywood’s approach: cf. Nallathambi and Capra’s Mr. Deeds Goes To Town (1936), Sorgavasal and Rouben Mamoulian’s Queen Christina (1933), Rangoon Radha and Cukor’s Gaslight (1944).

ANTHONY, P. J. (1923–79)

Aka P.J. Antony, born in Ernakulam, Kerala. Malayalam actor whose career illustrates that the roots of Kerala’s cinema are in the theatre. Major actor-playwright in the post-WW2 era with more than 90 plays, practising an Ibsen-derived naturalism; he acted in N. Krishna Pillai’s seminal adaptation of A Doll’s House: Bhagnabhavanam (1942). Drew on the IPTA’s radical nationalism. Ran the Pratibha Arts Club, an influential theatre group based in Ernakulam staging e.g. Cherukadu’s reformist plays. In cinema, famed for playing villains, except for his best-known performance in Nirmalayam as the priest torn between religious responsibilities and the amoral duplicity of those around him. Directed, scripted, acted in and provided lyrics for Periyar. Also wrote lyrics for Suhruthu (1952), the dialogues of Kootukar (1966) and Virunnukari, and the stories of Chekuthante Kotta, A. Vincent’s celebrated Nadhi and Detective 909 Keralathil (1970).

FILMOGRAPHY (* also d): 1958: Randidangazhi; 1961: Mudiyanaya Puthran; 1962: Kalpadukal; 1963: Ninamaninja Kalpadukal; Ammeye Kannan; 1964: Thacholi Othenan; Adya Kiranangal; Bhargavi Nilayam; Kalanjukuttiya Thangam; 1965: Rosy; Rajamalli; Murappennu; 1966: Tharavatamma; Kunjali Marakkar; 1967: Irutinte Atmavu; Sheelavati; Balyakalasakhi; Anveshichu Kandatiyilla; Ashwamedham; Nagarame Nandi; Pareeksha; Kavalam Chundan; Chekuthante Kotta; Mulkireedam; 1968: Karutha Pournami; Manaswini; Asuravithu; Punnapra Vyalar; Lakshaprabhu; Kayalkarayil; 1969: Anashchadanam; Veetu Mrugham; Almaram; Kattukurangu; Susie; Nadhi; Virunnukari; 1970: Pearl View; Kurukshetram; Cross Belt; Kakathampurati; Ambalapravu; 1971: CID Nazir; 1972: Manushya Bandhangal; 1973: Periyar*; Masappadi Mathupilla; Nirmalayam; Dharma Yuddham; 1974: Atithi; 1975: Odakkuzhal; Priyamulla Sophia; 1976: Muthu; Nurayum Pathayum; 1978: Padasaram; Anayum Ambariyum; 1979: Manninte Maril; Chula.

APTE, NARAYAN HARI (1889–1971)

Marathi novelist and scenarist; key influence on the elaboration of the reformist social as a genre in the 20s and 30s. A product of 19th C. social reform movements in Maharashtra, Apte was self-taught and ran a publishing house, Apte & Co.(Est: 1924) which brought out a literary-political journal, Alhaad (started in 1915). Author of novels and short-story anthologies within the conventions of the historical (e.g. Manavi Asha, Rajputache Bhishmd), or of the social (Na Patnari Goshta, the source for Kunku/Duniya Na Mane, 1937). Invented the social sub-genre of the dainik kadambari or ‘daily life’ novel, usually in a middle-class setting (Paach Te Paach, Waiting Room). Introduced to film by Baburao Painter writing Savkari Pash, the historical Rana Hamir (both 1925) and Pratibha (1937). Best-known film writing for Shantaram at Prabhat Studio (Amritmanthan, 1934; Kunku/Duniya Na Mane, 1937). May have provided the story, uncredited, of Phalke’s Gangavataran (1937). Worked with Dharmadhikari (Kunkvacha Dhani, 1951) and Dinkar D. Patil (Umaj Padel Tar, 1960). Also wrote K.P. Bhave’s Dhruva Kumar (1938), Shantaram Athavale’s Bhagyarekha (1948) and Sansar Karaychay Mala (1954).

APTE, SHANTA (1916?-64)

Born in Dudhni, Maharashtra. Actress-singer trained at the Maharashtra Sangeet Vidyalaya music school in Pandharpur. One of the great singing stars in the pre-playback era (with Kanan Devi). Best known work at Prabhat Studio. In Amritmanthan, as the hero’s sister Sumitra, caused a box-office sensation with her songs, which became popular in the North (Amritsar and Lahore) leading to a distribution breakthrough for Prabhat. Although music director Keshavrao Bhole had doubted whether she could adapt to his light classical style (Bhole, 1964), her ability to counterpoint musical rhythm with gestural spontaneity proved a refreshing departure from the then prevalent ponderously stagey style. Best-known performance in Kunku/Duniya Na Mane, opposite and contrasting with Keshavrao Date, ensuring the film’s reputation as a progressive social still watchable today. Apart from her Prabhat films, also worked with Bhalji Pendharkar (who introduced her to films as a child), Phani Majumdar, Master Vinayak, Nandlal Jaswantlal, Moti Gidwani and Raja Paranjpe. She featured in one Tamil film, Savithri, playing the title role alongside the singing star (and Carnatic musician) M.S. Subbulakshmi who played the male role of Narada. Wrote autobiography, Jau Mi Cinemaat? (1940). Went on a famous hunger strike at the gates of the Prabhat Studio in July 1939 in a protest over her contract.

Shanta Apte (left) and Bipin Gupta (centre) in Swayamsiddha (1949)

FILMOGRAPHY (* also music d): 1932: Shyam Sundar; 1934: Amritmanthan; 1936: Amar Jyoti; Rajput Ramani; 1937: Kunku/Duniya Na Mane; Wahan; 1938: Gopal Krishna; 1941: Savithri; 1942: Apna Ghar/Aple Ghar; Zamindar; 1943: Duhai; Mohahbat; 1944: Bhagya Lakshmi; Kadambari; 1945: Sawan; 1946: Panihari; Subhadra; Uttara Abhimanyu; Valmiki; 1948: Mandir; Bhagyarekha; 1949: Main Abla Nahin Hoori*; Swayamsiddha; Jaga Bhadyane Dene Aahe; Shilanganache Sone; 1950: Jara Japoon; 1951: Kunkvacha Dhani; 1953: Tai Teleen; 1955: Mulu Manek; 1957: Chandi Puja.

ARATHI (B. 1954

Kannada actress born in Aragal, Mysore, Karnataka. Star in 70s melodramas continuing Kalpana’s 60s films. Best work under Puttanna Kanagal’s direction in films built around her unique presence. Shot repeatedly and at length with an obsessive physical grossness, her body becomes the target of a destructive neurosis that Kanagal usually ascribes to the male lead. Her persona became an emblem elaborated over a series of films starting with Nagara Haavu and was later used by other film-makers. Her wooden acting coupled with a statuesque presence often adds a voyeurist dimension to long and complicated stories that end with the desecration of what she embodies and, sometimes, with her death (e.g. Ranganayaki). Even her absence in Kanagal’s Manasa Sarovara (1982) led to speculation about the ‘real’ meaning of the theme of a doctor who leaves his wife to cure a mentally deranged girl, falls in love with her, and goes insane when she falls for his nephew. Directed a TV series, Namma Nammalli. Briefly a member of the Karnataka State’s legislative assembly representing the fanatic BJP.

FILMOGRAPHY: 1970: Gejje Pooje; Takka! Bitre Sikka!!; 1971: Kasturi Nivasa; Anugraha; Pratidhwani; Nyayave Devaru; Shri Krishna Rukmini Satyabhama; 1972: Sipayi Ramu; Bhale Huchcha; Nagara Haavu; Kulagaurava; Vooriki Upakari; Bangarada Manushya; 1973: Mane Belagida Sose; Edakallu Guddada Mele; Muruvare Vajragalu; Bangarada Panjara; Mannina Magalu; 1974: Nanu Baalabeku; Upasane; Maha Thyaga; Bhale Bhatta; 1975: Dari Tappida Maga; Shubhamangala; Bili Hendthi; Katha Sangama; Devara Kannu; Hosilu Mettida Hennu; 1976: Premada Kanike; Punaradatta; Bahadur Gandu; Raja Nanna Raja; Phalithamsha; Balu Jenu; Aparadhi; 1977: Magiya Kanasu; Pavanaganga; Anurupa; Kudre Mukha; 1978: Hombisilu; Matu Tappada Maga; Muyyige Muyi; Paduvarahalli Pandavaru; Anuragha Bandhana; Premayana; Vasanthalakshmi; Balu Aparupa Nam Jodi; 1979: Dharmasere; Adalu Badalu; Na Niruvude Ninagangi; Manini; Nentaro Gantu Kallaro; 1980: Bhakta Siriyala; Hanthakana Sanchu; Bangarada Jinke; Nyaya Neethi Dharma; Anurakthe; 1981: Ranganayaki; Thayiya Madilalli; Nari Swargakke Dari; Ganesha Mahime; Bhagyavantha; Chadurida Chitragalu; Bhagyada Belaku; Edeyuru Siddalingeshwara; Preetisi Nodu; 1982: Pedda Gedda; Archana; Mullina Gulabi; Karmika Kallanalla; Mava Sose Saval; Parijata; Nyaya Yellide?; Kannu Terasida Hennu; Suvarna Sethuve; Hasyarathna Ramakrishna; Raja Maharaja; Parvayin Marupakkam; 1983: Tirugu Bhana; Gedda Maga; Jaggu; Nyaya Gedditu; Kalluveene Nudiyitu; Thayiya Nudi; Sididedda Sahodara; Kranthiyogi Basavanna; Ananda Sagara; Muttaide Bhagya; Gandharvagiri; Akrosha; Chelisada Sagara; Samarpane; Premave Balina Belaku; Bekkina Kannu; 1984: Kaliyuga; Khaidi; Poojaphala; Hennina Saubhagya; Avala Antaranga; Ramapurada Ravana; Pavitra Prema; Agnyathavasa; Preeti Vatsalya; 1985: Nee Nakkaga; Sati Sakkubai; Lakshmi Kataksha; Kumkuma Thanda Saubhagya; Swabhimana; Shiva Kotta Saubhagya; Tulasi Dala; Haavu Eni Aata; Kuridoddi Kurukshetra; 1986: Bettada Thayi; Seelu Nakshatra; Tiger; 1987: Thaliye Ane; 1988: Superboy.

ARAVINDAN, GOVINDAN (1935–91)

Malayalam director, painter and cartoonist with an idiosyncratic style. Born in Kottayam, Kerala; son of the literary humorist, Govindan Nair. Worked as caricaturist for the Mathrubhoomi journal (1961–79), drawing the cartoon series Small Man and Big World, chronicling the adventures of Ramu, its corruptible proletarian hero, and Guruji; later did an occasional cartoon strip for the Kala Kaumudi journal, called A Bird’s Eye View. His published cartoon collection (1978) highlights a change in drawing style in the early 70s, emphasising large blank spaces and characters almost disappearing below the frame. His films are known for their distinctive look, sparse naturalism, silences and long shots with darker shades of grey in b&w films. Film society activist in Kottayam and Calicut. Early work was the only consistent cinematic manifestation of late 60s Calicut-based modernism represented particularly by artist Devan, the playwright and satirist Thikkodiyan and the writer Pattathiruvila Karunakaran (who produced Uttarayanam). A major influence on this group was the spiritualism of satirist and political activist Sanjayan. Later, like the visual artists associated with the Kerala Kalapeetam in Ernakulam, Aravindan combined this influence with the new, more mystical direction taken by K.C.S. Panicker’s (1911–77) paintings (cf. Kanchana Seeta). His faithful producer and distributor, Ravindran of General Pics, ran a family business in cashew nuts. Worked at the Kerala Rubber Board throughout most of his film career. Also stage director, working in association with the playwright Srikantan Nair, after which he helped start the Navarangan (in Kottayam) and Sopanam theatre groups, staging e.g. Kali (1964) and Avanavan Kadamba (1976) using musical forms derived from the work of Kavalam Narayana Panicker, who later collaborated on the scripts of Kummatty and Estheppan. Noted actors associated with this group were Gopi and Nedumudi Venu. Also trained in the Kirana-style Khayal. Occasionally music director for other film-makers: Yaro Oral (1978), Piravi and Ore Thooval Pakshikal (both 1988).

FILMOGRAPHY: 1974: Uttarayanam; 1977: Kanchana Seeta; 1978: Thampu; 1979: Kummatty; Estheppan; 1981: Pokkuveyil; 1985: Chidambaram; Viti (Doc); The Brown Landscape (Sh); 1986: Oridathu; The Seer Who Walks Alone (Doc); 1987: Contours of a Linear Rhythm (Doc); 1988: Anandi Dhara (Doc); Marattam (TV); Sahaja (Sh); 1989: Unni; 1990: Vasthuhara.

ART SCHOOLS

The terms ‘art school’ or ‘academic’ aesthetic style in the visual arts refer to a series of art schools started in the mid-19th C. in Presidency cities, usually by Indian industrialists or entrepreneurs with support from the British government: the Calcutta School of Art (Est: 1854), the School of Industrial Arts in Madras (Est: 1854), the Sir Jamshedji Jeejeebhoy School of Art in Bombay (Est: 1857) and the Mayo School of Arts in Lahore (Est: 1878). Set up to provide industrial craft training (e.g. weaving, metal and wood carving, gem cutting), they became fine arts institutions modelled on the Royal Academy to train artists in ‘the whole paraphernalia of European art academies: the drawing-room copies, casts from “the antique”, Gothic mouldings etc. [while] at the same time it has been held as totally unnecessary, if not demoralising, for them to study the principles and methods of Indian painting and sculpture’ (E.B. Havell, Principal in early 20th C. of the Government School of Art, Calcutta, 1901). A valuable account of the art schools is given by T. Guha-Thakurta (1992), who points out that by the end of the 19th C. the art schools had managed to establish the idea that art could be a respectable vocation, in terms of the status of ‘high art’, as well as a career in terms of the middle-class employment opportunities offered by an ‘applied arts’ approach: ‘Art, indicating painting and sculpture, and the “applied arts”, indicating technical skills of draughtsmanship, engraving, etching or lithography, were not considered two separate spheres, but two essential aspects of the same profession.’ Extending the naturalist and neo-classical modes of British painting in India, the new academicism of the art schools, legitimated by e.g. portrait commissions from the British and Indian ruling classes, also fed into the diversified conventions of the Company School as Indian artists formerly under feudal patronage started selling their wares in urban market-places. The academic style, both in genre and manner, had a function analogous to that of operatic style in the Parsee Theatre: it created a new hierarchy of taste in competition with classicist brahminical aspirations while maintaining an opposition to native popular arts which sought to assimilate industrial technology differently (cf. Pat Painting and Raja Ravi Varma for alternative solutions). However, as Indian artists often found it difficult to incorporate the rules of monocular perspective, the art schools invented their own variations, reformulating the demand for verisimilitude in the painted or photographed image in terms of a naive formalism, thereby creating a peculiar genre popular with the potentially democratic and culturally eclectic urban middle classes. This institutionalised aesthetic became a conduit for theatrical and cinematic naturalism, displaced though it was into various devices that substituted for illusionistic skills. These developments prefigure the painted stage backdrops and set design, e.g. in the work of artists and art directors such as M.R. Achrekar (in Raj Kapoor films) or Kanu Desai (in Vijay Bhatt and Shantaram costume dramas). Bansi Chandragupta’s work for S. Ray is also relevant in this context, although other considerations come into play in his case as well. Later, the art school aesthetic influenced the posture of actors as they formed a frontal master-shot tableau within which the film-maker would insert close-ups or over-the-shoulder shots.

ARUDRA (1925–98)

Telugu poet and film lyricist born in Vizag, AP, as Bhagavathula Shankara Sastry. Started publishing poetry as a teenager, e.g. Loha Vihangalu. Initially influenced by radical poet Sri Sri. After a brief stint in the army, he became a professional writer under the name Arudra. Early writing was romantic, but became more political under the influence of the Telangana anti-zamindari movements (cf. Twamevaham). Major poetry anthologies include Kunalamma Padyalu (1964), Enchina Padyalu (1965) and Intinti Padyalu (1969). Also wrote patriotic songs during the India-China war (1962). Compiled an anthology of Telugu literature (Samagrandhra Sahityam). Film début in the Telugu version (Beedala Patlu) of Ramnoth’s classic Ezhai Padum Padu (1950). Made his reputation in films with Premalekhalu (1953), the Telugu dubbed version of Raj Kapoor’s Aah (1953). Described as the last of the pre-rock generation film lyricists. Recently worked for Bapu (Pelli Pustakam, 1991). Classic film lyrics anthologised by V.A.K. Ranga Rao in Kondagali Tirigindi.

Arunaraje or Aruna-Vikas see Raje, Aruna

ASHWATHAMMA, K. (1910–44)

Star Kannada and Tamil actress-singer with brief but sensational film career. Launched on the stage (1934) and in film (1935) in title role of Gubbi Veeranna’s Sadarame, both with Jayamma as Draupadi. Adult stage career began with Mohammed Peer’s Manolasini Nataka Sabha, which led to her career as a recording star and her biggest hit single, Ha priyaprashanta hridaya (from the play Manmatha Vijayd). Her songs in Sadarame and her duet with M.K. Thyagaraja Bhagavathar in Y.V. Rao’s Chintamani confirmed her as a South Indian film and recording star, although she did only one more film, Sundarrao Nadkarni’s Sant Sakkubai.

FILMOGRAPHY: 1935: Sadarame; 1937:

ASIF, KARIMUDDIN (1924–71)

Urdu director born in Etawah, UP. Best known for expensive costume spectaculars centred around Muslim legend (cf. S. Modi). Assistant to uncle film-maker and actor, S. Nazir (Society, 1942). Turned director in 1944 and producer in 1951 with S.K. Ojha’s Hulchul. Mughal-e-Azam, one of Indian cinema’s biggest blockbusters, took 9 years to make, initially starring Chandramohan, who died and was replaced by Dilip Kumar. Left two big projects unfinished at his death: Sasta Khoon Mehnga Paani (1970, which was to be shot in Jordan), and Love and God, using the Sufi legend of Laila-Majnu, started with Guru Dutt but entirely re-shot after Dutt died. Eventually released in unfinished form by producer K.C. Bokadia, starring Sanjeev Kumar.

FILMOGRAPHY: 1944: Phool; 1960: Mughal-e-Azam; 1970: Sasta Khoon Mehnga Paani; 1986: Love and God.

ATHAVALE, SHANTARAM GOVIND (B. 1910)

Marathi and Hindi director, better known as a Marathi lyricist; born in Pune, where he saw many classic Sangeet Natak performances in his childhood. Apprenticed to novelist Narayan Hari Apte, helping him to publish the journal Madhukar in Koregaon. When Apte was invited to script Amritmanthan (1934) for Prabhat, Athavale followed his mentor as a songwriter, and achieved instant success esp. with the song Kiti sukhada. Achieved even greater renown when he wrote the only new song for Sant Tukaram (1936), the others being the saint poet’s original compositions. The song in question, Adhi beej ekale, convinced many Tukaram authorities that an unknown Tukaram composition had been discovered. He wrote most of the songs of Prabhat hits such as Kunku (1937), Mazha Mulga and Gopal Krishna (both 1938), Sant Dnyaneshwar (1940), Sant Sakhu and Shejari (both 1941), Daha Wajta (1942) and Ramshastri (1944), often in partnership with composer Keshavrao Bhole. Left Prabhat (1942) to write dialogues and lyrics for Debaki Bose’s Aple Ghar (1942) and lyrics for Vijay Bhatt’s Bharat Bhet (1942). For his début as director with Bhagya Rekha, he hired his former teacher N.H. Apte together with the star associated with his songs, Shanta Apte. Athavale’s Main Abla Nahin Hoon was one of Apte’s better-known post-Prabhat performances. Made numerous educational shorts and documentaries, mostly in English. Wrote a history of Prabhat, Prabhat’ Kaal (1965).

FILMOGRAPHY: 1948: Bhagya Rekha; 1949: Main Abla Nahin Hoon; 1953: Vahinichya Bangdya; 1954: Sansar Karaychay Mala; 1955: Shevgyachya Shenga; 1958: Padada; 1960: Fix it Right (Doc); Write it Right (Doc); 1961: How to Vote (Doc); Gift of Sight (Doc); 1962: Citizens and Citizens (Doc); The Homecoming (Doc); Marriage and After (Doc); 1963: Chatur Balak; 1965: Vavtal; 1968: Sankat Main Swasthya Aur Safai (Doc); 1971: My Village My People (Doc).

ATHREYA, ACHARYA (1921–89)

Telugu poet, scenarist, lyricist and noted playwright. Born near Sullurpet, AP, as Kilambi Narasimhacharyulu. Wrote several plays while a student at Nellore and Chittoor and was associated with the Venkatagiri Amateurs stage group. Abandoned his studies to participate in the Quit India agitations and was imprisoned. Odd jobs including working as a clerk in a settlement office and assistant editor on the journal Zamin Raitu. Early plays in the historical genre (Gautama Buddha, 1946; Ashoka Samrat, 1947). Introduced a brand of realism on the stage, addressing contemporary political issues, e.g. N.G.O. (1949), later adapted to the screen as Gumasta (1953). Other major plays include Eenadu (1947), Vishwashanti (1953), Bhayam (1957). First film script was Samsaram (1950; uncredited), followed by H.M. Reddy’s Nirdoshi (1951). Wrote lyrics for more than 250 films, starting with Deeksha (1951). Secretary of the Andhra Screen Writers Guild (1955–6). Lyrics published by the actor K. Jaggaiah. Directed one film: Vagdanam (1961).

Atma, K. P. see Pratyagatma, K.

ATMA RAM (1930–94)

Hindi director born in Calcutta as Atmaram Padukone; younger brother of Guru Dutt. Did clerical work and joined the Socialist Party (1948–50); active trade unionist and secretary of the Press Workers’ Union. Studied at the University of Bombay (1952); then assisted Guru Dutt. Worked for a while in London (1958–61) directing films produced by Stuart Legg and Arthur Elton for the Shell Film Unit; also scripted documentaries for James Beveridge for India’s Shell Film Unit (1955–62). Turned to features, mostly musicals, after Guru Dutt’s death (1964) and ran the company. Tried to go in a new direction with Umang, his first independent Atma Ram Films production, dispensing with major stars in favour of ‘youth movie’ ensemble play (with the then unknown Subhash Ghai as actor). His Yeh Gulistan Hamara, for Guru Dutt Films, is a nationalist movie in which Dev Anand, on behalf of the Indian government, quells the North Eastern frontier tribals with love to the tune of classic S.D. Burman numbers (Kya yeh zindagi hai, Raina soyi soyi). The Saira Banu and Vinod Khanna hit Aarop addressed corruption in journalism. Also made advertising films with his younger brother, Devi Dutt. Active in official institutions (e.g. at the FTII in the late 70s). Often worked for television.

FILMOGRAPHY: 1960: The Living Soil (Doc); 1961: The Peaceful Revolution (Doc); 1964: Kaise Kahun; 1968: Shikar; 1969: Chanda Aur Bijli; 1970: Umang; 1971: Memsaab; Yaar Mere; 1972: Yeh Gulistan Hamara; 1973: Aarop; Resham Ki Dori; 1974: Imaan; 1975: Qaid; 1976: Ladusingh Taxiwala (TV); 1977: Aafat; Ashanti Shantidas (TV); 1978: Ramlal Shyamla (TV); 1979: Khanjar; 1982: Pyar Ke Rahi; 1988: JP (Doc); Yeh Sach Hai (Doc); 1990: Beeswa Oonth (TV); 1992: Tulsidas; 1993: Vividha (TV).

ATORTHY, PREMANKUR (1890–1964)

Bengali and Hindi director born in Faridpur (now Bangladesh). Noted novelist and playwright, author of many books including compilations of short stories, essays (e.g. on silent film, cf. Atorthy, 1990) and plays. Best-known literary work: Mahasthavir Jatak (1922), a fictional autobiography in four volumes noted for its irreverent portrayal of Calcutta’s early 20th C. élites. Associated with literary journal Bharati; edited Nachghar, one of the first performing arts journals to take film seriously, with Hemendra Kumar Roy and film-maker Pashupati Chatterjee. Founded Betar Jagat, the journal of the AIR, Calcutta (1929). Started as scenarist and actor, using the pseudonym Krishna Haldar, at Indian Kinema Arts (Punarjanma, 1927; Chasher Meye, 1931). Remade Punarjanma in 1932. Joined B.N. Sircar’s International Filmcraft as writer and assistant to Prafulla Roy (Chasher Meye is based on Atorthy’s novel and script). Also scripted Nitin Bose’s Buker Bojha (1930). First film, Dena Paona, was New Theatres’ first talkie, made in direct competition with Madan Theatres’ Jamai Sasthi (1931). Made several Urdu films as part of New Theatres’ effort to enter the North Indian market, including the classic film of Aga Hashr Kashmiri’s play Yahudi Ki Ladki. His film versions of literary classics, e.g. from Saratchandra Chattopadhyay (Dena Paond), Rabindranath Tagore (Chirakumar Sabha) and Bankimchandra Chattopadhyay (Kapal Kundala), established the élite literary film genre intended to distinguish New Theatres’ films from routine stage adaptations and remained important signifiers of high art in Bengali cinema. First Bengali film-maker to work in Western India, e.g. for Kolhapur Cinetone (1935) and for Imperial (1936). Credited with the supervision of H.K. Shivdasani’s Yasmin (1935), made by the Krishna Studio.

FILMOGRAPHY: 1931: Dena Paona; 1932: Mohabbat Ke Aansoo; Subah Ka Sitara; Zinda Lash; Punarjanma; Chirakumar Sabha; 1933: Kapal Kundala; Yahudi Ki Ladki; 1935: Bharat Ki Beti; Bhikharan; Karwan-e-Hayat; 1936: Hind Mahila; Sarala; 1937: Dhanwan; 1938: Dulhan; 1940: Kalyani; 1941: Avatar; 1942: Lajwanti; 1943: Dikshul; 1950: Sudhar Prem.

ATRE, PRALHAD KESHAV (1898–1969)

Marathi-Hindi director and controversial literary figure in post-WW1 Maharashtra. Educated at the universities of Poona and London; studied experimental psychology under Cyril Burt and taught at Harrow before returning to India. Owner-editor of populist down-market Maratha newspaper; one-time Congress Party MLA. Author of 22 plays, 13 short-story collections, four books of poetry and a 4-volume autobiography (Atre, 1965–7). Teacher and producer of several school textbooks, often calling himself Principal Atre in his film credits. Aggressive polemicist remembered for famous literary battles with N.S. Phadke and Mama Warerkar. Owned Chitramandir Studio/Atre Pictures (1940), the Atre Printing Press (1944) and Atre Arts (1968). Film career began adapting his own short stories for Master Vinayak (Brahmachari, 1938; Brandichi Batli, 1939). Became a leading independent scenarist (e.g. Raja Rani, 1942) and pioneered the entry of new literary modes emerging from non-fictional prose into post-Independence Marathi film. His chosen genre was political satire, usually directed against the realist conventions of pre-WWl social reform novels with their caste biases and Anglophilia. However, his best-known film as director was the bitter-sweet melodrama Shyamchi Aai. Wrote plays in many genres: thrillers (To Mee Navhech), tragedies (rewriting the reformist Sangeet Natak playwright Ram Ganesh Gadkari and his own Udyacha Sansar) and satire. Noted scripts: Dharmaveer, Premveer, Begunah (all 1937), Ardhangi/Ghar Ki Rani, Lapandav (both 1940). Preferred to hire directors rather than to direct. Produced and wrote his own movies, often starring his wife, Vanmala, through his Atre Pics, founded in 1940.

FILMOGRAPHY: 1944: Dil Ki Baat; 1945: Parinde; 1948: Moruchi Mavshi; 1949 Brahma Ghotala; 1951: Hi Majhi Lakshmi; 1953: Shyamchi Aai; 1954: Mahatma Phule.

Vanmala in P.k. Atre’s Shyamachi Aai (1953)

AURORA FILM CORPORATION

Studio in Calcutta initially named Aurora Cinema (Est: 1911) by founders Debi Ghosh, Anadi Bose and Charu Ghosh. It ran tent shows in Howrah and around Assam, showing Western films as part of a variety bill. Started making films in 1917, having won the contract to make shorts for the army during WW1 with cameras bought from Hiralal Sen. Early productions include shots of plays from Calcutta’s Art Theatres (Basabadatta, Chandrasekhar) and Manmohan Theatres (Bishabriksha). Later known for major films like Surendra Narayan Roy’s Ratnakar (1921) and Bidyasundar (aka The Lover’s Trance, 1922) and Aurora Tuki-taki (Aurora Tidhits, compilations of clips). Converted into Aurora Film when Anadi Bose became sole proprietor, purchasing the studio premises of Barua Pics (1929). Made films in Bengali (e.g. by Niranjan Pal and Naresh Mitra), in Hindi and some in Telugu and Tamil (e.g. by Sundarrao Nadkarni). Niranjan Pal helped launch the pioneering Aurora Screen News, which shot the footage of Rabindranath Tagore’s funeral later used by Satyajit Ray in his documentary (1961). The only silent Bengali studio still operating in 1992.

AVM FILM COMPANY

One of the top South Indian studios set up in 1947 by film-maker, producer and mogul A.V. Meiyappan (1907–79). Born to a family of Chettiars, Meiyappan initially ran a shop named A.V. & Sons, later expanded (1932) to include Saraswathi Stores, also distributor for the German Odeon label. Début as producer with Saraswathi Sound (Alii Arjuna, 1935). His previous companies included Saraswathi Talkies and Pragati Pics, the latter known for comedy double bills written by A.T. Krishnaswamy (Poli Panchali, 1940; Sabhapati, 1941) and for the film of R. Nagendra Rao’s play, Bhukailasa (1940), directed by Sundarrao Nadkarni. Following his Tamil hit, Srivalli (1945) starring singer-musician T.R. Mahalingam, Meiyappan established his AVM Studio adapting S.V. Sahasranamam’s stage hit Nam Iruvar (1947). The film was a precursor of the classic DMK Film dramas made at this studio later, e.g. Parasakthi (1952). Developed a unique production infrastructure in four Indian languages, including Hindi films starting with Bahar (1951), starring Vyjayanthimala in a remake of her début, the hit Vazhkai (1949), directed by M.V. Raman. Made films such as Bedara Kannappa (1954) and Sadarame (1956) in Kannada, the Raj Kapoor-Nargis Hindi hit, Chori Chori (1956), the Tamil films Andha Naal (1954), Server Sundaram (1964). AVM also pioneered the practice of dubbing productions. Among the directors working in the four languages at AVM were M.V. Raman, Krishnan-Panju, A. Bhimsingh, A.C. Trilogchander and S.P. Muthuraman, who worked mainly in Tamil. Meiyappan published his autobiography, Enadhu Vazhkai Anubhavangal/The Experiences of My Life (1974). He is credited with the direction of Sabhapati (1941), En Manaivi (with S. Nadkarni, 1942), Srivalli (1945), Nam Iruvar (1947) and Vethala Ulagam (1948). The studio was dormant towards the end of his life, although his son Saravanan later made Murattu Kalai (1980), which confirmed Rajnikant’s superstar status, and Sahakala Vallavan (1982) with Kamalahasan, both directed by S.P. Muthuraman, and seen as re-establishing the studio with themes celebrating atavistic notions of masculinity.

AZMI, KAIFI (B. 1925)

Film lyricist and scenarist born in Azamgarh as Akhtar Husain Rizvi. Urdu poet in the tradition of Josh Malihabadi and Faiz Ahmed Faiz (1911–84). Abandoned his studies of Persian and Urdu during the 1942 Quit India agitations, and shortly thereafter became a full-time Marxist activist. Went to Bombay (1945) and was for a while a trade union worker; closely involved with the PWA in Bombay. Published three anthologies of poetry (Akhini-Shab, Jhankar and Awara Sajde). Early work as story writer for Nanubhai Vakil’s films (Yahudi Ki Beti, 1956; Parvin, 1957; Miss Punjab Mail, 1958; Id Ka Chand, 1964). Wrote lyrics for numerous films, most notably for Guru Dutt’s Kaagaz Ke Phool (1959), Chetan Anand’s nationalist war movie Haqeeqat (1964) and Kamal Amrohi’s Pakeezah (1971). Established formidable reputation as perhaps the most charismatic writer in films, following the acclaim for his script, dialogue and lyrics for M.S. Sathyu’s Garam Hawa (1973), based on Ismat Chughtai’s story. Also wrote dialogues for Sathyu’s Kanneshwara Rama (1977). Other contributions include dialogues for Benegal’s Manthan (1976), lyrics for Hrishikesh Mukherjee’s Bawarchi (1972) and for Kamal Amrohi’s Razia Sultan (1983). Played a memorable role as the old man in Naseem (1995), Saeed Akhtar Mirza’s poignant feature around the destruction of the Babri Masjid in 1992. Raman Kumar made a documentary, Kaifi Azmi (1979).

AZMI, SHABANA (B. 1950)

Actress. Daughter of Kaifi Azmi and celebrated IPTA actress Shaukat. Graduate of FTII acting course (1972); feature début in Abbas’s mediocre Eaasla, released after her emergence in Ankur. Became a regular presence in Benegal films (Nishant Junoon, Mandi, Susman, Antarnaad). Together with Smita Patil, Azmi is the most prominent star spawned by the New Indian Cinema, working with e.g. Satyajit Ray (Shatranj Ke Khiladi), Mrinal Sen (Khandhar, Genesis, Ek Din Achanak), Saeed Mirza (Albert Pinto Ko Gussa Kyon Aata Hai), Gautam Ghose (Paar), Sai Paranjpye (Sparsh, Disha), Aparna Sen (Picnic, Sati), and Mahesh Bhatt films, including the notorious Arth. Also worked with Western directors (John Schlesinger’s Madame Sousatzka, 1988; Roland Joffe’s City of Joy, 1992). Became a major mainstream Hindi star after Fakira, working in Manmohan Desai’s Amar Akbar Anthony, Parvarish and Prakash Mehra’s Jwalamukhi. Initially practised, in her ‘art’ movies, a style of naturalist acting equated with the absence of make-up, an emphasis on regional accents (e.g. the rural Andhra accent in Ankur and Nishant or the Parsee Hindi in Pestonjee) and the theatre-derived technique of alternating the casual gesture and dramatic high points. Married scenarist Javed Akhtar. Also acted on the stage, including an acclaimed performance in the revived IPTA’s 1980 Hindi version of The Caucasian Chalk Circle entitled Safed Kundali by M.S. Sathyu. First TV drama, Picnic, under Aparna Sen’s direction. Briefly chairperson of the CFS. Known also as a courageous political activist associated with the Nivara Hakk Samrakshan Samiti, fighting the cause of Bombay’s slum and pavement-dwellers, and with various anti-communal organisations, playing an effective, high-profile role in e.g. the 1993 communal riots in Bombay.

FILMOGRAPHY: 1973: The December Evening (Sh); Munshiji (Sh); Ankur; 1974: Parinay; Ishq Ishq Ishq; Faasla; 1975: Kadambari; Nishant; 1976: Fakira; Shaque; Vishwasghaat; 1977: Adha Din Adhi Raat; Amar Akbar Anthony; Chor Sipahi; Ek Hi Raasta; Hira Aur Patthar; Khel Khiladi Ka; Kissa Kursi Ka; Parvarish; Shatranj Ke Khiladi; Swami; Kanneshwara Rama; Karm; 1978: Atithi; Devata; Khoon Ki Pukar; Swarg Narak; Toote Khilone; Junoon; 1979: Amar Deep; Bagula Bhagat; Lahu Ke Do Rang; Sparsh; Jeena Yahan; 1980: Apne Paraye; Ek Baar Kaho; jwalamukhi; Thodisi Bewafayi; Yeh Kaisa Insaaf; Albert Pinto Ko Gussa Kyon Aata Hai; Hum Paanch; 1981: Ek Hi Bhool; Sameera; Shama; Raaste Pyar Ke; 1982: Anokha Bandhan; Ashanti; Namkeen; Suraag; Yeh Nazdeekiyan; Arth; Log Kya Kahenge; Masoom; 1983: Avatar; Doosri Dulhan; Mandi; Sweekar Kiya Maine; Khandhar; Pyaasi Aankhen; 1984: Aaj Ka MLA Ramavatar; Bhavna; Gangvaa; Hum Rahe Na Hum; Kaamyaab; Yaadon KI Zanjeer; Kamla; Mr X; Lorie; Paar; Ram Tera Desh; 1985: Rahi Badal Gaye; Uttarayan; Khamosh; Shart; 1986: Anjuman; Ek Pal; Samay Ki Dhara; Nasihat; Susman; Genesis; 1987: Itihaas; Jallianwala Bagh; Pestonjee; 1988: Mardon Wali Baat; Ek Din Achanak; Madame Sousatzka; 1989: Oonch Neech Beech; Libaas; Jhoothi Sharm; Rakhwala; Main Azaad Hoon; Sati; 1990: Picnic (TV); Disha; Amba; Muqaddar Ka Badshah; Ek Doctor Ki Maut; 1991: Immaculate Conception; Dharavi; 1992: Adharm; Jhoothi Shaan; City of Joy; Antarnaad; 1993: In Custody; Patang.

Shabana Azmi in Ankur (1975)

BABU, HANUMAPPA VISHWANATH (1903–68)

Major 30s Telugu director born in Bangalore. Studied medicine. Made mythologicals usually starring Kannamba, carrying on the genre’s silent era version as practised in Bombay’s studios where he began his career. Worked for Kohinoor as actor (1927), then at Imperial as actor and assistant to his brother-in-law, H.M. Reddy (1929–35). First and best-known film, Draupadi Vastrapaharanam, made in competition with a Laxmi Films production starring Bellari Raghava. It also launched the pioneering Telugu production company, Saraswathi Talkies, which introduced Gudavalli Ramabrahmam to film-making.

FILMOGRAPHY: 1931: Bar Ke Pobar (St; act only); 1936: Draupadi Vastrapaharanam; 1937: Kanakatara; 1940: Bhoja Kalidasa; 1941: Mandaravathi; 1943: Krishna Prema; 1949: Dharmangada; 1952: Adarsham; 1955 Grihalakshmi; 1963: Devasundari.

BABURAJ, M. S. (B. 1921)

Malayalam music composer, born in Calicut, Kerala. First associated with Nilambur Balan’s stage group, working mainly in the Malabar region of North Kerala. Based in Calicut, Baburaj was one of the first composers to introduce the North Indian classical influence into the otherwise Carnatic Malayalam film music. Until his work for Kariat’s films (cf. Mudiyanaya Puthran), the Northern influence had been restricted to e.g. Kozhikode Abdul Qadir’s imitations of K.L. Saigal. His compositions in e.g. Vincent’s Bhargavi Nilayam, working outside the routine madhya laya (middle tempo) to create a slower beat using minimal orchestration, are still remembered for the early (and for some, the finest) songs of Yesudas. Associated most closely with Bhaskaran’s lyrics. Scored P.N. Menon’s independent film Olavum Theeravum and Madhu’s directorial début Priya.

FILMOGRAPHY: 1957 Minnaminungu; 1960: Umma; 1961: Kandam Becha Coat; Mudiyanaya Puthran; 1962: Laila Majnu; Palattukoman; Bhagya Jatakam; 1963: Ninamaninja Kalpadukal; Moodupadam; 1964: Thacholi Othenan; Kuttikkuppayam; Karutha Kayi; Bhargavi Nilayam; Bharthavu; 1965: Zubaida; Kadatthukaran; Porter Kunjali; Kuppivala; Ammu; Thankakudam; Kattuthulasi; Mayavi; Chettathi; Thommente Makkal; Sarpakadu; 1966: Manikya Kottaram; Pennmakkal; Kootukar; Kattumallika; Anarkali; Tharavatamma; Kanakachilanka; 1967: Irutinte Atmavu; Agniputhri; Udyogastha; Balyakalasakhi; Karutharathrigal; Kadhija; Anveshichu Kandatiyilla; Collector Malathi; Pareeksha; 1968: Manaswini; Inspector; Karthika; Lakshaprabhu; Love In Kerala; Midumidukki; Anju Sundarigal; 1969: Sandhya; Velliyazhcha; Virunnukari; Olavum Theeravum; 1970: Saraswathi; Anatha; Ambalapravu; Cross Belt; Bhikara Nimishinkal; Nizhalattam; Vivaham Swargathil; Priya; 1971: Neethi; Ernakulam Junction; 1972: Sambhavami Yuge Yuge; Panimudakku; Pulliman; Azhimukham; 1973: Bhadra Deepam; Aradhika; Ladies’ Hostel; Soundarya Pooja; Manasu; Kamini; Chuzhi; 1974: Nathoon; Swarna Malsiyam; 1975: Jnan Ninne Premikkunu; Srishti; Criminals; 1976: Allah-o-Akbar; Appooppan; Dweep; Pushpa Sarem; 1977: Gandharvam; Yatheem; 1978: Bhrashtu; Yagaswam; 1979: Bharyaye Avasyamundu.

BACHCHAN, AMITABH (B. 1942)

Hindi cinema’s biggest star actor. Born in Allahabad, son of noted Hindi poet Harivanshrai Bachchan. Former stage actor, radio announcer and freight company executive in Calcutta. Although he initially had difficulties being accepted as an actor, his productions eventually determined the health of the whole Hindi film industry. Abbas gave him his first role in Saat Hindustani; next came a voice-over for Sen’s Bhuvan Shome (1969). Later, he also did the voice-over for Ray’s Shatranj Ke Khiladi (1977). Eventually became the superstar of the mid-70s TV, radio and the press issued daily bulletins on his health when he suffered a near-fatal accident in 1982 while shooting Coolie. In early Gulzar- scripted and Hrishikesh Mukherjee-directed films (Anand, Namak Haram) and in Saudagar, based on Narendranath Mitra’s story, Bachchan is presented as a brooding, melancholic anti-hero drawn from Bengali literary stereotypes traceable to novelist Saratchandra Chattopadhyay and brought into Hindi film by Nitin Bose, Bimal Roy and Asit Sen. In this respect, he is in the tradition of Dilip Kumar (e.g. Deedar, 1951), Sunil Dutt (Sujata, 1959; Gaban, 1966) and Dharmendra (Satyakam, 1969). His persona of the angry youth was elaborated in directly political language in Zanjeer, the first of his big vendetta films. Expanded in the films of Prakash Mehra and Yash Chopra, Bachchan’s image reorganised the formulaic melodrama around the clash between the laws of kinship and the laws of the state, requiring the hero to become an outlaw governed by a higher code of conduct. In Deewar and Trishul this conflict still constituted the films’ main theme but it quickly became a mere plot device, while a more directly political discourse began to insinuate itself into the films via the repeated references to the early 70s working class agitations (which culminated in the 1974 railway strike preceding the Emergency in 1975), as in e.g. Kala Patthar. Other topical and politically loaded references invoked threats of national economic destabilisation in e.g. Trishul, Shakti and Mr. Natwarlal. The melodramatic plot structure also lent itself well to the enactment of the fantasy of the lumpen rebel-vigilante who achieves great personal success, at times turning the film into a gigantic masquerade (esp. with Manmohan Desai). In addition to his own charismatic presence and his sonorous voice, an important component in several Bachchan films is the Salim-Javed script. Bachchan’s persona is often defined by two female figures: the melodramatic mother who symbolises the family and the ‘liberated’ woman as personified by Parveen Babi (Deewar), Zeenat Aman (Don), and their clones (e.g. Amrita Singh in Mard). Inquilab was released as part of his election campaign: the climax showed him slaughtering a group of corrupt politicians. Elected MP for Allahabad supporting Rajiv Gandhi’s Congress (I) in 1984, but he soon abandoned politics. After Shahenshah and his return to cinema, some of his films’ unofficial budgets made them the most expensive Indian films ever. In the late 80s his popularity declined but revived with Hum (and other Mukul Anand films) showing the star coming to terms with the ageing process. His wife, the actress Jaya Bhaduri, stopped acting after their marriage, except for one noted appearance with her husband in Silsila (returning with Nihalani’s Hazar Chourasi Ki Maa, 1998). In 1995, founded the controversial ABCL (Amitabh Bachchan Corporation Limited) as an entertainment conglomerate for merchandising himself and other celebrities as a brand name, creating and marketing TV software, producing and distributing films, making audio products under his ‘Big-B’ label, and event management. Initially billed as the first significant effort in India to corporatise India’s chaotic entertainment industry (cf. Businessworld 1–14 Nov 1995 cover feature ‘Bachchan’s Business Blueprint’), ABCL had a major setback when the ‘Miss World 1996’ contest, hosted by them in Bangalore, led to a political and financial controversy. Following the disastrous reception of his ‘comeback’ film, Mehul Kumar’s Mrityudaata (1997) produced by ABCL, the company has faced a severe crisis forcing it to sell its ‘Big-B’ record label and its ‘Star Track’ talent bank, leading to questions about the survival of the company.

Amitabh Bachchan and Sridevi in Aakhri Raasta (1986)

FILMOGRAPHY: 1969: Saat Hindustani; 1970: Anand’; 1971: Parwana; Pyar Ki Kahani; Reshma Aur Shera; Sanjog; Guddi; 1972: Bombay To Goa; Bansi Birju; Ek Nazar; Raaste Ka Patthar; Jaban; 1973: Abhimaan; Bandhe Haath; Namak Haram; Saudagar; Zanjeer; Gehri Chaal; 1974: Benaam; Kasauti; Kunwara Baap; Majboor; Roti Kapda Aur Makaan; Dost; 1975: Chupke Cbupke; Deewar; Faraar; Mili; Sholay; Zameer; Chhotisi Baat; 1976: Adalat; Do Anjaane; Hera Pheri; Kabhie Kabhie; 1977: Alaap; Amar Akbar Anthony; Imaan Dharam; Khoon Pasina; Parvarish; Khatta Meetha; Charandas; 1978: Besharam; Don; Ganga Ki Saugandh; Kasme Vaade; Muqaddar Ka Sikandar; Trishul; 1979: Golmaal; Jurmana; Kola Patthar; Manzil; Mr Natwarlal; Suhaag; The Great Gambler; 1980: Do Aur Do Paanch; Ram Balram; Shaan; Dostana; 1981: Barsaat Ki Ek Raat/Anusandhan; Chashme Buddoor; Kaliya; Lawaris; Naseeb; Silsila; Yaarana; Satte Pe Satta; Vilayati Babu; 1982: Bemisal; Desh Premi; Khuddar; Namak Halal; Shakti; 1983: Andha Kanoon; Coolie; Mahaan; Nastik; Pukar; 1984: Inquilab; Sharabi; 1985: Giraftaar; Mard; Aakhri Raasta; 1986: Jalwa; 1987: Kaun Jeeta Kaun Hara; 1988: Shahenshah; Soorma Bhopali; Ganga Jamuna Saraswati; Hero Hiralal; 1989: Toofan; Jadugar; Main Azaad Hoon; 1990: Agneepath; Aaj Ka Arjun; Krodh; 1991: Hum; Ajooba; Indrajit; Akela; 1992: Khuda Gawah; 1994: Insaniyat.

BACKER, P. A. (B. 1940–93)

Malayalam director born in Trichur, Kerala. Started as journalist for Kuttikal and Poomattukal; then assistant to Ramu Kariat (1960), the focus of a renovatory wave in Malayalam cinema; broke away to produce P.N. Menon’s Olavum Theeravum (1969), launching a second renewal. His first film, Kabani Nadi Chuvannappol, upset the censors during the Emergency. Claiming explicitly political but unaffiliated avantgardism, his work constitutes a precedent for an independent Left cinema, e.g. of the Odessa Collective (Est: 1984 by John Abraham), Raveendran, T.V. Chandran et al. Much of Backer’s cinema, like that of his successors, comes from an effort to elaborate the forms of discourse about ‘independent’ politics, seen as a transference of repression that is either sexual (Kabani Nadi Chuvannappol; Chuvanna Vithukal), or religious (Manimuzhakkum), or the displacement of an infantile desire for salvation (Sanghaganam).

FILMOGRAPHY: 1975 Kabani Nadi Chuvannappol; 1976: Manimuzhakkum; Chuvanna Vithukal; 1979: Sanghaganam; Manninte Maril; Unarthupattu; 1981: Charam; 1982: Chappa; 1985: Prema Lekhanam; Shri Narayana Guru; 1987: Innaleyude Baaki.

BADAMI, SARVOTTAM (B. 1910)

Hindi, Telugu and Tamil director born in Channapatna, Karnataka. Son of a revenue officer in Mysore. Worked as motor mechanic and handyman in garage owned by Ambalal Patel, then as a projectionist at Patel’s Select Pictures cinema in Bangalore. When Patel partnered Ardeshir Irani and Chimanlal Desai in launching Sagar Film (1930), Badami, as the only available South Indian in the Bombay studio, was allowed to finish Harishchandra and Galava Rishi and went on to direct the Telugu Paduka Pattabhishekham. Made several socials at Sagar, usually starring Sabita Devi, including some of novelist K.M. Munshi’s best-known scripts, e.g. Dr. Madhurika, Vengeance is Mine. Also adapted Hollywood films, e.g. Aap Ki Marzi, based on E. Buzzell’s Paradise For Three (1938). Followed his mentor Patel to Sudama Pics, in 1939 when Sagar merged to become National Film. Worked in Famous Cine laboratory (1946–8). Chief producer (newsreel) at Films Division (1948–52) where he also made documentaries. Left Films Division in 1954 and became an industrialist based in Bangalore; also adviser to the Kamani industrial group.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc); 1952: Roof Over the Head (Doc).

BAGCHI, GURUDAS (B. 1926)

Bengali director born in Calcutta. Started as assistant to Chhabi Biswas on Jar Jetha Ghar (1949); then assisted Ardhendu Mukherjee and Chitta Bose (1954–60) before débuting as director in 1963.

FILMOGRAPHY: 1963. Dwiper Nam Tiya Rang; 1964: Ta Holey; 1969: Teer Bhoomi; 1970: Samanaral; 1972: Chhandapatan; 1973: Bindur Chheley; Alo-o-Chhaya; 1975: Srishtichhara; 1976: Joi; 1977: Ramer Sumati; 1978: Tusi; 1979: Chirantan; Jata Mat Tata Path; 1981: Swami Stri; 1983: Samarpita; 1989: Mahapith Tarapith.

BAKSHI, ANAND (B. 1920)

Prolific Hindi lyricist; wrote more than 2500 songs, averaging c.100 songs for c.20 films annually. Born in Rawalpindi (now Pakistan). Son of a bank manager; joined the army aged 18 as a field-telephone operator. Family migrated to India where he started as a scenarist for e.g. Master Bhagwan’s Badla (1943). Unable to obtain sufficient film assignments, rejoined the army until 1958. Debut as lyric writer in Bhagwan’s Bhala Admi (1958). Broke through with Suraj Prakash’s films, esp. with the songs Kankaria more karke ishare in Mehndi Lagi Mere Haath (1962), Pardesiyon se na akhiyan milana in Jab Jab Phool Khile (1965) and Sawan ka mahina in Adurthi Subba Rao’s Milan (1967). Confirmed his reputation for romantic songs with the Rajesh Khanna hit Aradhana (1969), writing most of Khanna’s maudlin lyrics for several years thereafter, including Amar Prem (1971), which he considers to be his best work, esp. the song Chingari koi bhadke. One of the few songwriters of his generation to have no credentials as an independent poet. Sang two songs for Mom Ki Gudiya (1972). Consistently denies having any artistic pretensions. Recently wrote the Bachchan hit Jumma chumma in Hum (1991). Worked mainly with music directors Laxmikant-Pyarelal.

BAKSHI, SHANTI PRAKASH (1925–88)

Punjabi and Hindi director; started as scenarist and assistant to the major Punjabi cameraman-director Harcharan Singh Kwatra, scripting Pilpili Saheb (1954) and Teesmar Khan (1955). Kwatra produced Bakshi’s first film Kode Shah, scored by Sardul Kwatra. Like Kwatra, Bakshi was basically a Bombay director making inexpensive Hindi films, often with Hindi stars. Also wrote Amarnath’s Baradari (1955) in Hindi. Directorial début in 1953 with Punjabi films. Made three Hindi features in the late 50s (Mr Chakram, Pataal Pari and Sun To Le Hasina).

FILMOGRAPHY: 1946: Kamli; 1953: Kode Shah; 1954: Ashtalli; 1955: Mr Chakram; 1957: Pataal Pari; 1958: Sun To Le Hasina; 1960: Heer Syal; 1962: Pardesi Dhola; 1965: Sassi Punnu; 1986: Munda Naram Te Kudi Garam. Sassi Punnu; 1986: Munda Naram Te Kudi Garam.

BALACHANDER, KAILASAM (B. 1930)

Tamil, Telugu, Kannada and Hindi director and producer, born in Nannilam, Thanjavur. Graduated in science from Annamalai University, Madras (1951); employed as a civil servant in the Accountant General’s office until 1964. Worked initially in the Tamil theatre as playwright and director. His best-known plays have been filmed: Server Sundaram by Krishnan-Panju (1964) and Major Chandrakant in Hindi by Phani Majumdar (Oonche Log, 1965) and by himself in Tamil. Film début as scenarist with the MGR film Daivathai (1964). Adapted his own play for his directorial début, Neer Kumizhi. Was employed by the Kalakendra Films unit for some years, before becoming an independent producer with his own company Kavithalaya. Known as the most consistent manufacturer of morality tales usually reinforcing middle-class conservatism, e.g. the joint-family structure (Bhale Kodalu/Bhama Vijayam), widow remarriage (Aval Oru Thodarkathai), the plight of divorced women (Avargal), the dowry problem (Kalyana Agathigal), Gandhian values (Punnagai), miscarriages of justice (Major Chandrakant). His emphasis on the middle class, his sentimentalism and his practice of remaking his hits in other languages recall the L.V. Prasad style. Prasad produced his major Hindi hit, Ek Duuje Ke Liye, remaking his earlier Telugu success Maro Charithra, both starring Kamalahasan. Like Prasad, he created several Tamil stars, e.g. Kamalahasan, Rajnikant, Sujata and S.V. Sekhar. Changed his idiom to make the political dramas Thanneer Thanneer, based on Komal Swaminathan’s play, and his own story Achamillai Achamillai. These films, with Arangetram, telling the story of a girl from a Brahmin family who becomes a prostitute, constitute the closest that Tamil cinema came to contributing to the State-sponsored New Indian Cinema idiom. Arangetram was used by the TN government for its family-planning campaigns. His production company Kavithalaya also produced Mani Rathnam’s Roja and the Rajnikant solos Annamalai (1994) and Muthu (1995). Produced the TV series Rayil Sneham.

FILMOGRAPHY: 1965: Neer Kumizhi; Naanal; 1966: Major Chandrakant; 1967: Bhama Vijayam/Bhale Kodalu; Anubavi Raja Anubavi; 1968: Ethir Neechal; Thamarai Nenjam; 1969: Poova Thalaiya; Iru Kodukal; Sattekalapu Sattaiah; 1970: Pattam Pazhali; Ethiroli; Navagraham; Kaviya Thalaivi; 1971: Bomma Borusa; Nangu Suvarkal; Nootrukku Nooru; Punnagai; 1972: Kanna Nalama; Velli Vizha; 1973: Arangetram; Sollathen Ninaikiran; 1974: Naan Avanillai; Aval Oru Thodarkathai/Aval Oru Thodarkathai Aaina; 1975: Apoorva Ragangal; 1976: Manmatha Leelai; Moondru Mudichu; Anthuleni Katha; 1977: Avargal; Pattina Pravesham; Oka Talli Katha; Meethi Meethi Baatein; 1978: Nizhal Nijamakirathu; Thappida Tala/Thappu Thalangal; Maro Charithra; 1979: Ninaithale Inikkum; Nool Veli; Andamaina Anubhavam; Idi Kathakadu; Edo Charithra; Guppedu Manasu; 1980: Varumayin Niram Sigappu; 1981: Akali Rajyam; Tholikodi Koosindhi; Enga Ooru Kannagi; Thillu Mullu; Ek Duuje Ke Liye; Thanneer Thanneer; 47 Natkal/47Rojulu; 1982: Agni Satchi; Pyara Tarana; 1983: Benki Alii Aralida Hoovu; Kokilamma; Poikkal Kuthirai; Zara Si Zindagi; 1984: Love Love Love; Achamillai Achamillai; Ek Nai Paheli; Eradu Rekhagalu; 1985: Mugila Mallige; Kalyana Agathigal; Sindhu Bhairavi; 1986: Punnagai Mannan; Sundara Swapnagalu; 1987: Manadhil Urudhi Vendhum; 1988: Rudraveena; Unnal Mudiyum Thambi; 1989: Pudhu Pudhu Arthangal; 1990: Oru Veedulru Vasal; 1991 Azhagan; 1992: Vaname Ellai; Jathi Malli; 1994: Duet.

BALACHANDER, SUNDARAM (1927–90)

Tamil director born in Madras; son of a lawyer. Also a music composer, actor and producer, he is best known as a classical Carnatic musician and veena player. Child actor in Prabhat’s Tamil mythological Seeta Kalyanam. Employed briefly by the AIR. Early work as actor and composer in Ithu Nijama (playing twins), and Rajambal (in the popular role of a debonair villain). Directorial work includes the melodrama En Kanavar and the thriller Kaidhi. First major film was the war/spy drama, Andha Naal, possibly influenced by Rashomon (1950). Another remarkable genre adaptation is Avan Amaran, made for the Leftist Peoples’ Films. His own productions were often adaptations, e.g. Avana Evan from George Stevens’s A Place in the Sun (1951) and the Hitchcockian Bommai. His company, S.B. Creations (1960), was known for its thrillers, e.g. Nadu Iravil based on Agatha Christie’s Ten Little Niggers. Scored the music of all the films he directed, where, in contrast to his classical musical reputation, he often provided a pastiche of jazz, Latin American music, Western and Indian classical styles. Left films to devote himself more to music.

FILMOGRAPHY (* only act/** also act): 1933: Seeta Kalyanam*; 1935: Radha Kalyanam*; 1936: Rukmini Kalyanam*; 1941: Kamadhenu *;Rishyashringar*; 1942: Nandanar*; 1948: Ithu Nijama*; En Kanavar; 1951: Rajambal*; Devaki*; Kaidhi**; 1952: Rani*; 1953: Inspector*; 1954: Penn*; Andha Naal; 1955: Dr Savithri*; 1958: Avan Amaran; 1959: Maragatham*; 1962: Avana Evan; 1964: Bommai; 1970: Nadu Iravil**.

BALARAMAIAH, GHANTASALA (1906–53)

Telugu director born in Pottepalem village, AP. Well-known 20s Telugu stage actor, e.g. title role in Ramadasu directed by his brother Radhakrishnaiah. Started Shri Rama Films, financed by rich landlords from Nellore, with Chitrapu Narasimha Rao’s Sati Tulasi, then set up Studio Kubera Pics with two Chitrapu Narayanamurthy films, Markandeya (1938) and Mahiravana (1940). Started directing after founding Pratibha Film with Parvati Kalyanam. His Garuda Garvahhangam, starring Bhanumathi and Gaggaiah, instituted an influential variant of the mythological: a kind of heroic folklore loosely echoing forms like the Burrakatha. This trend, which he developed with the hit Swapna Sundari featuring A. Nageshwara Rao and Anjali Devi, was also continued by K.V. Reddy and provided in Gaggaiah an early model for the NTR persona.

FILMOGRAPHY (* only act): 1933: Ramadasu*; 1936: Sati Tulasi*; Kabir*; 1941: Parvati Kalyanam; 1942: Seeta Rama Jananam; 1943: Garuda Garvahhangam; 1946: Mugguru Maratilu; 1948: Balaraju; 1950: Shri Lakshmamma Katha; Swapna Sundari; 1952: Chinnakodalu.

BALASARASWATHI, R. (B. 1928)

Telugu and Tamil singer and actress, born in Madras. Daughter of musician K. Parthasarathy. Started recording when discovered as a 6-year-old by composer-lyricist Kopparapu Subba Rao. Début as actress in C. Pullaiahs Ansuya (as Ganga); worked with K. Subramanyam, playing Krishna in Bhakta Kuchela, followed by the major role of Sarasa in his Balayogini. Played child roles before becoming a heroine in Ramabrahmam’s Illalu, acting and singing duets with Saluri Rajeswara Rao, who also composed popular non-film songs for her in the early 40s. Virtually retired from acting after she married the Rajah of Kolanka (1944), but continued as playback singer until the mid-50s. Her first playback number, Tinne meedi chinnoda for Kamala Kotnis in P. Pullaiah’s Bhagya Lakshmi (1943), was composed by B. Narasimha Rao and was one of the first film songs officially credited on the record label to the singer rather than the actor. Associated with some of the best compositions of music directors C.R. Subburaman (Swapna Sundari, 1950), G. Ashwathama (Chinnakodalu, 1952) and Ramesh Naidu (Dampatyam, 1957). Other classic songs include Muntha perugandoyi with comedians K. Siva Rao and Relangi Venkatramaiah in Prema (1952), Tanapanthame tanadanevadu in the unusual raga Rasali, written and scored by B. Rajanikanta Rao (Manavati, 1952). Came out of retirement to sing in the film directed by her niece Vijayanirmala, Sangham Chekkina Silpalu (1979). Also remembered as a dancer in e.g. Suvarnamalas’s street scene.

FILMOGRAPHY: 1936 Ansuya; Bhakta Kuchela; Balayogini; 1937: Tukaram; 1939: Mahananda; Thiruneelakantar; 1940: Illalu; 1941: Chandrahasa; Apavadu; 1942: Thasippen; 1947: Radhika; 1948: Suvarnamala; Bilhana.

BALASUBRAMANYAM, S. P. (B. 1945)

Leading South Indian film singer, actor, composer, producer and familiar dubbing voice. Born in Nellore, the son of a Harikatha performer. Studied engineering at Anantpur and Madras. First break as singer with composer Kothandapani. Sings in all four South Indian languages and in Hindi and Oriya. Broke through as singer in the MGR. hit Adimai Penn (1969) and in K. Vishwanath’s musical megasuccess Shankarabharanam (1979) where he sang in the classical Carnatic style. First Hindi hit was K. Balachander’s Ek Duuje Ke Liye (1981), starring Kamalahasan. Known increasingly in the 90s for his acting (eg Kadhalan, 1994).

BAL GANDHARVA (1888–1967)

Given name was Narayanrao Rajhans. Celebrated female impersonator on the stage, mainly in mythologicals (Swayamvar, Saubhadra) and occasionally in influential socials, e.g. the Gadkari musical Ekach Pyala. The plays had a massive impact in Maharashtra, Gujarat, Madhya Pradesh, Karnataka and in Thanjavur, TN. Also came to epitomise feminine beauty in the emerging fashion industry of these regions. His ‘look’ embodied the tribhangi posture from classical sculpture: a slightly inclined head and feet at an angle to the torso, also used in several Ravi Varma paintings (e.g. Lady with a Mirror). On stage, this became a tableau posture usually dividing the proscenium frame into three vertical areas offset by a gaze turned 3/4 towards the audience. Also top singing star of Marathi Sangeet Natak. Introduced by the Kirloskar Natak Mandali, but left to form his own Gandharva Natak Mandali (1913). Prabhat Studio gave great publicity to his recruitment to cinema (Dharmatma) but he left, feeling uncomfortable with film acting and with playing male roles, contrary to his public image. However, two of Prabhat’s top composers, Govindrao Tembe and Master Krishnarao, were products of Bal Gandharva’s troupe, and his stage idiom, emphasising a flat proscenium layered with stage backdrops, as well as the conventions of feminine beauty he incarnated, had a major influence on early Marathi talkies. Painter’s Sadhvi Mirabai was a straight adaptation of a Gandharva Natak Mandali play.

FILMOGRAPHY: 1935 Dharmatma; 1937: Sadhvi Mirabai; 1951: Vithal Rakhumai.

BALI, GEETA (1930–65)

Hindi actress, dancer and singer, originally Harikirtan Kaur. Born in Amritsar, Punjab. Started in film aged 12 in a Shorey short (The Cobbler) followed by her feature début in Majnu’s Badnami. Lively dancer, mainly in films by Kidar Sharma (Suhaag Raat was her first major film), Guru Dutt (Baazi, Baaz, Jaal, Sailaab) and Master Bhagwan (the hit musical Albela). Also featured in whodunits by Ravindra Dave and Shakti Samanta. Only occasionally successful in dramatic roles, e.g. her famous portrayal of a blind girl in Sohrab Modi’s Jailor. In Sharma’s Banwre Nain she used an eloquent gestural style to play the country girl betrayed by the hero, matched only by her contemporary, Nimmi. Co-starred with Raj Kapoor, Dev Anand and later with the man she would marry, Shammi Kapoor. Died from smallpox during the filming of Rajinder Singh Bedi’s classic novel Ek Chadar Maili Si, which she, by some accounts, was to have directed as well (other accounts also credit the incomplete film to R.L. Dhir). Also produced Baaz (under H.G. Films) and Raag Rang (under Bali Sisters) directed by her brother Digvijay.

FILMOGRAPHY: 1942: The Cobbler (Sh); 1946: Badnami; Kahan Gaye; 1948: Suhaag Raat; Jalsa; Nai Reet; Patjhad; 1949: Badi Bahen; Bansaria; Bholi; Dil Ki Duniya; Dulari; Garibi; Girls* School; Jai Tarang; Kinara; Neki Aur Badi; 1950: Banwre Nain; Bhai Bahen; Gulenar; Nishana; Shaadi Ki Raat; 1951: Albela; Baazi; Bedardi; Ek Tha Ladka; Ghayal; Johari; Lachak; Nakhre; Phoolon Ke Haar; 1952: Anandmath; Bahu Beti; Betaab; Jaal; Jalpari; Najaria; Neelam Pari; Raag Rang; Usha Kiron; Zalzala; 1953: Baaz; Firdaus; Gunah; Jhamela; Naina; Naya Ghar; 1954: Ameer; Daku Ki Ladki; Kashti; Kavi; Suhagan; 1955: Albeli; Baradari; Chhora Chhori; Faraar; Jawab; Milap; Miss Coca Cola; Sau Ka Note; Vachan; 1956: Hotel; Inspector; Lalten; Pocketmaar; Rangeen Raatein; Sailaab; Zindagi; 1957: Coffee House; Jalti Nishani; 1958: Do Mastane; Aji Bas Shukriya; Jailor; Ten o’clock; 1959: CID Girl; Mohar; Nai Raahein; 1960: Bade Ghar Ki Bahu; 1961: Mr India; Sapan Suhane; 1963: Jabse Tumhe Dekha Hai.

BALAKRISHNA (B. 1960)

90s Telugu star; son of N. T. Rama Rao. Introduced by the family’s Ramakrishna studios in Tatamma Kala, directed by his father; minor actor in Akbar Saleem Anarkali. First lead role in Disco King, after B. Subhash’s Disco Dancer (1982). Known mainly for romances and thrillers, forming a new-generation trio with Nagarjuna and Venkatesh, notably in Kodi Ramakrishna’s films Mangammagari Manavadu and Muddula Mamaiah. The hit Bhairava Dweepam was a colour remake, with more special effects, of his father’s megahit Patala Bhairavi (1955).

FILMOGRAPHY: 1974: Tatamma Kala; Ram Rahim; 1975: Anna Dammula Anubandham; Vemulavada Bhimakavi; 1977: Daana Veera Shura Kama; 1978: Akbar Saleem Anarkali; 1979: Shrimad Virata Parvam; Shri Tirupati Venkateshwara Kalyanam; 1980: Rahasya Rathri; Rowdy Ramudu Konte Krishnudu; 1982: Anuraga Devatha; 1983: Simham Navindi; 1984: Disco King; Mangammagari Manavadu; Janani Janma Bhoomi; Katha Nayakudu; Sahasame Jeevitham; Palnati Puli; Shrimad Virat Veerabrahmendra Swamy Charitra; Katha Nayakudu; 1985: Atmabalam; Babai Abbai; Kathula Kondaiah; Pattabhishekham; 1986: Nippulanti Manishi; Muddula Krishnaiah; Seeta Rama Kalyanam; Ansuyammagari Alludu; Deshoddharakulu; Kaliyuga Krishnudu; Apoorva Sahodaralu; 1987: Allari Krishnayya; Bhargava Ramudu; Lorry Driver; Sahasa Samrat; Presidentgari Abbayi; Muvva Gopaludu; Ramu; Bhanumathigaru Mogudu; 1988: Bharatamlo Balachandrudu; Inspector Pratap; Donga Ramudu; Tiraga Bidda Telugu Bidda; Ramudu Bheemudu; Rakthabhishekham; 1989: Bhale Donga; Ashoka Chakravarthi; Bala Gopaludu; Muddula Mamaiah; Nari Nari Naduma Murari; 1990: Prananiki Pranam; Muddula Menaludu; 1991: Brahmarishi Vishwamitra; Aditya 369; Talli Tandrulu; 1992: Rowdy Inspector; Dharmakshetram; Ashwamedham; 1993: Nippuravva; Bangaru Bullodu; 1994: Bhairava Dweepam; Gandeevam; Bobbili Simham; Top Hero; 1995: Matho Pettukokku.

Geeta Bali in Chhora Chhori (1955)

BALKRISHNA, T. N. (1913–1995)

Phenomenally successful Kannada comedian. Born in Arasikere, Karnataka. Was sold as a child to adoptive parents to pay his father’s medical bills. Lost his hearing as a youth and dropped out of school. Acted in the play Shri Rama Paduka Pattabhishekha (1929); then apprenticed to painter of stage backdrops and later a professional sign painter. Returned to the stage as an actor in Harmonium Master Giri Gowda’s group, the Lakshmasani Nataka company, and in Neelkantappa’s Gowrishankar Nataka Mandali before joining Gubbi Veeranna’s theatre company. His presence was almost mandatory in Kannada films from the early 40s where, adapting the folk form Yakshagana, he formed a bumbling comedy duo with his constant sidekick Narasimhraju. Redefined the tone of ‘comedy relief by adding his own brand of ineffectual villainy. Also wrote some plays and scripts; started the Abhimana Studio in Bangalore (1968). Also starred in some Tamil films but did not succeed because of his difficulty with the language.

FILMOGRAPHY: 1943: Radha Ramana; 1952: Dallali; 1954: Devasundari; Kanyadana; Muttidella Chinna; 1955: Ashadabhooti; Bhakta Mallikarjuna; 1956: Daiva Sankalpa; Muttaide Bhagya; Pancharathna; Sadarame; 1957: Mahiravana; Ratnagiri Rahasya; Shukradeshe; Chintamani; 1958: Anna Thangi; Mane Thumbida Hennu; Mangalya Yoga; School Master; 1959: Mangalsutra; Jagajyothi Basaveshwara; 1960: Shivalinga Sakshi; Ranadheera Kanteerava; Rani Honamma; 1961: Intiki Deepam Illale; Kaivara Mahatme; Kantheredu Nodu; Kittur Chanamma; Raja Satya Vrata; Shrishaila Mahatme; 1962: Bhoodana; Daiveleele; Tejaswini; 1963: Kanya Ratna; Mana Mechhida Madadi; Sant Tukaram; 1964: Chandavalliya Tota; Muriyada Mane; Mane Aliya; Nandi; 1965: Mahasati Ansuya; Satya Harishchandra; 1966: Mohini Bhasmasura; 1967: Bellimoda; Chakra Teertha; Immadi Pulakesi; 1968: Arunodaya; Gandhinagara; Manku Dinne; Bhagya Devathe; Mysore Tonga; Bhagyada Bagilu; Rowdy Ranganna; Attegondukala Sosegondukala; Hoovu Mullu; 1969: Margadarshi; Gandondu Hennaru; Mallammanna Pavada; Kappu Bilapu; Shiva Bhakta; Bhagirathi; Madhuve Madhuve Madhuve; Punarjanma; Kalpa Vruksha; Uyyale; Chikamma; Manashanti; 1970: Bhale Kiladi; Anirikshita; Aparajithe; Mrityu Panjaradalli Goodachari 555; Muru Muttugalu; Bhale Jodi; Sedige Sedu; Nanna Thamma; Sukha Samsara; 1971: Signalman Siddappa; Hoo Bisilu; Kulagaurava; Namma Samsara; Amara Bharathi; Jatakarathna Gunda Joisa; Anugraha; Namma Baduku; Bhale Adrushtavo Adrushta; Pratidhwani; Sakshatkara; Mahadimane; Sothu Geddavalu; 1972: Bangarada Manushya; Nanda Gokula; Mareyada Deepavali; 1973: Devaru Kotta Thangi; Sahadharmini; Swayamvara; Bharathada Rathna; Cowboy Kulla; Seetheyalla Savithri; Doorada Betta; Jaya Vijaya; Mane Belagida Sose; Gandhadagudi; Bangarada Panjara; Mannina Magalu; Bettada Bhairava; 1974: Gruhini; Urvashi; Nanu Baalabeku; Boothayyana Maga Ayyu; Eradu Kanasu; Sampathige Saval; Bhakta Kumbhara; Professor Huchuraya; Anna Attige; Mahadeshwala Poojaphala; Namma Ura Devam; 1975: Jagruthi; Nanjuda Nakkaga; Kasturi Vijaya; Mane Belaku; Koodi Balona; Kaveri; Viplava Vanithe; Onderupa Eradu Guna; Hennu Samsarada Kannu; Trimurthi; Devaru Kotta Vara; Hosilu Mettida Hennu; Hoysala; Bangalore Bhootha; 1976: Premada Kanike; Punaradatta; Bahadur Gandu; Mugiyada Kathe; Chiranjeevi; Raja Nanna Raja; Bayalu Dari; Na Ninna Mareyalare; Badavara Bandhu; Sutrada Bombe; Aparadhi; Devara Duddu; 1977: Deepa; Bayasade Banda Bhagya; Bhagyavantharu; Lakshmi Nivasa; Pavanaganga; Manasinante Mangalya; Srimanthana Magalu; Sanadhi Appanna; Sahodarara Saval; Olavu Gelavu; Galate Samsara; Ganda Hendthi; 1978: Halli Haidha; Shankar Guru; Vamsa Jyothi; Matu Tappada Maga; Sneha Sedu; Balu Aparupa Nam Jodi; Thayige Takka Maga; Jagan Mohini; 1979: Balina Guri; Na Ninna Bidalare; Asadhya Aliya; Na Niruvude Ninagangi; Huliya Halina Mevu; Nentaro Gantu Kallaro; Preeti Madu Tamashe Nodu; 1980: Kulla Kulli; Auto Raja; Vajrada Jalapata; Mugana Sedu; Swamiji; Ondu Hennu Aaru Kannu; Biligiriya Bandalalli; Mayeya Musuku; Pattanakke Banda Patniyaru; Anveshane; Mithuna; Nadurathri; Triloka Sundari; 1981: Tirada Bayake; Thayiya Madilalli; Anupama; Nee Nanna Gellalare; Bhagyavantha; Number Aidu Uyekka; Chadurida Chitragalu; Guru Shishyaru; Lakshmi Prasanna; 1982: Gunanodi Hennu Kodu; Mullina Gulabi; Praya Praya Praya; 1983: Devara Tirpu; Kavirathna Kalidas; Benkiya Bale; Kamana Billu; Premave Balina Belaku; 1984: Gajendra; Kaliyuga; Makkaliravva Mane Thumba; Ahuti; 1985: Thayi Kanasu; Bettada Hoovu; Dhruva Tare; Bhagyada Lakshmi Baramma; Hosa Baalu; Lancha Lancha Lancha; Netra Pallavi; Savira Sullu; Shabash Vikrama; Tulasi Dala; 1986: Hennina Koogu; Henne Ninagenu Bandhana; Brahmastra; Satya Jyothi; Bete; Aparoopada Kathe; 1987: Oluvina Udugore; Shruti Seridaga; Athiratha Maharatha; Thayikotta Thali; 1988: Oorigittakolli; Dada; Ondu Muthina Kathe; Devatha Manushya; 1989: Indrajit; Kalabhimani; Yuddhakanda; Hridaya Geethe; Avatara Purusha; Rudra; Samsara Nauka; Deva; 1990: Tiger Gangu; Ashwamedha; Love Letter; Udbhava; Chakravarthi; Haliya Surasuraru; Prema Taranga; 1991: Garuda Dhwaja; Kalyana Mantapa; Puksatte Ganda Hotte Thumba Unda; 1992: Halli Mestru; 1994: Odahuttidavaru; Love 94; Poornasatya; Hethakaralu.

Baloch, Mohammed see Kumar, Mehul

BANNERJEE, BHANU (1920–83)

Bengali comedian, born in Dhaka (now Bangladesh). Political activist associated with the terrorist group Anushilan in the Dhaka Dist., and after the Quit India movement with the Revolutionary Socialist Party. Later founded the Kranti Shilpi Sangha with writer (later film-maker) Salil Sen, staging the latter’s landmark play Natun Yahudi (1951, filmed 1953) about East Bengal refugees for fund-raising and propaganda on their behalf in Calcutta. Briefly a government employee and then a film extra (Jagran). Broke through playing the voluble East Bengali businessman in Nirmal Dey’s Basu Parivar, developing his trade mark: an idiosyncratic use of East Bengali dialect. One of Bengali film’s most prolific comic actors, often partnering Jahar Roy. The duo were sometimes billed in the titles themselves (e.g. Bhanu Pelo Lottery, Bhanu Goenda Jahar Assistant). Continued as stage actor, e.g. Adarsha Hindu Hotel (1953) and esp. in Star Theatre productions (e.g. Shamoli, Tapasi, Parineeta, Dak Bungalow). Directed the play Jai Mahakali Boarding (1979). Associated with folk Jatra companies Sushil Natya and Mukta Mancha.

FILMOGRAPHY: 1947: Jagran; 1949: Ja Hoy Na; 1950: Mandanda; Tathapi; 1951: Sey Nilo Bidaya; Anuraag; Setu; 1952: Chitta Banhiman; Basu Parivar; Pasher Bari; 1953: Sharey Chuattar; Boudir Bone; Kajari; Natun Yahudi; Keranir Jiban; Sabuj Pahar; Harilakshmi; Bana Hansi; Sosur Bari; Rami Chandidas; Lakh Taka; Bastab; Bou Thakuranir Haat; Adrishya Manush; 1954: Atom Bomb; Moner Mayur; Ora Thake Odhare; Satir Dehatyaag; Vikram Urvashi; Kalyani; Ladies’ Seat; Jagrihi; Mani-Aar-Manik; Sadanander Mela; Barbela; Chheley Kaar; Nilshari; Bhanga-Gara; Balay Gras; 1955: Bratacharini; Bandish; Nishiddha Phal; Sanjher Pradeep; Chatujye-Banrujye; Rani Rashmoni; Sajghar; Chhoto Bou; Aparadhi; Durlav Janma; Bir Hambir; Jyotishi; Joymakali Boarding; Dashyumohan; Bhalobasha; Ardhangini; 1956: Mahanisha; Tonsil; Shubharatri; Savdhan; Ekti Raat; Asamapta; Mamlar Phal; Manraksha; Rajpath; Suryamukhi; Govindadas; Maa; Daner Maryada; Taka-Ana-Pai; Amar Bou; 1957: Louha-Kapat; Andhare Alo; Natun Prabhat; Kancha-Mithey; Basanta Bahar; Ogo Sunchho; Jiban Trishna; Ek Gaon Ki Kahani; 1958: Yamalaya Jibanta Manush; Manmoyee Girls’ School; Nupur; Bhanu Pelo Lottery; Kalamati; Swarga Martya; Daktar Babu; Surya Toran; 1959: Nauka Bilash; Pushpadhanu; Bhranti; Chhabi; Nirdharita Silpir Anupastithi Tey; Sonar Harin; Mriter Martye Agaman; Personal Assistant; 1960: Sakher Chor; Hospital; 1961: Swayambara; Raibahadur; Mr & Mrs Choudhury; Bishkanya; Kanchanamulya; Kathin Maya; Kanamachi; 1962: Ataljaler Ahwan; Bodhu; Mayar Sansar; Abhisarika; Dada Thakur; 1963: Dui Bari; Barnachora; Sat Bhai; High Heel; Bhranti Bilas; Dui Nari; Akash Pradeep; Hashi Sudhu Hashi Noy; Shreyasi; 1964: Jiban Kahini; Deep Nebhey Noy; Binsatijanani; 1965: Dolna; Alor Pipasa; Mahalagna; Ek Tuku Basa; Raj Kanya; Pati Sansodhini Samiti; Devatar Deep; Abhoya-o-Srikanta; Gulmohar; Mukhujey Paribar; Tapasi; Kal Tumi Aleya; 1966: Galpa Holeo Satti; Mayabini Lane; Shesh Tin Din; 1967: Ashite Ashio Na; Hath at Dekha; Kheya; Miss Priyambada; 1968: Apanjan; Baghini; Chowringhee; Garh Nasimpur; Pathe Holo Dekha; Rakta Rekha; 1969: Shuk Sari; Dadu; Maa-o-Meye; Sabarmati; 1970: Pratham Kadam Phool; Aleyar Alo; Sagina Mahato; Rajkumari; 1971: Bhanu Goenda Jahar Assistant; Ekhane Pinjar; Malyadaan; Maha Biplabi Aurobindo; Pratham Basanta; 1972: Stree; 1973: Bindur Chheley; Nishi Kanya; Roudra Chhaya; 1974: Sangini; Swikarokti; 1975: Harmonium; Nishi Mrigaya; Priya Bandhabi; Swayamsiddha; 1976: Nidhi Ram Sardar; Nandita; Asadharan; Ek Je Chhilo Desh; 1977: Abirvab; Ramer Sumati; 1979: Devdas; Shahar Theke Dooray; 1980: Bancharamer Bagan; Bhagya Chakra; Darpachurna; Priyatama; Pipasa; Sondhi; Matribhakta Ramprasad; 1981: Pratishodh; Father; Kapal Kundala; Subarnalata; 1982: Raj Bodhu; Amrita Kumbher Sandhaney; Matir Swarga; Prafulla; Bijoyini; Preyasi; 1984: Shorgol; Achena Mukh; 1986: Jiban; 1987: Nadiya Nagar; 1993: Amar Kahini.

BANNERJEE, DURGADAS (1893–1943)

Major Bengali actor in Calcutta Theatres. Born in Kalikapur, 24 Parganas District. Introduced to film by Sisir Bhaduri (Taj Mahal Film) in 1922. From his first major film, Maanbhanjan, until late 30s he was the definitive Bengali screen hero at Madan in Jyotish Bannerjee’s literary films, at Arya Films, at Indian Kinema and at New Theatres, where he played the lead in Debaki Bose’s epoch-making Chandidas and the king in Bidyapati. His oft-mentioned aristocratic lineage - he was born in a zamindar (landlord) family - is said to be the key to his image of dignified, heroic reserve which massively influenced the next generation of Bengali actors (cf. Chhabi Biswas). Remained major theatre star at the Star, Manmohan, Minerva and Rangmahal companies and in plays like Karnarjun (the landmark 1923 Art Theatre production of this play introduced him to the stage, and he later tackled the tough double role of both Kama and Arjun), Iraner Rani, Rishir Meye, Chirakumar Sabha. Many of these plays, later adapted to film, used performative idioms partly derived from his acting style.

FILMOGRAPHY: 1923: Maanbhanjan; 1924: Chandranath; Mishar Rani; 1925: Jaler Meye; Premanjali; 1926: Dharmapatni; Krishnakanter Will; 1927: Durgesh Nandini; 1928: Bishabriksha; Sarala; Sasthi Ki Shanti; 1929: Kapal Kundala; Rajani; Indira; 1930: Radha Rani; Buker Bojha; Kanthahaar (all St.); 1931: Dena Paona; 1932: Bhagya Lakshmi (St); Punarjanma; Chirakumar Sabha; Chandidas; 1933: Kapal Kundala; Meerahai; 1934: Mahua; 1935: Bhagya Chakra; Karodpati; 1936: Paraparey; 1937: Didi; Bidyapati; 1938: Desher Mati; 1939: Parasmani; 1940: Thikadar; 1941: Avatar; 1943: Priya Bandhabi.

BANNERJEE, JYOTISH (B. 1887)

Bengali and Hindi director born in Bihar. Started as a typist at Madan Theatres; later became the studio’s main film-maker in silent era. Part of film-making team with Priyanath Ganguly, Jyotish Mukherjee, Amar Choudhury, B.J. Rajhans, Abdur Rehman Kabuli (later star of Indrasabha, 1932) and cameramen Jyotish Sarkar and T. Marconi. Initially worked with Eugenio De Liguoro (Dhruva Charitra, Nala Damayanti, both 1921; Ramayan, 1922) and C. Legrand (Vishnu Avatar, 1921). Early films were mainly adaptations of stage spectaculars from the Elphinstone and Corinthian companies. His late 20s silents adapted several novels of Bankimchandra Chattopadhyay owned by Madan Theatres. Also filmed plays by Girish Ghosh and Rabindra Mohan Moitra and a novel by Romesh Chandra Dutt (Madhabi Kankan). These were early examples of the Bengali literary film genre later incarnated into a formula by New Theatres. Went on to make one of the most successful stage adaptations in the Bengali cinema, Manmoyee Girls’ School. Worked at Madan until 1933, then freelanced, notably at Radha Films, at Madan’s successors Bharatlaxmi Pics and at the Indrapuri Studio.

FILMOGRAPHY (* uncertain attribution): 1922: Matri Sneh*; 1924: Mishar Rani; Veer Bharat; 1925: Premanjali; Sati Lakshmi; Jaler Meye; 1926: Dharmapatni; Joydev; Prafulla; 1927: Chandidas; 1928: Bhranti; Sasthi Ki Shanti; Bishabriksha; 1929: Indira; Rajani; 1930: Radha Rani; Rajsingha; Jugalangriya; Manik Jorh; Bharat Ramani; Mrinalini; Madhabi Kankan; 1931: Keranir Mas Kabar; Bibaha Bibhrat (all St.); Jore Barat; Rishir Prem; 1932: Vishnu Maya; Krishnakanter Will; Aankh Ka Tara; 1933: Dhruva Charitra; Dhruva; Joydev; 1934: Daksha Yagna; Nagan; 1935: Manmoyee Girls’ School; Kanthahaar; 1936: Ahalya; Rajani; 1937: Ranga Bou; 1938: Bekar Nashan; Ruporjhumko; Khana; Ekalavya; 1939: Nam Narayan; Rukmini; 1941: Karnarjun; Shakuntala; Shri Radha; 1942: Bhishma; Milan; 1943: Devar; 1945: Kalankini; 1946: Prem Ki Duniya; 1948: Banchita; Kalo Ghora; 1949: Robin Master; 1950: Sheshbesh.

BANNERJEE, KALI (1921–93)

Bengali actor born in Calcutta. Professional stage actor from 1945 playing e.g. in Mahendra Gupta’s Satabarsha Agey and Tipu Sultan. Joined IPTA in the late 40s, acting in Tagore’s Bisarjan, staged as a riposte to the extreme Left attacks on the author. Returned to the commercial Calcutta Theatres with Adarsha Hindu Hotel (1953). Early and still best-known film roles in Ghatak’s Nagarik and Ajantrik. Also played the Chinese trader in Mrinal Sen’s Neel Akasher Neechey. Worked extensively with Satyajit Ray (Parash Pathar, Teen Kanya), Tapan Sinha (Louha-Kapat, Hansuli Banker Upakatha, Arohi, Harmonium), Dinen Gupta and Tarun Majumdar. Made a mainstream comeback as an aged eccentric in Anjan Choudhury’s Guru Dakshina.

FILMOGRAPHY: 1947: Burmar Pathey; 1951: Barjatri; 1952: Nagarik; 1955: Rickshawala; Devimalini; Sabar Uparey; Kalindi; 1956: Aparajito; Tonsil; Shilpi; 1957: Surer Parashey; Ogo Sunchho; Ami-Baro-Habo; Louha-Kapat; Parash Pathar; Ajantrik; 1958: Dak Harkara; Nagini Kanyar Kahini; Surya Toran; Rajdhani Theke; Neel Akasher Neechey; 1959: Janmantar; Bari Theke Paliye; Agnisambhaba; Sonar Harin; 1960: Dui Bechara; Prabesh Nishedh; Khudha; Shesh Paryanta; Natun Fasal; 1961: Teen Kanya; Pankatilak; Punashcha; 1962: Hansuli Banker Upakatha; Shubha Drishti; 1963: Ek Tukro Agun; Akash Pradeep; Tridhara; Badshah; 1964: Saptarshi; Kinu Goyalar Gali; Kanta Taar; Arohi; Dui Parba; Subah-o-Debatargrash; 1965: Surer Agun; Dinanter Alo; 1966: Joradighir Choudhury Paribar; 1967: Seba; 1968: Boudi; Hansamithun; Jiban Sangeet; Kokhono Megh; Rakta Rekha; 1969: Protidan; 1970: Shasti; Aleyar Alo; Muktisnan; Rupasi; 1971: Attatar Din Pare; Janani; Nimantran; 1972: Andha Atit; Ajker Nayak; Bighalita Karuna Janhabi Jamuna; Maa-o-Mati; Bawarchi; Subse Bada Sukh; 1973: Agni Bhramar; Pranta Rekha; 1974: Debi Choudhrani; Sangini; Natun Surya; Swikarokti; Umno-ojhumno; 1975: Sansar Simantey; Swayamsiddha; Hansaraj; Harmonium; 1976: Dampati; Sandhya Surya; Yugo Manab Kabir; Ek Je Chhilo Desh; 1977: Ae Prithibi Pantha Niwas; Ek Bindu Sukh; Pratima; Behula Lakhinder; 1978: Joi Ma Tara; 1979: Devdas; Nandan; Nauka Dubi; Sunayani; Ghatkali; 1980: Dadar Kirti; Batasi; Bichar; Shesh Bichar; 1981: Manikchand; Maa Bhawani Maa Amar; Meghmukti; Monchor; Subarna Golak; 1982: Simanta Raag; Preyasi; Matir Swarga; Chhoto Maa; Raj Bodhu; Padachinha; 1983: Agami Kal; Arpita; Indira; Jabanbandi; Nishi Bhor; 1984: Sonar Sansar; Ahuti; Mukta Pran; Dada Moni; 1985: Devika; 1986: Urbashe; Parinati; Bouma; Prem Bandhan; 1987: Guru Dakshina; 1988: Chhoto Bou; Parasmoni; Debibaran; Anjali; 1989: Nayanmoni; Shatarupa; Mangaldip; Kari Diye Kinlam; Sati; Mahajan; Nyaya Chakra; 1990: Byabadhan; Debata; Jiban Sangeet; 1991: Ahankar; Sadharan Meye; Anand; Abhagini; Bidhilipi; 1992: Shaitan; Purshottam; 1993: Shraddhanjali; Arjun; 1994: Ami-o-Maa; Salma Sundari; Sudhu Asha; 1995: Boumoni; Abirbhab; Mejo Bou; Pativrata.

BANNERJEE, KANU (1905–85)

Bengali actor born in Jodhpur. Known primarily as the father, Harihar Rai, in Satyajit Ray’s Apu Trilogy. Early work in plays directed by Sisir Bhaduri (Alamgir, 1932; Biraj Bou, 1934). Mainly known as a stage comedian, also celebrated for his ‘realist’ performance, first on stage (1947) then in film, as the hapless Jamal, wrongly accused for stealing a bag of rice during the 1943 famine and tortured by police, in Tulsi Lahiri’s Dukhir Iman. Introduced into films by Phani Majumdar. Early (pre-Ray) film work with writer-film-makers Sailajananda Mukherjee (Shahar Theke Dooray) and Premendra Mitra (Kuasha) (see Kallol Group).

FILMOGRAPHY: 1938: Desher Mati; 1940: Doctor; 1941: Epar Opar; Pratishodh; Nandini; 1942: Garmil; Pashan Devata; Avayer Biye; Mahakavi Kalidas; 1943: Sahadharmini; Swamir Ghar; Nilanguriya; Dampati; Shahar Theke Dooray; Jogajoj; 1944: Birinchi Baba; Bideshini; Pratikar; 1945: Nandita; Kato Door; Abhinay Nay; Do Tana; Path Bendhe Dilo; Bhabhi-Kaal; 1946: Natun Bou; Nivedita; Matrihara; Dukhe Jader Jiban Gara; 1947: Ratri; Chorabali; Swapna-o-Sadhana; Abhijog; Dui Bandhu; 1948: Mayer Dak; Sarbahara; Bish Bichar Agey; Priyatama; 1949: Rangamati; Bamuner Meye; Kuasha; Parash Pathar; 1950: Mandanda; Digbhranta; 1951: Aparajito; Pandit Moshai; 1952: Ratrir Tapasya; Prarthana; Siraj-ud-Dowla; 1953: Haranath Pandit; Natun Yahudi; 1954: Moner Mayur; Dukhir Iman; Champadangar Bou; Kalyani; Sadanander Mela; Sati; Bhanga-Gara; Mantra Shakti; 1955: Sanjher Pradeep; Aparadhi; Bir Hambir; Jyotishi; Upabar; Pather Panchali; Bhagwan Shri Shri Ramakrishna; 1956: Govindadas; Daner Maryada; Aparajito; 1957: Punar Milan; 1958: Sadhak Bama Kshyapa; Shri Shri Tarakeshwar; Marmabani; 1959: Abhishap 1961: Pankatilak; Kathin Maya; Aaj Kal Parshu; Madhureno; 1964: Ketumi; 1967: Mahashweta; 1969: Banajyotsna; 1970: Ae Korechho Bhalo; Diba Ratrir Kabya; 1972: Alo Amar Alo; 1973: Agni Bhramar; Janmabhoomi; 1978: Tushar Tirtha Amarnath; 1980: Shodh; 1981: Pahadi Phool.

BAPAIAH, K.

Mainstream Telugu and Hindi director. Nephew of T. Prakash Rao. Started as an editor at the Vijaya Studio in the mid-60s; then assistant director and début as solo director in 1970. Moved to low-budget Hindi remakes of Telugu hits, often starring Jeetendra, e.g. Mawaali and Himmat Aur Mehnat. Also directed Mithun Chakraborty in vendetta thrillers such as Ghar Ek Mandir and Waqt Ki Awaaz.

FILMOGRAPHY: 1970: Drohi; 1973: Memu Manushulame; 1974: Urvashi; 1975: Soggadu; Vaikunthapali; Eduruleni Manishi; 1977: Dildaar; Charitra Heenulu; Gadusu Pillodu; Indra Dhanushu; 1978: Dil Aur Deewar; Sahasavanthudu; Yuga Purushudu; 1979: Mande Gundelu; 1980: Bandish; Takkar; 1981: Sindoor Bane Jwala; Aggirava; Agni Poolu; Guru Shishyulu; 1982: Kaliyuga Ramudu; Naa Desam; 1983: Mawaali; Mundadugu; 1984: Ghar Ek Mandir; Maqsad; Dandayatra; Intiguttu; 1985: Aaj Ka Daur; Pataal Bhairavi; Chattamtho Poratam; 1986: Aag Aur Shola; Ghar Sansar; Jayam Manade; Muddat; Swarg Se Sundar; 1987: Himmat Aur Mehnat; Maavoori Maagadu; Majaal; Makutamleni Maharaju; Mard Ki Zabaan; 1988: Charnon Ki Saugandh; Sone Pe Suhaaga; Waqt Ki Awaaz; Pyar Ka Mandir; 1989: Sikka; 1990: Pyar Ka Devata; Pyar Ka Karz; Izzatdar; 1991: Pyar Hua Chori Chori; 1992: Parda Hai Parda; Kasak.

BAPU (B. 1933)

Telugu cartoonist, designer and director, also worked extensively in Hindi film. Born in Narsapur, West Godavari, AP, as Sattiraju Lakshminarayana. Graduated as a lawyer from Madras University (1955). Collaborated with comic writer Mullapoodi Venkataramana; political cartoonist for Andhra Patrika newspaper (1955) and illustrator. Worked in advertising in the early 60s. Début with Saakshi, a rare instance of late 60s New Indian Cinema aestheticism in Telugu. Occasionally resorted to painterly imagery in his otherwise realist approach (e.g. Muthyala Muggu). Transposed several mythological narratives into contemporary fables (Manavoori Pandavulu, remade in Hindi as Hum Paanch). Some early work invoked rationalist ideology and Hum Paanch was strongly defended by populist independent Left. Later films are unashamedly revivalist: e.g. Thyagayya, a remake of Nagaiah’s 1946 film. His Hindi films are usually remakes of Telugu ones: Bezubaan is based on S.P. Muthuraman’s Mayangurikal Oru Madhu (1975) but with a modified role for Naseeruddin Shah; Radha Kalyanam is adapted from Bhagyaraj’s Andha 7 Natkal (1981); he remade his adaptation in Hindi as Woh Saat Din. Remade B.R. Chopra’s notorious rape movie, Insaaf Ka Tarazu (1980), as Edi Nyayam Edi Dharmam.

FILMOGRAPHY: 1967: Saakshi; 1968: Bangaru Pichika; 1969: Buddhimanthudu; 1970: Inti Gauravam; Balaraju Katha; 1971: Sampoorna Ramayanam; 1973: Andala Ramudu; 1974: Shri Ramanjaneya Yuddham; 1975: Muthyala Muggu; 1976: Seeta Kalyanam; Seeta Swayamvar; Shri Rajeshwari Vilas Coffee Club; Bhakta Kannappa; 1977: Sneham; 1978: Manavoori Pandavulu; Gorantha Deepam; Anokha Shivbhakt; 1979: Thoorpu Velle Railu; Rajadhi Raju; 1980: Kaliyuga Ravana Surudu; Vamsha Vriksham; Hum Paanch; 1981: Bezubaan; Thyagayya; Radha Kalyanam; 1982: Edi Nyayam Edi Dharmam; Neethi Devan Mayangurigal; Pellidu Pillalu; Krishnavataram; 1983: Woh Saat Din; Mantrigari Viyyankudu; 1984: Seetamma Pelli; 1985: Mohabbat; Bullet; Jackie; Pyari Behna; 1986: Mera Dharam; Kalyana Tambulam; 1987: Diljala; 1989: Prem Pratigya; 1990: Pelli Pustakam; 1993: Mr Pellam; Shrinatha Kavi Sarvabhowma; 1994: Pelli Koduku; Parmatma; 1995: Rambantu.

BARAN, TIMIR (1904–87)

Aka Timirbaran Bhattacharya. Composer associated with the pioneering use of music for narrative purpose in early sound films. Born to a family of traditional Sanskrit scholars. Became a professional sarod player, studying first under Radhikaprasad Goswami and then, more extensively, with Ustad Allauddin Khan, continuing the latter’s experiments with orchestral arrangements at Maihar when he joined Uday Shankar’s dance troupe (1930), touring in Europe and the USA. Worked with Modhu Bose’s Calcutta Art Players (1934), enhancing Bose’s Orientalist plays with an eclectic amalgam of symphonic structures for Indian instruments (Alibaba, Bidyutparnd). Baran extended Bose’s idiom after visits to Java and Bali whence he imported the xylophone. Continued working with Bose in film (Kumkum, Raj Nartakt). Best-known work at the New Theatres, starting with his classic score for Barua’s Devdas. Moved briefly to Bombay (1939) working at Sagar and Wadia Studios. Took a break from films to work e.g. for AIR, creating an orchestral score to accompany Tagore’s Kshudista Pashan, a symphony on non-violence to celebrate India’s first Independence Day (1947), and a 75’ programme on the History of the Earth. Joined the music faculty of Tagore’s Shantiniketan in the 60s.

FILMOGRAPHY: 1935: Devdas; Bijoya; 1936: Pujarin; 1938: Adhikar; 1940: Dharmapatni; Deepak; Lakshmi; Suhaag; Kumkum/Kumkum The Dancer; 1941: Raj Nartaki/Court Dancer; Uttarayan; 1944: Samaj; 1945: Bondita; 1949: Samapti; 1954: Baadhaan; 1955: Amar Saigal; 1959: Bicharak; 1965: Thana Theke Aschhi; 1970: Diba Ratrir Kabya; 1978: Dak Diye Jai.

BARUA, BROJEN (1925–72)

Assamese director, actor, stage director and singer. Former member of the Assamese IPTA. Elder brother of Nip Barua and Ramen Barua. Helped establish an Assamese film industry independent of theatrical techniques. First film Ito Sito Bohuto, was Assam’s first genuine comedy. His other famous film, Dr. Bezbarua, although modelled on Hindi film formulas, was equally influential for successfully manufacturing a hit from purely local technical and performative resources, and for using outdoor locations. Acted in all his films.

FILMOGRAPHY: 1963: Ito Sito Bohuto (also act); 1969: Dr. Bezbarua; 1970: Mukuta; 1972: Opaja Sonor Mati: Lolita.

BARUA, JAHNU (B. 1952)

Assamese director born in Lakowa. Graduated from Guwahati University and the FTII (1974). Joined ISRO; produced more than 100 children’s science programmes for SITE in Ahmedabad (1975–6). Lives and works in Bombay, where he makes advertising and corporate films. Lectured at St Xavier’s Institute of Communications. Films address the contemporary culture and politics of Assam. One of the most technically competent New Indian Cinema film-makers; deploys an almost expressionistic approach to regional reformism. Aparoopa is the first NFDC-financed Assamese film. Chairman of the Indian Film Directors’ Association (1993).

FILMOGRAPHY: 1974: The F Cycle (Sh); Diary of a Racehorse (Doc); 1976: One Hundred and Eighty Days of SITE (Doc); 1982: Aparoopa/Apeksha; 1986: Papori; Ek Kahani (TV); 1987: Halodiya Choraye Baodhan Khaye; 1988: Adhikar (TV); 1989: Banani; 1991: Eiringoti; 1994: Hkhgoroloi Bohu Door.

BARUA, MUNIN (B. 1948)

Assamese scenarist, musician and film-maker. Introduced as instrumentalist in Nalin Duara’s Mamata (1973) but changed to become a scenarist. His scripts make him one of the main purveyors of middle-budget, deliberately middle-of-the-road and non-sensationalist socials of the 80s. Scripted, in addition to his own films, several productions by Siva Prasad Thakur: Bowari (1982), Ghar Sansar (1983), Son Moina (1984) and Mon Mandir (1985). Also scripted Ae Desh Mor Desh (1986), Biju Phukan’s Bhai Bhai (1988), and Sewali (1989).

FILMOGRAPHY: 1987: Pratima; Pita Putra; 1991: Pahadi Kanya; 1992: Prabhati Pokhir Gaan.

BARUA, NIP (1925–92)

Best-known mainstream Assamese film-maker; younger brother of Brojen Barua. Started as cinematographer on Bengali and Assamese films. Directed the first big-budget multi-star Eastmancolor film in the language, Ajali Nabou. Before his flamboyant film career, he was a musician and flautist, a footballer of some repute (playing for the Maharana AC and Assam state) and a cartoonist for the Assam Tribune. Mainly made family socials, often coming close to home-movie levels of intimacy; also made mythologicals (Bhakta Prahlad, Narakasur). Younger brother, Ramen Barua, is a noted composer.

FILMOGRAPHY: 1955: Smritir Parash; 1957: Mak Aru Morom; 1958: Ranga Police; Bhakta Prahlad; 1959: Amar Ghar; 1961: Narakasur; 1970: Baruar Sansar; 1973: Sonetara; 1977: Sonmai; 1978: Manima (also act); 1980: Ajali Nabou; 1983: Koka Deuta Nati Aru Hati; 1984: Shakuntala Aru Shankar Joseph Ali; 1985: Dadu Nati-o-Hati; 1986: Antony Mor Naam; 1988: Ae Morjaname Janame.

BARUA, PADUM (B 1924)

Assamese director. His only film, Ganga Chiloner Pankhi (1975), took a decade to make. Hiren Gohain, one of the foremost commentators on contemporary Assamese culture, speaks of him as ‘the first man to raise the standard of revolt against both the outworn theatrical mode and the slick Bombay style movie. [H]e is a director who can show us things.’ Was musically inclined since childhood and an articulate cinephile since his student days at Benares Hindu University. Claims to have been influenced by John Ford, P.C. Barua, V. Shantaram and Debaki Bose.

BARUA, PRAMATHESH CHANDRA (1903–51)

Major, still undervalued Bengali-Hindi director of Assamese origin, and one of the first major movie stars in India. Born into aristocratic family as the big game-hunting son of the Maharajah of Gauripur. Promising amateur sportsman and art-lover. Graduated from élite Presidency College, Calcutta (1924). Visited Europe and saw films (esp. René Clair and Lubitsch). Entered film as actor in silents; shareholder in Dhiren Ganguly’s British Dominion Films (1928). Spent a few months at Elstree to learn film-making and started Barua Pics in Calcutta (1929), producing e.g. Debaki Bose’s Aparadhi (1931) and Nishir Dak (1932). Joined Chittaranjan Das’ Swarajya Party (1928) which represented Hindu zamindar interests after the Hindu-Muslim riots of 1926. Prominent member of Assam Legislative Assembly (1928–36) when his Party piloted the anti-tenant and anti-Muslim Tenancy Act (1928) through Bengal Legislative Council. Joined New Theatres (1932–39), freelanced thereafter. His Zindagi was remade in Bengali (1943). Making melancholic love stories set amid a nihilistically portrayed aristocracy, he evolved a unique melodramatic style, drawing from the literary traditions against which Kallol defined itself. The static stories and the mask-like actorial postures are counterpointed by the most mobile subjective camera in the Indian cinema of his time, the visual excess of his sweeping pans announcing the landscapes of later Bengal School painting. Wrote and starred in his productions, but remembered best for his Bengali version of Devdas (Saigal starred in the Hindi one), remade by Bimal Roy in 1955, and for Mukti. Died in Calcutta, leaving his last feature unfinished.

FILMOGRAPHY (** also act/* only act): 1931: Aparadhi*; 1932: Bhagya Lakshmi* (all St); Bengal 1983**; 1934: Rooplekhal Mohabbat Ki Kasauti**; 1935: Abasheshe*; Devdas**; 1936: Grihadah/Manzil**; Maya; 1937: Mukti**; 1938: Adhikar**; 1939: Rajat Jayanti**; 1940: Shapmukti**; Zindagi; 1941: Mayer Pran**; Uttarayan**; 1942: Shesh Uttar/Jawab**; 1943: Chandar Kalanka/Rani**; 1944: Subah Shyam; 1945: Amiri; 1946: Pehchan; 1949: Iran Ki Ek Raat; 1953: Maya Kanan**.

BARUA, RAMEN (B 1938)

One of Assamese cinema’s main music composers. Started as playback singer to his brother Brojen Barua’s music in his other brother Nip Barua’s Smritir Parash (1955). Turned composer in partnership with Brojen Barua, his own songs in Amar Ghar became major hits. Despite his popular and commercially successful work, he prefers the folk-derived music he composed for Mukuta and the classical compositions of Sonmai, extending his work as composer in the theatre and his experience with the IPTA. Also set some of Jyotiprasad Agarwala’s lyrics to music and re-released a series of Brojen Barua’s old hits.

FILMOGRAPHY: 1959: Amar Ghar; 1969: Dr. Bezbarua; 1970: Mukuta; 1971: Jog Biyog; 1972: Lolita; Hridayar Proyojan; Opaja Sonor Mati; 1973: Sonetara; Uttaran; Parinam; 1975: Toramai; 1977: Sonmai; Moromi; 1978: Moram; Manima; 1979: Ashray; 1980: Ajali Nabou; Raja Harishchandra; 1981: Manashi; Uttar Sunya; 1982: Raja; 1983: Koka Deuta Nati Aru Hati; 1984: Shakuntala Aru Shankar Joseph Ali; 1985: Dada Nati-o-Hati; Deepjyoti; 1986: Antony Mor Naam.

P. C. Barua (left), Bhanu Bannerjee (centre) and Pahadi Sanyal (right) in Rajat Jayanti (1939)

BEDEKAR, VISHRAM (B. 1906)

Marathi and Hindi director, best known as a writer, born in Amravati, Eastern Maharashtra. Started with Sangeet Natak company Balwant Sangeet Mandali as playwright-lyricist. Moved to film-making when the theatre group expanded its box-office draw by producing Krishnarjun Yuddha, starring the group’s writer-actor Chintamanrao Kolhatkar. Unlike other films produced by Sangeet Natak companies (e.g. Lalitkaladarsh), the film succeeded commercially and he co-directed three more with the group’s owner-producer Vamanrao N. Bhatt. Scripted the mythological Pundalik (1936) and, according to his autobiography, co-d the film with V.N. Bhatt. Briefly studied film-making in the UK (1938); published his first novel, Ranangan (1938), on his return. Joined Prabhat briefly to write Shantaram’s Shejari/Padosi (1941), returning to the studio to script Ramshastri (1944, a re-edited version of which, credited to him, was later released as a children’s film entitled Ramshastri Ka Nyay) and to direct Guru Dutt’s début, Lakhrani. Made classic melodramas for Baburao Pendharkar’s New Huns, Baburao Pai’s Famous Pics and Minerva Movietone. Wrote Shantaram’s A mar Bhoopali (1951). Directed some of the Ramsay Brothers’ early productions (Rustom Sohrab, Ek Nannhi Munni Ladki Thi). Works in modernist frame defined by K. Narayan Kale’s generation and G.B. Shaw; most of his literary and filmic work recasts stereotypes of pre-WWl Marathi social reform novels into the declamatory style of prose melodrama with increasingly complex storylines. As playwright, works include Brahmakumari, Vaje Paool Apule and Tilak Ani Agarkar (1980). Also scripted his films. Published autobiography, Ek Jhaad Ani Don Pakshi (1985).

FILMOGRAPHY: 1934: Krishnarjun Yuddha; 1935: Satteche Prayog; Thakicba Lagna; 1936: Pundalik; Andheri Duniya; 1938: Lakshmiche Khel; 1942: Pahila Palna; 1943: Paisa Bolto Aahe/Nagad Narayan; 1945: Lakbrani; 1947: Chul Ani Mul; 1948: Mera Munna; 1950: Krantiveer Vasudev Balwant; 1951: Lokmanya Bal Gangadhar Tilak (Doc); Bhola Shankar; 1956: Ramshastri Ka Nyay 1957: Talash; 1961: Do Bhai; 1963: Vinobha Bhave: The Man (Doc); Rustom Sobrab; 1964: All God’s Children (Doc); 1968: the Service of Small Industries (Doc); 1970: Ek Nannhi Munni Ladki Thi; 1971: Jai Jawan Jai Makan; 1972: Bharat Ke Shaheed.

BEDI, NARENDRA (1937–82)

Hindi director born in Bombay; son of Rajinder Singh Bedi. Arts degree from Bombay University and joined film industry as part of G.P. Sippy’s production team. Début film, produced by Sippy, is a Rajesh Khaima classic renovating the ruralist melodrama (cf. Bangarada Manusbya, 1972). His second film, Jawani Diwani, a megahit, contained all-time R.D. Burman hits such as Turn kahan. Went on to make teenage musical romances in the 70s.

FILMOGRAPHY: 1969: Bandhan; 1972: Jawani Diwani; 1974: Benaam; Khote Sikkay; Dil Diwana; 1975: Raffoo Chakkar; 1976: Adalat; Maha Chor; 1981: Kachche Heere; 1982: Insaan; Sanam Teri Kasam; Taaqat.

BEDI, RAJINDER SINGH (1915–84)

Director born in Sialkot Dist. (now Pakistan). Major short-story writer in Urdu, seen with Krishan Chander and Sadat Hasan Manto as constituting a new radical literary generation in the context of WW2, Independence and Partition, following Premchand, who introduced khari boli style of ‘common man’s prose’ into the courtly idiom prevalent in Urdu literature. Focused on experience of being a cultural and political refugee (e.g. Garam Coat, which he adapted to the screen in 1955) and peasant life (Ek Chadar Maili Si, his novel filmed by Sukhwant Dhadda with a Bedi script in 1986). Opposed notion of creative ‘spontaneity’ asssociated with Krishan Chander and Manto, strongly asserting craftmanship (Bedi, 1989). Stories often overlay the everyday with references to the mythological (e.g. Graban, 1972). Entered film as scenarist and dialogue writer in late 40s, working with Sohrab Modi (Mirza Gbalib, 1954), Bimal Roy (Devdas, 1955; Madhumati, 1958) and Hrishikesh Mukherjee (Anuradha, 1960; Memdidi, 1961; Anupama, 1966). Prolific scenario and dialogue writer, including Raj Khosla’s Milap (1955) and Bambai Ka Babu (1960), Nitin Bose’s Dooj Ka Chand (1964) and Raj Kapoor’s Ab Dilli Door Nahin (1957). Briefly director of the radio station Jammu and Kashmir Broadcasting Service. Directorial début in 1970 in the context of New Indian Cinema. His son, Narendra Bedi, had debuted as a director one year earlier.

FILMOGRAPHY: 1970: Dastak; 1973: Phagun; 1978: Aankhin Dekhi; Nawab Sahib.

BENEGAL, SHYAM (B. 1934)

Hindi director born in Trimulgherry, AP; also worked in Telugu. Made first amateur film aged 12 with father’s camera; nephew of Guru Dutt. Studied economics at Osmania University, Hyderabad; involved in student theatre. Founded Hyderabad Film Society. Moved to Bombay and worked for Lintas advertising agency (1959–63) and for Advertising & Sales Promotion Co. (1963–73). Made more than 900 advertisements and 11 corporate films (1959–73). Worked as documentarist; taught at the FTII (1969) and at Bhavan College (1966–73). Received Homi Bhabha fellowship (1969–72), allowing a stay in Britain and in the USA where he worked as associate producer for Boston WGBH TV and with the Children’s Television Workshop in New York. First feature, Ankur, with a 10-year-old script and independently financed, uses a quasi-realist style then considered antagonistic to the Hindi film industry. Its commercial success in the wake of Bhuvan Shome (1969) spawned a new sector of film-making later known as ‘middle cinema’ (cf. New Indian Cinema). Early work sited in rural environment (Ankur and Nisbant in AP, Manthan in Gujarat), using professional actors but with explicit references to the peasant unrest, initially CPI(ML)-led (see Naxalite) and acquiring a national dimension after the failure of the 1971–2 harvests. This work provided an early aesthetic articulation of what would soon become official government media policy towards the rural areas via the SITE programme. Later features are closer to the entertainment-led ‘middle cinema’. Made several features (including fiction) on commission for clients, e.g. the National Dairy Development Board in Gujarat (Manthan), the CPI(M)-led Government of West Bengal (Aaroban), the Handloom Co-operatives (Susman), Indian Railways (Yatra), an Indo-Soviet government-sponsored feature-documentary (Nehru) and the 53-episode TV serial based on Nehru’s book, The Discovery of India (Bharat Ek Khoj). Influential presence in national film policy organisations.

FILMOGRAPHY: 1962: Gher Betha Ganga (Sh); 1967: A Child of the Streets (Doc); Close to Nature (Doc); 1968: Indian Youth: An Exploration (Doc); Sinhasta: Path to Immortality (Doc); Poovanam (Sh); 1969: Flower Garden (Sh); 1970: Quest for a Nation (Doc); Why Export? (Doc); 1971: Pulsating Giant (Doc); Steel: A Whole New Way of Life (Doc); 1972: Tala and Rhythm (Doc); Sruti and Graces in Indian Music (Doc); Raga and Melody (Doc); Notes on the Green Revolution (Doc); Foundations of Progress (Doc); Power to the People (Doc); 1973: Ankur; Suhani Sadak (Doc); 1974: Violence: What Price? Who Pays? (No. 5) (Doc); You Can Prevent Burns (Doc); 1975: Charandas Chor; Nishant; Epilepsy (Doc); Hero (Sh); The Quiet Revolution Pt 1 (Doc); 1976: Manthan; Tomorrow Begins Today (Doc); Bbumika; 1977: Kondura/Anugraham; 1978: Junoon; 1979: The Quiet Revolution Pt 2 (Doc); Reaching Out to People (Doc); Pashu Palan (Doc); 1980: Kalyug; 1981: New Horizons in Steel (Doc); 1982: Aaroban; Growth for a Golden Future (Doc); 1983: Mandi; Sangathan (Doc); Vardan (Doc); Animal Reproduction and Artificial Insemination in Bovines (Doc); Tata Steel: Seventy Five Years of the Indian Steel Industry (Doc); Nehru (Doc); 1984: Satyajit Ray (Doc); 1985: Trikaal; Festival of India (Doc); 1986: Susman; Yatra (TV); Katha Sagar (TV); 1988: Bharat Ek Khoj (TV); 1990: Nature Symphony (Doc); Abode of Kings: Rajasthan (Doc); A Quilt of Many Cultures: South India (Doc); 1992: Antarnaad; Suraj Ka Satwan Ghoda; 1994: Mamma.

Shyam Benegal

BETAAB, NARAYAN PRASAD (1872–1945)

Playwright for Parsee theatre and scenarist mainly for the Ranjit Studio. Early stage successes Meetha Zaher (1905) and Zehari Saap (1906), written originally for the Parsee Natak Mandali, were extensively staged and filmed. Used the mythological genre (e.g. his best-known play, Mahabharata, for the Khatau-Alfred company, 1913) and inaugurated what the critic Agyaat called the Betaab Yug (c. 1910–35), consolidating 19th C. efforts to define distinctively Hindi playwrighting practice. Whereas the 19th C. stage mythological mainly adapted familiar musical compositions interspersed with prose commentaries, the improvisational style of a traditional kathakaar, the Betaab style codified a more contemporary genre, determined politically by his explicitly brahminical adherences (underlined by his editorship of the journal Brahma Bhatt Darpan). His example greatly influenced the genre’s cinematic form. Also created Hindi versions of original screenplays by e.g. Chandulal Shah. After working at Ranjit, Betaab wrote scripts for Madan, Ambika, Sharda and Saroj Studios. Definitive biography by Vidyavati Namra (1972). Story, dial and/or lyr credits include Chandulal Shah’s Devi Devayani (1931), Radha Rani, Sati Savitri, Sheilbala (all 1932), Vishwamobini, Miss 1933 (both 1933), Barrister’s Wife, Keemti Aansoo (both 1935) and Pardesi Pankhi (1937); Jayant Desai’s Krishna Sudama (1933), Nadira, Sitamgarh, Veer Babruwahan (all 1934), College Girl, Noor-e-Watan (both 1935), Raj Ramani (1936) and Prithvi Putra (1938); J.J. Madan’s Zehari Saap (1933); Nandlal Jaswantlal’s Pardesi Preetam (1933) and Kashmeera (1934); Raja Sandow’s Raat Ki Rani (1935); Gunjal’s Ambarish (1934); Nanubhai Desai and J.P. Advani’s Shah Behram (1935); R.S. Choudhury’s Kal Ki Baat (1937); Advani’s Sneh Bandhan (1940) and Parashuram by Ramnik Desai (1947).

BHADURI, SISIR KUMAR (1889–1959)

Bengali director and actor born in Howrah, Bengal. Legendary figure in early 20th C. Bengali theatre embodying the transition from the 19th C. theatre dominated by Girishchandra Ghosh to a modernist sensibility that later assimilated aspects of Meyerhold, Reinhard and Brecht. Established reputation as actor while still at university, playing role of Kedar in Rabindranath Tagore’s play Boikunter Khata (1912). Lectured in English at Metropolitan Institute (later Bidyasagar College) 1914–21. First professional theatre appearance in title role of the landmark Bengali play, Alamgir, produced by Bengali Theatrical Co. controlled by Madan (1921). Established own theatre company, Natyamandir (1923), with Jogesh Choudhury’s Seeta, a play redefining conventions of the mythological with greater emphasis on dramatically coherent performance idiom, elimination of stage wings and orchestra pit and a new type of background music (by Nripendra Nath Majumdar) in harmony with the songs of K.C. Dey. Best-known productions include re-edited ‘traditional’ plays by Girish Ghosh and D.L. Roy, influential stage interpretations of Tagore and, at the Srirangam theatre (1942–56), plays by a new generation of writers like Tulsi Lahiri (Dukhir Iman) and Premankur Atorthy (Takht-e-Taus). Several of Bengal’s best-known actors, writers, musicians and technicians entered film via his theatre company and the Star Theatre. Participant in cultural anti-Fascist front and one of the very few commercial theatre personalities acknowledged by the IPTA as having influenced its own radical practice: his theatre hosted the IPTA’s inaugural production, Nabanna (1943). Entered film as actor-director at Madan Theatres (1921). Founded and briefly ran his own Taj Mahal Studio (1922), returned to Madan and then worked at New Theatres and at Priyanath Ganguly’s Kali Films. Best-known films (Seeta, Talkie of Talkies and Chanakya) are adaptated from his stage plays. Acted in films he directed as well as in Satish Dasgupta’s Poshya Putra, 1943.

FILMOGRAPHY: 1921: Mohini; 1922: Andhare Alo; Kamale Kamini; 1929: Bicharak (all St); 1932: Palli Samaj; 1933: Seeta; 1937: Talkie of Talkies; 1939: Chanakya.

BHAGAVATHAR, C. HONNAPPA (1914–92)

Kannada and Tamil actor and singer born in Choudasandra village, Karnataka. Trained in classical Carnatic music by Shamanna and Sambandhamurthy Bhagavathar. Acted in Company Natak plays in Gubbi Veeranna’s troupe, but his début was in the Tamil cinema, often acting in Modern Theatres films, e.g. T.R. Sundaram’s Burma Rani, Subhadra. Introduced into Kannada via Veeranna productions directed by H.L.N. Simha (Hemareddy Malamma, Gunasagari). Later played in remarkable Saint films (K.R. Seetarama Sastry’s Mahakavi Kalidasd), usually providing his own music. His music, performances and acting remain definitive of the genre in Kannada and Tamil. Also produced films, e.g. Uzhavukkum Thozhilukkum Vandhanai Seivom.

FILMOGRAPHY (* also music d): 1941: Subhadra; Krishna Kumar; 1942: Sati Sukanya; 1943: Arundhati; Devakanya; 1944: Burma Rani; Prabhavati; Rajarajeshwari; 1945: Hemareddy Mallamma; Bhakta Kalathi; Subhadra; 1946: Kundalakesi; Shri Murugan; Valmiki; 1948: Bhakta Jana; Gokula Dasi; 1949: Devamanohari; 1953: Gunasagari; 1955: Mahakavi Kalidasa*; 1956: Pancharathna; 1959: Uzhavukkum Thozhilukkum Vandhanai Seivom*; Jagatjyoti Basaveshwara; 1979: Sadananda.

BHAGAVATHAR, M. KRISHNAMURTHY THYAGARAJA (1909–59)

One of the first major Tamil singing stars, introduced in K. Subramanyam’s mythological Pavalakkodi (as Arjuna). Born into a family of goldsmiths in Tiruchi; joined the theatre as a child in F.G. Natesa Iyer’s troupe and went on to become the biggest Tamil stage star, sporting shoulder-length hair, diamond ear-rings and kohl around his eyes. After a successful film début, became briefly the highest-paid actor in South India, despite appearing in only 11 films, with classic performances in Duncan’s Ambikapathy, Y.V. Rao’s Chintamani and Raja Chandrasekhar’s Ashok Kumar, and the folk legend of the reformed saint Haridas, a major commercial hit. Helped launch the mainstream Newtone Studio (1937). As a musician, he adhered to the Tamizhisai movement, emphasising Tamil traditions as opposed to the Carnatic idiom dominated by Telugu, Kannada and Sanskrit. Arrested with N.S. Krishnan and jailed in 1945 for two years for the infamous Lakshmikantan murder (in which the two stars allegedly had a film gossip columnist, C.N. Lakshmikantan, killed). Made a high-profile comeback with two of his own productions: Chandrasekhar’s Raja Mukthi failed but is remembered as the debut of playback singer M.L. Vasanthakumari. Turned to direction with his last film Pudhu Vazhvu. Biography by Vindhan (1983).

FILMOGRAPHY (* also d): 1934: Pavalakkodi; 1935: Sarangadhara; 1936: Satya Seelan; 1937: Ambikapathy; Chintamani; 1939: Thiruneelakantar; 1941: Ashok Kumar; 1943: Sivakavi; 1944: Haridas; 1948: Raja Mukthi; 1952: Amarakavi; 1957: Pudhu Vazhvu*; 1960: Sivagami.

BHAGWAN, MASTER (B. 1913)

Hindi and Marathi actor and director; born Bhagwan Abhaji Palav in Bombay, the son of a mill worker. After devoting himself to body-building, he started in the silent era with his long-term partner, Chandrarao Kadam, in G.P. Pa war-directed stunt movies. Co-directed first feature with Pawar (1938), then producer (1942) with Jagriti Pics and Bhagwan Art Prod.; eventually owner of Jagriti Studios, Chembur (1947). Success of Albela established him briefly as a major post-Independence producer. Starred as a dancer and naive simpleton in many stunt, adventure and comedy movies. Acting style associated mainly with the elaboration of a minimalist dance movement which arguably became a major behavioural influence on Hindi film audiences (e.g. Bachchan’s dances, which today determine how people move on the streets in wedding or religious processions, bear the mark of Bhagwan’s influence). Balraj Sahni wrote that while Raj Kapoor and Dilip Kumar are [m]uch more popular than he is, they do not enjoy the popularity among the poorer classes that Bhagwan Dada does. [The working class] sees in him their own image and what endears him to them is that he, a fellow member of the proletariat, should make a beauty like Geeta Bali fall in love with him.’ (Sahni, 1979). Since the early 70s, he has been largely relegated to cameo roles and comedy routines.

FILMOGRAPHY (* also d): 1931: Bewafa Ashq; 1933: Daivi Khajina; Pyari Katar; Jalta Jigar; (All St); 1935: Himmat-e-Mard; 1936: Bharat Ka Lal; 1937: Chevrolet 1936; 1938: Bahadur Kisan* (co-d C. Kadam); 1939: Criminal*; Jayakkodi*; 1941: Raja Gopichand*; Vanamohint*; Premabandhan; 1942: Sukhi jeevan*; 1943: Badla*; 1944: Bahadur*; 1945: Nagma-E-Sahra*; Ji Haan; 1946: Nargis; Dosti*; 1947: Matwale*; Shake Hands*; Bahadur Pratap*; Madadgaar; 1948: Jalan*; Lalach*; Matlabi*; Tumhari Kasam; 1949: Bachke Rehna*; Bhedi Bungla*; Bhole Bhale*; Jigar*; Bhole Piya; Bigde Dil; Jeete Raho; Joker; Khush Raho; Pyar Ki Raat; Roop Lekha; Shaukeen; 1950: Achhaji; Aflatoon; Baksheesh; Dushmani; Jodidar; Babuji*; Jungle Man; Rangile Musafir; 1951: Albela*; Actor; Bade Saheb; Bhola Shankar; Damaad; Gazab; Ram Bharose; 1952: Baghdad; Bhoole Bhatke; Daryai Lutera; Goonj; Sinbad the Sailor; 1953: Char Chand; Rangila*; Jhamela*; Shamsheer; 1954: Halla Gulla*; 1955: Deewar; Jhanak Jhanak Payal Baaje; Oonchi Haveli; Chhabila; Pyara Dushman*; 1956: Badshab Salamat; Char Minar; Chori Chori; Mr Lambu; Sheikh Chilli; Passing Show*; Bhagambhag*; Kar Bhala*; 1957: Adhi Roti; Agra Road; Beti; Coffee House; Garma Garam; Gateway of India; Raja Vikram; Ustad; Uthavala Narad; 1958: Don Ghadicha Dav; Chaalbaaz; Dulhan; Mr Q; Naya Kadam; Son Of Sinbad; Bhala Admi*; Sachche Ka Bol Bala*; 1959: Chalis Din; Chacha Zindabad; Duniya Na Mane; Kangan; Lai Nishan; Madam XYZ; Mohar; O Tera Kya Kehana; 1960: Diler Hasina; Nakhrewali; Rangila Raja; Road No. 303; Zimbo Comes To Town; 1961: Salaam Memsaab; Sapan Suhane; Shola Jo Bhadke*; Lucky Number; Stree; Teen Ustad; Zamana Badal Gaya; 1962: Baghdad Ki Raatein; Madam Zapata; Rocket Girl; Tower House; 1963: Awara Abdulla; Magic Box; Rustom-e-Baghdad; Dekha Pyar Tumhara; 1964: Aandhi Aur Toofan; Magic Carpet; Hukum Ka Ekka; Main Bhi Ladki Hoon; Tarzan and Delilah; 1965: Hum Diwane*; Adventure Of Robin Hood and Bandits; Bekhabar; Flying Man; Khakaan; Sher Dil; Sinbad Alibaba and Alladdin; Tarzan and King Kong; Tarzan Comes To Delhi; Chor Darwaza; 1966: Chale Hain Sasural; Duniya Hai Dilwalon Ki; Labela*; Daku Mangal Singh; Ladka Ladki; Veer Bajrang; 1967: Albela Mastana; Chhaila Babu; Duniya Nachegi; Gunehgaar; Hum Do Daku; Trip To The Moon; Arabian Nights; 1968: Jhuk Gaya Aasmaan; Bai Mothi Bhagyachi; 1969: Goonda; Inteqam; The Killers; Raat Ke Andhere Mein; 1970: Geet; Mangu Dada; Choron Ka Chor; Night in Calcutta; Suhana Safar; Lakshman Resha; 1971: Aag Aur Daag; Guddi; Hangama; Joi Bangla Desh; Mera Gaon Mera Desh; Tere Mere Sapne; 1972: Putli Bai; Aan Baan; Tangewala; Sultana Daku; Gaon Hamara Shaher Tumhara; Do Chor; Raaste Ka Patthar; 1973: Taxi Driver; Chhalia; Barkha Bahar; Banarasi Babu; Chori Chori; Shareef Badmash; Mahasati Savitri; 1974: Badhti Ka Naam Daadhi; Balak Dhruv; Imaan; Tarzan Mera Saathi; Aarop; Badla; Paap Aur Punya; Aparadhi; Dulhan; 1975: Faraar; Jaan Hazir Hai; Kala Sona; Maze Le Lo; Natak; Zindagi Aur Toofan; Daku Aur Bhagwan; Ek Gaon Ki Kahani; Jaggu; Mazaaq; Raffoo Chakkar; Zorro; Bhoola Bhatka; Shantata! Khoon Jhala Aahe; 1976: Naag Champa; Sangram; Alibaba; Toofan Aur Bijli; 1977: Banyabapu; Bhingri; Navara Mazha Brahmachari; Ram Ram Gangaram; Chakkar Pe Chakkar; Jai Vijay; Khel Khiladi Ka; Agent Vinod; Mandir Masjid; Saheb Bahadur; Mukti; 1978: Azad; Darwaza; Kasme Vade; Khoon Ka Badla Khoon; Main Tulsi Tere Aangan Ki; Sampoorna Sant Darshan; Ganga Sagar; Sawan Ke Geet; Bhairu Pahelwan Ki Jai; 1979: Aitya Bilavar Nagoba; Apli Manse; Ahimsa; Do Hawaldar; Gawah; Heera Moti; Naya Bakra; Jaan-e-Bahar; Raja Harishchandra; 1980: Asha; Karwa Chouth; Mera Salaam; Phatakadi; Hyoch Navara Pahije; Sharan Tula Bhagavanta; Aap To Aise Na The; Badrinath Dham; Bombay 405 Miles; Bulandi; Do Premi; Ganga Aur Suraj; Jyoti Bane Jwala; Khoon Kharaba; Nazrana Pyar Ka; Phir Wohi Raat; Yeh Kaisa Insaaf Choravar Mor; 1981: Chanwa Ke Take Chakor; Ganga Aur Sarju; Biwi-o-Biwi; Chalti Ka Naam Zindagi; Fifty-Fifty; Gehra Zakhm; Qatilon Ke Qatil; Kranti; Lubna; Sahas; Ustadi Ustad Se; Do Posti; Shitala Mata; Commander; Chhupa Chhupi; Govinda Ala Re Ala; Laath Marin Tithe Pani; 1982: Honey; Ali Angavar; Preet Na Jaane Reet; 1983: Dard-e-Dil; Bindiya Chamkegi; Aao Pyar Karen; Bekhabar; Jai Baba Amarnath; Kaise Kaise Log; 1984: Bhatke Rahee; Bhool; Love Marriage; Mera Dost Mera Dushman; Meri Kahani; Jhootha Sach; Yaadgaar; Ali Lahar Kela Kahar; Bahurupi; Chorachya Manaat Chandani; Gulchhadi; 1985: Pyari Bhabhi; 1986: Andheri Raat Mein Diya Tere Haath Mein; Bijli; Dhondi Dhondi Pani De; 1987: Bola Dajiba; Chhakke Panje; Prem Karuya Khullam Khulla; Diwana Tere Naam Ka; Tarzan and Cobra; 1988: Halaal Ki Kamai; Khatarnak; 1989: Ilaaka; Ina Mina Dika; Navara Baiko; 1990: Naache Nagin Gali Gali; 1992: Sagale Sarkhech.

BHAGYARAJ, KRISHNASWAMY (B. 1953)

Top Tamil director once declared by MGR to be his cinematic heir. Dropped out of colleges in Coimbatore; was a rickshaw puller and a circus clown in Kakinada. In Madras, became assistant to G. Ramakrishna and Bharathirajaa débuting in the latter’s films as actor (first major role in Puthiya Varpugal) and scenarist (Kizhakke Pokum Rayil, Sigappu Rojakkal, both 1978; Niram Maratha Pookal, 1979; Oru Kaithiyin Diary, 1985) originally starring Kamalahasan. Directorial début with the hit Suvar Illatha Chitrangal established a distinctive style, with the director usually playing the comic underdog in rural dramas, often with a comic sidekick who undermines his pretensions to heroism. Also scored some of his films. Several were remade in Hindi, often by Bapu: (e.g. Andha 7 Natkal remade as Woh Saat Din, 1983; Thooral Ninnu Pochu as Mohabbat, 1985). Other remakes include Mundhanai Mudichu as K. Raghavendra Rao’s Masterji (1985) and Enga Chinna Raja as Indra Kumar’s 90s hit Beta (1992). Bhagyaraj’s big-budget Hindi Bachchan film Aakhri Raasta is a remake of Oru Kaithiyin Diary (1984). Made an abortive effort to enter politics (1989). Married Hindi/Tamil actress Poornima Jayaram. Edits and publishes the tabloid journal Bhagya.

FILMOGRAPHY (* only act): 1979: Puthiya Varpugat*; Kanni Paruvathinile*; Suvar Illatha Chitrangal; 1980: Bhama Rukmini*; Kumari Pennin Ullathiley*; Oru Kai Osai; 1981: Mouna Geethangal; Indru Poyi Nalai Vaa; Veediyum Varai Kathiru; Andha Ezhu Natkal; 1982: Thooral Ninnu Pochu; Darling Darling Darling; Poyi Satchi; 1983: Mundhanai Mudichu; Thavani Kanavukal; 1984: Oomaijanangal*; Mayadari Mogudu; 1985: Chinna Veedu; Chithirame Chithirame; Aakhri Raasta; Naan Sigappu Manithan*; 1987: Enga Chinna Rasa; 1988: Vaddante Pelli; Idu Namma Alu*; 1989: Araro Ariraro; 1990: Avasara Police 100; Sundara Kandam; 1991: Pavunnu Pavanuthan; Rudra*; 1992: Ammavandachu*; Rasakutty; 1993: Veetile Visheshanga; 1995: Oru Oorile Oru Rajakumari.

BHANUMATHI, PALUVAYI (B. 1924)

Aka Bhanumathi Ramakrishna. Born in Guntur Dist., AP. Actress-director and grande dame of the Telugu and Tamil cinemas. Her now legendary performances at the Vauhini and Gemini Studios were among their earliest post-WW2 bids for All-India Film industrial status. Major singing star of 40s/50s; later studio owner with her husband P.S. Ramakrishna Rao (Bharani Studios, 1947), scenarist, music composer, film-maker and popular author of ‘mother-in-law’ short stories (the Attagari Kathalu series). Film début as teenager in C. Pullaiah’s reformist melodrama Varavikrayam as Kalindi, a daughter who commits suicide because her parents cannot afford her wedding dowry. Her first major success came in the bizarre role of a village girl who grows into a ‘society lady’ in B.N. Reddi’s Swargaseema. Mid-40s Telugu films, in addition to conventional mythologicals by Balaramaiah and Babu (Krishna Premd), often cast her in comedies dealing with anxieties about traditional (sometimes rural) cultures assimilating aspects of Western modernity, a subject central to much popular reform literature: in Y.V. Rao’s Tehsildar she wears high heels and attends a British tea party; Prasad’s ‘feminist’ Grihapravesham opens with her playing badminton and confronting the misogynist hero. This context, and her unique ability to function simultaneously in the reformist-social and the traditional mythological genres, was later used to remarkable effect in Nallathamhi, the seminal DMK Film, and in the Gemini trilingual adventure drama, Apoorva Sahodarargal. Her incarnation of ‘tradition’, exemplified and stressed by her music, was later put to ideological use in the genre still most closely associated with her: ‘damsel-in-distress’ performances in MGR’s Robin Hood-derived vigilante films (Malaikallan, Alibabavum Narpatha Thirudargalum, Madurai Veeran). Her music drew on C. Ramchandra, Arabian folk (Swargaseema, Laila Majnu) and even Pat Boone, but she is best remembered for her versions of Thyagaraja’s kirtis and Purandaradasa’s bhajans, which led to her being nominated Principal of the Government College of Music in Madras in the mid-80s. Her songs and dances are featured in the compilation film, Chitramala (1985). Wrote her autobiography Naalo Neno (1993).

FILMOGRAPHY (* also d/** also music d): 1939: Varavikrayam; 1940: Malathi Madhavam; Dharmapatni; 1941: Bhaktimala; 1943: Garuda Garvabhangam; Krishna Prema; 1944: Tehsildar; 1945: Swargaseema; 1946: Grihapravesham: 1947: Ratnamala; 1948: Rajamukthi; 1949: Laila Majnu; Raksharekha; Ratnakumar; Apoorva Sahodarargal/Nishan; Nallathambi; Devamanohari; 1950: Apoorva Sahodarulu; 1951: Mangala; Malleeswari; 1952: Prema/Kathal; Rani; 1953: Shamsheer; Chandirani *; 1954: Malaikallan; Aggiramudu; Chakrapani**; Vipranarayana**; 1955: Kalvanin Kadhali; Alibabavum Narpatha Thirudargalum; 1956: Rambayin Kadhali; Sadaram; Thaikku Pinn Tharam; Tenali Ramakrishna/Tenali Raman; Madurai Veeran; Rangoon Radha; Chintamani**; 1957: Ambikapathy; Makkalai Petra Maharasi; Nala Damayanti; Sarangadhara; Rani Lalithangi; Varudukavali/Manamagal Thevar**; 1958: Nadodi Mannan; 1959: Mani Mekalai; Bandaramudu/Adisaya Thirudan; 1960: Raja Bhakti; Raja Desingu; 1961: Batasaril Kanal Neer**; 1962: Annai/Penchina Prema; 1963: Anuragam; Arivali; Kalai Arasi; Kanchi Thalaivan; 1964: Bobbili Yuddham; Vivahabandham**; 1965: Sarasa BA; Todu Needa; Antastulu; 1966: Palnati Yuddham; 1967: Pattathu Rani; Grihalakshmi*; Punyavati; Nai Roshni; 1970: Kadhaljyothi; 1971: Mattilo Manikyam; 1972: Anta Mana Manchike*/**; 1973: Vichitra Vivaham*; Kattilla Thottilla; 1974: Tatamma Kala; Mangalya Bhagyam; Ammayi Pelli*; Pathumatha Bandham; Swathi Nakshatram; Thayi Pirandhal; 1975: Pandanti Samsaram; Eduppar Kayi Pillai; Ippadiyum Oru Penn*/**; 1976: Manamara Vazhthungal; Vanga Sambandhi Vanga*/**; Manavadi Kosam*/**; 1980: Rachayithn*/**; Oke Naati Rathn*/**; 1982: Bhakta Dhruva Markandeya*/**; 1984: Mangammagari Manavudu; 1985: Muddula Manavaralu; 1986: Attagaru Swagatham; 1987: Mandala Dheesudu; 1988: Attagaru Zindabad; 1989: Bammamata Bangaru Pata; 1992: Periamma*/**; Samrat Ashok; Peddarikam; 1993 Asadhyuralu.

BHARATHAN, B. G. (1946–98)

Successful Malayalam and Tamil director and nephew of P.N. Menon. Had a substantial art-house following in his early career. Born in Vadakkanacheri, Trichur Dist., Kerala. Graduate of Trichur School of Art; professional painter before he joined films as a set designer and publicist. Produced his début feature from his own story, later also composing the lyrics and the music for his own features. His films often draw their iconography from Padmarajan’s writings, depending on few characters, addressing sexuality set in a bleak moral landscape that metes out primal justice (e.g. the snakebite and divine intervention in Rathi Nirvedham). The format was extended into an indigenous version of the western with the big-budget CinemaScope film Thazhvaram, in which a stranger (Mohanlal) appears in the frontier town to settle a long-standing feud. Changed his idiom for his major hit, Thevar Magan, written and produced by Kamalahasan and devoted to the star’s self-image.

FILMOGRAPHY: 1975: Prayanam; 1977: Guruvayoor Kesavan; Aniyara; 1978: Aravam; Rathi Nirvedham; 1919 Thakara; Chamaram; 1980: Lorry; Savithri; 1981: Chatta; Nidra; Palangal; Parvathi; Parankimala; Rani; 1982: Ormakkayi; Marmaram; 1983: Eenum; Sandhya Mayungam Neram; Kattathe Kilikoodu; 1984: Ente Upasana; Ithiri Poove Chuvannapoove; 1985: Kathodu Kathoram; Ozhivukalam; Unjaladum Uravugal; 1986: Chilampu; Pranamam; Nilakurinhi Poothappol; 1987: Oru Minnaminuginte Nurungu Vettam; 1988: Oru Sayahnathinte Swapnam; Vaishali; 1989: Thazhvaram; 1990: Malootty; 1991: Amaran; 1992: Thevar Magan; Avarampu; Vengalam; 1993: Chamayam; Padhayam.

BHARATIDASAN (1891–1964)

Major Tamil poet, playwright and scenarist. Seminal figure in the Tamil nationalist movement, prefiguring the regional political ideology of the Dravida Munnetra Kazhagam (cf. DMK Film). Changed his name in 1908 from Kanaka Subburathnam to Bharatidasan, ‘disciple of Bharati’, in honour of his mentor, the poet Subramanya Bharati. Wrote religious poems and was briefly a follower of Gandhi; later became an atheist under the influence of Periyar E.V. Ramaswamy Naicker and joined the Dravidar Kazhagam. Published his first anthology, Bharatidasan Kavitaikal in 1938 (collected works published in 1977). Mounted several attacks on religious brahminism using a demotic Tamil; militantly affirmed a Tamil identity against Northern hegemony. Film début in P.V. Rao’s Balamani (1937) as dialogue writer-lyricist. His dialogues for Duncan’s Kalamegham (1940) led to a long-term association with Modern Theatres where he wrote e.g. T.R. Sundaram’s Subhadra (1945) and Sulochana (1946), achieving mass popularity with Sundaram’s Apoorva Chintamani (1947), followed by the story/dialogue/lyrics of Duncan’s Ponmudi (1949). Also wrote Sundaram’s Valayapathi (1952). Poems have been used as lyrics in numerous Tamil films, notably P. Neelakantan’s Ore Iravu (1951).

BHARATHIRAJAA (B. 1944)

Real name Chinnaswamy. Successful Tamil director and scenarist; also worked extensively in Hindi and Telugu. Born in Allinagaram, Madurai, TN. Joined films having apparently been obsessed with Sivaji Ganesan’s movies during his childhood in a peasant family. Assisted K.S. Sethumadhavan (1968), P. Pullaiah and Puttanna Kanagal (whose influence he acknowledges). Début with Pathinaru Vayathinile, scored by his childhood friend Ilaiyaraja, establishing both composer and lead star Sridevi in the Tamil cinema. It was remade in Hindi as Solva Sawan. Went on to adapt the middle-class melodramas of C.V. Sridhar and K. Balachander into a new genre of the rural ‘realist’ film based on folk ritual (often featuring the local village deity as dramatic pivot, as in Vedham Pudithu), while introducing technocentric fantasy elements. His reliance on emotionally heightened psychodrama, with nature itself or its invocation through ritual playing a crucial part in the narrative, elaborates the Kanagal style, as at the end of Kizhakke Pokum Rayil when, in the nick of time, the hero saves the heroine from being sacrificed to placate the flooding river. This work, notably after the controversial and critically acclaimed Karuthamma (1994), has been recently revalued in the context of the relative absence of a New Indian Cinema in Tamil. Most of his non-Tamil films are remakes of Tamil hits (e.g. Lovers remakes Alaigal Oyvathillai; Savere Wali Gadi remakes Kizhakke Pokum Rayil). Best-known work, Sigappu Rojakkal, is a slasher film directed against women. It was remade with Rajesh Khanna in Hindi as Red Rose and triggered protests from feminists in Bombay and Delhi. Introduced several new actors in Tamil, e.g. Radha, Revathi, Radhika, Rekha, Bhagyaraj and Karthik.

FILMOGRAPHY: 1977: ’Pathinaru Vayathinile; 1978: Kizhakke Pokum Rayil; Sigappu Rojakkal; Solva Sawan; 1979: Puthiya Varpugal; Niram Maratha Pookal/Niram Maradha Pushpangal; Yar Gulabi; 1980: Red Rose; Kallukkul Eram; Nizhalgal; Kotha Jeevithulu; 1981: Alaigal Oyvathillai; Tik Tik Tik; Seethakoka Chilaka; 1982: Kathal Oviyam; Valibame Vaa; 1983: Mann Vasanai; Lovers; Pudhumai Penn; 1984: Oru Kaithiyin Diary; 1985: Ee Tharam Lllalu; Muthal Martyathai; Savere Wali Gadi; Yuvatharam Pilichindi; 1986: Kadalora Kavathaikal; 1987: Vedham Pudithu; Aradhana; 1988: Jamadagni; Kodiparakkuthu; 1989: En Uyir Thozhan; 1991: Pudhu Nellu Pudhu Nathu; 1992: Nadodi Thendral; Captain Magal; 1993: Kizhakku Seemayile; 1994: Karuthamma; 1995: Pasumponn; Anthimantharai.

BHASI, ADOOR (1929–90)

Malayalam cinema’s best-known film star in the 60s and 70s after Prem Nazir. Until 1980, he starred in a third of all films made in Malayalam. Born in Adoor, originally named K. Bhaskaran Nair. A former textile technologist and stage performer, he went into films when he moved to Madras and worked briefly as production manager on Tamil films. A renowned comedian, he continued the slapstick style introduced into Malayalam cinema by S.P. Pillai. His first major role was as Anachal Krishna Pillai in P. Bhaskaran’s Adya Kiranangal. Later developed the persona of the wide-eyed, wooden-faced and sometimes unsmiling figure delivering lines in a staccato rhythm, which recalled the literary satires of his father, E.V. Krishna Pillai (1894–1938), especially in Kavya Mela, where he plays a poet directly reminiscent of Krishna Pillai’s Kavitakkesu (1929). His style evoked the major tradition of Malayalam farces pioneered by the plays of C.V. Raman Pillai, later used to parody the romantic poetry of the post-Vallathol era. As such, Bhasi functions as the satirical, even cynical, counter to Prem Nazir’s extension of the romantic tradition as he mouths the lyrics of Vyalar Rama Varma. Bhasi’s best-known performance outside Kerala is in John Abraham’s Cheriyachente Kroora Krithyangal, masterfully cast as the cowering Cherian consumed by guilt. Also remembered for his out-of-character ‘serious’ role as the father in Aravindan’s Uttarayanam, and for his triple role in Padunna Puzha. Also directed four films. Contested the Trivandrum Corp elections as an Independent candidate backed by the Left parties, but lost.

Adoor Bhasi and Manorama in Vidyarthikale Ithile Ithile (1971)

FILMOGRAPHY (* also d): 1961: Mudiyanaya Puthran; Gnana Sundari; 1962: Veluthampi Dalawa; Bhagya Jatakam; Viyarppinte Vila; 1963: Ninamaninja Kalpadukal; Moodupadam; Satyabhama; Chilampoli; Ammeye Kannan; 1964: Devalayam; Thacholi Othenan; Kuttikkuppayam; School Master; Atom Bomb; Oralkoodi Kalanayi; Karutha Kayi; Adya Kiranangal; Bhargavi Nilayam; Bharthavu; Kalanjukuttiya Thangam; Kudumbini; Althara; 1965: Devatha; Shyamalachechi; Odeyil Ninnu; Kadatthukaran; Porter Kunjali; Inapravugal; Muthalaly; Kalyanaphoto; Ammu; Thankakudam; Kattuthulasi; Mayavi; Jeevitha Yatra; Rajamalli; Kattupookal; Kathiruna Nikkah; Kochumon; Bhoomiyile Malakha; Shakuntala; Pattu Thoovala; Chettathi; Kavya Mela; Murappennu; Thommente Makkal; Sarpakadu; 1966: Kalithozhen; Kusirthikuttan/Anni; Archana; Station Master; Pakal Kinavu; Rowdy; Pinchu Hridayam; Jail; Kootukar; Kalyana Rathriyil; Kayamkulam Kochunni; Tharavatamma; Kanmanikal; Puchakanni; Kallipennu; Kanakachilanka; Karuna; Sthanarthi Saramma; Tilottama; Priyatama; Mayor Nair; Kunjali Marakkar; 1967: Ashwamedham; Ramanan; Sahadharmini; Jeevikan Anuvadhikuka; Irutinte Atmavu; Agniputhri; Kottayam Kola Case; Udyogastha; Postman; Kudumbam; Mainatharuvi Kola Case; Madatharuvi; Aval; Bhagyamudra; Kannatha Veshankal; Anveshichu Kandatiyilla; Chitramela; Nagarame Nandi; Pavapettaval; Pareeksha; Cochin Express; N.G.O.; Kavalam Chundan; Nadan Pennu; Kasavuthattam; Swapnabhoomi; 1968: Thirichadi; Viruthan Sanku; Manaswini; Inspector; Dial 2244; Asuravithu; Vazhipizhacha Santhathi; Karthika; Padunna Puzha; Punnapra Vyalar; Lakshaprabhu; Love in Kerala; Kaliyalla Kalyanam; Yakshi; Thulabharam; Midumidukki; Anju Sundarigal; Aparadhini; Kodungalluramma; Velutha Kathrina; Agni Pareeksha; Kayalkarayil; Bharyamar Sukshikuka; 1969: Vila Kuranja Manushyar; Anashchadanam; Padicha Kalian; Veetu Mrugham; Almaram; Kattukurangu; Mr Kerala; Rahasyam; Susie; Adimagal; Kannur Deluxe; Sandhya; Kadalpalam; Mooladhanam; Jwala; Vilakkapetta Bandhangal; Nadhi; Danger Biscuit; Kootu Kudumbam; Virunnukari; Rest House; 1970: Ambalapravu; Kurukshetram; Moodalamanju; Pearl View; Saraswathi; Amma Enna Stree; Anatha; Palunku Pathram; Kalpana; Stree; Vazhve Mayam; Cross Belt; Ezhuthatha Katha; Bhikara Nimishankal; Dattuputhran; Rakta Pushpam; Vivaham Swargathil; Othenente Makan; Kuttavali; Vivahitha; Kakathampurati; A Chitrashalabham Paranotte; Priya; Lottery Ticket; Triveni; Tara; Aranazhikaneram; 1971: Abhijathyam; Line Bus; Achante Bharya; Neethi; CID Nazir; Moonnupukkal; Inquilab Zindabad; Marunattil Oru Malayali; Karakanakadal; Ummachu; Vilakku Vangiya Veena; Shiksha; Oru Penninte Katha; Lanka Dahanam; Vidyarthikale Ithile Ithile; Vithukal; 1972: Sambhavami Yuge Yuge; Nadan Premam; Aradi Manninte Janmi; Kandavarundo; Pushpanjali; Devi; Maya; Manthrakodi; Manushya Bandhangal; Aromalunni; Taxi Car; Mayiladum Kunnu; Omana; Kalippava; Ini Oru Janmam Tharu; Chemparathi; Achannum Bappayum; Oru Sundariyude Katha; Miss Mary; Punarjanmam; Maraivil Thiruvu Sukshikuha; Gandharvakshetram; Nrithyasala; Azhimukham; Anveshanam; Snehadeepame Mizhi Thurakku; Brahmachari; Ananthasayanam; Putrakameshti; Shakti; Sathi; Postmane Kananilla; Chhayam; Teerthayatra; Maram; 1973: Police Ariyaruthu; Football Champion; Agnathavasam; Enippadikal; Panchavati; Bhadra Deepam; Thiruvabharanam; Masappadi Mathupilla; Kalachakram; Udayam; Ponnapuram Kotta; Aradhika; Kavitha; Kaliyugam; Chenda; Veendum Prabhatam; Manushya Puthran; Rakkuyil; Thani Niram; Ladies’ Hostel; Darshanam; Achani; Soundarya Pooja; Urvashi Bharathi; Thenaruvi; Pacha Nottukal; Pavangal Pennungal; Nakhangal; Kapalika; Dharma Yuddham; Prethangalude Thazhvara; Chukku; Driksakshi; Sastram Jayichu Manushyan Thottu; Interview; Poyi Mukhangal; Manasu; Thottavadi; Divya Darshanam; Ithu Manushiano?; Checkpost; Thekkan Kattu; Madhavikutty; Padmavyuham; Angathattu; 1974: Manyashri Vishwamithran; Chanchala; Oru Pidi Ari; Pattabhishekham; Shapamoksham; Chandrakantham; Suprabhatam; Nathoon; Panchatanthram; Rahasya Rathri; Durga; Setu Bandhanam; Nellu; Alakal; Poonthenaruvi; Neela Kannukal; Chattakkari; Night Duty; Nagaram Sagaram; Aswathi; College Girl; Swarna Vigraham; Ayalathe Sundari; Kalyana Saugandhikam; Chakravakam; Thacholi Marumagan Chandu; Thumbolarcha; Nadhi Nadanmare Avasiamundu; Raja Hamsam; Sapta Swarangal; Uttarayanam; Bhoomidevi Pushpiniyayi; Arakallan Mukkal Kalian; Chief Guest; Swarna Malsiyam; 1975: Abhimanam; Alibaba and Forty-one Thieves; Aranyakandam; Babu Mon; Boy Friend; Cheenavala; Chumadu Thangi; Chuvanna Sandhyakal; Criminals; Dharmakshetre Kurukshetre; Hello Darling; Kottaram Vilakkanundu; Kuttichathan; Love Marriage; Madhura Pathinezhu; Makkal; Manishada; Mattoru Seeta; Mucheettu Kalikarante Magal; Neela Ponman; Omana Kunju; Padmaragam; Palazhi Madhanam; Pennpada; Picnic; Pravaham; Ragam; Sammanam; Surya Vamsam; Thamarathoni; Thiruvonam; Tourist Bungalow; Ullasa Yathra; Velicham Akale; 1976: Abhinandanam; Ajayanum Vijayanum; Amma; Ammini Ammavan; Amritha Vahini; Anubhavam; Appooppan; Ayalakkari; Chennai Valarthiya Kutty Chottanikara Amma; Dweep; Kamadhenu; Kanyadanam; Kayamkulam Kochunniyude Maghan; Light House; Manasa Veena; Mallanum Mathevanum; Mohini Attam; Muthu; Nee Ente Lahari; Neelasaree; Nurayum Pathayum; Ozhukkinethire; Panchami; Panchamrutham; Parijatham; Pickpocket; Ponn; Prasadam; Priyamvadha; Pushpa Sarem; Rathriyile Yathrakar; Rajayogam; Seemantha Puthran; Sexilla Stuntilla; Thuruppu Gulam; Vanadevatha; Vazhi Vilakku; Yakshaganam; Yuddha Bhoomi; 1977: Suryakanthi; Acharam Ammini Osaram Omana*; Adyapadam*; Akale Akasam; Akshaya Pathram; Ammayi Amma; Anjali; Aparajitha; Bharya Vijayam; Chakravarthini; Chaturvedam; Gandharvam; Guruvayoor Kesavan; Itha Ivide Vare; Jalatarangam; Kaduvaye Pidicha Kiduva; Kannappanunni; Lakshmi; Madanolsavam; Makam Piranna Manka; Minimol; Mohamum Mukthiyum; Mutthate Mulla; Nalumani Pookkal; Nirai Kudam; Parivarthanam; Rathi Manmathan; Rendu Lokam; Samudram; Satyavan Savithri; Sneham; Sujatha; Sukradasa; Tholkkan Enikku Manassilla; Varadakshina; Veedu Oru Swargam; Vishukkani; 1978: Anappachan; Aarum Anniyaralla; Adimakachavadam; Anubhoothikalude Nimisham; Ashokavanam; Aval Vishwasthayayirunnu; Balapareekshanam; Bharyayum Kamukiyum; Ee Ganam Marakkumo; Ltha Oru Manushyan; Jayikkanaijanichavan; Kadathanattu Makam; Kalpa Vruksha; Kanalkkattakal; Kudumbam Namakku Sreekovil; Mannu; Mattoru Karnan; Nakshatrangale Kaval; Nivedyam; Onappudava; Rathi Nirvedham; Raghuvamsam*; Shathru Samharam; Snehathinte Mukhangal; Thampuratti; Vadagaikku Oru Hridayam; Vyamoham; Yagaswam; Theerangal; Bandhanam; 1979: Ward No. 7; Cheriyachente Kroora Krithyangal; Kathirmandapam; Kaumarapayam; Manushiyan; Prabhu; Rathammillatha Manushyan; Thuramukham; Vellayanni Paramu; 1980: Ammayum Makkalum; Anthappuram; Digvijayam; Ithikkara Pakki; Kalika; Karimbana; Meen; Nayattu; Rajanigandhi; 1981: Ilakkangal; Ellam Ninakku Vendi; Kalian Pavithran; Kodumudikal; Munnettam; Pathiya Suryan; Sahasam; Thakilukottampuram; Theekali; 1982: Ganam; Chillu; Chiriyo Chiri; Ente Mohanangal Poovaninju; Enikkum Oru Divasam; Irattimadhuram; Jambulingam; Kattile Pattu; Keni; Koritharicha Naal; Mayilanji; Nagamadhathu Thampuratti; Olangal; Ormakkayi; Oru Kunji Janikkunnu Mathurka Kutumbam; Snehapoorvam Meera; 1983: Mahabali; Adhyathe Anuragam; Adhipathyam; Aroodam; Ashtapadi; Eenum; Ente Katha; Guru Dakshina; Himavahini; Justice Raja; Kuyiline Thedi; Maniyara; Nanayam; Onnu Chirikku; Oomakuyil; Pinninvalu; Sandhyakku Virinja Poovu; Sandhya Vandanam; Yangana Nee Marakkum; 1984: Alkoottathil Thaniye; April 18; Athirathram; Ente Kalithozhen; Etha Ennumuthal; Jeevitham; Koottinilangili; Lakshmana Rekha; Manithali; Muthodu Muthu; Onnanu Nammal; Pavam Poornima; Saundamevide? Bandamevide?; Thathamme Pooch a Pooch a; Vellom; Vepralam; Vettah; 1985: Anakkorumma; Avidathepole Ivideyum; Eeran Sandhya; Ee Thanalil Ithirineram; Kilippattu; Kochuthemmadi; Madhu Vidhurathri; Manya Mahajangale; Mulamoottil Adima; Nerariyum Nerathu; Orikkal Oridathu; Pachavelicham; Principal Olivil; Yathra; 1986: Vaiki Odunna Varathi; 1987: Sarvakalasala; Manivathoorile Ayiram Sivarathrikal; Purushartham.

BHASI, THOPPIL (1925–92)

Malayalam director and prolific scenarist born in Vallikunnam, Alleppey. Often used the pseudonym Soman. Major literary and political figure in the Kerala CPI. Starting out as an activist for the state Congress, he became politicised and joined the CPI after being accused of murder and having to go underground for three years. Became a playwright, later adapting several of his best-known plays as film scripts: Ramu Kariat’s Mudiyanaya Puthran (1961), A. Vincent’s Ashwamedham (1967) and Thulabharam (1968), P. Bhaskaran’s Mooladhanam (1969), and his own Sarvekkalu. His most famous play, and later his directorial début, Ningalenne Communistaki (You Made Me a Communist, 1952) launched the Kerala Peoples’ Arts Club (see IPTA) and became emblematic of the influential literary socialist-realist tradition in post-Independence Kerala. The leading figure of Kerala’s CPI(M) later described the play’s lead character as the ‘worst and most inane [i]n all of Kerala’s radical theatre’ (E.M.S. Namboodiripad, 1974). Bhasi also wrote many scripts for the Malayalam studio magnate, Kunchako, and for Sethumadhavan, Vincent and Bhaskaran. Was a member of the Travancore-Cochin State Legislature (1954) and, later (1956), of the Kerala State Legislature. His autobiography is one of the more detailed chronicles of the Party’s late 40s movement against the erstwhile Travancore State ruled by Dewan CP. Ramaswamy Aiyer. His son, Ajayan, made a promising début directing the critically acclaimed Perumthachan (1990).

FILMOGRAPHY: 1970: Ningalenne Communistaki; 1971: Sarasayya; 1972: Oru Sundariyude Katha; 1973: Enippadikal; Madhavikutty; 1974: Chakravakam; 1975: Mucheettu Kalikarante Magal; 1976: Sarvekkalu; Ponn; Missi; 1977: Yuddha Kandam; 1978: Ente Neela Akasham; 1979: Mochanam.

BHASKARA DAS (1892–1952)

aka Madhurakavi Bhaskara Das. Born in Madurai as Vellaisamy Thevar. First Tamil film lyricist, writing the songs for the first Tamil talkie, H.M. Reddy’s Kalidas (1931). Already known for several records of his lyrics sung by K.B. Sundarambal, M.S. Subbulakshmi, et al. Worked with the stage group Madurai Balaranjani Sangeeta Sabha, producing many successful Company Natak plays. Turned to politics with his Khilafat agitational songs (1919), later writing songs about e.g. the Jallianwala Bagh massacre (1919), many of which were banned by the British government. Wrote musical plays like Usha Parinayam, released as 78rpm disc sets by the Broadcast Gramophone Co. Wrote film songs, many addressing reformist themes like temperance and child marriage, for P.V. Rao’s Prahlada and Valli Thirumanam (both 1933), Raja Chandrasekhar’s Raja Desingu (1936) and A. Narayanan’s Rajasekharan (1937).

BHASKARAN, P. (B. 1924)

Malayalam director, songwriter and poet. Born in Kodungallour, Kerala. Debuted with Kariat (Neelakuyil). Associated with 40s/50s cultural movements affiliated to the CPI in Kerala. Newspaper journalist for Deshabhimani and Jayakeralam. Producer at AIR in Calicut (1959) and briefly editor of Kottayam-based weekly, Deepika. Best known as a poet (c.20 books) and songwriter (more than 3000 lyrics in Malayalam) with strong roots in a 30s/40s literary tradition of romantic pastoralism exemplified by major 30s poet Changampuzha. First film as lyricist: Chandrika (1950). Acted in his first feature, co-d with Ramu Kariat. Early films attempted a hard-hitting realism but later work was mainly love stories and melodramas with social concerns. Made some revivalist mythologicals in the 70s (e.g. Srimadh Bhagavad Geeta and the Saint film, Jagadguru Adi Shankaran). Also made shorts, e.g. Nattarangu. Acted in and provided lyrics for Manoratham (1978). Currently associated with ASIANET, a privately owned satellite channel in Malayalam.

FILMOGRAPHY: 1954: Neelakuyil; 1956: Rarichan Enna Pauran; 1958: Nair Pidicha Pulivalu; 1962: Laila Majnu; Bhagya Jatakam; 1963: Ammeye Kannan; 1964: Adya Kiranangal; 1965: Shyamalachechi; 1966: Tharavatamma; 1967: Irutinte Atmavu; Balyakalasakhi; Anveshichu Kandatiyilla; Pareeksha; 1968: Manaswini; Lakshaprabhu; Aparadhini; Kattukurangu; 1969: Mooladhanam; Kalli Chelamma; 1970: Kurukshetram; Stree; Ambalapravu; Thurakatha Vathil; Kakathampurati; 1971: Moonnupukkal; Navavadhu; Vithukal; Muthassi; Ummachu; Vilakku Vangiya Veena; 1972: Aradi Manninte Janmi; Snehadeepame Mizhi Thurakku; 1973: Udayam; Veendum Prabhatam; Rakkuyil; 1974: Oru Pidi Ari; Arakallan Mukkal Kalian; Thacholi Marumagan Chandu; 1975: Chumadu Thangi; Mattoru Seeta; 1976: Appooppan; Vazhi Vilakku; Srimadh Bhagavad Geeta; 1977: Jagadguru Adi Shankaran; 1978: Vilakkum Velichavum; 1983: Enikku Visakkunu; 1984: Guruvayoor Mahatmiyam; 1987: Nattarangu (Doc); 1989: Vikasikkunna Chirakukal (Sh); Puthiya Chakravalangal (Sh); 1991: Keli.

BHATAVDEKAR, HARISHCHANDRA SAKHARAM (B. 1868)

Aka Save Dada. Almost certainly the first Indian film-maker. Professional still photographer often portrayed as an amateur, but, in fact, a businessman trading in cameras and film equipment on a nationwide basis. Made several shorts, including one on a wrestling match and one on the antics of monkeys. Best-known footage shows the return from England of R.P. Paranjpye, Minister of Education in Bombay Presidency, which he exhibited with imported shorts in a tent bioscope in Bombay. Sold equipment to Karandikar of S.N. Patankar’s company and retired from cinema in 1907. Interviewed in Screen, Bombay (30 April 1954).

FILMOGRAPHY: 1899: The Wrestlers; Man and Monkey; 1901: Landing of Sir MM. Bhownuggree; Atash Behram; 1902: Sir Wrangler Mr R.P. Paranjpye; 1903: Delhi Durbar of Lord Curzon (all St).

BHATIA, VANRAJ (B. 1926)

One of the few Hindi composers trained in classical Western music. Educated in Bombay. Studied at the Royal Academy of Music, London (1950). Travelled extensively in Europe listening to opera. Tried to become a professional composer in Europe but eventually returned to Bombay. Provided music for documentaries and advertising films, and some incidental music for Merchant-Ivory’s The Householder (with Jyotirindra Moitra). Made professional feature début for Senegal’s Ankur. Best-known work for Benegal and Kumar Shahani (Tarang, Kasha). One of the finest composers fusing Indian classical ragas with Western harmonics; his music for Tarang was performed as a concert by a chamber orchestra. Often expressed a desire to have his music played on every street corner of Bombay, but is also working on a full opera.

FILMOGRAPHY: 1963: The Householder; 1967: Moving Perspective (Doc); 1973: Ankur; 1975: Nishant; 1976: Manthan; Bhumika; 1977: Kondura/Anugraham; 1978: Junoon; 1980: Kalyug; 1981: Sazaaye Maut; 36 Chowringhee Lane; 1983: Mandi; Jaane Bhi Do Yaaron; Mohan Jos hi Haazir Ho; 1984: Tarang; Hip Hip Hurray; Khandaan (TV); 1985: Surkhiyaan; Aaghat; Trikaal; Khamosh; 1986: Yatra (TV); Susman; 1987: Pestonjee; Tamas (TV); Mohre; 1988: Bharat Ek Khoj (TV); 1989: Khandaan (TV); Percy; 1990: Lifeline (TV); Kasha; 1992: Suraj Ka Satwan Ghoda; Antrnaad; Beta; 1993: Sardar; Damini; 1994: Mammo; Drohkaal; 1995: Bangarwadi; Naseem.

BHATT, BALWANT N. (1909–65)

Hindi director associated with stunt film genre; elder brother of Nanabhai Bhatt and uncle of Mahesh Bhatt. Born in Porbandar, Gujarat. Assisted Naval Gandhi (1930–31) and N.B. Vakil at Sagar (1932). Then turned director during the last days of silent cinema at Royal Art, the predecessor of Prakash Pics. Moved to Royal Cinetone with the advent of sound and subsequently to Prakash Pics with Actress. Although working mostly in Hindi, made some Gujarati films as well (e.g. Sansar Leela, Seth Sagalsha, Divadandi and a version of Snehlatd). Became a producer in 1942 (Dillagi).

FILMOGRAPHY: 1932: Chalta Purza; 1933: Gunehgaar (all St); Alif Laila (co-d Shanti Dave); 1934: Actress; Nai Duniya; 1935: Sansar Leela; 1936: Tope Ka Gola; Snehlata; 1937: Challenge; His Highness; 1938: Purnima; 1939: Hero No. 1; Bijli; 1940: Shamsheerbaaz; Suhaag; 1941: Circus Ki Sundari; Madhusudhan; 1942: Dillagi; 1943: Aankh Ki Sharam; 1944: Collegian; 1946: Her Highness; 1947: Seth Sagalsha; 1949: Delhi Express; Joker; 1950: Circuswale; Jodidar; Divadandi; 1951: Hamari Shaan; 1952: Mordhwaj; 1953: Khoj 1955: Shahi Mehmaan; 1957: Hazaar Pariyan; 1966: Nagin Aur Sapera.

Bhatt, Batuk see Bhatt, Nanabhai N.

BHATT, MAHESH (B. 1949)

Hindi director born and educated in Bombay. Son of film-maker Nanabhai Bhatt whose Jeevan Rekha (1974) he scripted. Dropped out of college in 1970. Former assistant to Raj Khosla. Along with N. Chandra and J.P. Dutta, one of an aggressive new generation of commercial Hindi film-makers whose early work was marked by psychological violence. Début film, Manzilein Aur Bhi Hain, was banned for 14 months by the censors, allegedly for mocking the ‘sacred institution of marriage’. His melodramas about illegitimacy and extra-marital affairs are more successful on video than as theatrical releases. Soap-opera sentimentalism is often given a voyeuristic edge by claiming autobiographical sources (notably his breakthrough film, Arth). His successful 90s films are often love stories starring daughter Pooja Bhatt (Dil Hai Ke Maanta Nahin). Shifted increasingly to Doordarshan (e.g. Daddy) and made the first film production of STAR’s Hindi channel Zee-TV, Phir Teri Kahani Yaad Aayi. Wrote a biography of U.G. Krishnamurthi. Currently editor of a video film magazine, and the TV series Swabhimaan written by pulp novelist Shobha De.

FILMOGRAPHY (* act only). 1973: Manzilein Aur Bhi Hain; 1976: Vishwasghaat; 1978: Naya Daur; 1979: Lahu Ke Do Rang; 1980: Abhimanyu; 1982: Arth; 1984: Saaransh; Sheeshe Ka Gbar*; 1985: Janam; 1986: Ashiana; Naam; 1987: Kaash; Thikana; Aaj; 1988: Kabzaa; 1989: Daddy; Zameen; 1990: Awaargi; Jurm; Aashiqui; 1991: Haq*; Deshwasi*; Dil Hai Ke Maanta Nahin; Swayam; Saathi; Sadak; 1992: Saatwan Asmaan; Junoon; Tadipaar; 1993: Gumrah; Gunah; Sir; Phir Teri Kahani Yaad Aayi; Hum Hain Rahi Pyar Ke; 1994: Milan; Naraaz; Gentleman; Criminal; 1995: Najayaz; Papa Kehte Hain; 1995-: Swabhimaan (TV).

BHATT, NANABHAI N. (B. 1915)

Hindi-Gujarati director, aka Batuk Bhatt. Born as Yeshwant Bhatt in Porbandar, Gujarat. Seminal influence on the post-WW2 Hindi B-movie. Entered films as sound recordist at Prakash Pics where his elder brother Balwant Bhatt worked. Early career as director with stunt-movie producer Chandrarao Kadam. With Babubhai Mistri, was briefly employed in Homi Wadia’s Basant Pics (1942), then owned Deepak Pics in Bombay (1946). Début with the classic Nadia double-role crime movie Muqahala. Films often based on cheaper variations of Prakash Pics megabudget mythologicals featuring tales from the Ramayana (Ram Janma). Also known for Arabian Nights fantasies (Baghdad, Baghdad Ki Raatein, Arabian Nights). Has often presented elaborate special effects, e.g. the famous scene of the sword fight between two invisible men in Sinbad the Sailor. Also made crime movies (Kangan, Police Detective). Appeared in the documentary about Nadia, Fearless - The Hunterwali Story (1993). Father of film-maker Mahesh Bhatt.

FILMOGRAPHY: 1942: Muqahala; 1943: Hunterwali Ki Beti; Mauj 1945: Chalis Karod; 1946: Maa Baap Ki Laaj;. 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Gbar; Janmasbthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Lzzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.

BHATT, VIJAY JAGNESHWAR (1907–93)

Hindi and Marathi director born in Palitana, Saurashtra, best known for classic Ramayana extravaganzas with Shobhana Samarth. Educated in Gujarat and Bombay. Studied electrical engineering. Started as playwright (e.g. successful Gujarati play Lakho Phulani) and writer in silent era. Provided stories for silent films, e.g. Nagendra Majumdar’s Panima Aag, Fearless Phantom and K.P. Bhave’s Vanthel Veshya (all 1926), R.S. Choudhury’s Heer Ranjha (1929) and Moti Gidwani’s Gulam (1931). Partner with his elder brother Shankarbhai J. Bhatt in Royal Films (1928), later also distributor (Royal Pictures Corp). Founded Prakash Pics, later Prakash Studio (1933–71), also with his brother Shankarbhai as producer. Their younger brother Harsukh Jagneshwar Bhatt assisted Vijay for a while (1947–52) before co-directing three films with Bhalchandra Shukla and eventually going solo in 1957. Vijay started in stunt films (e.g. State Express and Leatherface) and in socials (notably Samaj Ko Badal Dalo). Launched his Ramayana series with the Samarth hit Bharat Milap, consolidated with Ramrajya, attempting a Hindu version of the costumed Urdu historical, rather than the more conventional special-effects mythological, although Ramrajyds climax uses special effects in plenty. Followed this with Rambaan and a second Ramrajya. Made melodramas incorporating the legend of classical Indian music, e.g. the major hit Baiju Bawra and Goonj Uthi Shehnai. Sometimes claimed that his interest in Hindu fantasy movies was a logical extension of his Gandhian sympathies. His autobiography was serialised in the journal Janmabhoomi (1968).

FILMOGRAPHY: 1937: Kbwab Ki Duniya; 1938: State Express; 1939: Leatherface; 1940: Ek Hi Bhool; Narsi Bhagat; 1942: Bharat Milap/Bharat Bhet; 1943: Ramrajya; 1945: Vikramaditya; 1947: Samaj Ko Badal Dalo; 1948: Rambaan; 1952: Baiju Bawra; 1953: Shri Chaitanya Mahaprabhu; 1956: Patrani; 1959: Goonj Uthi Shehnai; 1960: Angulimal; 1962: Bapu Ne Kaha Tha (Doc); Hariyali Aur Raasta; 1965: Himalay Ki God Mein; 1967: Ramrajya; 1971: Banphool; 1977: Heera Aur Patthar.

BHATTACHARYA, ABHI (1922–93)

Lead actor in late 40s Bengali melodramas, débuting in Bengali version of Nitin Bose’s bilingual Nauka Dubi/Milan (Dilip Kumar took the role in Hindi). Worked at New Theatres (Yatrik) and in independent productions of former New Theatres directors Nitin Bose, Debaki Bose and Bimal Roy (Biraj Bahu). Played the upright hero, evoking the Westernised liberal stereotype often used to characterise pre-WW2 Bengali urban upper middle class. Introduced this image into the Hindi cinema, notably in Hrishikesh Mukherjee films (e.g. Anuradha), extending it into a tragic dimension (e.g. Sohrab Modi’s Jailor). This image was later used to devastating effect by Ghatak in Subarnarekha, where he played the upright Ishwar. Acted extensively with Satyen Bose as well as in Shakti Samanta’s Aradhana and his Hindi-Bengali bilinguals (e.g. Amanush). Also featured regularly in mythologicals by S. Fattelal (Jagadguru Shankaracharya, Ayodhyapati), Babubhai Mistri (Mahabharat, Har Har Gange) and Ashish Kumar devotionals.

FILMOGRAPHY: 1946: Nauka Dubi/Milan; 1948: Mayer Dak; 1949: Bisher Dhoan; 1950: Sheshbesh; 1951: Bhairab Mantra; Paritran; Ratnadeep/Ratnadeepam; 1952: Chitta Banhiman; Yatrik; 1953: Naina; Rami Dhoban; Bhor Hoye Elo; 1954: Ankush; Amar Prem; Biraj Bahu; Jagriti; Parichay; Shobha; 1955: Jagadguru Shankaracharya; Naata; 1956: Ayodhyapati; Gauri Puja; Keemat; Sailaab; Suryamukhi; 1957: Aparadhi Kaun; Chhote Babu; Ek Gaon Ki Kahani; Madhu Malati; 1958: Jailor; Teesri Gali; 1959: Deep Jalta Rahe; Fashionable Wife; Hum Bhi Insaan Hain; Love Marriage; 1960: Anuradha; Bade Ghar Ki Bahu; Trunk Call; 1961: Do Bhai; Ramleela; Madhya Rater Tara; Shola Aur Shabnam; 1962: Aashiq; Subarnarekha; Vallah Kya Baat Hai; 1964: Daal Mein Kala; Dosti; Kohraa; 1965: Mahabharat; 1966: Hum Kahan Ja Rahe Hain; Mere Lai; Netaji Subhashchandra Bose; Pinjre Ke Panchhi; Pari; 1967: Badrinath Yatra; Ghar Ka Chirag; Jab Yaad Kisiki Aati Hai; Milan Ki Raat; Naunihal; 1968: Ashirwad; Har Har Gange; Jyotjale; 1969: Aradhana; Balak; Dharti Kahe Pukar Ke; Ek Masoom; Jyoti; Mahal; Meri Bhabhi; Prarthana; Ram Bhakta Hanuman; Sambandh; 1970: Aan Milo Sajna; Bhagwan Parashuram; Maa Ka Anchal; Pavitra Papi; Puraskaar; Sharafat; 1971: Amar Prem; Andaz; Door Ka Rahi; Dushman; Hathi Mere Saathi; Kal Aaj Aur Kal; Mata Vaishno Devi; Memsaab; Parwana; Paraya Dhan; Mere Apne; Maryada; Sansar; Seema; Tulasi Vivah; 1972: Anuraag; Hari Darshan; Anokhi Pehchan; Savera; Seeta Aur Geeta; Anokha Milan; Bankelal; Samadhi; 1973: Kahani Hum Sub Ki; Jhoom Utha Akash; Mera Desh Mera Dharam; Kahani Kismat Ki; Mehmaan; 1974: Phir Kab Milogi; Ganga; Bhagat Dhanna Jat; Kasauti; Dost; Har Har Mahadeu; Imtehan; Kisan Aur Bhagwan; Prem Shastra; Amanush; Balak Dhruv; 1975: Chaitali; Kehte Hain Mujhko Raja; Maya Machhindra; Pratigya; Badnaam; Phanda; 1976: Bhagwan Samaye Sansar Mein; Do Anjaane; Dus Numbri; Meera Shyam; Sharafat Chhod Di Maine; Phool Aur Insaan; 1977: Behula Lakhinder; Aankh Ka Tara; Anurodh; Gayatri Mahima; Hatyara; Khel Kismat Ka; Ooparwala Jaane; Solah Shukrawar; 1978: Ganga Sagar; Dil Se Mile Dil; Mera Rakshak; 1979: Dil Ka Heera; Raja Harishchandra; Aangan Ki Kali; Chhat Maiya Ki Mahima; 1980: Angar; Taxi Chor; Aanchal; Badla Aur Balidan; Chaalbaaz; 1981: Ganga Maang Rahi Balidan; Barsaat Ki Ek Raat/Anusandhan; Commander; Dhuaan; 1982: Lekhne Mathe Mekh; 1983: Bekhabar; Gumnaam Hai Koi; Sant Ravidas Ki Amar Kahani; Dhat Tere Ki; Navratri; 1984: Shravan Kumar; Sulagte Arman; Harishchandra Shaibya; 1985: Mayuri (H); 1986: Woh Din Aayega; 1987: Daku Hasina; Sadak Chhaap; Khudgarz; Mera Karam Mera Dharam; 1989: Sansar; Santosh; Swarna Trishna.

BHATTACHARYA, ARDHENDU (1955–92)

Khasi-Assamese director born in Shillong. Postgraduate in philosophy at Shantiniketan; then joined FTII. Worked in Bombay, later in Gauhati. Made documentaries while lecturing in philosophy. His only feature, Manik Raitong (1984), is in Khasi, a North Eastern tribal language. Died before finishing a TV series based on Birendra Kumar Bhattacharya’s novel, Mrityunjaya.

BHATTACHARYA, BASU (1934–97)

Bengali director born in Murshidabad, West Bengal, into Brahmin family which provided hereditary priests to the Cossimbazar royal family. Educated in Behrampore. Moved to Calcutta to attend college, then to Bombay in the early 50s. Started as assistant to Bimal Roy (1958); married Roy’s daughter Rinki, a noted critic. First film, the Raj Kapoor and Waheeda Rehman musical Teesri Kasam, has several major 60s song hits. Anubhav and Avishkar represent stereotypical Hindi New Indian Cinema products of the 70s, a ‘realist’ emphasis being reduced to a concern with marital problems of upper-class couples. Served on several influential governmental committees concerning film policy, including the Working Group on National Film Policy (1980) and the board of the NFDC. Produced Sai Paranjpye’s Sparsh (1979). President of Indian Film Directors Association (1976–9). Father of director Aditya Bhattacharya (Raakh, 1988).

FILMOGRAPHY: 1966: Teesri Kasam; Uski Kahani; 1971: Anubhav; 1973: Avishkar; 1975: Daku; Tumhara Kalloo; Sangat; 1977: Known Yet Not Known (Doc); 1978: Madhu Malati; 1979: Grihapravesh; 1982: Science India (Doc); 1983: Horky Podzim S Vuni Manga (co-d Jiri Sequens); 1985: Anveshan (TV); 1986: Panchavati; Solar Energy (Doc); 1991: Ek Saas Zindagi; 1996: Astha.

BHATTACHARYA, BIJON(1917–78)

Actor, playwright, writer, scenarist, composer of stage music, singer and theatre director. Born in Faridpur (now Bangladesh). Teenage years strongly influenced by Gandhi’s Satyagraha agitations. Became a Marxist during WW2. Part of radical literary group, the Agami Chakra, and joined CPI in 1942. Founder member of EPTA for which he wrote Aagun (based on Binoy Ghosh’s novel, Laboratory), Jaban Bandi, and one of modern Indian theatre’s most influential plays, Nabanna. Dealing with the experience of the 1943 famine, the play as first staged by Bhattacharya and Sombhu Mitra (1943) tried to define post-WW2 documentary realism, which had a major impact later in theatre and cinema, in e.g. Ghatak, Mrinal Sen and KA. Abbas’s Dharti Ke Lal (1946). Acted in Nemai Ghosh’s Chinnamul. Left IPTA in 1948. Scenarist at Filmistan (1948–50). Wrote Jaswantlal’s mammoth hit Nagin (1954), loosely adapting his play Jiyankanya. Returned to Calcutta where he ran his Calcutta Theatres (1950–70) and the Kabach Kundal (1970–7). Did the classic scripts for Nirmal Dey’s Uttam Kumar movies (Basu Parivar, 1952; Sharey Chuattar, 1953). Wrote the story of Binu Das Gupta’s Daktar Babu (1958), dialogues for Asit Sen’s Trishna, in which he also acted, and story/dial, for Piyush Ganguly’s Debigarjan (1984). Featured regularly in Ghatak’s films, e.g. as father in Meghe Dhaka Tara, Ishwar’s friend Harprasad in Subarnarekha, the Sanskrit scholar in Jukti Takko Aar Gappo His presence and performance in Sen’s Padatik helped set the tone of the film’s political address. His interest in religious motifs, which eventually turned into obscurantism, earned him criticism from former Marxist colleagues.

FILMOGRAPHY: 1950: Tathapi; Chinnamul; 1954: Haan; Shoroshi; 1959: Bari Theke Paliye; 1960: Meghe Dhaka Tara; 1961: Komal Gandhar; 1962: Subarnarekha; 1964: Kashtipathar; 1965: Trisbna; 1966: Swapnaniye; 1969: Parineeta; 1971: Nabaraag; Pratham Basanta; Sona Boudi; 1972: Archana; Bohurupee; 1973: Padatik; 1974: Jukti Takko Aar Gappo; 1975: Arjun; 1977: Ebola Moira; Swati; 1978: Dooratwa.

BHATTACHARYA, DHIRAJ (1905–59)

Actor born in Jessore (now Bangladesh). Degree in literature. Started as a policeman, then Bengali film star from the 20s to the 50s. Began at Madan Theatres in Jyotish Bannerjee silents. Worked with Modhu Bose in Giribala and with Priyanath Ganguly (Kal Parinaya, Jamuna Puliney). Developed his reputation as actor in films like Charu Roy’s seminal Bangalee, Ardhendu Sen’s Adarsha Hindu Hotel (having earlier done the role of Hajari Prasad on stage, at the Rungmahal Theatre, 1953), and several Premendra Mitra films, including Samadhan, Kuasha, Kankantala Light Railway, Moyla Kagaj. Known later for his refined villain roles. One of the few Bengali stars not to emerge from the Calcutta Theatres stage, he turned to the theatre later as an established film star, acting in plays like Sindhu Gaurab (1932) and Charitraheen (1935). His autobiography was published in two volumes, one dealing with his life as a policeman, the other, on his film career, came out in 1956.

FILMOGRAPHY (* also d): 1925: Sati Lakshmi; 1930: Giribala; Kal Parinaya; Mrinalini; 1932: Nauka Dubi (all St); Krishnakanter Will; 1933: Jamuna Puliney/Radha Krishna; Annapurna (St); 1934: Chand Saudagar; Daksha Yagna; Rajnati Basantsena; Seeta; 1935: Kanthahaar; Satya Pathe; Basabdatta; 1936: Krishna Sudama; Bangalee; Sonar Sansar; Bala Ki Raat; Joyar Bhanta*; Chino Haar; 1937: Rajgee; Mandir; 1938: Sarbajanin Bibahotsab; Abhinaya; Rupor Jhumko; 1939: Pathik; Nara Narayan; Parasmani; 1940: Kumkum/Kumkum the Dancer; Byabadhan; Rajkumarer Nirbasban; 1941: Epar Opar; Nandini; Banglar Meye; 1942: Pashan Devata; Milan; Avayer Biye; 1943: Sahadharmini; Swamir Gbar; Samadhan; Dwanda; Shri Ramanuja; Nilanguriya; Daabi; Shahar Theke Dooray; Wapas; 1944: Bideshini; Iraada; 1945: Kato Door; Mane Na Mana; Kalankini; 1947: Natun Khabar; Giribala; 1948: Pratibad; Jayjatra/Vijay Yatra; Kalo Chhaya; Sankha Sindoor; Taruner Swapna; 1949: Kuasba; 1950: Rakter Tan; Kankantala Light Railway; Eki Gramer Chhele; Kankal; Pattharar Kahini; 1951: Chiner Putul; Niyati; Sparshamani; Setu; 1952: Rani Bhabani; 1953: Chirantani; Chikitsa Sankat; Dui Beyai; 1954: Maa-o-Chhele; Moyla Kagaj; Or a Thake Odhare; Maraner Pare; Sati; Amar Prem; 1955: Sanjher Pradeep; Dakinir Char; 1956: Mahanisha; He Maha Manab; Manraksba; Amar Bou; Rajpath; 1957: Bardidi; Adarsha Hindu Hotel; Raat Ekta; Neelachaley Mahaprabhu; Shrimatir Sansar; Tamasha; 1958: Manmoyee Girls’ School; Bagha Jatin; Leela Kanka; Dhoomketu; 1960: Gariber Meye; Aparadh.

Molina Devi and Dhiraj Bhattacharya in Abhagin (1938)

BHAVNANI, MOHAN DAYARAM (1903–62)

Hindi director born in Hyderabad, Sind. Studied at College of Technology, Manchester (1921–4), then studied film-making in Germany at UFA (1924). Contracted to Kohinoor (1925–6) where his Sulochana films were the earliest efforts in the Indian cinema to create a Hollywood-type movie star, e.g. Cinema Ni Rani where she plays a famous actress with whom the painter hero falls in love, or Wildcat of Bombay where she played multiple roles. Joined Imperial (1927–9), where he made Khivab-e-Hasti, adapted from the novel Dreamland (later also adapted by N. Taurog’s Strike me Pink, 1936). Scripted by A.S. Desai, this film is not to be confused with Kashmiri’s play of the same title. Vasantsena was the first Kannada intertitled film. Became independent producer with Indian Art Prod. (1931–2). Returned to Germany to study sound film technique. Started Ajanta Cinetone (1933–4) and his own Bhavnani Prod. (1935–48). Sound début was a flop, but it introduced Durga Khote. Hired Premchand to script Mazdoor, representing the author’s only direct encounter with film, following it with the unemployment melodrama Jagran. Produced and directed the first full-length colour film shot on 16mm Kodachrome and blown up to 35mm, Ajit. Joined Films Division and became its first Chief Producer (1948–55). In 1958 Bhavnani followed up an invitation from Zhou En-Lai to make a documentary on China and travelled extensively throughout the country shooting with cameramen Kishore Rege and S.K. Kulkarni. His wife Enakshi Rama Rao, who acted in Vasantsena, had earlier played the lead in Shiraz (1928) and became a noted dancer and author of the book The Dance of India (1965).

FILMOGRAPHY: 1925: Cinema Ni Rani; Matri Prem; Veer Bala; Seth Sagalsha; 1926: Pagal Premi; Diwan Bhamasha; Mena Kumari; Ra Kawat; Samrat Shiladitya; Bhamto Bhoot; 1927: Naseeb Ni Lili; Daya Ni Devi; Trust Your Wife; Wildcat of Bombay; Gamdeni Gori; 1929: Hawai Swar; Khwab-e-Hasti; Mysore; Gem City of India (Doc); Khedda (Doc); 1930: Vasantsena (all St); 1931: Shakuntala; Farebijaal; Lafanga Langoor (Sh); 1932: Veer Kunal; 1933: Afzal; Rangila Rajput; 1934: Dard-e-Dil; Mazdoor; Sair-e-Paristan; 1935: Jung Bahadur; Navjeevan; Shadi Ki Raat; 1936: Dilawar; Garib Parwar; Jagran; Wrestling (Doc); 1937: Zambo the Ape Man; 1938: Double Cross; Himalay Ki Beti; Yangrilla; 1939: Zambo Ka Beta; 1940: Jhoothi Sharm; Prem Nagar; 1945: Biswi Sadi; 1946: Rang Bhoomi; 1948: Ajit; 1949: Vale of Kashmir (Doc); 1950: The Private Life of a Silkworm (Doc); 1951: Lest We Forget (Doc); 1952: Kumaon Hills (Doc); 1953: Folk Dances of India (Doc); Republic Day Record (Doc); 1955: Republic Day 1955 (Doc); 1956: Operation Khedda (Doc); 1957: The Himalayan Tapestry (Doc).

BHIMSINGH, A. (1924–78)

Tamil director; also worked in other South Indian languages and in Hindi. Born in Chittoor, AP. Started as proofreader for the Telugu newspaper Andhra Prabha. Assistant to Krishnan-Panju in late 40s at AVM. First film, Ammaiyappan, was major Tamil hit. Raja Rani, scripted by Karunanidhi, consolidated the strong bid for a politically interventionist melodrama sponsored by the DMK movement (see DMK Film). Set up Buddha Pics (1956) with Pati Bhakti and introduced a commercially successful formula centred around family plots, often the disintegration of the joint family under the pressures of urbanisation, usually with Ganesan, lyricist Kannadasan and composers Vishwanathan-Ramamurthy. Later also worked at the Newtone Studio in Madras. From the early 60s, concentrated as much on Hindi films as on Tamil, often adapting his own and other directors’ work, e.g. his best-known Hindi film Admi, which borrows from the Ganesan hit Alayamani. Pasamalar was remade as Bhai Bahen. Made the bizarre comedy Sadhu Aur Shaitan, featuring the uninhibited duo of Kishore Kumar and Mehmood. Later films include the Jayakantan scripts Sila Nerangalil Sila Manithargal and Oru Nadigai Nadagam Parkiral representing Tamil actress Laxmi’s best-known work. Many of his film titles, for superstitious reasons, begin with the Tamil syllable ‘Pa’ and show a statue of the Buddha.

FILMOGRAPHY: 1954: Ammaiyappan; 1956: Raja Rani; Nane Raja; 1958: Thirumanam; Pati Bhakti; 1959: Bhagapirivinai; Ponnu Vilayum Bhoomi; President Punchatcharam; Sahodari; 1960: Padikkatha Methai; Kalathur Kannamma; Aai Phirse Bahar; Petra Manam; 1961: Maavoori Ammayi; Palum Pazhamum; Pavamanippu; Pasamalar; 1962: Pavitra Prema; Parthal Pasi Theerum; Main Chup Rahungi; Raakhi; Senthamarai; Bandha Pasam; Padithal Mattum Pothuma; 1963: Paar Magale Paar; 1964: Pooja Ke Phool; Pachai Vilakku; 1965: Khandaan; Pazhani; 1966: Papa Pariharam; 1967: Meharbaan; Paladai; 1968: Admi; Gauri; Sadhu Aur Shaitan; 1969: Bhai Bahen; Manasichina Maguva; 1970: Oke Kutumham; Gopi; Pathukappu; 1972: Joru Ka Gulam; Malik; Sub Ka Saathi; Maa Intijyothi; 1973: Loafer; 1974: Naya Din Nayi Raat; Patha Poojai; 1975: Bhagasthulu; Ragam; Amanat; 1976: Bangaru Manishi; Chiranjeevi; Kanavan Manaivi; Sila Nerangalil Sila Manithargal; 1977: Evaru Devudu; Nee Vazhavendum; Yaaron Ka Yaar; Nirai Kudam; Sneham; 1978: Vamsa Jyothi; Karunamayudu; Oru Nadigai Nadagam Parkiral; Iraivan Kodutha Varam; Karunai Ullam; Kayi Pidithaval; Mattoli.

BHOLE, KESHAVRAO VAMAN (1896–1967)

Music director born in Amravati, Maharashtra. Exposure to Western orchestras accompanying silent films prompted him to experiment successfully with orchestral compositions: ‘The tones of the instruments, their timbre and how such diverse instruments could play together without sounding atonal, engaged my mind,’ he wrote in his book Mazhe Sangeet: Rachana Ani Digdarshan (1964). First introduced piano, Hawaiian guitar and violin for Vartak’s vanguard play Andhalyanchi Shala, staged by the Natyamanwantar group (1933). The music also performed the unusual function of tying the play to a fixed running time. Moved to Prabhat Studio (1933), replacing the more orthodox Govindrao Tembe, and scored some of the studio’s best-known hits. For Amritmanthan, the actors rehearsed to a score played live, tuning their performance rhythm to the music. The scales were also chosen to counterpoint the actors’ speaking voices. Bhole’s impact on performance idioms is most evident in Sant Tukaram, where Vishnupant Pagnis’s outstanding achievement owes much to the score. Left Prabhat with Raja Nene, Dharmadhikari et al., working with them independently for some years.

FILMOGRAPHY: 1932: Sant Sakhubai; Krishnavatar; 1934: Amritmanthan; 1935: Chandrasena; 1936: Rajput Ramani; Sant Tukaram; 1937: Kunku/Duniya Na Mane; 1938: Mazha Mulga/Mera Ladka; 1940: Sant Dnyaneshwar; 1941: Sant Sakhu; 1942: Daha Wajta/Dus Baje; 1944: Ramshastri; 1945: Taramati; 1947: Kuber; 1948: Bhagyarekha; 1951: Parijatak/Shri Krishna Satyabhama.

BHOSLE, ASHA (B. 1933)

Singer born in Satara, Maharashtra. Trained by her father, Dinanath Mangeshkar. With her sister, Lata Mangeshkar, she dominated Indian film (playback) singing for more than three decades, releasing 20,000-plus songs in more than 14 languages. Introduced to film in Ravindra Dave’s Chunaria (1948). First solo number injagdish Sethi’s Raat Ki Rani (1949). Best-known early work with music director O.P. Nayyar, continuing Geeta Dutt’s singing style and borrowing from Latin American dance music as well as from North American big band pop featuring large brass sections. Two songs in 1957, Mister John (in Shankar Mukherjee’s Baarish) and Ina mina dika (in M.V. Raman’s Aasha) were landmarks in the Benny Goodman-style swing music pioneered by C. Ramchandra. The jazz influence was transformed into popular electronic music mainly through several 70s duets with Kishore Kumar, often composed by R.D. Burman. Remixed several Burman classics in a posthumous tribute, Rahul & I.

BILIMORIA, DINSHAW (B. 1904)

Actor-director born in Kirkee. Usually described as the highest-paid silent star in India. Formed the celebrated lead couple with Sulochana esp. at Imperial. Introduced in stunt movie-derived historicals and mythologicals adapting Maratha legends at N.D. Sarpotdar’s United Pics. First two films at Imperial, Bhavnani’s Wildcat of Bombay and Choudhury’s Anarkali, were massive hits for him and Sulochana. His John Barrymore-style image was born in elaborate costume fantasies opposite Sulochana’s Orientalised ‘Queen of Romance’, a reference elaborated later by some of the biggest directors of the silent era, e.g. Choudhury, Chandulal Shah, Homi Master, Jaswantlal and Nanubhai Vakil. Several of his silent hits were remade as sound films, notably Indira MA and Anarkali. Acted in some films at Ranjit Azadi-e-Watan (1940), advertised as directed by him, is probably a dubbed version of an American import.

FILMOGRAPHY (* also d): 1925: Chhatrapati Sambhaji; 1926: Dha Cha Ma; Tai Teleen; Umaji Naik; 1927: Wildcat of Bombay; Vilasi Kanta; Daya Ni Devi; 1928: Anarkali; Qatil Kathiyani; Madhuri; Rajrang; 1929: Khwab-e-Hasti; Mewad Nu Moti; Punjab Mail; Heer Ranjha; Rajputani; Hawai Swar; 1930: Pahadi Kanya; Rasili Radha; Diwani Dilbar; 1931: Baghdad Nu Bulbul; Mojili Mashuq; Noor-e-Alam; Premijogan (all St); Devi Devayani; 1932: Sati Madalasa; 1933: Daku Ki Ladki; Saubhagya Sundari; Sulochana; 1934: Gul Sanobar; Indira MA; Khwab-e-Hasti; Piya Pyare; Devaki; 1935: Anarkali; Do Ghadi Ki Mauj; Pujarini; 1936: Bambai Ki Billi; Jungle Queen; Shaan-e-Hind; 1937: Jagat Kesari; New Searchlight; Wah Ri Duniya; 1939: Prem Ki Jyot; 1942: Jawani Ki Pukar*.

BILIMORIA, FALI (B. 1923)

Born in Bombay; son of a lawyer. Abandoned medical studies (1946) and went into politics. Documentary director and producer since late 40s. Early career with P.V. Pathy and Paul Zils. Established Documentary Unit: India (1947) and later the Art Films of Asia (1952), both in partnership with Zils. When Zils returned to Germany, started his own Fali Bilimoria Prod. (1959). Best-known films on agricultural technology on behalf of US Technical Co-operation Missions in the context of the controversial Green Revolution promised by imported fertiliser, and also on American Public Law 480 aid to India. Also made films on co-operative movements in handloom, fisheries, housing, agriculture etc. supporting the ‘Colombo Plan’ foreign aid to India. Clients include Shell, British Transport, Deutsche Condor, the USIS and private American sponsors for whom, on one occasion, he filmed an interview with Jawaharlal Nehru to prove to the US State Department, that Nehru was not a Communist (1958). Several noted films blur the distinction between documentary and fiction narrative by introducing professional actors (e.g. A Tiny Thing Brings Death, documentary on malaria starring Sombhu Mitra). Some titles in the filmography, all documentaries, were probably only produced by Bilimoria. Also made numerous advertising films. Retired in 1987.

FILMOGRAPHY (* co-d Paul Zils). 1947: Congress Session 1947; 1948: Congress Session 1948; Mother/Child/Community*; 1949: White Magic*; The Last Jewel*; Flying Goods Wagon; General Motors in India*; A Tiny Thing Brings Death*; 1954: Ujala*; 1956: Textiles; A Village in Travancore; Iron and Steel; 1957: The Land of Bengal; Fifty Miles from Poona*; 1958: The Vanishing Tribe*; Interview with Jawaharlal Nehru; 1960: Four Families; 1961: Rivers of Life/Jeevan Ki Nadiyan; Coir Worker; New Marketplace; 1962: Comparative Religions; 1965: The Weavers; 1966: US Vice President Humphrey Visits India; 1967: The House that Ananda Built; 1968: Water; 1972: Last Raja; 1974: Look At Us Now; 1975: Women of India; 1976: A Small Family; There is Another Way; 1980: Warning Signal; 1982: The Ganga Bridge; People of India: The Anglo-Indians.

BISWAS, ANIL (B. 1914)

Bengali and Hindi composer born in Barisal (now Bangladesh). A talented tabla player since infancy, he worked in amateur theatre as child singer. Became a political activist as a student and was associated with terrorist insurgency movements in Bengal. Repeatedly jailed in early 30s. Received early assignments as musician from Kazi Nazrul Islam at the Megaphone gramophone company; then scored and acted in several commercial Calcutta Theatres stage productions, notably in the Rangmahal theatre. Moved to Bombay (1934) where he was first employed by Ram Daryani’s Eastern Art Syndicate, then by Sagar and its successor National Studio (1940–2) and finally by Bombay Talkies (1942–6) before turning freelance. Best-known compositions are among the most effective film adaptations of theatrical music, with 12-piece orchestras and full-blooded choral effects in e.g. the Amirbai Karnataki songs of Gyan Mukherjee’s Kismet and even more so in Mehboob’s early films. His recitative prose songs in Roti helped give the film its parable dimension and came close to an indigenous Brechtian mode. His work is a rare effort in popular Hindi film to define a cultural-political avant-garde. Later composed music for K.A. Abbas’s films (e.g. the famous ‘songless’ Munna) and for Mahesh Kaul. Music co-d for Begunah, using the name Haribhai. Scored Doordarshan’s pioneering TV series Humlog (1984–5) and a number of Films Division documentaries (e.g. Controlling Aphids in Mustard Crop, 1979; Development of Inland Fisheries, 1988; Modern Seeding and Planting Equipment, 1991, etc.)

FILMOGRAPHY (* also act): 1935: Bal Hatya; Bharat Ki Beti; Dharam Ki Devi*; 1936: Fida-e-Watan; Piya Ki Jogan; Pratima; Prem Bandhan; Sangdil Samaj; Sher Ka Panja; Shokh Dilruba; 1937: Bulldog; Dukhiari; Gentleman Daku; Lnsaafjagirdar; Kokila; Mahageet; 1938: Three Hundred Days and After; Dynamite; Gramophone Singer; Hum Tum Aur Woh; Nirala Hindustan; Abhilasha; Watan; 1939: Jeevan Saathi; Ek Hi Raasta; 1940: Alibaba; Aur at; Pooja; 1941: Aasra; Bahen; Nai Roshni; 1942: Apna Paraya; Garib; Jawani; Roti; Vijay; 1943: Hamari Baat; Kismet; 1944: Char Aankhen; Jwar Bhata; Lady Doctor; 1945: Pehli Nazar; 1946: Darban; Nauka Dubi/Milan; 1947: Bhookh; Manjdhar; Naiya; 1948: Anokha Pyar; Gajre; Veena; 1949: Girls’School (with C. Ramchandra); Jeet; Laadli; Begunah; 1950: Arzoo; Beqasoor; Lajawaab; 1951: Aaram; Badi Bahu; Do Sitare; Tarana; 1952: Do Raha; Rahi; 1953: Akash; Faraib; Humdard; Jallianwala Bagh Ki Jyot; Mehmaan; 1954: Maan; Mahatma Kabir; Munna; Naaz; Waris; 1955: Faraar; Du-janay; Jasoos; 1956: Heer; Paisa Hi Paisa; 1957: Abhimaan; Jalti Nishani; Pardesi; 1958: Sanskar; 1959: Char Dil Char Raahein; 1960: Angulimal; Return of Mr Superman; Meera Ka Chitra; 1961: Lucky Number; Savitri; 1962: Hame Khelne Do; Sautela Bhai; 1964: Raju Aur Gangaram; 1965: Chhoti Chhoti Baatein.

Chhabi Biswas (left) in Maa-o-Chhele (1954)

BISWAS, SACHINDRANATH [CHHABI] (1900–62)

Actor born in Calcutta. Best-known outside Bengal for his two major performances in Satyajit Ray’s Jalsaghar and Kanchanjungha. Epitomises the Bengali literary (and visual: cf. Company School Painting) late 19th C. fascination with the colonial ‘gentleman’ (culminating with Kanchanjungha) as well as the feudal Zamindar. Used in a variety of ways to comment on the Westernising strand of 19th C. reform movements, or to parody Calcutta’s urban élite (see Dhiren Ganguly, with whom Biswas acted in Daabi) in the form of the bhadralok stereotype elaborated at various times by all the major actors in 20th C. Bengal: Sisir Bhaduri, Durgadas Bannerjee, Ahindra Choudhury, P.C. Barua, Pahadi Sanyal. Before entering film, did amateur theatre while at Presidency College, Calcutta, in association with Bhaduri and Naresh Mitra (e.g. Nemai Sanyas), and Jatra performances. Turned professional at Natyaniketan (1938). Title roles in stage productions of Devdas, Kashinath, Siraj-ud-Dowla et al. are considered definitive performances in the era after Sisir Bhaduri and Ahindra Choudhury. Switched from early lead roles to successful ‘character’ roles, notably in Kabuliwala, Shashi Babur Sansar, Headmaster and Dada Thakur. Other classic roles include the exploitative father-in-law in Devi.

FILMOGRAPHY (* also d): 1936: Annapurnar Mandir; 1937: Haranidhi; 1938: Chokher Bali; 1939: Sharmistha; Chanakya; 1940: Swami Stri; Nimai Sanyasi; Nartaki; 1941: Epar Opar; Pratishodh; Pratisruti; Karnarjun; Banglar Meye; 1942: Mahakavi Kalidas; Garmil; Jiban Sangini; Milan; Ashok; Parineeta; Pativrata; Bondi; Avayer Biye; Shodhbodh; Nari; Saugandh; Pashan Devata; 1943: Dampati; Aleya; Samadhan; Dwanda; Nilanguriya; Daabi; Devar; Dikshul; 1944: Pratikar*; Matir Ghar; Chhadmabeshi; 1945: Bondita; Raj Lakshmi; Path Bendhe Dilo; Stree Durga; Dui Punish; 1946: Prem Ki Duniya; Sat Number Bari; Biraj Bou; Vande Mataram; Sangram; Nivedita; Tumi Aar Ami/Turn Aur Main; 1947: Mandir; Father Daabi; Abhijog; Nurse Sisi; Chandrasekhar; 1948: Anirban; Nandaranir Sansar; Sadharan Meye; Sankha Sindoor; Shesh Nibedan; Umar Premi(?); 1949: Jar Jetha Ghar*; Manzoor; Bhuler Baluchare; Debi Choudhrani; Singhdwar; 1950: Mandanda; Mahasampad; Garabini; Vidyasagar; 1951: Durgesh Nandini; Maldar; Aparajito; 1952: Krishnakanter Will; Ratrir Tapasya; 1953: Sat Number Kayedi; Boudir Bone; Makarshar Jaal; Sabuj Pahar; Jog Biyog; Lakh Taka; Raja Krishna Chandra; Blind Lane; Sati Behula; 1954: Shobha; Maa-o-Chhele; Ora Thake Odhare; Naa; Kalyani; Prafulla; Dhuli; Banglar Nari; Sadanander Mela; Chheley Kaar; Shoroshi; Jadubhatta; Bhanga-Gara; 1955: Sanjher Pradeep; Rani Rashmoni; Dattak; Pather Sheshey; Jharer Parey; Joymakali Boarding; Katha Kao; Prashna; Hrad; Upahar; Kalo Bou; Devimalini; Bratacharini; Drishti; Shribatsa-Chinta; Sabar Uparey; 1956: Bhola Master; Kirti Garb; Asabarna; Saheb Bibi Golam; Shubharatri; Shankar Narayan Bank; Asamapta; Trijama; Mamlar Phal; Manraksha; Ek Din Raatre; Rajpath; Chhaya Sangini; Swyamukhi; Govindadas; Madan Mohan; Putrabadhu; Falgu; Daner Maryada; Sinthir Sindoor; Raat Bhore; Kabuliwala; 1957: Shesh Parichaya; Bardidi; Ghoom; Bara Maa; Ektara; Tapasi; Adarsha Hindu Hotel; Prithibi Amar Chay; Natun Prabhat; Neelachaley Mahaprabhu; Surer Parashey; Rastar Chhele; Kancha-Mithey; Chhaya Path; Abhishek; Sandhan; Abhoyer Biye; Mathur; Baksiddha; Antariksha; Garer Math; Kari-o-Komal; Madhabir Jonye; Pathe Holo Deri; Louha-Kapat; Parash Pathar; 1958: Yamalaya Jibanta Manush; Priya; Bandhu; Nupur; Daily Passenger; O Amar Desher Mati; Tansen; Nagini Kanyar Kahini; Sadhak Bama Kshyapa; Jalsaghar; Indrani; Dhoomketu; Surya Toran; Marmabani; 1959: Bicharak; Thakur Haridas; Derso Khokhar Kando; Shashi Babur Sansar; Bhranti; Gali Theke Rajpath; Chhabi; Amrapali; Nirdharita Silpir Anupastithi Tey Khelaghar; Agnisambhaba; Nrityer Tale Tale; Headmaster; Rater Andhakare; Shubha Bibaha; Mriter Martye Agaman; Kshaniker Atithi; 1960: Maya Mriga; Debarshi Narader Sansar; Raja-Saja; Devi; Haat Baraley Bandhu; Kshudista Pashan; Chupi Chupi Ashey; Sakher Chor; Gariber Meye; Hospital; Smriti Tuku Thak; Shesh Paryanta; Ajana Kahini; Nader Nimai; Surer Pyasi; Suno Baro Nari; 1961: Manik; Carey Shaheber Munshi; Bishkanya; Agni Sanskar; Madhya Rater Tara; Swayambara; Necklace; Kanchanmulya; Dainee; Ashay Bandhinu Gbar; Madhureno; Saptapadi; Maa; 1962: Sorry Madam; Bipasha; Rancher Swarga; Suryasnan; Shiulibari; Kanchanjungha; Atal Jaler Ahwan; Agnisikha; Bodhu; Kajal; Mayar Sansar; Shubha Drishti; Dada Thakur; Dhoop Chhaya; 1963: High Heel; Surya Sikha; 1964: Kanta Taar; 1976: Shri Shri Maa Lakshmi.

BOMBAY TALKIES

Film studio set up by Himansu Rai in 1934. Among the biggest pre-WW2 talkie studios, it was the only major one launched as a fully fledged corporate body with a board of directors including F.E. Dinshaw, Sir Chimanlal Setalvad, Sir Chunilal Mehta, Sir Pheroze Sethna and Sir Cowasji Jehangir as some of the ‘dozen individuals who, by their control over banks, insurance companies and investment trusts, occupy commanding positions in the industrial life of Bombay’ (A.R. Desai, 1948). It was one of the first studios with backing from major financial institutions, paying a regular dividend from the third year onwards. The resident star was Devika Rani. The scenarists were Niranjan Pal and J.S. Casshyap. The technical team was imported from Europe, including director Franz Osten, cameraman Josef Wirsching, set designer Carl von Spreti (later Count Carl von Spreti, the West German ambassador murdered in Guatemala in 1970) and soundman Len Hartley. The studio had three major phases. The first, the Rai-Osten era (Achhut Kanya, 1936; Kangan, 1939) ended with Osten’s arrest at the beginning of WW2 and, later, Rai’s death (1940). The second saw Devika Rani, as production controller, split the studio into two production groups, one led by Amiya Chakravarty (best-known film of this period: Jwar Bhata, 1944, introducing Dilip Kumar) and the other led by S. Mukherjee with Rai Bahadur Chunilal. The latter group broke away to start Filmistan (1942). The formal orthodoxy of Chakravarty’s work (Basant, 1942) is clearly counterposed by a series of influential films, from N.R. Acharya’s Naya Sansar (1941) to Kismet (1943), all direct precedents of the Filmistan signature style. This included the early films of Gyan Mukherjee, Nazir Ajmeri and the writer Manto. The third phase began when star Ashok Kumar, who had moved to Filmistan, and sound recordist Savak Vacha returned and took over the studio (1947); it includes the early work of stars Dev Anand and Shyam, along with films by Kamal Amrohi, Shaheed Latif, Bimal Roy, Nitin Bose and Phani Majumdar. In the early 50s the studio declined despite efforts by the workers’ association to save it, and it made only one more film, Majumdar’s Baadhaan (1954).

BORAL, RAI CHAND (1903–81)

Music director aka Raichand Boral, born in Calcutta. Son of classical musician Lalchand Boral (spelled L. Bural in early 1910s record labels). Producer of Indian music programmes on Indian Broadcasting Co. in Calcutta (1927). Joined New Theatres during silent era, creating live score for Charu Roy’s Chorekanta (1931) and Prafulla Roy’s Chasher Meye (1931), and remained the studio’s top composer into the 40s. Although less associated with the dominant Rabindra Sangeet (Tagore’s lyrics) than e.g. Pankaj Mullick, his adaptations of the ghazal style into light classical, emotionally charged music were influential in the recording industry, esp. as interpreted by his famous protegé, actor-singer Kundanlal Saigal, in e.g. the Saigal-Umasashi duet Prem nagar mein banaoongi ghar main from Nitin Bose’s Chandidas, Balam aaye and Dukh ke in Barua’s Devdas, Ek bangla bane nyaara in President, all remaining perennial hits. Other legendary compositions include Phani Majumdar’s Street Singer; Debaki Bose’s Bidyapati, and Nitin Bose’s Lagan and Dhoop Chaon (claimed by some as the first use of playback in India), songs by Pahadi Sanyal, Kanan Devi and, in Hindi, by the ghazal exponent Talat Mahmood. Worked extensively with the early Bimal Roy, (Udayer Pathey, Anjangarh, Maa). His musical style rested heavily on songs with large string sections, with e.g. sitar and violins. In many of the songs he combined forms like Thumri, Keertan, Akhrai and the Kabigan, invoking a 19th C. Bengali tradition of cultural fusion in popular music associated with immigrants to Calcutta who brought musical forms from the North and the East. Also directed an animated short, Pear Brothers. Formed the independent MLB Prod, with actor Shyam Laha and Amar Mullick.

FILMOGRAPHY (* also d): 1931: Dena Paona; 1932: Mohabbat Ke Aansoo; Chirakumar Sabha; Chandidas; Subah Ka Sitara; Zinda Lash; Punarjanma; Palli Samaj; 1933: Puran Bhakt; Meerabai/Rajrani Meera; Kapal Kundala; Mastuto Bhai; 1934: Excuse Me; Sir; Rooplekha/Mohabbat Ki Kasauti; Chandidas; Daku Mansoor; Pear Brothers* (Sh); 1935: Devdas; Dhoop Chhaon/Bhagya Chakra; Inquilab; 1936: Karodpati; Grihadah/Manzil; Maya; 1937: Barababu; Anath Ashram; Didi/President; Bidyapati/Vidyapati; 1938: Abhigyan/Abhagin; Street Singer/Saathi; 1939: Sapurey/Sapera; Jawani Ki Reet/Parajay; Rajat Jayanti; 1940: Abhinetri/Haarjeet; 1941: Parichay/Lagan; Pratisruti; 1942: Nari; Saugandh; 1943: Daabi; Wdpas; 1944: Udayer Pathey/Hamrahi; 1945: Vasiyatnama; 1946: Biraj Bou; 1948: Anjangarh; 1949: Bishnupriya; Mantramughda; Swami/Swami Vivekananda; 1950: Bara Bou; Pehla Admi; 1951: Sparshamani; Paritran; 1952: Maa; 1953: Dard-e-Dil; Shri Chaitanya Mahaprabhu; 1955: Amar Saigal; 1957: Neelachaley Mahaprabhu; 1959: Sagar Sangamey; 1960: Natun Fasal.

BORDOLOI, ATUL (B. 1938)

Assamese playwight and director born in Jorhat; initially a teacher after graduating from Gauhati University (1962). Author of 15 full-length and about 20 one-act plays in Assamese.

Worked as journalist for the daily, Natun Asomiya. First film, Aparajeya, was the unremarkable result of a remarkable film-making experiment sponsored by poet-playwright Phani Talukdar and made by a group, Chaturanga, including Gauri Burman and Munin Bayan. Bordoloi’s films, set in deprived milieus, are known mainly for their multi-layered sense of reality achieved by suppressing narrative progression. Best-known film: Kallol.

FILMOGRAPHY: 1970 Aparajeya, 1973: Banaria Phool; Anutaap; 1978: Kallol; 1979: Megh; 1990: Grahan; Drishti; 1991: Sinyor.

BOSE, DEBAKI KUMAR (1898–1971)

Bengali and Hindi director born in Akalpoush, Burdwan Dist., West Bengal; also worked in Tamil and in Marathi. Son of a noted solicitor, Madhusudhan Bose. Influenced by Sisir Bhaduri, his teacher at Bidyasagar College, Calcutta (1920). Left university to join non-cooperation movement after Calcutta Congress (1920). Edited journal, Shakti, from Burdwan (1927–8). Hired by Dhiren Ganguly as actor and scenarist for Dinesh Ranjan Das’ Kamaner Aagun (1930). Devotee of Vaishnava evangelical movement. Joined British Dominion Films (1927) as scenarist, then director. Joined P.C. Barua’s Barua Pics (1930), then entered New Theatres (1932–4) together with Barua, directing the studio’s first hit, Chandidas. Its cinematic validation of a major stage genre - the quasi-legendary biographical - helped lessen Bengali cinema’s dependence on the Calcutta Theatres for its themes as well as its literary, musical and acting talent. Early work known mainly for his free and inventive approach to established genres, esp. the mythological and the Saint film, creating a Bengali quality cinema (e.g. Aparadhi and Chandidas). Went to East India Film (1934–6) where he made the lyrical Seeta which launched Prithviraj Kapoor and Durga Khote as a star duo. Returned to New Theatres (1937–41), making the classic Bidyapati. His independent Debaki Bose Prod. (1945) with stars from the Hindi and Marathi cinemas paved the way for other Calcutta cineastes after the decline of New Theatres in the early 40s. Made Arghya, a documentary on the caste system, based on four narrative poems by Tagore to celebrate the centenary of his birth.

FILMOGRAPHY: 1930: Kamaner Aagun (only act); Panchasar (also act); 1931: Aparadhi; Shadows of the Dead; 1932: Nishir Dak (all St); Chandidas; 1933: Puran Bhakt; Meerabai/Rajrani Meera; Dulari Bibi; 1934: Seeta; 1935: Inquilab; Jeevan Natak; 1936: Sonar Sansar/Sunehra Sansar; 1937: Bidyapati/Vidyapati; 1939: Sapurey/Sapera; 1940: Nartaki; Abhinav; 1942: Apna Ghar/Aple Ghar; 1943: Shri Ramanuja; 1945: Meghdoot; Swarg Se Sundar Desh Hamara; 1946: Krishna Leela; 1947: Chandrasekhar; 1948: Sir Shankarnath; 1949: Kavi; 1951: Ratnadeep/Ratnadeepam; 1953: Pathik; 1954: Kavi; Bhagwan Shri Krishna Chaitanya; 1955: Bhalobasha; 1956: Chirakumar Sabha; Nabajanma; 1958: Sonar Kathi; 1959: Sagar Sangamey; 1961: Arghya.