BOSE, MODHU (1900–69)

Bengali and Hindi director-scenarist born in Calcutta; grandson of the historian R.C. Dutt. Studied at Shantiniketan and Bidyasagar College, Calcutta, under Sisir Bhaduri. Entered film briefly as actor at Madan Theatres (1923). Assisted J.J. Madan on the making of Turki Hoor (1924); assisted on Himansu Rai’s Prem Sanyas (1925). Went to London and assisted cameraman Baron Gaetano Ventigmilia on a Hitchcock film for Balcon/Gainsborough (1926; probably The Mountain Eagle) and worked briefly with Karl Freund at UFA (probably on Lang’s Metropolis, 1925). Shot a Burmese film for the London Film Company, Rangoon, in 1927. Started the Calcutta Amateur Players (CAP) theatre group (1927). Production manager and actor in Prapancha Pash (1929). Married actress Sadhona Bose. Early films produced by Madan Theatres. Made Khyber Falcon for the Punjab Film Corp. in Lahore. Best-known work for Bombay-based Wadia Movietone and Sagar. Developed an influential generic hybrid from Rabindranath Tagore’s ballets (Dahlia) and Khirode Prasad Vidyavinode’s Alibaba, both starring his wife, Sadhona Bose. Made Orientalist song-dance-adventure spectaculars, indigenous variants of British 19th C. Ruritanian comedies (Selima, Kumkum, Raj Nartaki) and several Tagore adaptations. After 1936, when the CAP turned professional, concentrated mainly on stage work, e.g. Niranjan Pal’s Zarina, Manmatha Ray’s The Dreams of Omar Khayyam. Also film biographicals of Girishchandra Ghosh, Michael Madhusudhan Dutt and Swami Vivekananda. Wrote autobiography: Amar Jeeban (1967).

FILMOGRAPHY: 1930: Giribala; Dahlia; 1932: Khyber Falcon (all St); 1935: Selima; 1936: Bala Ki Raat; 1937: Alibaba (also act); 1938: Abhinaya; 1940: Kumkum/Kumkum the Dancer; 1941: Raj Nartaki/Court Dancer; 1942: Meenakshi; 1947: Giribala; 1950: Michael Madhusudhan; 1953: Raakhi; Shesher Kabita; 1954: Vikram Urvashi; 1956: Mahakavi Girishchandra; Paradhin; Shubha Lagna; 1964: Bireshwar Vivekananda.

BOSE, NITIN (1897–1986)

Bengali and Hindi director, cameraman and producer; cousin of Satyajit Ray. Born in Calcutta. Learned still photography from his father, Hemendra Mohan Bose, owner of the famous Kuntalin Press and of Talking Machine Hall (distributor of Pathéphone recording systems). Acquired movie camera in his teens and became proficient in shooting home movies which he developed himself. Made newsreels in 1921–2 (the chariot festival at Puri, the elephant hunt of the Maharaja of Tripura) which he sold to the International Newsreel Corp. and to Fox Kinogram. First feature as cinematographer: Jaigopal Pillai’s Punarjanma (1927). Cameraman on features for Aurora, Indian Kinema Arts, Sisir Bhaduri and International Filmcraft. Chief technical adviser and head of the camera department at New Theatres (1930). Shot many films for Debaki Bose (e.g. Chandidas, 1932; Meerabai, 1933) and Atorthy (e.g. Dena Paona, 1931; Mohabbat Ke Aansoo, Subah Ka Sitara, Punarjanma, all 1932); also shot Shakuntala for Bhavnani (1931). Directorial début when Debaki Bose left the studio in 1933. A key figure in the New Theatres organisation and maker of some of its most successful films. His early work continued in the vein of Debaki Bose (first feature was remake of Bose’s Chandidas). Later introduced a ‘realist’ element (Didi/President; Desher Mati/Dharti Mata) foreshadowing the films of his own student and cameraman Bimal Roy (Udayer Pathey, 1944), and probably Mrinal Sen’s early films. Also made successful films after he left New Theatres in 1941 (e.g. Ganga Jumna in Hindi and Bhojpuri was one of the biggest hits of post-Independence cinema). Worked with major producers in Bombay: Bombay Talkies (Nauka Dubi) and Minerva. Started his own production company with Dard-e-Dil in 1953. When A. Chakravarty died, Bose finished Kathputli. Set up Guwahati Studio in Assam.

FILMOGRAPHY: 1921: Belgian Emperor’s Visit to India (Doc); 1930: Buker Bojha (all St); 1934: Chandidas; Daku Mansoor; 1935: Dhoop Chhaon/Bhagya Chakra; 1937: Didi/President; 1938: Desher Mati/Dharti Mata; Dushman/Jiban Mar an; 1941: Parichay/Lagan; 1943: Kashinath; Bichar/Paraya Dhan; 1944: Mujrim; 1945: Mazdoor; 1946: Nauka Dubi/Milan; 1948: Drishtidaan; 1950: Mashaal/Samar; 1951: Deedar; 1953: Dard-e-Dil; 1954: Waris; 1955: Amar Saigal; 1956: Char Dost; 1957: Madhabir Jonye; Kathputli; 1958: Jogajog; 1961: Ganga Jumna; 1962: Ummeed; 1963: Nartaki; 1964: Dooj Ka Chand; 1966: Hum Kahan Ja Rahe Hain; 1972: Samanata.

Sadhona Bose in Raj Nartaki (1941)

BOSE, SADHONA (1914–73)

Actress born in Calcutta. Some sources give 1903 as year of birth. Granddaughter of 19th C. reformist leader Keshub Chunder Sen. Participated in her husband Modhu Bose’s dance spectaculars (Kumkum, Raj Nartaki) which helped convert the late 19th/early 20th C. Parsee Theatre-influenced operatic mode into popular Bengali and Hindi films. A classically trained dancer (Kathak dance under Taraknath Bagchi and Manipuri under Guru Senarik Rajkumar) and musician (studied under Inayat Khan, Timir Baran and, briefly, S.D. Burman; piano with musician Franco Polo), her early work included ballets supervised by Rabindranath Tagore (one of which later became the film Dahlia, 1930). In the 1929 stage version of Alibaba, met and briefly worked with Anna Pavlova. A classicist ideology was attributed to her work with Modhu Bose for the Calcutta Amateur Players and later in film. Her best-known play, Alibaba (1934; filmed 1937), helped translate the musical style of Calcutta Theatres, originating with Khirode Prasad Vidyavinode, into Broadway/Hollywood inspired Orientalist spectaculars. Introduced these into Hindi cinema, via directors like Chaturbhuj Doshi (Shankar Parvati) and Kidar Sharma (Vish Kanya). In her autobiography (Sadhona Bose, 1963), plays like Theme Songs of Omar Khayyam and Hindu Dance Dramas, Birth of Freedom, Samarpan and Ajanta are described as ‘neo-classical ballets’ while her later films are called ‘film ballets’, adhering to all the tenets of traditional art. Produced the show Rhythm of Victory as a political spectacular with more than 40 dancers. An English version of her best-known film, Raj Nartaki, was distributed in the USA as Court Dancer.

FILMOGRAPHY: 1937: Alibaba; 1938: Abhinaya; 1940: Kumkum/Kumkum the Dancer; 1941: Raj Nartaki/Court Dancer; 1942: Meenakshi; 1943: Paigham; Shankar Parvati; Vish Kanya; 1945: Neelam; 1951: Bhola Shankar; For Ladies Only; Nand Kishore; 1952: Shin Shinaki Boobla Boo; 1953: Shesher Kabita; 1954: Maa-o-Chhele; Vikram Urvashi.

BOSE, SATYEN (1916–93)

Bengali and Hindi director born in Purnea, Bihar. Commerce graduate from Bidyasagar College, Calcutta (1941). Worked on the railways and in a bank. Participant in amateur theatre as student. With friends set up National Progressive Pics (1948) and produced Hemen Gupta’s Bhuli Naai in Bengali. Early films contextualised by post-Partition Bengal, addressing the fragmentation of the traditional middle class (e.g. Bhor Hoye Elo) under different social and political pressures, e.g. the schoolboy movie Paribartan. Combined realism with comedy, esp. Barjatri, which was praised by S. Ray for its typically Bengali spirit, humorous dialogue and spontaneous acting style. Moved to Bombay late in 1953 to make Parichay. Then worked mainly with the brothers Kishore, Anoop and Ashok Kumar in the sadly comic Bandi and the one slapstick classic of Hindi cinema, Chalti Ka Naam Gaadi. Also directed Nargis’s last film, Raat Aur Din.

FILMOGRAPHY (* also act): 1949: Paribartan*; 1951: Barjatri*; 1953: Bhor Hoye Elo; 1954: Jagriti; Parichay; 1955: Rickshawala; Bandish; 1957: Bandi; 1958: Chalti Ka Naam Gaadi; Savera; Sitaron Se Aage; 1960: Masoom; Girl Friend; 1964: Daal Mein Kala; Dosti; 1966: Aasra; Mere Lai; 1967: Bhagya; Raat Aur Din; 1968: Jyot Jale; 1969: Wapas; Aansoo Ban Gaye Phool; 1970: Jeevan Mrityu; 1972: Sa Re Ga Ma Pa; Anokhi Pehchan; Mere Bhaiya; 1977: Mastan Dada; 1978: Anmol Tasveer; 1979: Saanch Ko Aanch Nahin; Bin Maa Ke Bachche; 1980: Payal Ki Jhankaar; 1982: Tumhare Bina; 1983: Kaya Palat; 1986: Woh Din Aayega.

BOSE, TAPAN (B. 1946)

Documentary director; part of Cinemart Foundation with actress Suhasini Mulay (Bhuvan Shome, 1969, Bhavni Bhavai, 1980) and Salim Shaikh. Started as assistant to Sukhdev. Controversial cineaste, often hampered by officialdom. Independent début, An Indian Story, featured the infamous Bhagalpur incident in which prison inmates were blinded as part of police torture. Co-d his second film examining the consequences of the Bhopal gas disaster (1984). From Behind the Barricade attacks the central government’s repression in Punjab. The film was banned for its overt support of separatist militants. An appellate tribunal revoked the ban, imposing other strictures such as the unprecedented requirement that ‘In all interviews, so as to ensure the genuineness of the interviews and interviewees, except where the interviewee is a known public character, there shall, throughout the interview, be a subtitle … depicting the name and address of the interviewee and the location where the interview was taken. In default, such interview to be deleted in its entirety’ (see A.G. Noorani, 1993). Also works on video.

FILMOGRAPHY: 1981: An Indian Story; 1986: Bhopal: Beyond Genocide; 1991: The Vulnerable Road User; 1993: From Behind The Barricade; Jharkhand.

BOURNE & SHEPHERD

Calcutta-based company; oldest and most prominent still photography dealers in India, set up in 1840 as a studio by Samuel Bourne. Charles Shepherd and A. Robertson started a Photographic Artists Studio in Agra (1862) which became Howard & Bourne in Simla (1863) and finally Bourne & Shepherd in Calcutta (1868). Both were photographers, making portraits of political and arts personalities, urban scenes of Calcutta and royal Durbars and were dealers in equipment and stock. They produced photographic variants of Company School painting for the popular art market: Hiralal Sen’s career started when he won a Bourne & Shepherd photography competition in 1887. Their nationwide distribution and processing/printing network was one of the first to expand into film (by 1900) when, with the Bombay-based Clifton & Co., they started showing movies in their studios. Mainly sold or hired out equipment by Pathé-Freres, Gaumont and the Barker Motion Picture Co., aggressively marketing their services and making professional cameramen and crews available to shoot events of state or private importance on commission from the government, Indian royalty or business magnates (e.g. Pundalik, 1912). Until the establishment of Pathé (India) in 1907, companies like Bourne & Shepherd occasionally worked as agents for the Pathé Exchange, the International Newsreel Corp. and Fox Films, purchasing locally made documentaries for them as ‘News’ films, or the cheaper ‘Review’ films. The first extensively filmed public event in India, the British Royal Family’s visit in 1911 (shot by Patankar, Hiralal Sen, Madan Theatres and others) was also shot by the company: Their Imperial Majesties in Delhi (1911).

BRITISH DOMINION FILMS

Dhiren Ganguly’s third and best-known silent studio, set up in 1929 in Dumdum, Calcutta. Board of directors comprised P.C. Barua, the Rajahs of Puri, Khadia and Patna, Tarubala Sen, N.N. Mukherjee and K.C. Roy Choudhury with Ganguly as managing director. Financially supported by royalty, it also sought colonial state support. Productions include first films by Debaki Bose, writer-film-maker Dinesh Ranjan Das and cameramen Sailen Bose and Dronacharya. Made only eight films. Closed down in 1930 as victim of the change to sound.

BURMA, PHANI (B. 1897)

Bengali director born in Calcutta. Started as actor (e.g. Naresh Mitra’s Devdas, 1928; also Bangabala, 1929 and Bigraha and Mrinalini, both 1930). Turned director while starring in Shesh Path on location in Burma. Concentrated on direction from 1936 onwards. Co-directed Kamale Kamini with Nirmal Goswami.

FILMOGRAPHY: 1930: Shesh Path (St); 1936: Krishna Sudama; Jhinjhinyar Jer; Bishabriksha; Prabas Milan; 1939: Janak Nandini; Debjani; 1940: Kamale Kamini; Byabadhan; Nimai Sanyasi; 1947: Mandir; 1952: Prahlad; Vishwamitra; 1954: Joydev; 1955: Shribatsa Chinta; 1957: Harishchandra; Onkarer Joy Jatra; Data Karna.

BURMAN, RAHUL DEV (1939–94)

Hindi composer aka Pancham. Entered films as assistant to his father S.D. Burman, often playing the mouth organ in his father’s orchestras. Trained under Ali Akbar Khan. Independent career coincided with the wave of early 70s Rajesh Khanna love stories (esp. Kati Patang, Amar Prem, Apna Desh) and the new lease of life they offered to singer Kishore Kumar. Informally assisted his father in composing the seminal Khanna-Kumar combination, Shakti Samanta’s Aradhana (1969). Breakthrough in Nasir Hussain musicals, starting with Baharon Ke Sapne and consolidated by the classic Zeenat Aman rock music teen-movie Yaadon Ki Baraat, having earlier scored her début Hare Rama Hare Krishna. Some of his best music is associated with Gulzar’s lyrics, e.g. Parichay and Aandhi. Brought Hindi film music into the era of electronic rock with a series of enormously popular youth movies, e.g. Narendra Bedi’s Jawani Diwani. Worked mostly with singers Asha Bhosle and Kishore Kumar, providing much of the music that defines their reputations. Also produced independent albums, including one based on the samba and one with British pop star Boy George. Occasionally sang his own songs in a unique, grunting bass (e.g. the Mehbooba mehbooba number in Sholay). 1942: A Love Story, his last film released after his death, was a major musical success.

FILMOGRAPHY (* also act): 1961: Chhote Nawab; 1965: Bhoot Bangla*; Teesra Kaun; 1966: Pati Patni; Teesri Manzil; 1967: Baharon Ke Sapne; Chandan Ka Palna; 1968: Abhilasha; Padosan; 1969: Pyar Ka Mausam*; Waris; 1970: Rajkumari; Ehsan; Kati Patang; Puraskaar; Raaton Ka Raja; Saas Bhi Kabhi Bahu Thi; The Train; 1971: Adhikar; Amar Prem; Buddha Mil Gaya; Caravan; Hangama; Hare Rama Hare Krishna; Lakh on Mein Ek; Mela; Paraya Dhan; Pyar Ki Kahani; Hulchul; Sanjog; 1972: Apna Desh; Bombay To Goa; Dil Ka Raja; Do Chor; Garam Masala; Gomti Ke Kinare; Jawani Diwani; Mere Jeevan Saathi; Parichay; Parchaiyan; Raakbi Aur Hath kadi; Rampur Ka Lakshman; Rani Mera Naam; Samadhi; Savera; Seeta Aur Geeta; Shehzada; Double Cross; 1973: Aa Gale Lag Jaa; Anamika; Bada Kabutar; Bandhe Haath; Chhalia; Do Phool; Heera Panna; Hifazat; Jaise Ko Taisa; Jheel Ke Us Paar; Joshila; Nafrat; Namak Haram; Paanch Dushman; Raja Rani; Rickshawala; Shareef Badmash; Yaadon Ki Baraat; Mr Romeo; 1974: Aap Ki Kasam; Ajnabi; Benaam; Charitraheen; Dil Diwana; Doosri Seeta; Goonj; Humshakal; Imaan; Ishq Ishq Ishq; Khote Sikkay; Madhosh; Manoranjan; Phir Kab Milogi; Shaitan; Trimurti; Ujala Hi Ujala; Zehreela Insaan; 1975: Aandhi; Deewar; Dharam Karam; Kala Sona; Khel Khel Mein; Khushboo; Mazaaq; Raja; Sholay; Warrant; Kehte Hain Mujhko Raja; 1976: Balika Badhu; Bandalbaaz; Bhanwar; Bullet; Khalifa; Maha Chor; Mehbooba; Nehle Pe Dehla; Vishwasghaat; Dhongee; 1977: Chala Murari Hero Banne; Chalta Purza; Chandi Sona; Darling Darling; Hum Kisise Kum Nahin; Jeevanmukt; Karm; Kinara; Kitaab; Mukti; 1978: Azad; Bhola Bhala; Chor Ho To Aisa; Devata; Ghar; Heeralal Pannalal; Naukri; Kasme Vade; Naya Daur; Phandebaaz; Shalimar; 1979: Bhala Manus; Golmaal; The Great Gambler; Hamare Tumhare; Jhootha Kahin Ka; Jurmana; Manzil; Naukar; Ratnadeep; Salaam Memsaab; 1980: Aanchal; Abdullah; Alibaba Aur Chalis Chor; The Burning Train; Dhan Daulat; Jai Mahal; Khubsoorat; Phir Wohi Raat; Red Rose; Shaan; Sitara; Takkar; Bulandi; Gunehgaar; Qatil Kaun; 1981: Barsaat Ki Ek Raat/Anusandhan; Basera; Biwi-o-Biwi; Dhuaan; Gehra Zakhm; Ghunghroo Ki Awaaz; Harjaai; Jail Yatra; Kaliya; Kudrat; Love Story; Mangalsutra; Naram Garam; Raksha; Shaukeen; Rocky; Zamane Ko Dikhana Hai; Satte Pe Satta; Kachche Heere; Daulat; Angoor; Kalankini Kankabati; 1982: Aamne Samne; Ashanti; Bemisal; Ganga Meri Maa; Namkeen; Sanam Teri Kasam; Shakti; Swami Dada; Teri Kasam; Yeh To Kamaal Ho Gaya; Yeh Vaada Raha; Dard Ka Rishta; Masoom; Trayi; Aparoopa; 1983: Namumkin; Agar Turn Na Hote; Betaab; Chor Police; Jaan-e-Jaan; Kaun? Kaise?; Lovers; Mahaan; Main Awara Hoon; Mazdoor; Pukar; Qayamat; Rang Birangi; Romance; Shubh Kaamna; Farishta; Boxer; Bindiya Chamkegi; Bade Dil Wala; Aan Aur Shaan; 1984: Anand Aur Anand; Andar Bahar; Awaaz; Bheema; Duniya; Hum Hain Lajawaab; Jagir/Teen Murti; Jawani; Sunny; Jhootha Sach; Karishma; Mati Mange Khoon; Manzil Manzil; Yeh Desh; Zameen Aasmaan; Hum Dono; Musafir; 1985: Aar Paar/Anyay Abichar; Alag Alag; Amir Admi Gareeb Admi; Arjun; Awara Baap; Ek Se Bhale Do; Lava; Oonche Log; Rahi Badal Gaye; Ram Tere Kitne Naam; Joshilay; Sagar; Shiva Ka Insaaf Sitamgarh; Zabardast; Savere Wali Gadi; Hum Naujawan; Rusvai; 1986: Bond303; Anokha Rishta; Ek Main Aur Ek Tu; Jeeva; Palay Khan; Samundar; Shatru; Zindagani; 1987: Apne Apne; Dacait; Hifazat; Inaam Dus Hazaar; Itihaas; Jallianwala Bagh; Ekanto Apon; Ijaazat; Belagaam; 1988: Agun; Mardon Wali Baat; Zalzala; Rama-o-Rama; Mil Gayi Manzil Mujhe; Chatran; Faisla; Libaas; 1989: Aag Se Khelenge; Dost; Parinda; Aakrosh; Jankar; Jurrat; Bahurani; Ladaai (B); Shatarupa; 1990: Ekhane Amar Swarga*; Jeene Do; Dushman; Chor Pe Mor; Apon Amar Apon; Debata; 1991: Gunehgaar Kaun; Indrajit; Bourani; Nawab; Ananda Niketan; 1992: Jhoothi Shaan; Sarphira; Siyasat; Drohi; Khule Aam; Shet Patharer Thala; Krodhi; Adhikar; Maa; Purshottam; 1993: Gurudev; Gardish; Turn Karo Vaada; Puraskaar; Kanyadaan (only act.); Bhranta Pathik (only act.); Shraddhanjali; 1994: 1942: A Love Story; Sukhi Sansarachi Bara Sutre; Janam Se Pehle; Shesh Chitthi; Ajana Path.

BURMAN, SACHIN DEV (1906–75)

Music director born in Tripura. Classical training by his father, sitarist and Dhrupad singer Nabadwipchandra Dev Burman; later with Ustad Badal Khan and Bhishmadev Chattopadhyay. Early work for radio was based on East Bengali and North Eastern folk-music. In early 30s made a reputation in Bengal as singer of folk and light classical music, e.g. at the Allahabad Sangeet Sammelan (Music Conference) in 1935. First record was of a Nazrul Islam composition, leading to a long and productive relationship with the writer/composer. Film début singing for Pankaj Mullick in Atorthy’s Yahudi Ki Ladki (1933) but the songs were scrapped and re-sung by Pahadi Sanyal. First film as singer: Tinkari Chakraborty’s Sanjher Pidim (1935); also acted in Dhiren Ganguli’s Bidrohi (1935). Music director from 1939 onwards in Calcutta. Moved to Bombay (1944) and worked at Filmistan (Eight Days, Shabnam), Navketan (Afsar, Taxi Driver, Funtoosh, Guide) and for Guru Dutt (Baazi, Jaal, Pyaasa, Kaagaz Ke Phool). Remained Dev Anand’s key composer for several years (Paying Guest, Tere Ghar Ke Saamne, Jewel Thief, Prem Pujari). Also worked on films for Bimal Roy (Devdas, Sujata, Bandini). Film compositions often influenced by his huge repertory of folk-tunes from the Bengali Bhatiali, Sari and Dhamail traditions of the North East. As a singer, his thin but powerful, accented voice was often used as a bardic commentary: e.g. the Wahan kaun hai tera musafir number in Guide, Safal hogi teri aradhana in the hit Rajesh Khanna movie Aradhana. Wrote an autobiography: Sargamer Nikhad.

FILMOGRAPHY: 1937: Rajgee; 1939: Jakher Dhan; 1940: Amar Geeti; Rajkumarer Nirbashan; 1941: Pratishodh; 1942: Mahakavi Kalidas; Avayer Biye; Milan; Jiban Sangini; Ashok; 1943: Jajsaheber Nathni; 1944: Chhadmabeshi; Matir Ghar; Pratikar; 1945: Kalankini; 1946: Matrihara; Shikari; Eight Days; 1947: Chittor Vijay; Dil Ki Rani; Do Bhai; 1948: Vidya; 1949: Kamal; Shabnam; 1950: Afsar; Mashaal/Samar; Pyar; 1951: Baazi; Bahar; Buzdil; Ek Nazar; Naujawan; Sazaa; Babla; 1952: Jaal; Lal Kunwar; 1953: Armaan; Jeevan Jyoti; Shahenshah; 1954: Angarey; Chalis Baba Ek Chor; Radha Krishna; Taxi Driver; 1955: Devdas; House Number 44; Madh Bhare Nain; Munimji; Society; 1956: Funtoosh; 1957: Miss India; Nau Do Gyarah; Paying Guest; Pyaasa; 1958: Chalti Ka Naam Gaadi; Kala Pani; Lajwanti; Sitaron Se Aage; Solva Saal; 1959: Insaan Jaag Utha; Kaagaz Ke Phool; Sujata; 1960: Apna Haath Jagannath; Bambai Ka Babu; Bewaqoof Ek Ke Baad Ek; Kala Bazaar, Manzil; Miya Bibi Razi; 1962: Baat Ek Raat Ki; Dr Vidya; Naughty Boy; 1963: Bandini; Meri Soorat Teri Aankhen; Tere Ghar Ke Saamne; 1964: Benazir; Kaise Kahun; Ziddi; 1965: Guide; Teen Deviyan; 1967: Jewel Thief 1969: Aradhana; Jyoti; Talash; 1970: Ishq Par Zor Nahin; Prem Pujari; 1971: Gambler; Naya Zamana; Sharmilee; Tere Mere Sapne; 1972: Anuraag; Yeh Gulistan Hamara; Zindagi Zindagi; 1973: Abhimaan; Chhupa Rustom; Jugnu; Phagun; 1974: Prem Nagar; Sagina; Us Paar; 1975: Chupke Chupke; Mill; 1976: Arjun Pandit; Barood; Deewangee; Tyaag.

CALCUTTA THEATRES

Commercial theatre movement in late 19th and early 20th C. Calcutta, drawing on 18th C. British amateur theatricals, Gerasim Lebedeff’s (1749–1817) influential Bengally Theatre (Est: 1795) and ‘private’ theatres from which emerged the first major Bengali playwright, Michael Madhusudhan Dutt (1824–73). Cultural and economic pinnacle coincided with the career of writer-actor Girishchandra Ghosh (1844–1912), first at National Theatre and later Minerva Theatre (1893–1912), including Ghosh’s mythologicals, Dwijendralal Roy’s historicals and Khirode Prasad Vidyavinode’s musicals (notably Alibaba). Influenced by the Shakespearean Parsee Theatre, a realist current contemporaneous with the reformist Bengali novel (e.g. Dinabandhu Mitra’s Nildarpan, staged by National in 1872, about the condition of peasants in Bengal’s indigo plantations) and by operatic ballet in the Madan repertories. Also significant was the mediation of amateur theatre in Shantiniketan and Jorasanko: Rabindranath Tagore’s musical theatre (Tasher Desh, Balmiki Pratibha) and dance dramas (Chandalika, Chitrangada), e.g. by Modhu Bose’s Calcutta Amateur Players. Early 20th C. stage industry counted many very successful companies usually owned by rich financiers and run by manager-impresarios. They had a determinating impact on the early Bengali film industry (see Hiralal Sen and Madan Theatres). Conventionally, modern 20th C. Bengali theatre dates back to Star Theatres’ 1923 production of Karnarjun (starring Ahindra Choudhury, Naresh Mitra and Durgadas Bannerjee). Sisir Bhaduri’s plays at Natyamandir later provided a generic backdrop to radical ‘group’ theatre movements launched in early 40s (see Utpal Dutt). The era of the great public theatres was later often evoked in films as pre-war nostalgia or as the nascent origin of Bengal’s mass-culture industry (e.g. the New Theatres’ Abhinetri/Haar Jeet, 1940 and Meri Bahen, 1944). Established several key genres, including the historical and mythological, for the cinema as much as for the popular Jatra theatre.

Chakraborty, Madhabi see Mukherjee, Madhabi

CHAKRABORTY, MITHUN (B. 1956)

Bengali-Hindi actor. Major hits B. Subhash’s Disco Dancer and Dance Dance earned him a major following in India and abroad, esp. in the USSR. Early work in realist ‘political’ films, e.g. Mrigaya, The Naxalites and Hum Paanch. Later achieved a brand image with gangland thrillers, indigenous Westerns and love stories for mid-level producers like Raveekant Nagaich, offering cheaper variants of what Bachchan was doing in the top bracket. Late 80s marketing strategies often cast him alongside Bachchan, playing second lead (Manmohan Desai’s Ganga Jamuna Saraswati, Mukul Anand’s Agneepath). Regarded in the late 80s as the ‘safest’ investment in Hindi cinema, although he had no major hits until Vijay Sadanah’s Pyar Jbukta Nahin, because he appealed to the semi-urban and rural audiences which sustained long-term distribution. Changed his image in Buddhadev Dasgupta’s Tahader Katha to win the national acting award.

FILMOGRAPHY: 1976: Do Anjaane; Mrigaya; 1977: Mukti; 1978: Hamara Sansar; Mera Rakshak; Tere Pyar Mein; Kasturi; Phool Khile Hain Gulshan Gulshan; Nadi Theke Sagare; 1979: Amar Deep; Bhayanak; Prem Vivah; Suraksha; Tarana; The Naxalites; Chameli Memsahib; 1980: Aakhri Insaaf; Bansari; Beshaque; Patita; Sitara; Taxi Chor; Unees Bees; Khwab; Kismet; Hum Paanch; Ghamandi; 1981: Dhuaan; Humse Badhkar Kaun; Jeene Ki Arzoo; Laparwah; Main Aur Mera Hathi; Sahas; Wardat; Kalankini Kankabati; Pahadi Phool; Upalabdhi; Sameera; Shaukeen; 1982: Aadat Se Majboor; Aamne Samne; Ashanti; Disco Dancer; Heeron Ka Chor; Sun Sajna; Swami Dada; Taqdeer Ka Badshah; Ustadi Ustad Se; Trayi; 1983: Faraib; Humse Hai Zamana; Karate; Kaun? Kaise?; Mujhe Insaaf Chahiye; Marriage Bureau; Pasand Apni Apni; Taqdeer; Woh Jo Haseena; Boxer; Lai Chunaria; Wanted; 1984: Baazi; Ghar Ek Mandir; Pyar Jbukta Nahin; Jhootha Sach; Jaag Utha Insaan; Jagir/Teen Murti; Kasam Paida Karne Wale Ki; Rakta Bandhan; Tarkeeb; Hanste Khelte; Sharara; Teri Baahon Mein; 1985: Aandhi Toofan; Aar Paar/Anyay Abichar; Badal; Bepanah; Char Maharathi; Ghulami; Karishma Kudrat Ka; Karm Yudh; Maa Kasam; Pyari Behna; Yaadon Ki Kasam; Ek Aur Sikandar; 1986: Aisa Pyar Kahan; Amma; Avinash; Baat Ban Jaye; Dilwala; Jaal; Karamdata; Kismatwala; Main Balwan; Nasihat; Pyar Ke Do Pal; Sheesha; Swarg Se Sundar; Zindagani; Muddat; 1987: Dance Dance; Diwana Tere Naam Ka; Hawalaat; Hirasat; Mera Yaar Mera Dushman; Param Dharam; Parivar; Watan Ke Rakhwale; 1988: Charnon Ki Saugandh; Commando; Jeete Hain Shaan Se; Pyar Ka Mandir; Rukhsat; Waqt Ki Awaaz; Saazish; Sugar Sangam; Ganga Jamuna Saraswati; Agni; Bees Saal Baad; Mar Mitenge; Meri Zabaan; Mil Gayi Manzil Mujhe; 1989: Guru; Hum Intezar Karenge; Ilaaka; Prem Pratigya; Garibon Ka Daata; Daata; Aakhri Gulam; Hisab Khoon Ka; Mujrim; Dost; Dana Pani; Ladaai; Bhrashtachar; Swarna Trishna; Galiyon Ka Badshah; Aakhri Badla; 1990: Pyar Ke Naam Qurban; Agneepath; Gunahon Ka Devta; Humse Na Takrana; Paap Ki Kamaai; Pati Patni Aur Tawaif; Roti Ke Keemat; Pyar Ka Karz; Pyar Ka Devata; Dushman; Shandaar; 1991: Swarg Yahan Narak Yahan; Trinetra; Pratigyabadh; Pyar Hua Chori Chori; Shikari; Numbri Admi; Dil Ashna Hai; 1992: Tahader Katha; Mere Sajna Saath Nibhana; Raju Dada; Jhoothi Shaan; Pitambar; Ghar Jamai; 1993: Yugandhar; Phool Aur Angaar; Krishan Avatar; Meharbaan; Pardesi; Jeevan Ki Shatranj; Admi; Dalaal; Tadipaar; Shatranj; 1994: Parmatma; Cheetah; Kranti Kshetra; Rakhwale; Yaar Gaddar; Teesra Kaun?; 1995: Ab Insaaf Hoga; Gunehgaar; Nishana; The Don; Zakhmi Sipahi; Ahankaar; Jallad; Diya Aur Toofan; Bhagyadevata.

CHAKRABORTY, TULSI (1899–1961)

Actor born in Calcutta. Acted the gormless fool in dozens of Bengali comedies in the 30s, an image used by Satyajit Ray in Parash Pathar casting him as Paresh Dutta, a middle-aged bank clerk who discovers the philosopher’s stone. His image, characterised by his bald head, bulging eyes and a remarkable sense of timing is an enduring icon of early Bengali cinema. Known initially as a singer and dancer on the stage, e.g. in his major stage début for Star Theatres, Jaidev. Film début in Atorthy’s Punarjanma, also in a singing role. Acted in several New Theatres productions, e.g. by Hemchandra Chunder (Wapas, Meri Bahen) and Kartick Chattopadhyay (Ramer Sumati, Mahaprasthaner Pathey), Bimal Roy mobilised his earthy caricature of the Bengali middle class in a ‘realist’ context (Udayer Pathey, Anjangarh, Naukri). Premendra Mitra (Moyla Kagaj), Tapan Sinha and Ray (in Pather Panchali, where he played the schoolteacher) extended this vein. Other classic roles incl. the villain in Mejdidi and the central character of the landlord in the hit Sharey Chuattar. He demonstrated his musical abilities only occasionally in his later career, e.g. in Debaki Bose’s Kavi, singing his own compositions. Continued acting in theatre until 1961 (last play: Shreyasi) working with Star, Natyaniketan (e.g. Maa) and at Natyabharati and Rungmahal companies.

FILMOGRAPHY: 1932: Punarjanma; 1933: Shri Gauranga; 1934: Dhruva; Sachidulal; Daksha Yagna; Rajnati Basantsena; 1935: Manmoyee Girls’ School; Kanthahaar; 1936: Krishna Sudama; Kritiman; Prabas Milan; Chino Haar; 1938: Halbangala; Bekar Nashan; Abhinaya; Ekalavya; 1939: Nara Narayan; Parasmani; Rikta; Vaman Avatar; Janak Nandini; 1940: Kamale Kamini; Nimai Sanyasi; 1941: Shri Radha; Uttarayan; Pratisruti; 1942: Meenakshi; Shesh Uttar/Jawab; Garmil; Saugandh; 1943: Jogajog/Hospital; Shri Ramanuja; Wapas; Swamir Ghar; Aleya; Poshya Putra; Dampati; Dikshul; 1944: All-Star Tragedy; Meri Bahen; Subah Shyam; Takraar; Udayer Pathey/Hamrahi; Sondhi/Sandhi; 1945: Vasiyatnama; Path Bendhe Dilo; Mane Na Mana; Bhabhi-Kaal; Dui Purush; 1946: Biraj Bou; Vande Mataram; 1947: Giribala; Jharer Parey Alaknanda; Abhijog; Dui Bandhu; Gharoa; Ramer Sumati/Chhota Bhai; 1948: Samapika; Anjangarh; Anirban; Bhuli Naai; Bankalekha; Priyatama; Sankha Sindoor; Taruner Swapna; Sir Shankarnath; Umar Prem(?); Mati-o-Manusb; 1949: Satero Bachhar Pare; Kavi; Bishnupriya; Swami; Manzoor; 1950: Radha Rani; Rupkatha/Roop Kahani; Mejdidi; Kuhelika; 1951: Biplabi Kshudiram; Ratnadeep/Ratnadeepam; Babla; 1952: Mahaprasthaner Pathey/Yatrik; Patri Chai; Abu Hossain; Chhoti Maa; 1953: Bana Hansi; Nabin Yatra/Naya Safar; Sharey Chuattar; Shri Shri Satyanarayan; Chirantani; Chikitsa Sankat; Jhakmari; 1954: Maa-o-Chbele; Atom Bomb; Moyla Kagaj; Moner Mayur; Ora Thake Odhare; Naramedh Yagna; Champadangar Bou; Prafulla; Ladies’ Seat; Jagribi; Sadanander Mela; Annapurnar Mandir; Chbeley Kaar; Bokul/Bakul; Sborosbi; Grihapravesh; Jadubhatta; Naukri; 1955: Sbribatsa-Cbinta; Nisbiddba Pbal; Chhoto Bou; Aparadhi; Jharer Parey; Joymakali Boarding; Katha Kao; Upahar; Father Panchali; Godhuli; Devimalini; Paresh; Du-Janay; Sabar Uparey; Kalindi; Sanjher Pradeep; 1956: Shyamali; Saheb Bibi Golam; Savdhan; Chirakumar Sabha; Ekti Raat; Asamapta; Rajpath; Nagardola; Chore; Amar Bou; Nabajanma; Asha; 1957: Sindoor; Ektara; Adarsha Hindu Hotel; Abhishek; Abhoyer Biye; Baksiddha; Madhabir Jonye; Tamasha; Janmatithi; Parash Pathar; Ajantrik; Kancha-Mithey; Ogo Sunchho; Chandranath; 1958: Meja Jamai; Yamalaya Jibanta Manush; Sonar Kathi; Rajalakshmi-o-Shrikanta; Nupur; Swarga Marty a; Jonakir Alo; Sadhak Bama Kshyapa; Indrani; Joutuk; Surya Toran; Shri Shri Tarakeshwar; Rajdhani Theke; 1959: Chaowa-Pawa; Thakur Haridas; Derso Khokhar Kando; Deep Jweley Jai; Gali Theke Rajpath; Nirdharita Silpir Anupastithi Tey; Abak Prithvi; Mriter Martye Agaman; Personal Assistant; 1960: Maya Mriga; Kuhak; Akash-Patal; Bhoy; Dui Bechara; Khokha Babur Pratyabartan; Khudha; Kono-Ek-Din; Shesh Paryanta; Ajana Kahini; Nader Nimai; Suno Baro Nari; Gariber Meye; 1961: Sandbya Raag; Manik; Sadhak Kamalakanta; Lakshmi Narayan; Mr & Mrs Choudhury; Bishkanya; Swayambara; Kanchanmulya; Aaj Kal Parshu; Madhureno; Saptapadi; Dui Bhai; Kanamachi; 1962: Mon Dilona Bandhu; Suryasnan; Shasti; Agun; Kajal; Shesh Chinha; Banarasi; 1963: Dui Bari; High Heel.

Mithun Chakraborty in Dushman (1990)

CHAKRABORTY, UTPALENDU (B. 1948)

Bengali director, musician and novelist. Born in Pabna Dist. (now Bangladesh). Was influenced in early youth by his uncle, Communist writer Swarnakamal Bhattacharya who wrote Chinnamul and Tathapi (both 1950). Master’s degree in modern history from University of Calcutta (1967) and associated with CPI(ML)-led student agitations. Published emphatically emotive short stories in anthology Prasab under the name of Swaranamitra. Worked as informal teacher among the tribals of Bengal, Bihar and Orissa until ill health forced his return to Calcutta (1971). Taught at higher secondary school. First film was 16mm documentary Mukti Chai made during the Emergency, campaigning for the release of political prisoners. Subsequent features, made with reluctance given his often-declared mistrust of both state and private funding agencies, continue his emphatic discursive style. Worked for TV (inc. Chaturtha Panir Pather Yuddha, Shatabarshe Mohun Bagan); also made a documentary on S. Ray.

FILMOGRAPHY: 1977: Mukti Chai (Doc); 1980: Moyna Tadanta; 1982: Chokh; 1983: Debabrata Biswas (Doc); 1984: Music of Satyajit Ray (Doc); 1985: Debshishu; 1986: Aparichita (TV); Rang (TV); 1988: Bikalpa (TV); 1989: Phansi; Janani (TV); Dwibachan (TV); Sonar Chheye Dami (TV);

Chhandaneer; 1994: Prasab.

CHAKRAPANI (?-1975)

Legendary Telugu scenarist, producer and journalist; co-owner of the Vijaya Studio with B. Nagi Reddy. Born as Aluri Venkata Subba Rao in Tenali, Guntur Dist., AP. Became a Hindi scholar and briefly started a Hindi school. Participated in Gandhi’s salt agitations. Started a literary career translating Saratchandra Chattopadhyay into Telugu. First script: P. Pullaiah’s Dharmapatni (1940); first success with B.N. Reddi’s melodrama Swargaseema (1945) based on his story. Joined Nagi Reddy as a partner at Vijaya, scripting all its influential early L.V. Prasad hits: Shavukaru (1950), Petti Chesi Choodu (1952), Missiamma (1955), Appu Chesi Pappu Koodu (1958). Started, on behalf of Nagi Reddy’s BNK Press, the children’s monthly Chandamama (1947), now published in 14 languages. Also started the popular journal Yuva. Credited himself with the direction of Manithan Maravillai; which is the Tamil version of K. Kameshwara Rao’s Chakrapani-scripted hit Gundamma Katha (1962), as well as Shri Rajeshwari Vilas Coffee Club (1976), remaking the Malayalam film Marunattil Oru Malayali (1971). He is satirised in the film Chakrapani (1954).

CHAKRAVARTY, AMIYA (1912–57)

Hindi director born in Rangpur. Child actor-singer on stage. Full-time political activist in early 30s, arrested during the Salt Satyagraha (1930) and forced to leave Bengal in 1935. Joined Bombay Talkies apparently as Bengali tutor to Niranjan Pal’s son. Scenarist of Najam Naqvi’s Punar Milan (1940, with Gyan Mukherjee) and Sushil Majumdar’s Char Aankhen (1944). Assigned by Devika Rani to direct her and Ashok Kumar (in Anjaan) when she took over studio management following Himansu Rai’s death. The split that followed with the establishment of Filmistan (1942), and the major success of Basant (introducing Mumtaz Shanti) and Jwar Bhata (Dilip Kumar’s début) made him the studio’s top director in its most controversial period. With N.R. Acharya (Naya Sansar, 1941), pioneered a new generation of film-making at Bombay Talkies, but adhered more to the Osten-Rai orthodoxy, especially in scripts and performances. Formed production company Mars & Movies, e.g. the successful Dilip Kumar film Daag. His last feature was completed by Nitin Bose.

FILMOGRAPHY: 1941: Anjaan; 1942: Basant; 1944: Jwar Bhata; 1947: Mera Suhaag; 1949: Girls* School; 1950: Gauna; 1951: Badal; 1952: Daag; 1953: Patita; Shahenshah; 1954: Badshab; 1955: Seema; 1957: Dekh Kabira Roya; Kathputli.

CHANAKYA, TAPI (1925–73)

Telugu director born in Vizianagaram, Andhra Pradesh. Son of scenarist/lyricist Tapi Dharma Rao. Early interests in Telugu theatre. Was a radio telegraphist, also in the Army. Assistant in the sound department at Shobhanachala Studios, Madras (1947). Début at the Sarathi Studios where his first film; Anta Manavalle, was a hit. His next one, Rojulu Marayi, was even bigger. It had an anti-feudal ruralist theme, Waheeda Rehman’s screen début as a dancer and a score that was widely imitated in 50s Telugu film music. Later worked at Vijaya Studios and also in Tamil (the MGR hit Enga Veetu Pillai), Hindi (e.g. Ram Aur Shyam). His Bangaru Talli was a Telugu remake of Mother India (1957) starring Jaggaiah, Jamuna (in Nargis’ role) and Shobhan Babu.

FILMOGRAPHY: 1954: Anta Manavalle; 1955: Rojulu Marayi/Kalam Maripochu; 1957: Peddarikalu; 1958: Ettuku Pai Ettu; 1959: Bhagya Devatha/Bhagya Devathai; Kalisivunte Kaladu Sukham; 1960: Kumkumarekha; Jalsarayudu; Pudhiya Pathai; 1962: Constable Koothuru; 1964: Varasatwam; Ramudu Bheemudu; 1965: CID; Enga Veetu Pillai; Enga Veetu Penn; 1966: Adugufadalu; Naan Anaittal; 1967: Ram Aur Shyam; 1968: Oli Vilakku; Pudhiya Bhoomi; 1969: Madhavi; 1970: Vidhi Vilasam; 1971: Bangaru Talli; Man Mandir; Bikhare Moti; 1972: Jaanwar Aur Insaan; Bandhipotu Bhayankara; Manavata; Subah-o-Shyam; 1973: Ganga Manga.

CHANDER, KRISHAN (1914–77)

One of the main modern Urdu writers. Regarded, with Sadat Hasan Manto and Rajinder Singh Bedi, as the literary generation that revolutionised post-war fiction, esp. the short story. Author of c.30 short-story anthologies and 20 novels. Best-known early writing set in native Kashmir, often elaborating strong contrasts between social oppression and the fertility of surrounding nature (e.g. Tilism-e-Khayal). Short satire, Annadata; adopted multiple pov narrative to describe the 1943 Bengal famine and was an important source for Abbas’s Dharti Ke Lal (1946). His major novel, Jab Khet Jaage, situated in the 1949 Telangana peasant uprising, was adapted by Gautam Glioses Maabhoomi (1979). Employed in early 40s as dialogue writer at Shalimar Cinetone, Pune, along with other noted Hindi/Urdu writers. Josh Malihabadi records their collective experiences there in his book Yaadon Ki Baraat (published in Pakistan). Also worked at Sagar. Wrote scripts and dialogue, e.g. for K.B. Lall and Kardar. Adapted Minoo Masani’s Our India to the screen for Zils (Hindustan Hamara, 1950); also scripted his Zalzala (1952). Directed one film he didn’t write: Private Secretary (1962).

CHANDRA, N. (B. 1952)

Hindi director. Full name: Chandrasekhar Narvekar. Born in Bombay. One of the most commercially successful directors in late 80s Hindi cinema. Former film editor and assistant to Gulzar; also assisted Bapu. His Shiv Sena propaganda film Ankush and his first independent production Tezaab relied on violence and recognisably Bombay settings. Claims to have first-hand experience of his plot-lines in his own working-class antecedents. The dialogue and several visual references, evoking Bombay’s encoded and highly communal inner-city speech forms, are a brutalised yet more complex version of Manmohan Desai’s style (e.g. Tezaab, which contained the megahit song Ek Do Teen). Scripts and edits his own films.

FILMOGRAPHY: 1985: Ankush; 1987: Pratighaat; 1988: Tezaab; 1991: Narasimha; Hamla; 1993: Yugandhar.

CHANDRAKANT GAUR (B. 1929)

Hindi B-movie director of action films and mythologicals. His work extends the Babubhai Mistri tradition, featuring Dara Singh (who also worked for Mistri) and Marathi star Jayshree Gadkar. Made Punjabi hits (e.g. Bhagat Dhanna Jai) reviving the Punjabi cinema. Also made Gujarati mythologicals.

FILMOGRAPHY: 1951: Riding Hero; 1955: Ganga Maiya; 1956: Delhi Durbar; 1957: Adhi Raat; Sant Raghu; 1958: Circus Sundari; 1959: Jaggu Daku; 1961: Ramleela; 1962: Jadugar Daku; 1963: Maya Mahal; Zingaro; 1964: Badshah; Roop Sundari; Veer Bhimsen; 1968: Balaram Shri Krishna; 1970: Tarzan 303; 1971: Tulasi Vivah; Kabhi Dhoop Kabhi Chhaon; 1972: Hari Darshan; 1973: Mahasati Savitri; 1974: Kisan Aur Bhagwan; Har Har Mahadev; Bhagat Dhanna Jat; 1976: Bajrang Bali; 1977: Bolo He Chakradari; Shri Krishna Sharanam Mama; 1979: Shankar Parvati; 1984: Shravan Kumar; 1986: Krishna Krishna.

Chandrakant Sangani see Sangani, Chandrakant

CHANDRAMOHAN (1905–49)

Actor born in Narasingpur. Employed by Prabhat’s distributors, Famous Pics. Cast by Shantaram in Amritmanthan mainly for his one physical characteristic: unusually large grey eyes, used to advantage in the film’s famous opening sequence. Subsequently cast as elaborately costumed villain in several films, e.g. the Macbeth figure in Jwala, the evil Ravana in Vijay Bhatt’s mythological Rambaan. Mostly acted in mythologicals and historicals (the Emperor Jehangir in Sohrab Modi’s Pukar, and Randhir Singh in Mehboob’s Humayun) but best remembered as the rapacious industrialist Seth Dharamdas in Mehboob’s Roti.

FILMOGRAPHY: 1934: Amritmanthan; 1935: Dharmatma; 1936: Amar Jyoti; 1937: Wahan; 1938: Jwala; 1939: Pukar; 1940: Bharosa; Geeta; 1942: Apna Ghar/Aple Ghar; Jhankar; Roti; 1943: Fashion; Naukar; Shakuntala; Taqdeer; 1944: Bade Nawab Saheb; Draupadi; Mumtaz Mahal; Raunaq; Us Paar; 1945: Humayun; Pannadai; Preet; Ramayani; 1946: Magadhraj; Shalimar; Shravan Kumar; 1948: Dukhiari; Rambaan; Shaheed; 1950: Chocolate; 1954: Ramayan; 1955: Bal Ramayan; 1971: Pakeezah.

CHANDRASEKHAR, RAJA (1904–71)

Tamil and Kannada director born in Tiruchirapalli, TN; aka Raja C. Sekhar. Former textile engineer. Started in film in Bombay (1926). Assistant to Fatma Begum (1929). Later with General Pics and East India Film. First film adapted Veeranna’s stage hit Sadarame. Early practitioner of Tamil costume dramas derived from Bombay version of Douglas Fairbanks movies. Was the film-maker who (with Duncan) gave Tamil superstar MGR his breaks (Dakshayagnam, Maya Machhindra, Ashok Kumar). May have co-directed Badami’s début, Harishchandra at Sagar Film, although some sources credit co-direction of the film to T.C. Vadivelu Naicker.

FILMOGRAPHY. 1932: Harishchandra; 1935: Sadarame; Gnanasoundari; 1936: Chandramohana; Raja Desingu; 1937: Bhakta Tulsidas; 1938: Dakshayagnam; 1939: Maya Machhindra; 1941: Ashok Kumar; 1943: Arundhati; 1948: Raja Mukthi.

CHATTERJEE, ANIL (B. 1928)

Actor born in Calcutta. Degree in literature and stage actor (e.g. in Eric Elliot’s Shakespeare Group). Introduced in Ritwik Ghatak films and later, with Bijon Bhattacharya and Kali Bannerjee, featured in several roles (e.g. as Rishi in Komal Gandhar and singer Shankar in Meghe Dhaka Tara). Central to Ghatak’s integration of folk/popular and classical performance styles. Best-known early 60s films with Satyajit Ray: Teen Kanya (the postmaster), Kanchanjungha (flirtatious photographer Anil), Mahanagar (lead role of Subrata Majumdar), Devi. Played numerous lead and supporting roles in Bengali films by Tapan Sinha, and in socials pioneered by the Agradoot and Yatrik units. Other major roles are that of the psychopath in Agni Sanskar, the title role in Deshbandhu Chittaranjan and the negative character taking on Dilip Kumar in Sagina Mahato. Recent films include those of Utpalendu Chakraborty (Chokh), Gautam Ghose (Paar) and Aparna Sen (Paroma). Music director for Mayabini Lane (1966); also worked as assistant director (e.g. Jog Biyog, Dhuli, Asabarnd).

FILMOGRAPHY: 1952: Nagarik; 1953: Jog Biyog; 1954: Moyla Kagaj; Dhuli; 1955: Sajghar; Bidhilipi; 1956: Asabarna; 1957: Garer Math; Ulka; Abhishek; Ajantrik; 1958: Priya; Rajalakshmi-o-Shrikanta; Kalamati; 1959: Marutirtha Hinglaj; Chaowa-Pawa; Shri Shri Nityananda Prabhu; Deep Jweley Jai; Rater Andhakare; Kshaniker Atithi; 1960: Akash-Patal; Dui Bechara; Devi; Meghe Dhaka Tara; Gariber Meye; Kono-Ek-Din; Smriti Tuku Thak; Aparadh; 1961: Mr & Mrs Choudhury; Komal Gandhar; Agni Sanskar; Swaralipi; Teen Kanya; Megh; Kanchanmulya; Ah wan; 1962: Kancher Swarga; Suryasnan; Kanchanjungha; Agun; Bandhan; Shesh Chinha; Kumari Mon; Rakta Palash; 1963: Dui Bari; Barnachora; Uttarayan; High Heel; Nirjan Saikate; Mahanagar; 1964: Kaalsrote Jotugriha; Sindoore Megh; Ashanta Ghoorni; Sandhya Deeper Sikha; Ketumi; 1965: Faraar; Jaya; Ghoom Bhangar Gaan; Devatar Deep; 1966: Ashru Diye Lekha; Nutan Jiban; Sannata; 1967: Akash Chhoan; Mahashweta; 1968: Baluchari; Boudi; Jiban Sangeet; Panchasar; 1969: Protidan; Teer Bhoomi; 1970: Samanaral; Muktisnan; Sagina Mahato; Deshbandhu Chittaranjan; 1971: Khunje Berai; Pratham Basanta; Sona Boudi; 1972: Bohurupee; Bilet Pherat; Duranta Jay; Chhandapatan; 1973: Andhar Periye; Bon Palashir Padabali; Alo Andhare; Megher Pare Megh; 1974: Alor Thikana; Sujata; Sagina; Amanush; Phulu Thakurma; Raja; 1975: Ami Sey-o-Sekha; Phool Sajya; Bandi Bidhata; Sabhyasachi; Harmonium; 1976: Mom Batti; Ajasra Dhanyabad; Nayan; Aguner Phulki; Asomoy; Ek Je Chhilo Desh; Samrat; 1977: Avatar; Kabita; Pratima; Shesh Raksha; 1978: Dhanraj Tamang; Maan Abhiman; Singhdwar; Striker; Tusi; Chameli Memsaheb; Hirey Manik; Lattu; Parichay; 1979: Dour; Jiban Je Rakam; Chameli Memsaab; 1980: Byapika Biday; Kalo Chokher Tara; 1981: Saheb; Upalabdhi; 1982: Chokh; Swarna Mahal; Prahari; Bandini Kamala; Shubha Rajani; Bijoyini; Trayi; Sati Savitri Satyavan; Sonar Bangla; Agradani; 1983: Muktir Din; Aloye Phera; Sagar Balaka; Jay Parajay; Mohoner Dike; Banashree; 1984: Debigarjan; Didi; Anveshan; Ankahee; Surya Trishna; Andhi Gali; Paar; Mukta Pran; Sonar Sansar; Ajantay; Jog Biyog; 1985: Amar Prithibi; Paroma/Parama; Putulghar; 1986: Ashirwad; Atanka; Madhumoy; Artanad; 1987: Bandookbaj; Rudrabina; Mahamilan; Aaj Ka Robin Hood; 1988: Boba Sanai; Apaman; Surer Sathi; Ek Din Achanak; Tumi Koto Sundar; 1989: Bandhobi; Chokher Aloye; Amar Shapath; Aghaton Ajo Ghatey; Swarna Trishna; Aakhri Badla; Nyaya Chakra; Shubha Kamana; Natun Surya; 1990: Agnikanya; 1991: Kagajer Nauka; Prashna; Anand; Palatak; Bourani; 1992: Rupaban Kanya; Indrajit; Ananya; 1993: Rangbaj; Amar Kahini; Shakti; Tomar Rakte Amar Sohag; 1994: Mahabharati; 1995: Mejo Bou.

CHATTERJEE, BASU (B. 1930)

Hindi director born in Ajmer, Rajasthan. Arrived in Bombay in the 50s and worked for 18 years as cartoonist-illustrator for weekly tabloid Blitz. Helped found the Film Forum Society (1959). Assisted Basu Bhattacharya on Teesri Kasam (1966). Worked in western region of Federation of Film Societies of India and on editorial board of Close Up, published by Film Forum in the 70s. First film Sara Akash noted for award-winning work of cinematographer K.K. Mahajan. Second film, Piya Ka Ghar, adapted Raja Thakur’s Marathi melodrama Mumbaicha Javai (1970), set in a lower-class tenement in Bombay. Moved to low-budget middle class comedies starring Amol Palekar (Rajanigandha, Chhotisi Baat), which he adapted into a formula of rapidly shot sentimental low budget films. Made 4 TV serials (1985–9), shooting and editing 30’ episodes in two days each. Best known for Rajani (about consumer rights), Darpan (a dramatisation of well-known short stories) and Kakkaji Kahin, a satire about politicians. Like Hitchcock, the director appears in very minor parts in his own films.

FILMOGRAPHY: 1969: Sara Akash; 1971: Piya Ka Ghar; 1974: Us Paar; Rajnigandha; 1975: Chhotisi Baat; 1976: Chit Chor; 1977: Swami; Safed Jhooth; Priyatama; 1978: Khatta Meetha; Chakravyuha; Dillagi; Tumhare Liye; Do Ladke Dono Kadke; 1979: Manzil; Baaton Baaton Mein; Prem Vivah; Ratnadeep; Jeena Yahan; 1980: Man Pasand; Apne Paraye; 1981: Shaukeen; Hamari Bahu Alka; 1983: Pasand Apni Apni; 1984: Lakhon Ki Baat; 1985: Rajani (TV); Darpan (TV); Ek Ruka Hua Faisla (TV); 1986: Sheesha; Chameli Ki Shaadi; Kirayedaar; Bhim Bhawani (TV); 1987: Zevar; 1988: Kakkaji Kahin (TV); 1989: Kamala Ki Maut; Durga; 1990: Hamari Shaadi; 1993: Byomkesh Bakshi (TV).

CHATTERJEE, DHRITIMAN (B. 1946)

Actor. Played the unemployed youth, Siddhartha, in Ray’s Pratidwandi and the Naxalite in Sen’s Padatik, making him the icon of Calcutta’s middle-class sense of uncertainty after the late 60s agitations of the CPI(ML), echoing Bikash Bhattacharya’s paintings of aimless youths wandering through Calcutta and Mahashweta Devi’s fictional descriptions of the time. Acted in Aparna Sen’s 36 Chowringhee Lane and in Ray’s Ganashatru and Agantuk. Does films as amateur alongside a career in advertising.

FILMOGRAPHY. 1970 Pratidwandi; 1972: Picnic; 1973: Padatik; 1974: Jadu Bansha; 1977: Abirvab; 1980: Akaler Sandhaney; 1981: 36 Chowringhee Lane; 1982: Canvas; 1983: Tanaya; Ka Lawei Ha Ki Ktijong Ngi (also d); 1989: Ganashatru; 1991: Agantuk; 1993: Sunya Theke Suru.

CHATTERJEE, NABYENDU (B. 1937)

Bengali director who started out, unsuccessfully, as an actor. Then assistant to Aravind Mukherjee (1962–5). Directorial début with an experimental Hindi film, followed by a hit Bengali film and continued directing in that language, bemoaning the passing of his notion of village life in Bengal (Aaj Kal Parshur Galpd) and the Calcutta middle-class sense of disorientation which turns politically and economically weak men into violent oppressors of women (Chopper). The women in his films tend to stand for the values of a pre-modern patriarchal order. Unsuccessfully tried to extend Mrinal Sen’s early-70s approach in the 80s.

FILMOGRAPHY: 1967: Naya Raasta; 1968: Adwitiya; 1912: Chitthi; Ranur Pratham Bhaag; 1981: Aaj Kal Parshur Galpa; 1985: Chopper; 1987: Sarisreep; 1989: Parashuramer Kuthar; 1990: Atmaya; 1993: Shilpi.

CHATTERJEE, PASHUPATI (1906–91?)

Bengali director born in Chandernagore, West Bengal. Graduated from Calcutta University and became a photo-journalist. Worked with Premankur Atorthy on the journal Nachgar. Assisted Debaki Bose (1934) on Inquilah; then joined New Theatres (1935) where he worked with Amar Mullick (e.g. lyrics for Bardidi, 1939; dialogues for Abhinetri, 1940). Became an independent producer with Swami and was active in trade organisations. Early films based on Saratchandra’s fiction. He edited a number of journals including the literary journal Natun Lekha and wrote extensively on film history, e.g. in the Calcutta Film Society journal Chitravash.

FILMOGRAPHY: 1942: Parineeta; 1944: Shesh Raksha; 1948: Priyatama; Arakshaniya; 1949: Swami; 1951: Nastaneer; 1953: Niskriti; 1954: Shoroshi; 1955: Nishiddha Phal; 1956: Mamlar Phal; 1959: Mriter Martye Agaman.

CHATTERJEE, SABITRI (B. 1937)

Bengali actress born in Comilla (now Bangladesh). Migrated to Calcutta at an early age; joined films as an extra, usually in dance sequences (e.g. Anuraag, Alladdin-o-Ashcharya Pradeep), while doing realistic theatre (e.g. Salil Sen’s Natun Yahudi, 1951, filmed in 1953). Début as lead actress in Pasher Bari. Following Nirmal Dey’s Basu Parivar and Niren Lahiri’s Subhadra, gained a reputation for comedy. Developed, along with actresses like Anubha Gupta and Manju Dey, an unorthodox style departing from the melodramatic mode of 40s Bengali film heroines. Also worked on stage, e.g. in Adarsha Hindu Hotel (with Bhanu Bannerjee and Dhiraj Bhattacharya) and in Shyamali (with Uttam Kumar). She starred with Uttam Kumar in 60s films (e.g. Bhranti Bilas). Acted in early Mrinal Sen films (Raat Bhore, Abasheshe) and produced his Pratinidhi.

FILMOGRAPHY: 1951: Anuraag; 1952: Alladdin-o-Ashcharya Pradeep; Pasher Bari; Basu Parivar; Subhadra; 1953: Boudir Bone; Kajari; Natun Yahudi; Keranir Jiban; Sosur Bari; Rami Chandidas; Lakh Taka; Sitar Patal Prabesh; Adrishya Manush; Blind Lane; 1954: Atom Bomb; Moyla Kagaj; Champadangar Bou; Bhanga-Gara; Kalyani; Annapurnar Mandir; 1955: Pather Sheshey; Bidhilipi; Upahar; Godhuli; Dui Bone; Bratacharini; Paresh; Drishti; Kalindi; Ardhangini; Anupama; Raikamal; 1956: Raat Bhore; Paradhin; Mamlar Phal; Chalachal; Govindadas; Maa; Daner Maryada; Sinthir Sindoor; Nabajanma; Savdhan; 1957: Shesh Parichaya; Ektara; Natun Prabhat; Taser Ghar; Kancha-Mithey; Punar Milan; Basanta Bahar; Abhishek; Abhoyer Biye; Baksiddha; Adarsha Hindu Hotel; 1958: Priya; Megh Malhar; Dak Harkara; Nupur; Daktar Babu; Marmabani; 1959: Nauka Bilash; Marutirtha Hinglaj; Shashi Babur Sansar; Gali Theke Rajpath; Abak Prithvi; Rater Andhakare; 1960: Raja-Saja; Kuhak; Haat Baraley Bandhu; Khudha; Gariber Meye; 1961: Dui Bhai; Kanamachi; 1962: Khana; Nav Diganta; Abasheshe; 1963: Uttarayan; Bhranti Bilas; Akash Pradeep; Shreyasi; 1964: Pratinidhi; Marutrisha; Momer Alo; 1965: Antaral; Jaya; Pati Sansodhini Samiti; Dinanter Alo; Gulmohar; Kal Tumi Aleya; 1966: Joradighir Choudhury Paribar; Susanta Sha; 1967: Grihadah; 1968: Baluchari; Pathe Holo Dekha; 1970: Shasti; Aleyar Alo; Kalankita Nayak; Muktisnan; Sheela; Nala Damayanti; Nishipadma; Manjari Opera; 1971: Dhanyi Meye; Pratham Pratisruti; Sansar; Sona Boudi; 1972: Natun Diner Alo; Sapath Nilam; Shesh Parba; 1973: Bhangan; 1974: Umno-o-Jhumno; Mouchak; Swikarokti; 1975: Phool Sajya; Sei Chokh; 1976: Aguner Phulki; 1977: Brajabuli; Mantramugdha; Shesh Raksha; 1978: Hirey Manik; 1980: Raj Nandini; 1981: Pratishodh; 1984: Anveshan; 1985: Hulusthul; Till Theke Tal; 1986: Cheleta; 1987: Nadiya Nagar; Tunibou; 1988: Tumi Koto Sundar; 1989: Amar Shapath; 1991: Abhagini; Ananda Niketan; 1992: Priya; Bahadur; 1993: Maya Mamata; Puraskaar; 1994: Geet Sangeet; Salma Sundari; Abbajan.

CHATTERJEE, SOUMITRA (B. 1934)

Bengali star. Started as radio announcer. Trained as actor under Ahindra Choudhury while still a student. Wrote, directed and acted in plays like Rajkumar and Naam Jiban. Also a poet and initiator of one of Bengal’s best-known literary journals, Ekshan, which he co-edited with Nirmalya Acharya. With Uttam Kumar the major 60s and 70s star of Bengali film. Début with Ray’s Apur Sansar, has thereafter remained associated with Ray, and was described by Pauline Kael as his ‘one-man stock company’. Chidananda Das Gupta (Talking About Films, 1981) suggested Ray cast him so often because of a distinct physical resemblance to the young Tagore. Repeated aspects of his most famous Ray role in Charulata as a leitmotiv in Kapurush and Aranyer Din Ratri, of the brash but insecure hero. Also played the detective Felu in children’s films (Sonar Kella, Joi Baba Felunath) and several ‘character’ roles, including the rough taxi driver in Abhijaan and the famine-stricken Brahmin in Ashani Sanket. The hit Jhinder Bandi featured a rare joint appearance with Uttam Kumar (they also did Stree together). Other major roles in Tapan Sinha’s Kshudista Pashan, Mrinal Sen’s Akash Kusum, several Ajoy Kar films (Saat Pake Bandha, Kanch Kata Hirey) and Majumdar’s Sansar Simantey and Ganadevata. Since Ghare Baire spent more time on the stage and doing poetry readings. Published Swagato; an antholology of essays on cinema, theatre and acting (1996).

FILMOGRAPHY: 1959: Apur Sansar; 1960: Devi; Kshudista Pashan; 1961: Swaralipi; Teen Kanya; Swayambara; Jhinder Bandi; Punashcha; 1962: Shasti; Atal Jaler Ahwan; Agun; Banarasi; Abhijaan; 1963: Saat Pake Bandha; Shesh Prahar; Barnali; 1964: Pratinidhi; Charulata; Kinu Goyalar Gali; Ayananta; 1965: Baksha Badal; Ek Tuku Basa; Raj Kanya; Kapurush; Akash Kusum; Eki Ange Eto Rup; 1966: Joradighir Choudhury Paribar; Kanch Kata Hirey; Manihar; 1967: Ajana Shapath; Hathat Dekha; Mahashweta; Prastar Swakshar; 1968: Baghini; Parishodh; 1969: Aparichita; Chena Achena; Parineeta; Teen Bhubhaner Parey; Aranyer Din Ratri; 1970: Aleyar Alo; Padmagolap; Pratham Kadam Phool; 1971: Khunje Berai; Malyadaan; Sansar; 1972: Jiban Saikate; Natun Diner Alo; Stree; Basanta Bilap; Bilet Pherat; 1973: Ashani Sanket; Epar Opar; Nishi Kanya; Shesh Pristhay Dekhun; Agni Bhramar; 1974: Asati; Jadijantem; Sangini; Sonar Kella; Chhutir Phande; 1975: Nishi Mrigaya; Sansar Simantey; Sudur Niharika; 1976: Datta; Nandita; 1977: Babu Moshai; Mantramugdha; Pratima; 1978: Nadi Theke Sagare; Ganadevata; Job Charnaker Bibi; Joi Baba Felunath; Pronoy Pasha; 1979: Devdas; Nauka Dubi; 1980: Darpachurna; Gharer Baire Ghar; Hirak Rajar Deshe; Pankhiraj; 1981: Father; Nyay Anyay; Khelar Putul; Pratishodh; 1982: Bijoyini; Rashmayir Rashikala; Preyasi; Matir Swarga; Agradani; Simanta Raag; 1983: Indira; Chena Achena; Amar Geeti; 1984: Achena Mukh; Kony; Lai Golap; Ghare Baire; Vasundhara; 1985: Baikunther Will; Tagori; Sandhya Pradeep; 1986: Urbashe; Shyam Saheb; Atanka; 1987: Raj Purush; Nyay Adhikar; Sukumar Ray; Amor Sangi; 1988: Channachara; Agaman; Agni Sanket; Agun; Debibaran; Anjali; Pratik; 1989: Maryada; Amar Shapath; Ganashatru; Ladaai (B); Shatarupa; 1990: Anuraag; Ekti Jiban; Chetana; Jwar Bhata; Abhimanyu; Manasi; Ekhane Amar Swarga; Apon Amar Apon; Shakba Proshakha; 1991: Mahaprithibi; Abhagini; Ek Pashla Brishti; Antardhan; 1992: Raktalekha; Indrajit; 1993: Uttoran; Mon Mane Na; Puraskaar; Sampark; Pashanda Pandit; Ghar Sansar; Prajapati; 1994: Wheelchair; Sopan; Shesh Chitthi; Gajamukta; 1995: Kumari Maa; Shesh Pratiksha; Boumoni; Mashaal; Kakababu Here Gelen; Mejo Bou; Ujan; Bhagyadevata.

Sandhya Roy and Soumitra Chatterjee in Ek Tuku Basa (1965)

CHATTOPADHYAY, KARTICK (1912–89)

Bengali-Hindi director best known for late 40s New Theatres films e.g. Mahaprasthaner Pathey. Debut with Rural Life in Bengal. First feature, Ramer Sumati, based on Saratchandra Chattopadhyay’s story; launched K.C. Prod. (1954) with Arun Choudhury’s Ladies’ Seat. His Saheb Bibi Golam; adapted from Bimal Mitra’s novel and starring Uttam Kumar was later re-adapted by Guru Dutt.

FILMOGRAPHY: 1947: Rural Life in Bengal (Doc); Ramer Sumati/Chhota Bhai; 1952: Mahaprasthaner Pathey/Yatrik; 1953: Bana Hansi; 1955: Godhuli; 1956: Saheb Bibi Golam; Chore; 1957: Neelachaley Mahaprabhu; Chandranath; 1959: Jal-Jangal; 1965: Gulmohar.

CHERIAN, P.J. (1891–1981)

Actor-producer, born in Ernakulam Dist., Kerala. Produced P.V. Krishna Iyer’s Nirmala (1948), the first Malayalam sound film made in Kerala. Regarded as the founder of the Malayalam film industry. Owned the Royal Dramatic Co. (later Royal Cinema & Dramatic Co.), the main professional stage company in 30s Kerala, known mainly for its staging of Christian themes (e.g. Parudisa Nashtam, adapting Paradise Lost). Known also as a painter in the Raja Ravi Varma tradition and was awarded the title of Artist Chevalier by the Pope. Acted in S.S. Rajan’s Snehaseema (1954). Wrote his autobiography Ente Kala Jeevitham (1964).

CHINNAPPA, PUDUKOTTAI ULAGANATHAN (1915–51)

Major 40s Tamil star born in Pudukottai, the son of a stage actor. Joined the Madurai Original Boys’ Co. aged 8; later known as actor and singer, releasing several records many of which (along with his subsequent film music) have remained popular. Trained in Carnatic music by Nannaya Bhagavathar and Karaikal Vedachala Bhagavathar; simultaneously trained in traditional martial arts (e.g. silambam) and gymnastics. Début at Jupiter Pics in Raja Sandow’s Chandrakantha; broke through with a double role in T.R. Sundaram’s Uthama Puthran based on A. Dumas’s The Man in the Iron Mask. Displayed his musical abilities as well as those of actor and stuntman in Sundaram’s Manonmani; also remembered for his acting and clear diction as Kovalan in T.R. Mani’s Kannagi.

FILMOGRAPHY: 1936: Chandrakantha; 1937: Rajamohan; 1938: Anadhai Penn; Punjab Kesari; Yayati; 1939: Mathru Bhoomi; 1940: Uthama Puthran; 1941: Kacha Devayani; Aryamala; Dharmaveeran; Dayalan; 1942: Kannagi; Prithvirajan; Harishchandra; 1943: Kubera Kuchela; Manonmani; 1944: Jagathala Prathapan; Mahamaya; 1945: Ardhanari; 1946: Pankajavalli; Vikatakavi; 1947: Tulasi Jalandhar; 1948: Krishna Bhakti; 1949: Mangayar Karasi; Ratnakumar; 1951: Vanasundari; Sudarshan.

CHILDREN’S FILM SOCIETY

Set up in 1955 as an autonomous body under the Central Government’s Information & Broadcasting Ministry’s control. Produced films by e.g. Ezra Mir, Kidar Sharma, Tapan Sinha, Sai Paranjpye and Shyam Benegal. Although it has no independent distribution, it makes 16mm prints of its own productions and of imported children’s films available to educational institutions for nominal fees. Current annual production budget is c.Rs 5 million. Organises a biennial competitive international children’s film festival. Renamed the National Centre of Films for Children and Young People in 1992. 1993 chairperson is Jaya Bhaduri-Bachchan, who presided over a fundamental reshaping of the organisation.

CHIRANJEEVI (B. 1955)

Macho 80s Telugu megastar. Born in Narasapuram taluk, AP, as Shivashankara Varaprasad. Student at the Madras Film Institute and amateur stage actor. First public performance in the Republic Day parade ballet of AP (1976). Early films with Bapu (Manavoori Pandavulu) and K. Balachander (Idi Kathakadu, 47 Rojulu; and more recently, Rudraveena, produced by his brother-in-law and regular producer Allu Aravind). Routine career in late 70s films was transformed by the spectacular success of his negative role in Kodi Ramakrishna’s Intilo Ramayya Vidhilo Krishnayya. Developed his main reputation in violent gangster thrillers, a genre pioneered by A. Kodandarami Reddy (Khaidi, Goonda; Challenge; Vijeta, Marana Mridangam, Trinetrudu etc.), Vijaya Bapineedu (Khaidi No. 786, Gang Leader) and more recently, Raviraja Pinisetty (Jwala, Chakravarthi). Much of his character impersonates the ‘rowdysheeter’, a legal term of colonial vintage, indicating a potentially violent person who’s on a police list and gets rounded up when violence is anticipated. The term is referred to in titles like B. Gopal’s State Rowdy. Hindi début with Pratibandh, followed by Aaj Ka Goonda Raj, both directed by Pinisetty (aka Ravi Raja), have established him as one of the highest-paid stars in the country in the early 90s. Alluda Majaaka led to a major censorship controversy because of its alleged lewdness and recourse to violence.

FILMOGRAPHY: 1978: Punadhirallu; Pranam Khareedu; Manavoori Pandavulu; Thayaramma Bangaraiah; Priya; 1979: Kukkakatuku Cheppu Debba; Idi Kathakadu; I Love You; Kotha Alludu; Shri Rama Bantu; Kotala Rayudu; 1980: Kothapeda Rowdy; Chandi Priya; Arani Mantulu; Jatara; Punnani Mogudu; Nakili Manishi; Love in Singapore; Prema Tarangulu; Mogudu Kavali; Raktha Bandham; Tathaiah Prema Leelalu; 1981: Ranuva Veeran; Rani Kasularangamma; Adavallu Meeku Joharlu; Parvati Parameshwarulu; Todu Dongalu; Tiruguleni Manishi; Prema Natakam; Nyayam Kavali; Urikichina Mata; Rani Kasularangamma; 47 Rojulu; Sirirasthu Subhamasthu; Chattaniki Kallulevu; Kirai Rowdylu; Intilo Ramayya Vidhilo Krishnayya; 1982: Bandipotu Simham; Shubhalekha; Idi Pellantara; Seeta Devi; Radha My Darling; Tingu Rangadu; Patnam Vachina Pativrathalu; Billa Ranga; Yamakinkarudu; Mondighatam; Manchu Pallaki; 1983: Bandhalu Anubandhalu; Prema Pichollu; Palletooru Monagallu; Abhilasha (Tel); Alayashikharam; Sivudu Sivudu Sivudu; Puli Bebbuli; Goodachari No. 1; Maha Maharaju; Rosha Gadu; Maa Inti Premayanam; Simhapuri Simham; Khaidi; Mantrigari Viyyankudu; Sangharshana; Hero (Tel); Yuddha Bhoomi; 1984: Allulostunnaru; Goonda; Devanthakudu; Mahanagaramlo Mayagadu; Challenge; Intiguttu; Naagu; Agni Gundam; Rustom; 1985: Chattamtho Poratham; Donga; Chiranjeevi; Jwala; Puli; Raktha Sindooram; Adavi Donga; Vijeta; Kirathakudu; 1986: Kondaveeti Raja; Mahadheerudu; Veta; Chantabbayi; Rakshasudu; Dhairyavanthudu; Chanakya Sapatham; 1987: Donga Mogudu; Aradhana; Chakravarthi; Pasivadi Pranam; Swayamkrushi; Jebu Donga; Manchi Donga; 1988: Rudraveena; Yamudiki Mogudu; Khaidi No. 786; Marana Mridangam; Trinetrudu; 1989: Attaku Yamudu Ammayiki Mogudu; State Rowdy; Lankeshwarudu; Kondaveeti Donga; 1990: Jagadeka Veerudu Atilokasundari; Kodama Simham; Raja Vikramarka; Pratibandh; Stuvartpuram Police Station; 1991: Gang Leader; Rowdy Alludu; Aaj Ka Goonda Raj; 1992: Gharana Mogudu; Mutha Mestri; Apathbandhavudu; 1993: Shivanna; Military Mava; Mechanic Alludu; 1994: Mugguru Monagallu; S.P. Parashuram; Gentleman; 1995: Alluda Majaaka; Big Boss.

Leela Chitnis and Bharat Bhushan in Maa (1952)

CHITNIS, LEELA (B. 1912)

Actress born in Dharwar, Karnataka. Best known for her mother roles in 60s/70s Hindi cinema. She brought to Hindi film a performative idiom developed in Marathi stage melodramas by the Natyamanwantar group’s introduction of Ibsenite naturalism (see K. Narayan Kale). Early stage work in the Natyamanwantar group itself (e.g. the prose comedy Usna Navra, 1934) and with her theatre group Naytasadhana in P.K. Atre’s Udyacha Sansar. Wrote and directed the stage adaptation of Somerset Maugham’s Sacred Flame (Ek Ratra Ardha Diwas, 1957). Entered films as extra at Sagar, later in B-grade mythologicals and Ram Daryani stunt pictures. In Daryani’s Gentleman Daku, playing the elegant thief dressed in male costume, she was advertised in the Times of India (1938) as ‘the first graduate society-lady on the screen from Maharashtra’. Worked at Prabhat (Wdhan). First major role in Ranjit’s Saint film, Sant Tulsidas as Vishnupant Pagnis’s wife Ratnavali. Romantic lead opposite Ashok Kumar in major Bombay Talkies films Kangan, Bandhan and Jhoola made her briefly one of the top stars of the early 40s. Played the mother (of hero Dilip Kumar) for the first time in Shaheed and consolidated her image in her famous portrayal of Raj Kapoor’s mother in Awara and, later, in the famous role of the mother of the warring brothers in Ganga Jumna. Also acted key roles in Master Vinayak (Chhaya, Ardhangi) and Raja Paranjpe (Jara Japoon, Adhi Kalas Mag Payd) films in Marathi. Produced Kisise Na Kehna (1942) and directed Aaj Ki Baat. Her autobiography was published in 1981.

FILMOGRAPHY (* also d): 1935: Dhuwandhaar; Shri Satyanarayan; 1936: Berozgar; Chhaya; 1937: Insaaf; Gentleman Daku; Wdhan; 1938: Chhote Sarkar; Jailor; Ustad; Vijay Danka; 1939: Chhotisi Duniya; Sant Tulsidas; Kangan; 1940: Azad; Bandhan; Ardhangi/Ghar Ki Rani; 1941: Jhoola; Kanch an; 1942: Kisise Na Kehna; 1943: Rekha; 1944: Kiran; Char Aankhen; Manorama; 1945: Ghazal; 1946: Bhakta Prahlad; Devkanya; Shatranj 1947: Andhon Ki Duniya; Ghar Ghar Ki Kahani; 1948: Lakhpati; Shaheed; 1949: Namuna; Aakhri Paigham; 1950: Saudamini; Jara Japoon; 1951: Awara; Saiyan; 1952: Maa; Ek Hota Raja; Sangdil; 1953: Rami Dhoban; Hari Darshan; Naya Ghar; 1954: Baadbaan; 1955: Aaj Ki Baat*; 1956: Basant Bahar; Awaaz; 1957: Naya Daur; 1958: Phir Subah Hogi; Post Box 999; Sadhana; 1959: Barkha; Dhool Ka Phool; Kal Hamara Hai; Main Nashe Mein Hoon; Ujala; 1960: Apna Haath Jagannath; Ghunghat; Hum Hindustani; Kohinoor; Bewaqoof; Maa Baap; Parakh; Kala Bazaar; Umaji Naik; Sakhya Savara Mala; 1961: Aas Ka Panchhi; Batwara; Kaanch Ki Gudiya; Char Diwari; Ganga Jumna; Hum Dono; Ramleela; Adhi Kalas Mag Pay a; 1962: Aashiq; Prem Andhala Asta; Asli Naqli; Dr Vidya; Manmauji; Naag Devata; 1963: Dil Hi To Hai; Pahu Re Kiti Vaat!; 1964: Dosti; Aap Ki Parchhaiyan; Pooja Ke Phool; Shehnai; Suhagan; Zindagi; 1965: Johar Mehmood In Goa; Mohabbat Isko Kehte Hain; Nai Umar Ki Nai Fasal; Waqt; Guide; Faraar; 1966: Dulhan Ek Raat Ki; Phool Aur Patthar; 1967: Gunahon Ka Devta; Aurat; Manjhli Didi; 1969: Inteqam; Prince; Badi Didi; The Killers; Ram Bhakta Hanuman; 1970: Man Ki Aankhen; Jeevan Mrityu; Bhai Bhai; 1977: Palkon Ki Chhaon Mein; 1978: Satyam Shivam Sundaram; 1979: Janata Havaldar; Aangan Ki Kali; Bin Maa Ke Bachche; 1980: Takkar; 1985: Dil Tujhko Diya.

CHOPRA, BALDEV RAJ (B. 1914)

Hindi director and producer born in Ludhiana, Punjab. He is the elder brother of Yash Chopra. Studied at the University of Lahore. Worked on fringe of Lahore-based film industry with Pancholi group and later as film journalist. Edited the Cine Herald (1937–47) at Lahore. After Partition moved to Delhi where he was briefly assistant editor of The Listener (1947), then to Bombay. Started as a producer for Shri Gopal Pics (Karwat, 1949, apparently also directing the film). The success of Chandni Chowk allowed him to found B.R. Films (1956). One of the most influential émigrés from Lahore (with A.R. Kardar and Roop K. Shorey) who imported their lumpenised versions of Hollywood suspense thrillers and melodrama. Since the mid-70s the Hindi film industry’s senior spokesman and a regular contributor to Screen (Bombay) in late 60s and 70s, influencing the film-financing policy of the NFDC. Now concentrates on the business affairs of his company, leaving direction to his son Ravi who is credited as co-director on the 94 episodes of the TV serial Mahabharat, running on Doordarshan in 1988–90, with peak audience at 75% of the urban adult population and over Rs 10 million advertising revenue per episode. Also co-directed Kal Ki Awaaz with Ravi Chopra.

FILMOGRAPHY: 1949: Karwat (uncredited); 1951: Afsana; 1953: Sholay; 1954: Chandni Chowk; 1956: Ek Hi Raasta; 1951: Naya Daur; 1958: Sadhana; 1960: Kanoon; 1963: Gumrah; 1967: Hamraaz; 1972: Dastaan; 1973: Dhund; 1977: Kami; 1978: Pati Patni Aur Woh; 1980: Insaaf Ka Tarazu; 1982: Nikaah; 1985: Tawaif 1986: Bahadur Shah Zafar (TV); 1987: Awaam; 1988: Mahabharat (TV); 1992: Kal Ki Awaaz; Sauda (TV).

CHOPRA, YASH (B. 1932)

Hindi director and producer born in Jullundur, Punjab. Started as assistant to elder brother B.R. Chopra and then made several films for his company. Became independent producer with Daag, working mostly with distributor Gulshan Rai. His B.R. Films are low-budget genre movies (e.g. suspense thrillers: Waqt, Ittefaq) but his own productions are plushy, soft-focus upper-class love stories (Kabhi Kabhie), battles over family honour (embodied by the mother: Deewar, Trishul) and the conflict between the laws of kinship and those of the State. Amitabh Bachchan made some of his best-known films with Chopra. In the 90s, he adapted his style to the image of Shah Rukh Khan for the hit Darr. Produced his son Aditya’s megabit Dilwale Dulhania Le Jayenge (1995) and directed the 1997 success Dil To Pagal Hai, upgrading his trademark love story into a theme featuring teen aerobics.

FILMOGRAPHY: 1959 Dhool Ka Phool; 1961: Dharmaputra; 1965: Waqt; 1969: Admi Aurlnsaan; Ittefaq; 1973: Daag; Joshila; 1975: Deewar; 1976: Kabhi Kabhie; 1978: Trishul; 1979: Kala Pathar; 1981: Silsila; 1984: Mashaal; 1985: Faasle; 1988: Vijay; 1989: Chandni; 1991: Lamhe; 1992: Parampara; 1993: Darr.

CHOUDHURY, AHINDRA (1897–1974)

Actor born in Calcutta. Major Calcutta Theatres stage star launched with key role of Arjun in epochal production of Karnarjun at Star Theatre (1923). Stagework in e.g. Iraner Rani, Bandini, Chirakumar Sabha, Mishar Rani etc. had impact comparable to that of Sisir Bhaduri, who had a similar career. Early films at Madan Theatres, usually by Jyotish Bannerjee who continued to direct him into the talkie era, included stage successes like Mishar Rani and Karnarjun. At Madan also filmed scenes from his stage plays in early sound experiments. In 1928 attempted, unsuccessfully, to start the Ahindra Film Studio at Ultadanga, North Calcutta. Then directed some Telugu films for Aurora (Ansuya, Vipranarayana). Was a regular genre actor in Bengali cinema, notably in films by Sailajananda Mukherjee, P.C. Barua and Modhu Bose, until he retired in mid-50s. Wrote a two-volume autobiography, Nijere Haraye Khunji (1945). His collection of theatre and film memorabilia forms the Ahindra Choudhury Archives at Chetla, Calcutta.

FILMOGRAPHY (* also d): 1922: Soul of a Slave; 1924: Mishar Rani; 1925: Premanjali; 1926: Krishna Sakha (only d.); 1927: Durgesh Nandini; 1928: Sasthi Ki Shanti; 1930: Rajsingha (all St); 1931: Rishir Prem; Prahlad; 1932: Vishnu Maya; Krishnakanter Will; 1933: Seeta; 1934: Chand Saudagar; Rooplekha/Mohabbat Ki Kasauti; Mahua; Daksha Yagna; Bhakta Ke Bhagwan; 1935: Ansuya*; Devadasi; Prafulla; Kanthahaar; Balidan; 1936: Tarubala; Krishna Sudama; Paraparey; Rajani; Sarala; Sonar Sansar; Dalit Kusum; Prabas Milan; Chino Haar; 1937: Vipranarayana*; Rukmini Kalyanam*; Talkie Of Talkies; Haranidhi; Indira; Samaj Patau; 1938: Abhinaya; Devifullara; Khana; 1939: Janak Nandini; Jakher Dhan; Nara Narayan; Rikta; Rukmini; Sharmistha; Chanakya; Vaman Avtar; 1940: Tatinir Bichar; Kamale Kamini; Suktara; Doctor; Amar Geeti; Rajkumarer Nirbashan; 1941: Raj Nartaki/Court Dancer; Uttarayan; Doctor; Avatar; Nandini; Karnarjun; 1942: Jiban Sangini; Ashok; Pativrata; Avayer Biye; Shesh Uttar/Jawab; Meenakshi; 1943: Jogajog/Hospital; Janani; Dwanda; Devar; 1944: Matir Ghar; Sandhya; Sondhi/Sandhi; Shesh Raksha; 1945: Amiri; Banphool; Vasiyatnama; Abhinay Nay; Mane Na Mana; Kalankini; Grihalakshmi; Bondita; Nandita; Dui Purush; 1946: Pehchan; Prem Ki Duniya; Pather Sathi; Natun Bou; Nivedita; Dukhe Jader Jiban Gara; 1947: Roy Choudhury; Mandir; Alaknanda; Giribala; Abhijog; Burmar Pathey 1948: Jayjatra/Vijay Yatra; Bicharak; Ghumiye Ache Gram; Nandaranir Sansar; Priyatama; Sir Shankarnath; Swarnaseeta; 1949: Abhijatya; Bisher Dhoan; Niruddesh; Pratirodh; Nirdosh Abla; Grihalakshmi; 1950: Kuhelika; Michael Madhusudhan; Pattharar Kahini; Sanchali; Vidyasagar; Mahasampad; 1953: Mushkil Ashan; Chirantani; 1954: Maa-o-Chhele Mantra Shakti; 1955: Devatra; Pratiksha; Bir Hambir; Kankabatir Ghat; Bratacharini; 1956: He Maha Manab; Chirakumar Sabha; Paradhin; Mahakavi Girishchandra; Shyamali; Rajpath; Bhola Master; 1957: Tapasi; Neelachaley Mahaprabhu; 1973: Shravan Sandhya.

CHOUDHURY, BASANTA (B. 1928)

Aka Vasant Choudhury; Bengali actor born in Nagpur known for refined accent and romantic looks. Entered film at New Theatres with Mahaprasthaner Pathey. Played the title role in Debaki Bose’s Bhagwan Shri Krishna Chaitanya, and the mentally ill Tapash in Deep Jweley Jai. Was a romantic lead in the pre-Uttam Kumar era. Title role in Raja Rammohun, providing the definitive image of the 19th C. reformer. Shifted to character roles including villains (e.g. Baidurya Rahasya). Known best for his aristocratic rendition of characters, relying on his unique stage voice. In later films often played the villain. Known also as a radio star and stage actor with the best-known Jatra group, the Natya Company. Recent work mainly in Dinen Gupta and Tapan Sinha films; cameo appearance in Gautam Ghose’s Antarfali Jatra.

FILMOGRAPHY: 1952: Mahaprasthaner Pathey/Yatrik; 1953: Nabin Yatra/Naya Safar; Bhagwan Shri Krishna Chaitanya; 1954: Jadubhatta; Bokul/Bakul; 1955: Aparadhi; Pather Sheshey Bhalobasha; Du-Janay; Devimalini; 1956: Shubharatri; Shankar Narayan Bank; Chhaya Sangini; Govindadas; Rajpath; 1957: Shesh Parichaya; Madhu Malati; Andhare Alo; Basanta Bahar; Haar Jeet; Kbela Bhangar Khela; 1958: Jogajog; 1959: Deep Jweley Jai; Shashi Babur Sansar; 1960: Khudha; Parakh; 1962: Sancharini; Agnisikha; Bodhu; Nabadiganta; 1963: Shreyasi; 1964: Kashtipathar; Anustup Chhanda; 1965: Alor Pipasa; Raja Rammohun; Abhoya-o-Srikanta; Eki Ange Eto Rup; Gulmohar; 1966: Sankha Bela; Susanta Sha; Uttar Purush; 1970: Diba Ratrir Kabya; Megh Kalo; 1971: Pratham Pratisruti; Sansar; Grahan; 1973: Pranta Rekha; 1974: Debi Choudhrani; Jadi Jantem; Sangini; 1975: Nishi Mrigaya; 1976: Sankhabish; 1977: Babu Moshai; 1978: Parichay; Mayuri; 1979: Chirantan; Jiban Je Rakam; 1980: Bhagya Chakra; 1981: Kalankini; 1982: Sonar Bangla; 1983: Indira; Deepar Prem; 1985: Baidurya Rahasya; Putulghar; 1987: Antarjali Jatra/Mahayatra; 1988: Antaranga; Sankhachur; 1990: Raktorin; Ek Doctor Ki Maut; 1990: Sankranti; 1991: Raj Nartaki; 1992: Hirer Angti; Apon Ghar; Satya Mithya; 1993: Kacher Prithvi.

Choudhury, Kosaraju Raghavaiah see Kosaraju Raghavaiah Choudhury

CHOUDHURY, RAMA SHANKAR (1903–72)

Hindi director born in Benares, UP. Graduated from J.J. School of Art (1922). Entered films as art director and designer of publicity pamphlets. Did remarkable covers for Gujarati film journal Mouj Majah. Assisted Manilal Joshi at Laxmi Film. First film at Laxmi is Sandow’s hit costume spectacular, Neera. Best-known films at Imperial and Sagar, where he made several classics in historical genre, e.g. Anarkali, Shirin Khushrau, Shaan-e-Hind, often using the legendary epic as a nationalist allegory. Films often starred Sulochana and Zubeida. Regarded as teacher by Mehboob for whom he later scripted Roti (1942), Aan (1952) and Son of India (1962). Also scripted, in addition to his own films, e.g. Kardar’s Pehle Aap (1944), M. Sadiq’s hit Rattan (1944) and several films for Ravindra Dave. Continued writing scripts until the 70s.

FILMOGRAPHY (* also act). 1926: Neera; Asha; 1927: Karmayili Kali; 1928: Anarkali; Pita Ke Parmeshwar; Sarovar Ki Sundari*; Madhuri; 1929: Maurya Patan; Heer Ranjha; Indira; Punjab Mail; Shirin Khushrau; Talwar Ka Dhani; 1930: Hamarun Hindustan; 1931: Badmash; Khuda Ki Shaan (all St); 1932: Madhuri; 1933: Sulochana; Daku Ki Ladki; 1934: Aaj Kal; Piya Pyare; 1935: Anarkali; 1936: Hamari Betiyan; Shaan-e-Hind; 1937: Kal Ki Baat; 1938: Rifle Girl; 1939: Sach Hai; 1942: Aankh Micholi; 1943: Adab Arz; 1944: Gaali; 1946: Magadhraj; 1953: Jallianwala Bagh Ki Jyot.

CHOUDHURY, SALIL (1925–95)

Self-trained composer and music director. Activist among peasantry in 24 Parganas Dist., Bengal. Did music for IPTA plays and musical squads performing in Bengali countryside, calling for cultural internationalism as opposed to an emphasis on regional folk traditions (cf. Bhupen Hazarika; also Choudhury’s Modern Bengali Music in Crisis, 1951). His influences in songs that have remained enduring favourites with Left cultural groups all over India include Mozart, Hanns Eisler and contemporary Latin American forms, such as Abakprithibi (written by Sukanta Choudhury and sung by Hemanta Mukherjee) and Kono ek gayer bodhu (written by Choudhury himself). Ghatak, in Komal Gandhar (1961), and Mrinal Sen, in Akaler Sandhaney (e.g. Hai samhalo dhan ho! on the 1943 famine) used his music to typify the spirit of 40s Bengali agitational theatre movements, which he also extended to cover other genres, like Zia Sarhadi’s Awaaz and Tarafdar’s Ganga. Entered films with Satyen Bose. First major hit was Bimal Roy’s Do Bigha Zameen, based on his own story, with full-blooded choral compositions celebrating peasant vitality (monsoon song Hariyala sawan), a form still most associated with him. Went on to score the pathbreaking soundtrack of Roy’s Madhumati. Also did notable work for Hrishikesh Mukherjee films, e.g. his début Musafir and the 70’s hit Anand. The only front-line Hindi composer to work in several languages: Assamese (the experimental Aparajeya by the Chaturanga collective), Kannada (A.M. Samiulla’s films, including Samshayaphala, Onderupe Eradu Guna etc., and Balu Mahendra’s début Kokila), Tamil (Doorathu Idhi Muzhakkam) and Telugu (Chairman Chalamayya). Most spectacular work outside Bengali and Hindi is, however, for Ramu Kariat, scoring the several hits in his breakthrough Chemmeen, followed by Ezhu Rathrikal, Abhayam, Nellu etc.

FILMOGRAPHY (* also d/** also lyr): 1949: Paribartan; 1951: Barjatri; 1953: Do Bigha Zameen; Banser Kella; Bhor Hoye Elo; 1954: Aaj Sandhya; Mahila Mahal; Biraj Bahu; Naukri; 1955: Amanat; Tangewali; Rickshawala; 1956: Raat Bhore; Awaaz; Parivar; Jagte Raho/Ek Din Raatre; 1957: Aparadhi Kaun; Gautama The Buddha (Doc); Ek Gaon Ki Kahani; Lai Batti; Musafir; Zamana; 1958: Madhumati; 1959: Bari Theke Paliye; 1960: Ganga; Sunehri Raatein; Jawahar; Kanoon; Parakh; Usne Kaha Tha; 1961: Char Diwari; Chhaya; Kabuliwala; Maya; Memdidi; Sapan Suhane; Raibahadur; 1962: Half Ticket; Jhoola; Prem Patra; Sunbai; 1964: Kinu Goyalar Gali; Ayananta; Lai Patthar; 1965: Chand Aur Suraj; Poonam Ki Raat; Chemmeen; 1966: Pinjre Ke Panchhi*; Netaji Subhashchandra Bose; Pari**; 1968: Ezhu Rathrikal; Jawab Ayega; 1969: Ittefaq; Sara Akash; 1970: Anand; Abhayam; Aparajeya; 1971: Gehra Raaz; Mere Apne; Samshayaphala; 1972: Annadata; Anokha Daan; Anokha Milan; Mere Bhaiya; Subse Bada Sukh; Marjina Abdallah**; 1973: Swapnam; 1974: Rajanigandha; Nellu; Chairman Chalamayya; 1975: Chhotisi Baat; Sangat; Onderupa Eradu Guna; Neela Ponman; Ragam; Rasaleela; Thomasleeha; 1976: Aparadhi; Thulavarsham; Jeevan Jyoti; Mrigaya; Uranchoo; 1977: Kabita**; Sister**; Minoo; Chinna Ninna Muddaduve; Kokila; Madanolsavam; Vishukkanni; 1978: Paruvamazhai; Ee Ganam Marakkumo; Etho Oru Swapnam; Samayamayilla Polum; Naukri; 1979: Jiban Je Rakam**; Srikanter Wilt**; Kala Patthar; Jeena Yahan; Chuvanna Chirakukal; Pratiksha; Puthiya Velicham; Azhiyada Kolangal; 1980: Chehre Pe Chehra; Byapika Biday**; Kuhasa; Room No. 203; Air Hostess; Paribesh**; Akaler Sandhaney; Doorathu Idhi Muzhakkam; Chirutha; Nani Maa; 1981: Plot No. 5; Agni Pareeksha; Batasi Jhada; Monchor; 1982: Andhiveyilille Ponnu; Dil Ka Saathi Dil; Darpok Ki Dosti (Sh); 1984: Kanoon Kya Karega; 1985: Pratigya; Devika; Manas Kanya; 1986: Jiban; 1988: Trishagni; 1989: Swarna Trishna; Jawahar; Kamala Ki Maut; 1990: Triyartri; Vasthuhara; 1991: Netraheen Sakshi; 1994: Mahabharati.

CHOUDHURY, SANTI P. (1929–82)

Major independent documentary film-maker. Educated at Presidency College, Calcutta, and Glasgow University. Active participant in British film society movement (1954). Worked with Satyajit Ray (1955–7). Founded Little Cinema film unit in Calcutta (1958) which made over 100 shorts independent of government support, influencing the younger generation of documentarists. Also made children’s films. Except for Dakather Hatey Bulu and Heerer Prajapati, all titles are documentaries.

FILMOGRAPHY: 1957: Songs of Bengal; 1958: Virsa and the Magic Doll; 1959: Their New Roots; 1960: Rabindranath’s Shantiniketan; 1961: Lokeshilpay Terracottay Ramayan; Banglar Mandirey Terracotta; 1962: Rabindranather Chitrakala; 1963: Your Home Defence: Home Guards; They Met the Challenge; Science for Children; Dakather Hatey Bulu; 1964: Handicrafts of Assam; To Light a Candle; Madhabir Biya; 1965: Song of Punjab; Folk Instruments of Rajasthan; 1966: A City in History; Calcutta; Electrocine; 1967: To Share and to Learn; Handicrafts of Rajasthan; 1968: Benarasi’s Secret; Heerer Prajapati; Entertainers of Rajasthan; 1969: Secularism; 1971: Biju in Hyderabad; The Other Calcutta; Seeds of the Green Revolution; An Indian Journey; Working Together; Action for Calcutta; 1972: Janasanstha; Indian Engineering; Dakshina Haryana; Mughal Gardens Pinjore; Green Horizon; ITC Tube: The Lifetimer; 1973: An Environment; After Ten Years; 1974: Asia ‘72; Silent Service; A Painter of Our Times; 1975: Search for Self-Reliance; 1976: We’re Building an IOL Pipeline For You; 1977: Parvati; 1978: Banglai Kabigan; The Magic Hands; 1980: Husain; Region of Harmony; Seven; Pahar Theke Shahar; 1981: Subho Tagore; 1982: Racing in India.

CHOUDHURY, SUPRIYA

Actress. Bengali star of 60s socials best known as romantic lead opposite Uttam Kumar (with whom she apparently featured in 33 films). Spent some of her childhood in Rangoon; introduced into films by veteran Bengali actress Chandrabati Devi. Début in Nirmal Dey’s Basu Parivar, after which she married and retired from films for some years. Incarnated the ‘heroine’ of reformist middle-class pulp fictions. Adhered more to melodramatic orthodoxy than her chief rival, Suchitra Sen, evoking e.g. Jamuna’s acting in P.C. Barua productions and generating a sense of nostalgia for pre-Independence middle-class Bengali melodrama, thus providing a kind of cultural legitimation to the weepies of the Agradoot/Agragami/Yatrik units and film-makers like Piyush Bose. Known outside Bengal for her extraordinary performance as the heroine in Ghatak’s Meghe Dhaka Tara and Komal Gandhar. These, and Ajoy Kar’s Suno Baro Nari, were rare instances in which she stepped out of her star image. Turned producer with the commercial flop Uttar Meleni.

FILMOGRAPHY: 1952: Basu Parivar; Prarthana; Madhurati; 1959: Amrapali; Ae Jahar Sey Jahar Noy; Sonar Hann; Shubha Bibaha; 1960: Uttar Megh; Meghe Dhaka Tara; Kono-Ek-Din; Ajana Kahini; Surer Pyasi; Natun Fasal; Suno Baro Nari; 1961: Komal Gandhar; Bishkanya; Agni Sanskar; Swaralipi; Swayambara; 1962: Kajal; Abhisarika; 1963: Begana; Nisithe; Uttarayan; Dui Nari; Surya Sikha; 1964: Aap Ki Parchhaiyan; Door Gagan Ki Chhaon Mein; Ayananta; Lai Patthar; 1965: Kal Tumi Aleya; 1966: Harano Prem; Sudhu Ekti Bachhar; 1967: Akash Chhoan; Jiban Mrityu; 1968: Teen Adhyay; 1969: Chiradiner; Mon-Niye; Sabarmati; 1970: Bilambita Lay; 1971: Jiban Jignasa; 1972: Andha Atit; Chinnapatra; 1973: Bon Palashir Padabali; 1974: Jadi Jantem; Rakta Tilak; 1975: Bagh Bandi Khela; Nagar Darpane; Sanyasi Raja; Sabhyasachi; 1976: Samrat; Banhi Sikha; Mom Batti; 1977: Bhola Moira; Sister; 1978: Dui Purush; 1979: Devdas; 1980: Dui Prithibi; 1981: Kalankini Kankabati; 1982: Uttar Meleni; Iman Kalyan; 1983: Raat Dastay 1984: Anveshan; 1989: Kari Diye Kinlam; 1992: Honeymoon.

CHUGHTAI, ISMAT (1915–91)

Born in Badaun. The only major woman writer in 40s radical Urdu literary movements (see Manto and Krishan Chander). Her most famous stories are set in middle-class, often orthodox Muslim society and strongly imbued with sexual symbology informed by Freudian psychoanalysis (see Tahira Naqvi in Chughtai, 1990). Some of her writing caused major controversy for its violation of traditional morality codes: Lihaaf (1942) provoked obscenity trial in Lahore. Married to film-maker Shaheed Latif and was closely involved with the making of Ziddi (1948), Dev Anand’s first major hit. Worked as scenarist and occasionally as producer with Latif (Arzoo, 1950; Darwaza, 1954; Society, 1955; Sone Ki Chidiya, 1958). Involved as dialogue writer and actress in Benegal’s Junoon (1978). Wrote the story for Sathyu’s Garam Hawa (1973) and the dialogues of Amar Kumar’s films Barkha Bahar (1973) and Mehfil (1978). Wrote and co-directed Faraib (1953). Directed the children’s film Jawab Ayega (1968) and the documentary My Dreams (1975).

CHUNDER, HEMCHANDRA (B. 1907)

Aka Hem Chunder. Hindi-Bengali director. Début in B.N. Sircar’s International Filmcraft. Acted in Prafulla Roy’s silent Chasher Meye (1931). Major films with New Theatres, where he was its principal Hindi director (1935–48) in its attempts to enter the Western Indian market. Second film, Karodpati, was one of Saigal’s best-known musicals. Anath Ashram, starring Prithviraj Kapoor and scripted by novelist Sailajananda Mukherjee, made an influential intervention in the Bengali genre of the literary melodrama. Turned independent producer in collaboration with actress Meera Mishra (H.M. Prod.).

FILMOGRAPHY: 1935: Karwan-e-Hayat; 1936: Karodpati; 1937: Anath Ashram; 1939: Jawani Ki Reet/Parajay; 1941: Pratisruti; 1942: Saugandh; 1943: Wapas; 1944: Meri Bahen; 1948: Pratibad/Oonch Neech; 1949: Bishnupriya; 1952: Chhoti Maa; 1954: Chitrangada; 1955: Madh Bhare Nain; Teen Bhai; 1956: Bandhan; 1958: Manmoyee Girls’ School; 1960: Natun Fasal.

Chunder, Krishan see Chander, Krishan (1914–77)

COMPANY NATAK

Popular theatre movement in late 19th C. Karnataka, predominantly around the Mysore court, contemporaneous with similar movements in Telugu (cf. Surabhi Theatres) and Tamil (see TKS Brothers). Performed as night-long shows by travelling groups in tents, it evolved from the Yakshagana folk theatre and its variants, Dashavtara and Bailatta, and helped codify the mythological. Gubbi Veeranna’s company was its best-known exponent. The form assimilated aspects of Parsee theatre (e.g. versions of Gul-e-Bakavali and Indrasabha) and Sangeet Natak. As a folk-inspired genre, it allowed for a freewheeling, open-ended adaptation of speech and musical modes: Veeranna writes of using Urdu and pidgin Hindi phrases in Kannada texts while the numerous songs, using over 50 verses as bases for improvisation, could be accompanied by pedal-harmonium and claviolin as well as the traditional tabla, violin and sota. In the early 20th C., direct sponsorship from feudal élites helped imbue the form with a caste-conscious classicism usually signified by a recourse to translations of Sanskrit texts (e.g. Kalidasa) and Shakespeare, paralleling the increased emphasis on classical Bharat Natyam gestures in Yakshagana dance and dialogue-delivery, and on Carnatic music in the songs. In the late 30s some of the major groups moved into film, following Veeranna’s Gubbi Co. which converted its stage hits into the first Kannada films. Mohammed Peer’s Chandrakala Nataka Co. yielded two major 60s Kannada film-makers, H.L.N. Simha and B.R. Panthulu, while the Sahitya Samrajya Nataka Mandali run by film-maker R. Nagendra Rao and M.V. Subbaiah Naidu converted their hit plays Yachhamanayika and Bhukailasa (1938, 1940) into successful films. The Company Natak provided virtually all the major talent for the early Kannada film, e.g. Honnappa Bhagavathar, megastar Rajkumar B. Jayamma and K. Ashwathamma as well as scenarists B.N. Sastry and B. Puttaswamaiah. It defined the economic distribution infrastructure for a regional film industry and, crucially, paved the way for the political use of the mythological and the historical genres (see A.N. Krishnarao, Rajkumar and G.V. Iyer).

COMPANY SCHOOL PAINTING

An 18th and 19th C. painting style geared to the British presence. According to Mildred Archer, ‘the favourite subjects were costumes, methods of transport and festivals, [H]indu deities and temples. Such subjects, arranged in sets, provided a conspectus of social life in India and, whether harsh and garish in the South or mild and soft as in the North East, the pictures recorded in pseudo-British terms the exotic environment in which [East India] Company officers and their successors lived. In these sets, each trade, craft or occupation was shown with identifying attributes - a bricklayer with measure and trowel, a shoemaker with awl and shoe, a cook with chicken and kettle’ (Archer, 1977). Guha-Thakurta (1992) noted that with the dwindling of court patronage, court painters became reduced to the state of bazaar painters, ‘a new colonial category that underlined their displacement and forced exposure and adjustment to Western demands in an open market. European paintings and engravings of Indian scenes began to be supplanted, more cheaply and abundantly, by the pictures produced by this pool of displaced artists. In commissioning pictures from these “bazaar” painters, the British preferred those with hereditary links with old painting ateliers. Yet the skills of these miniature artists were valued primarily for their adaptability to Western naturalistic conventions and the flair for precision and detail in the pictures and diagrams ordered of them.’ From the middle of the 18th C., numerous British artists, both professional (the best known are William Hodges, Tilly Kettle, George Chinnery and John Zoffany) and sketch-book amateurs recorded scenes from India, Some of them were in the employ of Indian nobility and trained or otherwise influenced Indian artists, while numerous others simply imitated the style. The Company School mode, which usually functioned as a cheaper and barely legitimate version of European naturalism, established an influential visual lexicon of stereotypes used for a variety of purposes: parodies of the British and Indian gentry, local fashion primers, visual anthropology and some of the earliest examples of the mythological iconography later adopted by the cinema. Early documentaries in India, e.g. Bourne & Shepherd’s actuality and review films, F.B. Thanawala’s Splendid New Views of Bombay (1899) and Taboot Procession at Kalbadevi (1900) as well as footage bought for c. 10 cents to a dollar per foot by e.g. the Pathé Exchange, International Newsreel Corp. and Fox Films, inherited the disingenuous Orientalism of the Company School painters once Parsee businessmen, the Indian aristocracy and British multinationals like Warwick Trading in Calcutta (Panorama of Calcutta, 1898) shifted their patronage to film production.

COOPER, PATIENCE (1905?-?)

Top star of silent cinema before Sulochana. Contracted to Madan Theatres. Started as a dancer in Bandmann’s Musical Comedy, a Eurasian troupe; later employed by Madan’s Corinthian Stage Co. Played title roles in two major Sisir Bhaduri films, Mohini and Kamale Kamini. Dominant character in several films by Jyotish Bannerjee and Priyanath Ganguly: played Leelavati in Pati Bhakti, Sushila in Nartaki Tara, the title role in Noorjehan and perhaps the earliest double roles in Indian film in Patni Pratap (where she played two sisters) and Kashmiri Sundari (as mother and daughter). Often cast as the sexually troubled but innocent heroine at the centre of moral dilemmas represented by male protagonists, foreshadowing Nargis’s performances three decades later in Mehboob’s films (e.g. Humayun, 1945). A major aspect of her star image was the successful achievement of the Hollywood look in spite of vastly different light and technical conditions. Her dark hair, sharp eyes and skin tone allowed technicians to experiment with the imported convention of eye-level lighting.

FILMOGRAPHY: 1920: Nala Damayanti; 1921: Behula; Vishnu Avatar; Mohini; Dhruva Charitra; 1922: Ratnavali; Nartaki Tara; Raja Bhoj; Sati; Bhagirathi Ganga; Pati Bbakti; Matri Sneh; Laila Majnu; Ramayan; Kamale Kamani; Princess Budur; 1923: Patni Pratap; Noorjehan; 1924: Turki Hoor; 1925: Kashmiri Sundari; Sati Lakshmi; Adooray Chheley Sansar Chakra; 1926: Dharmapatni; Prafulla; Joydev; Krishnakanter Will; 1927: Chandidas; Jana; Durgesh Nandini; 1928: Bhranti; Aankh Ka Nasha; Hoor-e-Arab; 1929: Kapal Kundala; 1930: Kal Parinaya; Rajsingha; Ganesh Janma; Vaman Avatar; 1931: Bibaha Bibhrat; Alladdin and the Wonderful Lamp (all St); Bharati Balak; Samaj Ka Shikar; 1932: Bilwamangal; Chatra Bakavali; Hathili Dulhan; Alibaba and the Forty Thieves; Pati Bhakti; Educated Wife; 1933: Madhur Murali; Naqli Doctor; Zehari Saap; Dhruva Charitra; 1934: Anokha Prem; Kanya Vikraya; Kismet Ka Shikar; Sakhi Lutera; 1935: Asmat Ka Moti; Dil Ki Pyaas; Mera Pyara; Sulagto Sansar; Prem Ki Ragini; Khudadad; 1936: Baghi Sipahi; Khyber Pass; Noor-e-Wahadat; 1937: Fakhr-e-Islam; 1943: Rani; 1944: Iraada.

DAKSHINAMURTHY, V. (B. 1919)

Malayalam film music director and composer, born in Alleppey, Kerala. Regarded as a ‘classicist’. Concert singer in 50s/60s. Trained by Venkatachalam Potti; practised at the Vaikom temple. At their best, his Carnatic-inspired scores are deceptively simple (e.g. when putting G. Sankara Kurup’s lyrics to music), trying to adapt the recitative rhythms to given raga patterns. Nearly all his work is raga-based, notably in Khamboji, Sahana (e.g. the musical leitmotif in Kavya Mela), Todi and Charukesi. His compositions are a major influence on singers P. Leela and Vasanthakokila. Credits after 1978 and for films other than Malayalam are likely to be incomplete.

FILMOGRAPHY: 1950: Chandrika (with Govindarajulu Naidu); Nallathanka; 1951: Jeevitha Nauka; Navalokam; 1952: Amma; 1953: Velaikkaran; Lokaneethi; Sario Thetto; Asha Deepam; 1954: Avan Varunnu; Snehaseema; 1955: Kidappadam; 1956: Atmarpanam; 1959: Nadodikal; 1960: Seeta; 1961: Umminithanka; Gnana Sundari; 1962: Veluthampi Dalawa; Sreekovil; Vidhithanna Vilakku; Viyarppinte Vila; 1963: Satyabhama; Sushila; Chilampoli; 1964: Devalayam; Shri Guruvayoorappan; Bharthavu; (with Baburaj); 1965: Lnapravugal; Kavya Mela; 1966: Pinchu Hridayam; Kadamattathachan; 1967: Indulekha; Lady Doctor; Mainatharuvi Kola Case; Cochin Express; 1968: Padunna Puzha; Adhyapika; Bharyamar Sukshikuka; 1969: Kannur Deluxe; Poojapushpam; Danger Biscuit; 1970: Kalpana; Stree; Ezhuthatha Katha; Kuttavali; Lottery Ticket; Sabarimala Shri Dharmasastha; Palunku Pathram; 1971: Muthassi; Marunattil Oru Malayali; Achante Bharya; 1972: Maya; Manushya Bandhangal; Nadan Premam; Shri Guruvayoorappan; Nrithyasala; Putrakameshti; Shakti; Sathi; Brahmachari; 1973: Football Champion; Udayam; Veendum Prabhatam; Police Ariyaruthu; Urvashi Bharathi; Driksakshi; Sastram Jayichu Manushyan Thottu; Interview; Poyi Mukhangal; 1974: Alakal; Night Duty; Aswathi; Bhugolam Thiriyunnu; Thacholi Marumagan Chandu; Sapta Swarangal; Arakallan Mukkal Kalian; Yauvanam; 1975: Chumadu Thangi; Mattoru Seeta; Sammanam; Sathyathinde Nizhalil; 1976: Neelasari; Prasadam; Priyamvadha; Sexilla Stuntilla; Srimadh Bhagavad Geeta; Thulavarsham (with Salil Choudhury); Thuruppu Gulam; Vazhi Vilakku; Oru Udhappu Kann Simittukirathu; 1977: Nanda Enn Nilla; Jagadguru Adi Shankaran; Kaduvaye Pidicha Kiduva; Makam Piranna Manka; Muttathe Mulla; Niraparayum Nilavilakkum; Shri Chottanikkara Bhagavathi; Thalappoli; 1978: Ashtamudikayal; Ashokavanam; Kalpa Vruksha; Kanalkkattakal; Kudumbam Namakku Sreekovil; Manoratham; Ninakku Jnanum Enikku Neeyum; Prarthana; Prema Shilpi; 1979: Jimmy; Kannukal; Kathirmandapam; Manushiyan; Oru Koyil Eru Deepangal; 1980: Ambala Vilakku; Bhakta Hanuman; 1981: Ampal Poovu; Arikkari Ammu; Ellam Ninakku Vendi; Pathiya Suryan; Sambhavam; 1982: Ente Mohanangal Poovaninju; Priyasakhi Radha; 1984: Guruvayoor Mahatmiyam; Krishna Guruvayoorappa; 1985: Madhu Vidhurathri; Navadakku Paniyedukku; 1987: Idanazhiyil Oru Kalocha; 1989: Season.

DAMLE, VISHNUPANT GOVIND (1892–1945)

Marathi director and producer born in Pen, Raigad Dist., Maharashtra. Like his long-term collaborator, Fattelal, was apprenticed to Anandrao, the artist-technician cousin of Baburao Painter, helping to construct theatrical backdrops. Became expert set designer and cinematographer, making his own camera and processing film. Co-founded Maharashtra Films (1918) with Painter and Fattelal. With Shantaram, they broke away and established Prabhat in 1929. Damle took charge of the sound department and is credited with introducing the playback technique. Took over management of Prabhat after Shantaram left (1942) but without success. Best known for the classic Sant Tukaram and subsequent Saint films (co-d with Fattelal). Last film, Sant Sakhu, co-d with Raja Nene and Fattelal.

FILMOGRAPHY (co-d with S. Fattelal): 1928: Maharathi Karna (St); 1936: Sant Tukaram; 1938: Gopal Krishna; 1940: Sant Dnyaneshwar; 1941: Sant Sakhu.

DAS, JHARANA (B. 1945)

Major 60s Oriya actress in melodramas like Amada Bata, Abhinetri and esp. the classic Malajanha. Born in a Christian family; a noted child artist on AIR, Cuttack. Learnt dance from Guru Kelucharan Mahapatra, the main dance teacher in the classical form of Odissi. Returned to radio work and achieved immense popularity in radio plays before joining films with Amada Bata. Appointed assistant station director for Cuttack Doordarshan and acted in TV programmes e.g. Ghare Bhada Diya Jiba and Manisha, while continuing her film career. Directed a documentary on the Orissa politician H.K. Mahtab. Married Bengali cameraman Dipak Das.

FILMOGRAPHY: 1964: Amada Bata; Nabajanma; 1965: Abhinetri; Malajanha; 1970: Adina Megha; 1979: Shri Jagannath; 1981: Tike Hasa Tike Luha; 1982: Samaya Bada Balabaan; Hisab Nikas; Jwain Pita; 1983: Mahasati Sabitri; 1984: Ninad; 1985: Pooja Phula; Hakim Babu; 1987: Kasturi; 1988: Lai Pan Bibi; 1989: Topaye Sindoora Deepata Sankha.

DASGUPTA, BUDDHADEV (B. 1944)

Bengali poet and director born in Anara, Purulia (Bengal). Former lecturer in economics at Calcutta University (1968–76) and Bengali poet since 1961, published in journals like Kabita, Ekshan and Desh; wrote many anthologies (Govir Arieley, 1963; Coffin Kimba Suitcase, 1912; Him Jug, 1977; Chhata Kahini, 1981; Roboter Gaan, 1985). Gave up academic post to extend poetic work into cinema. Early film-making (Dooratwa) attempted a didactic variation on S. Ray’s type of urban lyrical realism. With the thriller Grihajuddha and melodrama Andhi Gali, both adapting novelist Dibyendu Palit, he tried new forms of addressing the contemporary situation in Bengal after the Naxalite movements, usually from the view of a guilt-ridden middle class. From this perspective, revisits established literary traditions, including the writings of Kamal Kumar Majumdar (Neem Annapurna), Narendranath Mitra (Phera) et al. Published a book of film essays, Swapna Samay Cinema (1991).

FILMOGRAPHY: 1968: Samayer Kache (Sh); 1969: Continent of Love (Doc); 1970: Fishermen Of Sundarban (Doc); 1973: Dholer Raja Khirode Natta (Doc); 1974: Saratchandra (Doc); 1978: Dooratwa; 1979: Neem Annapurna; 1980: Vigyan O Tar Avishkar; (Doc); 1981: Rhythm of Steel (Doc); 1982: Grihajuddha; Sheet Grishmer Smriti (TV); 1984: Andhi Gali; Indian Science Marches Ahead (Doc); 1985: Story of Glass (Doc); India on the Move (Doc); 1986: Ceramics (Doc); Phera; 1987: Contemporary Indian Sculpture (Doc); 1989: Bagh Bahadur; 1990: History of Indian Jute (Doc); 1992: Tahader Katha; 1993: Charachar.

DAS GUPTA, CHIDANANDA (B. 1921)

Noted Indian film critic committed to a realist aesthetic and humanist philosophy best exemplified by Satyajit Ray. Born in Shillong. Founded with Ray et al. the Calcutta Film Society (1947) and the Federation of Film Societies of India (1960), functioning as its secretary until 1967. Editor of the Indian Film Review and Indian Film Culture and widely published film and arts journalist. Published The Cinema of Satyajit Ray and the anthology Film India: Satyajit Ray (both 1981) in addition to numerous essays. Extended his argument for an organic film culture beyond Ray to cover mainstream Indian cinema, launching the notion of the All-India Film with a culturally integrative role in nationalist terms (see the essay ‘The Cultural Basis of Indian Cinema’, 1968). Recent essays collected in his The Painted Face (1991) describe the realist and the All-India Film as committed to, respectively, a cinema of fact and of myth. For some years editor of the journal Span published by the USIS. Also known as the director of the critically acclaimed feature Bilet Pherat (1972), and of the documentary about Ananda Coomaraswamy, The Dance of Shiva (1968). Other documentaries include Portrait of a City (1961), The Stuff of Steel (1969), Birju Maharaj (1972) and Zaroorat Ki Purti (1979). Father of Bengali star Aparna Sen, scored his daughter’s film Sati (1989).

DASGUPTA, HARISADHAN (B. 1923)

Bengali documentary and fiction director born in Calcutta. Studied film-making first at USC and later at UCLA (1945). Apprenticed to Hollywood film-maker Irving Pichel and present during the making of RKO’s They Won’t Believe Me (1947) and Universal’s Mr Peabody and the Mermaid (1948). Founder member with S. Ray, C. Das Gupta, Asit Sen et al. of the Calcutta Film Society (1947). Assisted Jean Renoir in making The River (1951) and shot best-known documentary Konarak (1949) with Renoir’s brother Claude. The film was partly remade in a ‘popular version’ by his brother Bulu for Films Division (1958). Début, A Perfect Day, is a featurette promoting cigarettes sponsored by the National Tobacco Co. scripted by Ray, produced by C. Das Gupta and shot by Ajoy Kar. It combined a vérité style with a fictional script, announcing e.g. Ray’s 50s realism. Later made the classic documentary The Story of Steel sponsored by Tata Steel, India’s largest private sector corporation. It was scripted by Ray, shot by Claude Renoir and edited by Hrishikesh Mukherjee with music by Ravi Shankar. It became a model for the type of Nehruite nation-building socialist-realism later associated with Films Division. Best-known films with the Shell Film Unit. Dasgupta and Ray planned to film Tagore’s Ghare Baire, a project realised 30 years later by Ray in 1984. Made two features, Kamallata and the critically acclaimed Eki Ange Eto Rup. He is regarded as Sukhdev’s teacher, later contributing to Nine Months To Freedom (1972). His son Raja Dasgupta is now a documentary director. Also made several 30’ films for USIS, the Ford Foundation, UNESCO etc. 1956–60 as well as for Hindustan Motors (1968).

FILMOGRAPHY: 1948: A Perfect Day; 1949: Konarak: The Sun Temple; 1953: Weavers of Maindargi; Shaher Ki Jhalak; Gaon Ki Kahani; 1955: Panchthupi: A Village in West Bengal; 1956: The Story of Steel; 1960: Our Children Will Know Each Other Better; 1961: Panorama of West Bengal; Acharya Prafulla Chandra Ray; 1964: Bade Ghulam Ali Khan Saheb; 1965: Baba; Malabar Story; Eki Ange Eto Rup; Glimpses of India; Quest for Health; 1969: Kamallata; The Automobile Industry in India; 1970: Terracotta Temples; 1971: The Tale of Two Leaves and a Bud; Port of Calcutta; 1973: Engineers (India) Limited; 1976: Preservation of Ancient Monuments; 1977: Bagha Jatin; 1978: Haldia Dock Complex; The Brave Do Not Die; 1981: The LTA Story; 1982: This Land is Mine; Mizoram; 1984: Acharya Nandalal.

DASGUPTA, KAMAL (?-1974)

Bengali composer born in Dhaka (now Bangladesh). Début with the Gramophone Company of India. Became widely known when his music was performed by the popular singer Juthika Roy and provided the definitive musical arrangements for some of Kazi Nazrul Islam’s compositions. His use of orchestration typifies the Nazrul gharana, which he helped popularise in the early years of the gramophone industry. Along with Anupam Ghatak and Anil Bagchi, one of the most popular composers in the interwar years. Worked with Barua (e.g. Shesh Uttar/Jawab, Pehchan) and extensively with Niren Lahiri (Garmil, Jayjatrd). Also scored Modhu Bose’s Tagore-derived Giribala. Worked with Sagar directors Luhar (Bindiyd) and Badami (Manmani) and later with Pranab Roy, also producing Roy’s Prarthana. Later years in Bangladesh where he married the singer Feroza Begum.

FILMOGRAPHY: 1936: Pandit Moshai; 1938: Sarbajanin Bibahotsab; 1939: Debjani; 1942: Shesh Uttar/Jawab; Garmil; 1943: Sahadharmini; Jogajog/Hospital; Chandar Kalanka/Rani; Dampati; 1944: Bideshini; 1945: Nandita; Meghdoot; Bhabhi-Kaal; 1946: Bindiya; Krishna Leela; Pehchan; Zameen Aasmaan; 1947: Faisla; Giribala; Manmani; Chandrasekhar; 1948: Jayjatra/Vijay Yatra; 1949: Iran Ki Ek Raat; Rangamati; Anuradha; 1951: Phulwari; 1952: Prarthana; 1953: Malancha; 1954: Nababidhan; Bhagwan Shri Krishna Chaitanya; 1955: Bratacharini; 1956: Manraksha; Govindadas; 1957: Madhu Malati; Sandhan; 1967: Bodhu Baran.

DASGUPTA, PROTIMA (B. 1922)

Hindi actress, producer and director born in Bhavnagar into wealthy family. Studied briefly in England; then at Tagore’s Shantiniketan where she was apparently a favoured student. Début in Naresh Mitra’s film of Tagore’s Gora, her role apparently satisfying the author. Hindi début in Modhu Bose’s trilingual Raj Nartaki. Acted in three films directed by Kishore Sahu. Turned film-maker with Chhamia followed by the comedy Pagle, both with leading stars Begum Para and David. Her Jharna got into trouble when the Chief Minister of Bombay Presidency, Morarji Desai, banned it for what he felt were sexually explicit scenes. The film was a financial disaster and she retired from the cinema.

FILMOGRAPHY: (* also d): 1938: Gora; 1940: Path Bhoole; Suktara; Byabadhan; 1941: Raj Nartaki/Court Dancer; 1942: Kunwara Baap; 1943: Namaste; Raja; 1944: Shararat; 1945: Chhamia*; 1948: Jharna*; 1950: Pagle*.

DASGUPTA, SUKUMAR (B. 1907)

Bengali director born in Calcutta. Started as scenarist for Prafulla Roy’s Abhishek (1931) and P.C. Barua’s Maya (1936). Comedy director in the ensemble format popularised by Nirmal Dey. Known mainly for having introduced Suchitra Sen (Sat Number Kayedi) and for early Uttam Kumar comedies (notably Sadanander Mela, adapting Roy del Ruth’s It Happened on Fifth Avenue, 1947) and Abhoyer Biye.

FILMOGRAPHY: 1936: Ashiana; 1937: Rajgee; 1940: Rajkumarer Nirbashan; 1941: Epar Opar; 1942: Pashan Devata; 1945: Nandita; 1946: Sat Number Bari; 1949: Abhijatya; 1950: Banprastha; 1951: Pratyabartan; 1952: Sanjibani; 1953: Sat Number Kayedi; 1954: Ora Thake Odhare; Sadanander Mela; 1955: Parishodh; 1956: Mahanisha; 1957: Abhoyer Biye; 1960: Haat Baraley Bandhu; 1961; Sathi Hara.

DATE, KESHAVRAO (1889–1971)

Major Marathi stage actor born in Adivare, Ratnagiri Dist., Maharashtra; one of the first practitioners of naturalist prose theatre at Maharashtra Natak Mandali (e.g. Agryahun Sutka and Bebandshahi) in an era dominated by Sangeet Natak musicals. Key participant, with writer-actor K. Narayan Kale and composer Keshavrao Bhole, of Natyamanwantar group’s production of Andhalyanchi Shala (1933), a pinnacle of Stanislavsky (and Ibsen/Shaw) inspired naturalism in Marathi theatre, prompting Shantaram to hire all three for Prabhat. Kale suggests that Date’s constant effort to reconcile reformist-social literature’s stereotypes with European theatrical styles inevitably led to the expressionist technique of fragmenting characters into certain gestures and a speaking style, construed as an ‘entry into the character’s mind’ (Kale, 1950). Best-known film work with Shantaram at Prabhat (e.g. the classic Kuhku and Shejari) and Rajkamal (Dahej, Toofan Aur Diyd), where his declamatory speech and gesture fitted Shantaram’s expressionist inclinations. Date’s style remains a characteristic of Shantaram’s influential variant of melodrama. Also directed some films at Rajkamal. Biography by V.V. Jog (1976).

FILMOGRAPHY (* also d): 1934: Amritmanthan; 1936: Savkari Pash; 1937: Kunku/Duniya Na Mane; Pratibha; 1938: Umaji Naik; 1939: Sant Tulsidas; Adhuri Kahani; 1940: Chingari; Diwali; Holi; 1941: Shejari; 1942: Kisise Na Kehna*; 1944: Bhakticha Mala/Mali*; 1946: Dr Kotnis Ki Amar Kahani; 1947: Andhon Ki Duniya*; 1948: Bhool; 1949: Apna Desh/Nam Naadu; 1950: Dahej; Jara Japoon; 1951: Kunkvacha Dhani; Sharada; 1953: Teen Batti Char Raasta; Maisaheb; Surang; 1955: Jhanak Jhanak Payal Baaje; 1956: Toofan Aur Diya; 1957: Do Aankhen Barah Haath; 1958: Mausi; 1959: Navrang; 1961: Stree; 1963: Sehra; 1964: Geet Gaya Pattharone; 1965: Iye Marathyachi Nagari/Ladki Sahyadri Ki.

Keshavrao Date in Kunku (1937)

DATTA KESHAV KULKARNI (B. 1932)

Marathi director and playwright born in Bombay. Assistant to Dharmadhikari (1952) before going to Filmistan as scenarist and director. Often also provided the lyrics for his own films.

FILMOGRAPHY: 1966: Ati Shahana Tyacha; 1968: Bai Mothi Bhagyachi; Yethe Shahane Rahataat; 1970: Meech Tujhi Priya; 1971: Dher Chalaki Jin Kara; Asel Mazha Hari; 1973: Mala Dev Bhetla; 1974: Bayano Navare Sambhala; Ovalite Bhauraya; 1977: Badla; Bhingri; Navara Mazha Brahmachari; 1980: Phatakadi; Savli Premachi; Jidda; 1981: Mosambi Narangi; 1982: Vishwas; 1983: Kashala Udyachi Baat; Ranine Dav Jinkala; 1985: Saubhagya Lene; 1987: Porichi Dhamal Bapachi Kamal; Prema Saathi Vatelte; Sant Gajanan Shegavicha; 1989: De Taali; 1990: Dhamal Bablya Ganpyachi; 1991: Yeda Ki Khula.

DAVE, MOHANLAL G.

Top silent cinema scenarist; first scenarist to get his name above the title (see e.g. the publicity pamphlets of Kohinoor Film which often give no other credits). Started as an accountant; then publicist for Imperial Theatre in Bombay. Apparently honed his craft writing lively synopses in publicity hand-outs for Pathé’s imports. Entered films with S.N. Patankar and moved to National Studio (where he was already paid Rs 10,000 a year to write a minimum of 15 stories) and Kohinoor, where he made his reputation and wrote about one screenplay a week. Thereafter worked at Jayant Pics, and at Imperial with the coming of sound, where he often teamed up with director Jaswantlal. As a professional, he handled all genres, but his narrative style is related to the then emerging popular Gujarati fiction as introduced to the cinema by ex-novelists like Naranji Vassanji Thakkar, Gopalji Delwadekar, Shaida etc. His scripts are said to have included detailed camera movements, fades etc., as in Rathod’s complicated Gul-e-Bakavali (1924), written in 92 scenes. Major early scripts: the politically controversial Bhakta Vidur (1921), the Rathod hit Kala Naag (1924), Chandulal Shah’s début film Panchdanda (1925) and Homi Master’s Fankdo Fituri (1925). His sound films were often rewrites of his own silent hits with dialogue. His major successes were with V.M. Vyas, including the Gujarati film Ranakdevi (1946). Remained a popular writer until the 60s.

DAVE, RAVINDRA (1919–92)

Hindi and Gujarati director born in Karachi. Started as cinema manager in the Pancholi distribution empire. Later learnt editing under director Shaukat Hussain; also scenarist until 1941. Early films for Pancholi. 50s films were usually cop thrillers and murder mysteries (Moti Mahal, CID Girl, Guest House). Post Box 999 adapted plot of Call Northside 777 (1947). Shifted to Gujarati cinema with the folk fantasy Jesal Toral, a major hit. Thereafter worked mainly in the same genre and language. Also scripted Mohan Segal’s Sajan (1969).

FILMOGRAPHY: 1943: Poonji; 1945: Dhamki; 1948: Chunaria; Patjhad; 1949: Naach; Sawan Bhadon; 1950: Meena Bazaar; 1951: Nagina; 1952: Lal Kunwar; Moti Mahal; 1953: Naina; 1954: Bhai Saheb; 1955: Shikar; Lutera; 1956: Char Minar; 1957: Agra Road; 1958: Farishta; Post Box 999; 1959: CID Girl; Ghar Ghar Ki Baat; Guest House; Satta Bazaar; 1962: Aankh Micholi; Girls’ Hostel; 1963: Band Master; 1964: Tere Dwar Khada Bhagwan; Dulha Dulhan; Punar Milan; 1967: Raaz; 1969 Road to Sikkim; 1971: Jesal Toral; 1973: Raja Bhartrahari; 1974: Hothal Padmini; Kunwarbainu Mameru; 1975: Sant Surdas; Shetalne Kanthe; Bhadar Tara Vehta Pani; 1976: Bhaibandhi; Malavpati Munj; 1977: Jai Randalma; Maa Avret Jivrat; Paiso Bole Chhe; Son Kansari; 1978: Chundadi Odhi Tara Namni; Patali Parmar; Bhagya Lakshmi; 1979: Suraj Chandra Ni Sakhe; Preet Khandani Dhar; 1980: Koino Ladakvayo; Virangana Nathibai; 1981: Jagya Tyanthi Savar; Seth Jagadusha; Dukhda Khame Ee Dikri; 1983: Palavade Bandhi Preet; 1984: Nagmati Nagvalo; 1985: Malo Naagde.

DEBI, SUPRABHA (B. 1939)

Assamese writer, distributor and first woman director. Born into an established family from Golaghat, Upper Assam. Married the journalist and cineaste D.N. Debi. Involved in the films of Rajendra Chalachitra. After her husband’s death, became distributor and producer, eventually directing as well.

FILMOGRAPHY: 1983: Nayanmoni; 1985: Sarbajan.

DESAI, DHIRUBHAI B. (1908–90)

Hindi and Gujarati director born in Kaliawadi, near Navsari, Gujarat. Started at Sharda Studio (1927); assisted A.P. Kapur. Completed Maya Na Rang, left unfinished by P.V. Chavan and Sundarrao Nadkarni when Bhogilal Dave took over his United Pics Syndicate in 1929. Early work marked by the Sharda genre of action films and later by Indulal Yagnik’s politically informed melodrama. Also worked for Nanubhai Desai’s Saroj Film. Set up own talkie studio, Vishnu Cinetone (with Surya Kumari, 1933), with Natwar Shyam Maniar and Chaturbhai Patel. Later also owned Chandrakala Pics. One of the few silent film-makers with a long career in Hindi and Gujarati B-movies. Post-40s films mainly cheap mythologicals, often remakes of silent hits.

FILMOGRAPHY: 1928: Maya Na Rang; 1929: Kusum Lata; Nishan Danka; Mayavi Nagari; Bahadur Baharvatiyo; 1930: Abad Veer; Chittor Ni Veerangana; Komalner Ni Kusum; Bhawani No Bhog; 1931: Lal Panjo; Aatishe Ishq; Jawahir-e-Hind; Kanak Kesari; Dariyai Devangana; Alakh Kishori; 1932: Gurjar Veer; Sinh Santaan (all St); 1933: Surya Kumari; 1934: Bulbul-e-Paristan; 1935: Dard-e-Ulfat; Delhi Ka Thug; Lal Chitta; 1936: Hoor-e-Samundar; 1937: Vanraj Kesari; 1938: Fashionable Wife; Talwar Ka Dhani; 1939: Baghi; Payame Haq; 1940: Pyar; Rani Saheba; 1941: Chandan; 1942: Bolti Bulbul; Seva; 1944: Maya Nagari; 1946: Bhakta Prahlad; Devkanya; 1947: Saat Samundaron Ki Mallika; 1948: Satyavadi Harishchandra; 1949: Bhakta Pundalik; 1951: Jai Mahakali; 1952: Bhakta Puran; Neelam Pari; 1953: Shuk Rambha; 1954: Durga Puja; Shiv Kanya; 1955: Mastani; Oonchi Haveli; 1956: Sati Ansuya; 1957: Parisian; Raja Vikram; 1958: Harishchandra; 1959: Maa Ke Aansoo; 1960: Saranga; 1961: Jai Bhawani; 1962: Kailashpati; 1964: Bhakta Dhruvakumar; 1965: Mahasati Ansuya; 1967: Badrinath Yatra; 1968: Mata Mahakali; 1969: Pujarin; 1970: Sampoorna Teerth Yatra; 1972: Narad Leela; 1975: Daku Aur Bhagwan.

Shammi Kapoor (centre) in Manmohan Desai’s Bluff’Master (1963)

DESAI, JAYANTILAL ZINABHAI (1909–76)

Hindi director born in Surat, Gujarat. Entered films initially as Surat-based exhibitor, later scenarist for London Film, Rangoon, and for Krishna and Sharda Studios. Assisted Chandulal Shah (Rajputani, 1929). Turned director completing Nandlal Jaswantlal’s Pahadi Kanya (1930). Front-line Ranjit film-maker until 1943, then independent producer, owner of Jupiter Studio, Jayant Desai Prod. (1943) and Hemlata Pics. Also had exhibition interests with Hindmata Talkies and Star Theatres in Bombay and operated as a distributor in the 50s with his Jupiter Films. Directed K.L. Saigal’s last films. Desai’s devotionals (e.g. Har Har Mahadev) and historicals (Tansen) show how these genres were inflected towards neo-traditional melodrama (including his several Saint films and mythologicals) by a growing urban working-class audience and an economy determined by WW2.

FILMOGRAPHY: 1930: Pahadi Kanya (uncredited); Noor-e-Watan; Jawan Mard; Johan Na Jadu; 1931: Mukti Sangram; Banke Savaria; Vilasi Atma; Qatil Katari; Vijay Lakshmi; Fauladi Pahelwan; 1932: Lal Swar; Sipahsalaar (all St); Bhutia Mahal; Char Chakram; Do Badmash; 1933: Bhola Shikar; Bhool Bhulaiyan; Krishna Sudama; 1934: Nadira; Sitamgarh; Toofan Mail; Veer Babruwahan; 1935: College Girl; Noor-e-Watan; 1936: Laheri Lala; Matlabi Duniya; Raj Ramani; Rangila Raja; 1937: Toofani Toli; Mitti Ka Putla; Zameen Ka Chand; 1938: Ban Ki Chidiya; Billi; Prithvi Putra; 1939: Sant Tulsidas; 1940: Aaj Ka Hindustan; Diwali; 1941: Beti; Shadi; 1942: Chandni; Fariyad; 1943: Bansari; Bhakta Raaj; Tansen; Zabaan; 1944: Lalkaar; Manorama; 1945: Samrat Chandragupta; Tadbir; 1946: Maharana Pratap 1950: Har Har Mahadev; Shaan; Veer Bhimsen; 1951: Dashavtar; Shri Ganesh Janma; 1952: Amber; Nishan Danka; Shivashakti; 1953: Hazaar Raatein; Manchala; Naya Raasta; 1954: Miss Mala; Shiv Ratri; 1955: Sati Madalasa; 1956: Basant Panchami; Hamara Watan; 1957: Lakshmi Pooja; 1961: Zamana Badal Gaya.

DESAI, MANMOHAN (1936–94)

Hindi director born in Bombay. Son of Kikubhai Desai, founder of the Paramount Studio which later housed Filmalaya (Est: 1958). Elder brother of the producer Subhash Desai. Started as assistant director to Babubhai Mistri in the late 50s; 60s work in line with Shammi Kapoor’s films at Filmistan (Bluff Master, Badtameez). Although the films rely on Hollywood models (esp. Elvis Presley) introduced into Hindi film by Subodh Mukherjee and Nasir Hussain, they also jettison some of the narrative ballast that e.g. Hussain puts into his romances. The narratives in the 70s films with Rajesh Khanna (Sachcha Jhutha) and Jeetendra (Bhai Ho To Aisa) develop a series of autonomously packaged sequences emotionally complete in themselves. Desai formula plots deploy good guy-bad guy dual roles or lost-and-found brother stories first elaborated by Tamil films (e.g. Parasakthi, 1952), removing the political aspects from their populist approach and replacing them with a more diffuse, less targeted aggressiveness. Turned independent producer with Amar Akbar Anthony, often financed by industrial family of Hindujas. Leading director in the 70s. Desai’s best-known films, Naseeb and Coolie, have Bachchan continuing the MGR mode of presenting himself in the guise of the oppressed subaltern. But Desai adds a celebration of lumpen power charged with communal references. Publicly announced his retirement as a director after Ganga Jamuna Saraswati. Recently, the resemblance between Desai’s formula plots and the structure of US TV series caused his work to be associated with notions of postmodernism. His son Ketan Desai now makes films for MKD Films (e.g. Allah Rakha, 1986; Toofan, 1989).

FILMOGRAPHY: 1960: Chhalia; 1963: Bluff Master; 1966: Badtameez; 1968: Kismet; 1970: Sachcha Jhutha; 1972: Bhai Ho To Aisa; Rampur Ka Lakshman; Shararat; 1973: Aa Gale Lag Jaa; 1974: Roti; 1977: Amar Akbar Anthony; Chacha Bhatija; Dharam Veer; Parvarish; 1979: Suhaag; 1981: Naseeb; 1982: Desh Premi; 1983: Coolie; 1985: Mard; 1988: Ganga Jamuna Saraswati.

DESAI, NANUBHAI B. (1902–67)

Born in Kaliawadi, near Navsari, Gujarat. Major producer and director of pioneering action and stunt films characteristic of the Sharda Studio style. Joined Ardeshir Irani’s Star Film; later partnered Dorabsha Kolha, Nowroji Pavri and his mentor Bhogilal Dave in Saraswati Film (Est: 1924), from which emerged the nucleus of Sharda started by Desai and Dave (1925). Founded Saroj Film (1929), later Saroj Movietone. Ran Amar Pics, which replaced the earlier Sagar Film when it split. Produced films by R.S. Choudhury et al. Ended up as production manager at the Pakshiraja Studio (e.g. for their Hindi film Azad, 1955).

FILMOGRAPHY: 1923: Champraj Hado; 1924: Razia Begum; Sati Sardarba; Vikram Charitra; 1925: Saurashtra Veer; Bhadra Bhamini; Mumbai Ni Mohini; Bajirao Mastani; 1926: Vasant Bala; Dil Aram; 1927: Bhedi Trishul; Gulzar; Kailash Kumari; Reshmi Sari; Asuri Lalsa; Jaan-e-Alam Anjuman Ara; Kala Pahad; 1928: Maya Mahal (all St).

DESAI, VASANT (1912–75)

Music director born in Kudal, Maharashtra. Employed at Prabhat as actor and studio-hand from 1929. Assistant to composers Tembe, Krishnarao and Bhole and actor-singer with successful solos in Ayodhyecha Raja and Amar Jyoti. Music director at Rajkamal, where he was a regular in Shantaram films for over three decades starting with Shakuntala. Best-known work mainly adapting traditional Maharashtrian musical modes of Powada and Lavni (e.g. in Lokshahir Ramjoshi and Amar Bhoopali). Made several polemical statements calling for Marathi cinema’s return to regional music traditions (e.g. Desai, 1950). Scored several mythologicals by Vijay Bhatt and Babubhai Mistri and two major Sohrab Modi films: Sheesh Mahal and Jhansi Ki Rani. Later scored for Hrishikesh Mukherjee (Ashirwad, Guddi) and Gulzar (Achanak).

FILMOGRAPHY (* act only): 1932: Ayodhyecha Raja*; 1935: Dharmatma*; 1936: Amar Jyoti*; 1937: Wahan*; 1940: Sant Dnyaneshwar*; 1942: Shobha; 1943: Aankh Ki Sharam; Mauj; Shakuntala; 1944: Parbat Pe Apna Dera; 1946: Dr Kotnis Ki Amar Kahani; Jeevan Yatra; Subhadra; 1947: Andhon Ki Duniya; Lokshahir Ramjoshi/Matwala Shayar Ramjoshi; 1948: Mandir; Sona; 1949: Narasinh Avatar; Udhaar; Sakharpuda; Nai Taleem; 1950: Krantiveer Vasudev Balwant; Dahej; Hindustan Hamara; Sheesh Mahal; 1951: Jeevan Tara; Amar Bhoopali; Hi Majhi Lakshmi; 1952: Hyderabad Ki Nazneen; 1953: Anand Bhavan; Dhuaan; Jhansi Ki Rani; Majhi Zameen; Shyamchi Aai; 1954: Kalakaar; Savdhan; Suhagan (all 3 with C. Ramchandra); Kanchanganga; 1955: Ye Re Majhya Maglya; Jhanak Jhanak Payal Baaje; 1956: Toofan Aur Diya; 1957: Do Aankhen Barah Haath; 1958: Do Phool; Mausi; 1959: Ardhangini; Do Behnen; Goonj Uthi Shehnai; Samrat Prithviraj Chouhan; 1960: Umaji Naik; 1961: Pyar Ki Pyaas; Sampoorna Ramayan; 1962: Baap Mazha Brahmachari; 1963: Chhota Jawan; Molkarin; 1964: Swayamvar Jhale Seeteche; Rahul; Yaadein; 1965: Amar Jyoti; Bharat Milap; Iye Marathyachi Nagari/Ladki Sahyadri Ki; And Miles To Go…; 1967: Ramrajya; 1968: Dhanya Te Santaji Dhanaji; Ashirwad; 1970: Lakshman Resha; 1971: Guddi; 1972: Grahan; 1973: Achanak; 1974: Jai Radhe Krishna; Bayano Navre Sambhala; Raja Shivachhatrapati; 1975: Rani Aur Lalpari; 1976: Shaque; Tuch Majhi Rani.

DEVARAJAN, PARAVUR

Prolific 60s and 70s Malayalam film composer. Established reputation with songs for plays of the left Kerala Peoples’ Arts Club (see IPTA), esp. the O.N.V. Kurup lyric sung by K.S. George and Sulochana invoking the graves of the Communist rebels of Punnapra-Vyalar (1946), set to a militant rendition of the raga Hamsadhwani. Extensively associated with Vyalar Rama Varma’s lyrics. Like Dakshinamurthy, was trained in classical Carnatic music but, unlike him, often borrowed extensively from folk influences. Early scores in Puttanna Kanagal’s Malayalam films (School Master, Kalanjukuttiya Thangam); broke through with Sethumadhavan’s 60s films, remaining his regular composer for several years (e.g. Odeyil Ninnu, Daham, Adimagal, Aranazhikaneram). Worked on several major Vincent films including Ashwamedham, Thulabharam and Nadhi. In the 70s, was associated with independent breakthroughs including Menon’s Kabani Nadi Chuvannappol and Backer’s work (e.g. Charam), while simultaneously working on I.V. Sasi’s mainstream productions. Composed Aravindan’s Chidambaram as well. Reputedly the first composer in Malayalam film to make sense of the non-verbal background score, with a bias for violin effects.

FILMOGRAPHY: 1955: Kalam Marunnu; 1958: Chadarangam; 1962: Bharya; 1963: Nithya Kanyaka; Doctor; Kadalamma; 1964: Anna; School Master; Manavatti; Omanakuttan; Kalanjukuttiya Thangam; 1965: Odeyil Ninnu; Kaliyodam; Kattupookal; Kathiruna Nikkah; Daham; Shakuntala; Pattu Thoovala; 1966: Kalithozhen; Rowdy; Jail; Kalyana Rathriyil; Kanmanikal; Karuna; Tilottama; 1967: Swapnabhoomi; Sheelavati; Arakillam; Aval; Ashwamedham; Chitramela; Pooja; Kavalam Chundan; Nadan Pennu; Kasavuthattam; 1968: Viplavakarikal; Thokkukal Katha Parayunnu; Hotel Highrange; Yakshi; Thulabharam; Velutha Kathrina; Agni Pareeksha; 1969: Anashchadanam; Padicha Kalian; Veetu Mrugham; Kattukurangu; Susie; Adimagal; Urangatha Sundari; Kadalpalam; Mooladhanam; Jwala; Nadhi; Kootu Kudumbam; Kumara Sambhavam; 1970: Mindapennu; Nishagandhi; Vazhve Mayam; Dattuputhran; Othenente Makan; Abhayam (with Salil Choudhury); Ningalenne Communistaki; Vivahitha; Nilakatha Chalanangal; Swapnangal; A Chitrashalabham Paranotte; Triveni; Tara; Aranazhikaneram; Pearl View; 1971: Shiksha; Oru Penninte Katha; Thettu; Kalithozhi; Inquilab Zindabad; Sarasayya; Karakanakadal; Line Bus; Puthanveedu; Avalalppam Vaikippoi; Sindooracheppu; Anubhavangal Palichakal; 1972: Mayiladum Kunnu; Devi; Professor; Aromalunni; Omana; Chemparathi; Achannum Bappayum; Akkarapacha; Oru Sundariyude Katha; Punarjanmam; Maraivil Thiruvu Sukshikuha; Gandharvakshetram; Postmane Kananilla; Chhayam; Maram; 1973: Enippadikal; Kalachakram; Ponnapuram Kotta; Gayatri; Manushya Puthran; Thani Niram; Darshanam; Achani; Thenaruvi; Pavangal Pennungal; Nakhangal; Dharma Yuddham; Prethangalude Thazhvara; Chukku; Madhavikutty; Swargaputhri; Angathattu; Masappadi Mathupilla; Kaliyugam; Chenda; Vijaya; 1974: Chattakkari; Paruvakalam; Shapamoksham; Suprabhatam; Panchatanthram; Durga; Setu Bandhanam; Neela Kannukal; Nagaram Sagaram; Thumbolarcha; Devi Kanyakumari; Raja Hamsam; Vishnu Vijayam; Bhoomidevi Pushpiniyayi; Atithi; Mazhakkaru; 1975: Alibaba and Forty-One Thieves; Ayodhya; Bharya Illatha Rathri; Boy Friend; Chalanam; Chuvanna Sandhyakal; Kahani Nadi Chuvannappol; Kottaram Vilakkanundu; Makkal; Manishada; Mucheettu Kalikarante Magal; Palazhi Madhanam; Priyamulla Sophia; Swami Ayyappan; Antharangam; 1976: Kumara Vijayam; Amba Ambika Ambalika; Ammini Ammavan; Anavaranam; Aruthu; Ayalakkari; Colonel and Collector; Hridayam Oru Kshetram; Manimuzhakkum; Missi; Mohini Attam; Nee Ente Lahari; Nurayum Pathayum; Panchamrutham; Ponn; Rathriyile Yatrakar; Romeo; Sarvekkalu; Udyanalakshmi; Vanadevatha; Chuvanna Vithukal; 1977: A Nimisham; Acharam Ammini Osaram Omana; Agni Nakshatram; Akale Akasam; Anandam Paramanandam; Anjali; Chakravarthini; Chaturvedam; Guruvayoor Kesavan; Innale Innu; Itha Ivide Vare; Karnaparvam; Kavilamma; Lakshmi; Minimol; Nalumani Pookkal; Needhi Peedham; Oonjal; Pennpuli; Rajani; Rendu Lokam; Rowdy Rajamma; Saghakkale Munottu; Samudram; Satyavan Savithri; Shri Murugan; Sridevi; Varadakshina; Veedu Oru Swargam; Vidarunna Mottugal; Aniyara; 1978: Nakshatrangale Kaval; Anappachan; Aazhi Alayazhi; Adimakachavadam; Amarsham; Ammuvinte Atinkutty; Avalakku Maranamilla; Avar Jeevikkunu; Ee Manohara Theeram; Jnan Jnan Mathram; Iniyum Puzha Ozhukum; Kadathanattu Maakkam; Mudra Mothiram; Nivedyam; Padasaram; Rappadigalude Gatha; Rajan Paranja Katha; Rathi Nirvedham; Satrathil Oru Rathri; Snehikkan Oru Pennu; Thampuratti; Tharu Oru Janmam Koodi; Vadagaikku Oru Hridayam; Vayanadan Thampan; Vilakkum Velichavum; Yeetta; 1979: Sanghaganam; Allavudeenum Albutha Velakkum/Allavudeenum Arputha Vilakkum/Alladdin and the Wonderful Lamp; Anubhavangale Nandi; Iniyethra Sandhyakal; Hridayathinte Nirangal; Lahari; Manavadharmam; Manninte Maril; Mochanam; Nilathamara; Ormayil Nee Mathram; Sharapanjaram; Thirayum Thiravum; Veerabhadran; Vellayanni Paramu; Ward No. 7; 1980: Akalangalil Abhayam; Chakara; Chora Chuvanna Chora; Digvijayam; Evar; Ishtamanu Pakshe; Kalika; Lava; Meen; Nattuchakkiruttu; Palattu Kunjikannan; Pavizha Muthu; Prakatanam; Rajanigandhi; Salini Ente Kuttukari; Suryadaham; Swathu; 1981: Ira Thedunna Manushyan; Kathayariyathe; Maniyan Pillai Athava Maniyan Pillai; Nidra; Parankimala; Swarangal Swapnangal; Thalam Manasinte Thalam; Theekali; Vayal; Charam; 1982: Amritha Geetham; Angachamayam; Asthi; Keni; Madrasille Mohan; Odukkam Thudakkam; Swapname Ninakku Nandi; Veedu; 1983: Eetapuli; Himavahini; Kattaruvi; Oru Madaupravinte Katha; Thimingalam; Kodugal Illatha Kolam; Pudhiya Varavu; Villainpur Matha; 1984: Ningalil Oru Stree; Poomadathu Pennu; Vellom; Vikatakavi; 1985: Ee Thalamura Inganna; Kochuthemmadi; Shri Narayana Guru; Chidambaram; 1987: Ivide Ellavarkkum Sukham; Thoranam; 1988: Innaleyude Baaki; 1989: Utsavapittennu; Thangachi Kalyanam.

DEVARE, NARAYAN GOPINATH (1899–1954)

Bombay-based cinematographer and director of the silent period; born in Bombay. Son of the court photographer Gopinath Devare. Studied photography and cinematography in Europe (1918–20); returned to India (1921) and worked briefly in his father’s studio before joining Kohinoor as a technician in the early 20s, where he worked with his cousin Gajanan Shyamrao Devare, also a cameraman and director. N.G. Devare has been credited with directing films he shot for Kanjibhai Rathod and Homi Master. He also shot Telephone Ni Taruni (1926), pioneering location shooting at the Grant Road Telephone Exchange in Bombay, and Bhaneli Bhamini and Gunsundari (both 1927). Turned director in 1927. Virtually ran Kohinoor when it became the employee-run Kohinoor U.A. (1928), establishing his own N.G. Devare Prod, in 1933, but the venture collapsed. Several film-makers were apprenticed to him, e.g. the then-cameraman V.M. Vyas for Zakhmi Jigar and Jaswantlal for Ulfat-e-Mohammed. Recorded his version of this controversial period in Kohinoor’s history and of the silent studios in the film Daily Mail. Co-directed a few Hindi and Marathi films in the late 30s and 40s with Homi Master (e.g. Punjab Lancers) and Sarpotdar (Sant Janabai). His cousin G.S. Devare had become a prominent cameraman with films such as Bhakta Vidur (1921), Kala Naag (1924), Fankdo Fituri and Lanka Ni Laadi (both 1925). As a director, G.S. Devare was associated with J.B.H. Wadia and later ran a film processing laboratory. The two Devares co-directed the Marathi film Raigad.

FILMOGRAPHY: 1927: Be Ghadi Mouj; Sati Madri; 1928: Naag Padmini; Tajayali Taruni; Bharmayalo Bharthar; Princess Rajba; 1929: Baghdad Nu Baharvatiyo; Zakhmijigar; Ulfat-e-Mohammed; Mumbaino Satodio; Nirdoshi Abla; 1930: Daily Mail; Baharvatiyo Ni Beti; 1931: Afghan Abla (all St); 1934: Sant Tulsidas; Neki Ka Taj; 1935: Rang Bhoomi; 1937: Punjab Lancers; 1938: Sant Janabai; 1939: Saguna Sarasa; 1940: Raigad; 1947: Ghar Ki Bahu.

DEVI, ANJALI (B. 1927)

Telugu/Tamil/Hindi actress born in Peddapuram, East Godavari Dist. as Anjani Kumari. Started on the Telugu stage aged 10 under her future husband, composer Adi Narayana Rao, who instructed her in music and dance. Also stage actress with the Young Men’s Happy Club. Performed in plays like Srinivasa Kalyanam and Premavijayam and gave live dance shows. Film début in C. Pullaiah’s Gollabhama playing the vamp Mohini. Early roles continued the ‘vamp’ image (e.g. Balaramaiah’s Balaraju, Keelugurram, R. Padmanabhan’s Raksharekha, T.R. Sundaram’s Sarvadhikari). These directors, and Raghavaiah, were associated with her early career, and her best-known screen image, e.g. in the famous Swapna Sundari playing a heavenly damsel descending to earth, followed by hits like Raghavaiah’s Anarkali (which ran for 100 weeks) and Suvarna Sundari, T.R. Raghunath’s Kanavane Kan Kanda Daivam and P. Neelakantan’s Chakravarthi Thirumagal, which made her a top female Telugu and Tamil star for several years. Often acted with Telugu superstars A. Nageshwara Rao and NTR and, in Tamil, with MGR and Gemini Ganesh. Started Ashwini Pics in 1949 in partnership with A. Nageshwara Rao and Gopala Rao which in 1951 became Anjali Pics Studio, in partnership with her husband Adi Narayana Rao débuting with Prasad’s Poongothai/Paradesi. In the 70s mainly played mother roles. Vice-president of the South Indian Film Chamber of Commerce (1950–51).

FILMOGRAPHY: 1947: Gollabhama; Mahatma Udhangar; 1948: Balaraju; Madalasa; Adithan Kanavu; 1949: Raksharekha; Keelugurram/Maya Kudhirai; Kanniyin Kathali; Mangayar Karasi; Mayavathi; 1950: Maya Rambha; Palletoori Pilla; Shri Lakshmamma Katha; Swapna Sundari; Praja Rajyam; 1951: Strisahasam; Mayalamari/Mayakkari; Nirdoshi/Niraparadhi; Tilottama/Mayamalai; Sarvadhikari; Marmayogi/Ek Tha Raja; 1952: Pedaraitu; 1953: Pakkinti Ammayi; Poongothai/Pardesi; Ladki; Shuk Rambha; 1954: Annadata; Ponnavayal/Bangaru Bhoomi; Rechukka; Sangham; Sorgavasal; Ratha Pasam; 1955: Anarkali; Jayasimha/Jaisingh; Santosham/Naya Admi; Vadinagari Gajulu; Kanavane Kan Kanda Daivam; Mudhal Thedi; Town Bus; 1956: Naga Panchami; Jayam Manade; Ilavelpu; Mathar Kula Manikam/Charanadasi; Devata; 1957: Ustad; Peddarikalu; Allavudeenum Arputha Vilakkum/Allauddin Adbhuta Deepam/Alladdin Ka Chirag; Suvarna Sundari/Manalane Mangayin Bhagyam; Sati Ansuya; Panduranga Mahatyam; Chakravarthi Thirumagal; 1958: Chenchulakshmi; Shobha; Raja Nandini; Aadapettanam; Bhuloka Rambha/Bhuloka Rambhai/Pareeksha; 1959: Pelli Sandadi/Kalyana Penn; Jayabheri; Balanagamma; Naan Solium Rahasiyam; Kalaivanan; Pachai Malai Kurathi; 1960: Kuladaivam; Rani Ratnaprabha; Bhatti Vikramarka; Runanubandham; Adutha Veetu Penn; Advantha Daivam; Engal Selvi; Mannathai Mannan; 1961: Shanta; Sati Sulochana; Bhakta Jayadeva; Saugandh; Pachani Samsaram; Pankalikal; 1962: Bhishma; Swarnamanjari/Mangayir Ullam Mangada Selvam; Naag Devata; 1963: Lavakusa; Paruvu Pratishthalu; Raj Mahal; 1964: Varasatwam; En Kadamai; Sati Savitri; Phoolon Ki Sej; 1965: Poomalai; Ennathan Mudivu; Sati Sakkubai; 1966: Palnati Yuddham; Chilaka-Gorinka; Bhakta Potana; Hantakulostunnaru Jagratha; Shri Krishna Tulabharam; Dr Anand; Rangula Ratnam; 1967: Bhakta Prahlada; Chadarangam; Kambojaraju Katha; Nirdoshi; Private Master; Rahasyam; Sati Sumati; Stree Janma; Vasantsena; 1968: Lakshminivasam; Challani Needa; Kumkumabharina; Mana Samsaram; Sati Arundhati; Veeranjaneya; 1969: Adarsha Kutumbam; Shri Rama Katha; Bhale Mastaru; Bandhipotu Bhimanna; 1970: Amma Kosam; Desamante Manushuloi; Agni Pareeksha; Raithe Raju; 1971: Suputhrudu; Bangaru Kutumbam; Pagabattina Paduchu; Kalyana Mandapam; Vikramarka Vijayam; Raitu Kutumbam; 1972: Mathru Murthi; Vamsodharakudu; Manchi Roju Lostai; Kodalu Pilla; Vichitra Bandham; Maa Inti Velugu; Badi Panthulu; Kalam Marindi; Vooriki Upakari; Tata Manavadu; Shanti Nilayam; Bava Diddina Kapuram; Akka Tammudu; Bala Bharatam; 1973: Kanna Koduku; Talli Kodukulu; Nindu Kutumbam; Sreevaru Maavaru; Bhakta Tukaram; Minor Babu; Mayadari Malligadu; Abhimanavanthulu; Vakkuruthi; 1974: Intinti Katha; Manchi Manushulu; Deeksha; Peddalu Marali; Manushilo Devudu; Uttama Illalu; Krishnaveni; Chakravakam; Palle Paduchu; Urmai Kural; 1975: Gunavanthudu; Raktha Sambandhalu; Challani Talli; Gajula Kishtayya; Soggadu; Pichimaraju; 1976: Monagadu; Vadhu Varulu; Mahakavi Kshetrayya; Magaadu; Devude Gelichadu; Raja; 1977: Kurukshetramu; Sati Savitri; Seeta Rama Vanavasu; Ee Tharam Manishi; Bangaru Bommalu; Geetha Sangeetha; 1978: Allari Bullodu; Anna Dammula Saval; Ramakrishnulu; Dudubasavanna; Simha Baludu; Anukunnadhi Sadhishta; Angadi Bomma; K.D. No. 1; Kannavari Illu; Simha Garjana; 1979: Shri Tirupati Venkateswara Kalyanam; Amma Evarikaina Amma; Judagadu; Tiger; Sangham Chekkina Silpalu; Annai Oru Alayam; Mande Gundelu; 1980: Adrushtavandhudu; Devudichina Koduku; Shri Venkateshwara Vrata Mahatyam; Bhale Krishnudu; Chandi Priya; Ram Robert Rahim; Shri Vasavi Kannika Parameshwari Mahatyam; 1981: Guru Shishyulu; Puli Bidda; Jeevitha Ratham; Bhogimanthulu; 1982: Swayamvaram; 1983: Amayukudu Kadhu Asadhyudu; Lanke Bindelu; Poratham; 1984: Pozhudu Vidinachu; Dongalu Baboi Dongalu; 1985: Atmabalam; Kutumba Bandham; Shri Shirdi Saibaba Mahatyam; Surya Chandra; Mangalya Balam; 1989: Krishnagari Abbayi; Chinnari Sneham; Ashoka Chakravarthi; 1992: Brindavanamu; 1993: Anna Vadina;

DEVI, ARUNDHATI (1923–90)

Aka Arundhati Mukherjee (when married to film-maker Prabhat Mukherjee). Bengali actress, director and musician born in Barisal (now Bangladesh). Studied music at Shantiniketan, and acted as a child aged 6 in several Tagore plays directed by the poet himself (Dakghar, Mayar Khela, Tasher Desh et al.). Promising singer of the Rabindra Sangeet, trained by Sailajaranjan Majumdar; also featured in the stage production of Tagore’s Balmiki Pratibha (1943). Film début as actress in Kartick Chattopadhyay’s travelogue Mahaprasthaner Pathey/Yatrik. As an actress, her poised self-assertiveness was often used to exemplify the ‘strong-willed’ characteristics of e.g. Bankimchandra Chattopadhyay’s ‘nobina’ or ‘new woman’, e.g. playing the hero’s wife in Jotugriha. Best-known screen role: Bhagini Nivedita, a nationalist biopic about Sister Nivedita. The film used the actress’s bhadralok image to convert its subject into a chaste Hinduised martyr. Turned director with Chhuti; directed, scripted and scored films from well-known literary works. Her last film, Gokul was a TV featurette. Became an independent producer with her Anindiya Chitra (1969). Later married Tapan Sinha and acted in several of his films, e.g. Kshudista Pashan, Jhinder Bandi and Jotugriha; also costume designer for Sinha’s Adalat-o-Ekti Meye.

FILMOGRAPHY: (* only d/** also music d) 1952: Mahaprasthaner Pathey/Yatrik; 1954: Naad-o-Nadi; Sati; Bokul/Bakul; Shoroshi; 1955: Prashna; Godhuli; Dashyumohan; Du-Janay; 1956: Taka-Ana-Pai; Chalachal; Maa; Nabajanma; 1957: Mamata; Panchatapa; 1958: Shikar; Kalamati; 1959: Janmantar; Bicharak; Shashi Babur Sansar; Pushpadhanu; Kichhukshan; 1960: Akash-Patal; Kshudista Pashan; Indradhanu; 1961: Jhinder Bandi; 1962: Bhagini Nivedita; Shiulibari**; 1963: Nyayadanda; 1964: Jotugriha; 1965: Surer Agun; 1967: Chhuti*; 1969: Megh-o-Roudra*; 1972: Padi Pishir Barmi Baksha*; 1975: Harmonium; 1983: Deepar Prem*; 1985: Gokul*

DEVI, B. SAROJA (B. 1945)

Top 60s star in Tamil, Telugu and Kannada cinemas. Associated mainly with sentimental melodrama. Also worked in several Hindi films. Early career in mythologicals after she was spotted by Honnappa Bhagavathar who cast her in Mahakavi Kalidasa. Telugu début with NTR in the National Art Theatres’ mythological, K. Kameshwara Rao’s Panduranga Mahatyam; later acted with NTR in several other Telugu films. Became a superstar with the MGR Tamil hit Nadodi Mannan, after which she did many films with him, incl. a few in which she played the dominant role (e.g. Thayi Sollai Thatthathe). Acted in over 160 films in four languages. Was Chairperson of the Karnataka Film Development Corp. and the Kanteerava Studios, Bangalore. Her main directors include Panthulu (School Master, Ratnagiri Rahasya, Kittur Chanamma), K.V. Reddy and A. Bhimsingh.

B. Saroja Devi and Ajit in Opera House (1961)

FILMOGRAPHY: 1955: Mahakavi Kalidasa; Ashadabhooti; Shrirama Pooja; 1956: Kacha Devyani; Kokilavani; Pancharathna; 1957: Chintamani; Ratnagiri Rahasya/Tangamalai Rahasyam; Manalane Mangayin Bhagyam; Panduranga Mahatyam; 1958: Illarame Nallaram; Manamulla Maratharam; Nadodi Mannan; Shabash Meena; Sengottai Singam; Thedi Vantha Selvam; Thirumanam; Bhukailasa; Bhuloka Rambha/Pareeksha; Anna Thangi; School Master/Badi Panthulu; 1959: Jagajyothi Basaveshwara; Paigham; Pelli Sandadi/Kalyana Penn; Bhagapirivanai; Kalyana Parisu; Kudivazhanthal Kodi Nanmai; Ore Velaiyadu Papa; President Panchatcharam; Vazha Vaitha Daivam; 1960: Ellorum Innattu Mannar; Irumputhirai; Kairasi; Parthiban Kanavu; Vidiveli; Yanai Pagan; Pelli Kanaka; Bhakti Mahima; 1961: Seeta Rama Kalyanam; Intiki Deepam Illale; Jagadeka Veeruni Katha/Jagathala Prathapan; Mahout; Opera House; Sasural; Kittur Chanamma/Rani Chanamma; Vijayanagarada Veeraputra; Palum Pazhamum; Panithirai; Thayi Sollai Thatthathe; Thirudathe; Krishna Kuchela; 1962: Adiperaku; Alayamani; Kudumba Thalaivan; Madappura; Pasam; Parthal Pasi Theerum; Thayai Katha Thanayan; Valar Pirai; Devasundari; Hong Kong; Shri Krishnarjuna Yuddham; 1963: Pyar Kiya To Darna Kya; Manchi Chedu; Iruvar Ullam; Kalyanin Kanavan; Kulamangal Radhai; Needukkupin Pasam; Panathottam; Periya Idathu Penn; 1964: Daivathai; En Kadamai; Padakotti; Panakara Kudumbam; Pasamum Nesamum; Pudhiya Paravai; Thayin Madiyil; Vazhkai Vazhvadarke; Atmabalam; Dagudu Moothulu; Beti Bete; Dooj Ka Chand; Amarashilpi Jakanachari/Amarashilpi Jakanna; 1965: Prameelarjuneyam; Beretha Jeeva; Todu Needa; Asai Mukham; Enga Veetu Pillai; Kalankari Vilakkam; 1966: Anbe Vaa; Nadodi; Naan Anaittal; Parakkum Pavai; Petral Than Pillayya; Thali Bhagyam; Shakuntala; Preet Na Jane Reet; 1967: Arasa Kattali; Penn Entral Penn; 1968: En Thambi; Panama Pasama; Thamarai Nenjam; Umachandi Gauri Shankarula Katha; Arunodaya/Arunodhayam; 1969: Mallammanna Pavada; Anbalipu; Thanga Malar; Odum Nadhi; Anjal Petty 520; Kulavilakku; Aindhu Laksham; 1970: Kanmalar; Sinehithi; Malathi; Lakshmi Saraswati; Vijayam Mande; Mayani Mamata; 1971: Purnima; Papa Punya; Thande Makkalu; Nyayave Devaru; Shri Krishna Rukmini Satyabhama; Thenum Palum; Uyir; 1972: Shakti Leela; Hari Darshan; Pandanti Kapuram; Mathru Murthi; 1973: Sahadharmini; 1974: Pathumatha Bandham; Chamundeshwari Mahime; Gruhini; Shri Srinivasa Kalyana; Manushilo Devudu; Shri Ramanjaneya Yuddham; 1975: Gunavanthudu; Bhagya Jyothi; Katha Sangama; 1976: Chiranjeevi; 1977: Daana Veera Shura Kama; Seetarama Vanavasu; Babruvahana; Bhagyavantharu; Shri Renukadevi Mahatme; Shani Prabhava; 1978: Parsuraman; 1980: Guru Sarvabhowma Shri Raghavendra Karune; 1981: Nammina Thayi Annamma; 1984: Guru Bhakti; Yarivanu?; Rudranaga; 1985: Thayi Thande; 1988: Poovukkul Pookambalam; Ladies’ Hostel; 1989: Ponmana Selvan; Ore Thayi Ore Kulam; Dharma Devan; Guru; 1990: Bhale Chatura; Yamadharma Raju; 1991: Alludu Diddina Kapuram; 1992: Apathbandhavudu; 1993: Paramparyam; 1994: Mahashakti Maye; 1995: Puttmalli.

DEVI, CHHAYA (B. 1914)

Bengali actress, born in Bhagalpur; her family was associated with the performing arts. Related to Hindi star Ashok Kumar. Early lessons in classical Hindustani music from Bundi Ustad and in Calcutta from K.C. Dey who introduced her in Debaki Bose films. First lead role in Sonar Sansar. Achieved a national reputation as Rani Lakshmibai in Bidyapati. Performed on AIR as a singer. Her demure but seductive style managed to convey sexually charged messages through devotional gestures. Early films mainly with Jyotish Bannerjee. Often formed a screen pair with Chhabi Biswas. Later developed a formidable actorial presence, notably in Tapan Sinha films (Nirjan Saikate, Hatey Bazarey, Apanjan) and Arundhati Devi’s Padi Pishir Barmi Baksha. Acted in early Mrinal Sen (Raat Bhore, Abasheshe). Also sang in some films, e.g. Rikta, Amar Geeti, Harmonium.

FILMOGRAPHY: 1936: Pather Sheshey; Sonar Sansar/Sunehra Sansar; Prabas Milan; Chino Haar; 1937: Ranga Bou; Bidyapati/Vidyapati; 1938: Bekar Nashan; Halbangala; Khana; 1939: Tumhari Jeet; Janak Nandini; Debjani; Rikta; Vaman Avatar; Jakher Dhan; 1940: Abhinetri/Haar Jeet; Swami Stri; Amar Geeti; 1941: Banglar Meye; 1942: Chowringhee; Pativrata; Avayer Biye; Mera Gaon; 1943: Shri Ramanuja; Samadhan; 1944: Bideshini; Samaj; 1945: Stree Durga; Bondita; 1946: Uttara Abhimanyu; 1947: Jharer Parey; Burmar Pathey; 1948: Anirban; Bish Bichar Agey; Dhatri Debata; Mahakal; 1949: Abhijatya; Abhimaan; 1950: Indranath; Apabaad; Sati Simantini; Mahasampad; 1951: Ratnadeep/Ratnadeepam; 1953: Chirantani; 1954: Maa-o-Chhele; 1955: Sanjher Pradeep; Bratacharini; Era Bator Sur; 1956: Raat Bhore; Saheb Bibi Golam; Sadhana; He Maha Manab; Shankar Narayan Bank; Trijama; Rajpath; Daner Maryada; Shubha Lagna; 1957: Bardidi; Shesh Parichaya; 1958: Bagha Jatin; Marmabani; 1959: Shri Radha; Gali Theke Rajpath; Bhranti; Shubha Bibaha; 1960: Saharer Itikatha; 1961: Manik; Sadhak Kamalakanta; Agni Sanskar; Swayambara; Pankatilak; Saptapadi; 1962: Bipasha; Kancher Swarga; Atal Jaler Ahwan; Dada Thakur; Abasheshe; 1963: Nisithe; Saat Pake Bandha; Nirjan Saikate; Shesh Prahar; Uttar Falguni; Deya Neya; Kanchan Kanya; Barnali; 1964: Bibhas; Natun Tirtha; Arohi; 1965: Thana Theke Aschhi; Antaral; Raja Rammohun; Surya Tapa; Mukhujey Paribar; Eki Ange Eto Rup; Tu Hi Meri Zindagi; 1966: Galpa Holeo Satti; Harano Prem; Kanch Kata Hirey; Manihar; Pagal Thakur; Mamata; 1967: Akash Chhoan; Ajana Shapath; Antony Firingee; Hatey Bazarey; Kedar Raja; Mahashweta; 1968: Apanjan; Baghini; Charan Kabi Mukundadas; Neel Kamal; 1969 Andhar Surya; Arogyaniketan; Balak Gadadhar; Chena Achena; Maa-o-Meye; Mon-Niye; Parineeta; Pita Putra; Protidan; Sabarmati; 1970: Kalankita Nayak; Muktisnan; Pratham Kadam Phool; Duti Mon; Megh Kalo; Rajkumari; 1971: Kuheli; 1972: Padi Pishir Barmi Baksha; Shesh Parba; Zindagi Zindagi; Haar Mana Haar; 1973: Roudra Chhaya; Shesh Pristhay Dekhun; 1974: Alor Thikana; Debi Choudhrani; Sujata; 1975: Chhoto Nayak; Harmonium; Kajal Lata; Nagar Darpane; Harano Prapti Niruddesh; Swayamsiddha; Sei Chokh; Phool Sajya; 1976: Ek Je Chhilo Desh; Pratisruti; Rajbansha; Mom Batti; 1977: Brajabuli; Babu Moshai; Ae Prithibi Pantha Niwas; Jaal Sanyasi; Pratima; Proxy; Alaap 1978: Dhanraj Tamang; Maan Abhiman; Nadi Theke Sagare; Singhdwar; Karunamayi; Pronoy Pasha; 1979: Arun Barun-o-Kiranmala; Nabadiganta; Mother; Samadhan; 1980: Aro Ekjan; Raj Nandini; Pipasa; Bandhan; 1981: Surya Sakhi; Faisla; Samarpan; Manikchand; Nyay Anyay; Subarnalata; Kalankini; 1982: Raj Bodhu; Bandini Kamala; Simanta Raag; Agradani; 1983: Chena Achena; Rang Birangi; Prayashchitta; Deepar Prem; Srinkhal; 1984: Didi; Lal Golap; Rashifal; 1985: Hulusthul; Kenaram Becharam; 1987: Apan Ghare; Pratikar; Swarnamoir Thikana; 1988: Boba Sanai; 1993: Tomar Rakte Amar Sohag.

DEVI, KANAN (1916–92)

Actress and singer; started with the name Kananbala. Début as child actress in Joydev. Later contracted to Radha Films where she acted in Jyotish Bannerjee films (e.g. Manmoyee Girls’ School). P.C. Barua was unable to obtain her for the role of Paro in Devdas (1935) but she played the lead in his next film, Mukti, which made her a star and launched her long association with New Theatres. The success of Bidyapati, esp. her duets with K.C. Dey, made her the top star of this studio 1937–40. An untrained singer when she entered films, she later studied briefly with Ustad Allah Rakha at Lucknow. Employed as singer at Megaphone Gramophone receiving further training from Bhishmadev Chatterjee, possibly responsible for her distinctive Bengali style. Later learnt Rabindra Sangeet with Anadi Dastidar. She considered Rai Chand Boral to be her real teacher. One of the few New Theatres lead players not to have a stage background, her impact on Bengali film paralleled Shanta Apte’s on Marathi cinema, departing from proscenium frontality and privileging synchronous speech. Her singing style, usually in rapid tempo, is still identified with some of the biggest studio era hits (esp. Bidyapati, Street Singer, Sapurey). Resigned from New Theatres (1941) and freelanced in Bengali and Hindi films. Turned producer with Shrimati Pics (1949); later launched the Sabhyasachi collective with the film Ananya (cf. Ajoy Kar). Wrote an autobiography, Sabare Ami Nomi (1973). The Marxist economist and noted columnist Ashok Mitra took her as an example to comment on the élitism of pre-Independence Calcutta society in his ‘Calcutta Diary’ (Economic and Political Weekly, 1–8 August 1992), describing her ‘Eliza Doolittle’ transformation from the illegitimate Kananbala into the glamorous Kanan Devi, stardom and her first marriage to the brother-in-law of the economist Prasanta Chandra Mahalanobis making her a member of Calcutta’s cultural élite.

FILMOGRAPHY: 1926: Joydev (St); 1931: Jore Barat; Rishir Prem; 1932: Vishnu Maya; 1933: Char Darvesh; Shri Gouranga/Shri Gouranga Leela; 1934: Maa; 1935: Basabdatta; Manmoyee Girls’ School; Kanthahaar; 1936: Krishna Sudama; Khooni Kaun; Bishabriksha; 1937: Mukti; Bidyapati/Vidyapati; 1938: Street Singer/Saathi; 1939: Sapurey/Sapera; Jawani Ki Reet/Parajay; 1940: Abhinetri/Haar Jeet; 1941: Parichay/Lagan; 1942: Shesh Uttar/Jawab; 1943: Jogajog/Hospital; 1944: Bideshini; 1945: Banphool; Raj Lakshmi; Path Bendhe Dilo; 1946: Arabian Nights; Krishna Leela; Tumi Aar Ami/Turn Aur Main; 1947: Faisla; Chandrasekhar; 1948: Anirban; Bankalekha; 1949: Ananya; Anuradha; 1950: Mejdidi; 1951: Darpachurna; 1954: Nababidhan; 1955: Devatra; 1956: Asha; 1959: Indranath Srikanta-o-Annadadidi.

DEVI, SARASWATI (1912–80)

Music director born as Khursheed Manchershah Minocher-Homji. Student of V.N. Bhatkhande’s music school, Sharada Sangeet Vidyalaya. Specialised in Dhrupad and Dhamar music. Ran popular late 20s orchestra group, Homji Sisters, performing on Indian Broadcasting Company, Bombay, where she sang to the accompaniment of sitar, mandolin, dilruba and organ. These instruments also feature prominently in her film compositions. Associated mainly with Bombay Talkies. In her first film she refused to appear as a singer, dubbing her elder sister Manek instead. Her major achievement was probably to persuade star Devika Rani to sing. Several of her best-known songs, rendered in film by amateur singers Ashok Kumar and Rani, succeeded because of their nursery rhyme simplicity (e.g. Main ban ka panchi in Achhut Kanya, Chali re meri nao in Jhoola). Worked briefly with Sohrab Modi after leaving Bombay Talkies. Also scored Jaswantlal’s hit musical Amrapali. Collaborated at times with Ramchandra Pal on music.

FILMOGRAPHY: 1935: Jawani Ki Hawa; 1936: Achhut Kanya; Janmabhoomi; Jeevan Naiya; Mamata; Miya Bibi; 1937: Izzat; Jeevan Prabhat; Prem Kahani; Savitri; Nirmala; 1938: Bhabhi; Vachan; 1939: Durga; Kangan; Navjeevan; 1940: Azad; Bandhan; Punar Milan; 1941: Jhoola; Naya Sansar; 1943: Bhakta Raidas; Prarthana; Prithvi Vallabh; 1944: Dr Kumar; Parakh; 1945: Amrapali; 1946: Maharani Meenal Devi; 1947: Khandani; 1948: Naqli Heera; 1949: Usha Haran; 1950: Kunwara Pati; 1961: Babasa Ri Laadi.

DEVI, SEETA (B. 1912)

Stage name of actress Renee Smith. Became a star as the exotic Oriental in Himansu Rai’s Prem Sanyas. Played the ‘other woman’ in Shiraz and the heroine in Prapancha Pash. Thereafter worked with Priyanath Ganguly and Madan Theatres films. Also worked with Niranjan Pal and Naval Gandhi. The silent cinema scholar Virchand Dharamsey suggests that both Renee Smith and her sister Percy Smith may have appeared as ‘Seeta Devi’.

FILMOGRAPHY: 1925: Prem Sanyas; 1926: Krishnakanter Will; 1927: Durgesh Nandini; 1928: Sarala; Shiraz; The Loves of a Mughal Prince; 1929: Kapal Kundala; Prapancha Pash; 1930: Naseeb Ni Balihari; Kal Parinaya; Bharat Ramani; 1931: Kashmir Nu Gulab (all St); 1932: Shikari.

DEVI, SITARA (B. 1919)

Actress born in Calcutta. One of the foremost exponents of classical Kathak dance, with notable appearances as a dancer in early Mehboob films. Daughter of Sukhdev Maharaj of Benares, former court musician at Nepal, she was trained by her father and by Achan Maharaj at the palace of the Rajah of Mymensingh and later by Kathak maestros Shambhu and Lachhu Maharaj. Entered films as a child actress at Sagar where she first worked with Mehboob, with whom she later did her best-known films. Turned lead player with his Watan. Salaried artist at Ranjit Studio, working with Chandulal Shah (Achhut) and on some famous films by Kardar (Holi, Pagal, Pooja). Her amazingly lively performance as a ‘tribal’ practising primitive communism and Anil Biswas’ music were responsible for the successful use of the parable form in Roti. Married K. Asif and acted in his Phool.

FILMOGRAPHY: 1931: Digvijay (St); 1933: Aurat Ka Dil; 1934: Anokhi Mohabbat; Shaher Ka Jadoo; Vasantsena; 1935: Azad Abla; Judgement of Allah; Vengeance is Mine; Registan Ki Rani; 1936: Grihadah/Manzil; Prem Bandhan; Zan Mureed; 1937: Begunah; Calcutta after Midnight; Jeevan Swapna; Kokila; Mahageet; 1938: Baghban; Professor Waman M.Sc.; Watan; 1939; Meri Aankhen; Nadi Kinare; Pati Patni; 1940: Achhut; Aaj Ka Hindustan; Haiwan; Holi; Pooja; Pagal; Zindagi; 1941: Swami; 1942: Dhiraj; Dukh Sukh; Kalyug; Roti; Society; 1943: Aabroo; Andhera; Bhalai; Chhed Chhad; Najma; Salma; 1944: Chand; Dr Kumar; Phool; 1945: Badi Maa; Parinde; 1947: Amar Asha; 1949: Lekh; 1950: Bijli; 1951: Hulchul; 1957: Anjali.

Devika Rani see Rani Choudhury, Devika

Sitara Devi in Hulchul (1951)

DEY, KRISHNA CHANDRA (1893–1962)

Music director and actor born in Calcutta, mostly credited as K.C. Dey. Blind from age of 14. Taking advantage of e.g. the 19th C. playwright Girish Ghosh’s use of blind and mad characters as a kind of chorus, following a convention in Bengali Jatra theatre, Dey often played an itinerant blind singer in New Theatres films (e.g. Chandidas, Bidyapati, Devdas). He was trained in classical music but was considered mainly a master of the keertan form. Major stage reputation with Sisir Bhaduri, with whom he first appeared in 1924 in Basanta Leela (role of Basant-doot or the Herald of Spring) and Seeta (as Baitalik). Partner in Rungmahal Theatre with actor Rabindra Mohan Roy (1931–41) where he scored several plays such as Bhaduri’s Shri Shri Vishnupriya (1932). Early films include A.R. Kardar’s productions at East India Film. Worked in several Hindi films in Bombay as actor and music composer. Hit solos in Devdas, Bidyapati and Dhoop Chhaon rank as all-time favourites. Nephew is playback singer Manna Dey.

FILMOGRAPHY (* act only/** also act): 1932: Chandidas*; 1933: Nala Damayanti*; Puran Bhakt*; Sabitri*; Abe Hayat; 1934: Kismet Ki Kasauti**; Seeta**; Chandragupta; Shaher Ka Jadoo**; Grihalakshmi*; 1935: Inquilab*; Devdas*; Dhoop Chhaon/Bhagya Chakra*; Bijoya*; Biraha; Bidrohi; Bidyasundar; Prafulla; 1936: Sonar Sansar/Sunehra Sansar; Paraparey; Maya*; Pujarin*; Grihadah/Manzil*; 1937: Ambikapathy; Bidyapati/Vidyapati*; Milap; Ranga Bou; 1938: Desher Mati/Dharti Mata*; 1939: Sapurey/Sapera*; Sharmistha; Chanakya**; 1940: Alochhaya/Aandhi**; 1942: Mera Gaon**; Tamanna; Meenakshi*; Nari*; 1943: Andhera*; Mohabbat*; Badalti Duniya**; 1944: Suno Sunata Hoon**; Insaan*; 1945: Devadasi**; 1946: Insaaj*; Shravan Kumar*; Door Chalein**; 1948: Anirban*; 1953: Raakhi**; 1957: Madhu Malati*; Ektara*.

DEY, NIRMAL (B. 1913)

Bengali director born in Mymensingh (now Bangladesh). Graduate in fine arts. Published short fiction in the 30s. Assisted Bimal Roy at New Theatres as cameraman, later sharing joint screenplay credit with him for Udayer Pathey (1944). Turned director when Murlidhar Chatterjee of MP Prod. persuaded him to give up his self-imposed retirement at Shantiniketan to make Basu Parivar. Débuted with the unfinished but important Bedeni based on a Tarashankar Bannerjee story (Ghatak took it over for a while before it was abandoned). His Sharey Chuattar launched the screen duo of Uttam Kumar and Suchitra Sen, followed by Champadangar Bou and a string of successes. Satyajit Ray rated Sharey Chuattar among the most important early Bengali sound films, regarding the director as the first genuine purveyor of Bengali social comedies. His formal training in the visual arts, literature and photography often yielded dexterous combinations of witty dialogue, inventive acting and a fluid narrative style that rarely resorted to middle-class sentimentalism while evoking, with a sense of self-mockery, its manners and conversational culture. Despite their success, Dey made only a few more films, scripting other film-makers’s work instead, including Gurudas Bagchi’s Samanaral (1970).

FILMOGRAPHY: 1952: Bedeni (incomplete); Basu Parivar; 1953: Sharey Chuattar; 1954: Champadangar Bou; 1955: Du-Janay; 1959: Nirdharita Silpir Anupastithi Tey.

DHAIBER, KESHAVRAO (1890–1978)

Marathi and Hindi director, cameraman and actor born in Kurukali, Kolhapur. After a brief military career as a Lancer and employment as a tax inspector, befriended Baburao Painter and joined Maharashtra Films as a technician in Painter’s Sinhagad (1923). Apprenticed to Damle, co-directed Shantaram’s directorial début Netaji Palkar (1927) and was cameraman for many Shantaram classics. Joined the breakaway Prabhat Film in 1929 as cameraman, e.g. Sinhagad, in which he also acted, and, also in 1933, a colour version of Sairandhri. His best-known Prabhat film is Rajput Ramani, although he remained the least successful of the studio’s regular film-makers. Married the actress Nalini Tarkhad and briefly had his own Jayshri Films (1935) before joining Minerva Movietone as a director (e.g. Akrava Avatar, Ulti Ganga) before rejoining Prabhat as production supervisor (1943–6). Then worked at Famous Studios (1946–7). Tried to start a new independent company at Lucknow, but the business soon collapsed. Made some documentaries, e.g. of the coronation of the Maharaja of Baroda (1940) and assignments for the Maharashtra and Gujarati state governments. Published an autobiography, Eka Zindagichi Patkatha (1967).

FILMOGRAPHY (* act only/** also act): 1925: Savkari Pash*; 1927: Netaji Palkar (co-d V. Shantaram); 1929: Baji Prabhu Deshpande*; 1930: Khooni Khanjar; Rani Saheba** (co-d V. Shantaram); Udaykal (cod V. Shantaram); 1931: Zulm (all St); 1933: Sinhagad*; 1936: Rajput Ramani; 1938: Nandakumar; 1939: Akrava Avatar**; 1942: Ulti Ganga; 1943: Bhakta Raidas; 1949: Ahimsapath; 1958: Sudamyache Pohe.

DHARMADHIKARI, DATTATREYA JAGANNATH (1913–82)

Marathi and Hindi producer-director born in Kolhapur. Doorkeeper at Prabhat (1934), then bit player (1936) and assistant to K. Narayan Kale (Mazha Mulga, 1938), Damle and Fattelal, and V. Shantaram. One of the younger cineastes (e.g. Raja Nene, editor Anant Mane, scenarist Shantaram Athavale and musician Keshavrao Bhole) who left Prabhat (1944) to work collectively in Bombay. Assisted Raja Nene at Mohan Studios, then at Balasaheb Pathak’s Manik Studios. Made first film for Raja Nene’s company, probably co-directed by Nene. Launched Alhaad Chitra (1951–4) which revitalised the Marathi cinema converting the social into very successful stage-inspired weepies (e.g. Chimni Pakhare/Nannhe Munne, Stree Janma Hi Tujhi Kahani), often ending with funerals. This style was continued by e.g. Anant Mane, Datta Mane and Datta Keshav (all from Alhaad Chitra), grafting Hindi All-India film norms on to Marathi cinema. Also worked in Hindi for Homi Wadia’s Basant Studio and at Filmistan. Appeared as actor in Sant Dnyaneshwar (1940). His son Alhaad Dattatreya Dharmadikari, aka Master Alhaad (b. 1947) became a noted child actor in Hindi and Marathi films.

FILMOGRAPHY: 1947: Shadi Se Pehle; 1949: Maya Bazaar; Bala Jo Jo Re; 1951: Kunkvacha Dhani; 1952: Akher Jamla; Chimni Pakhare/Nannhe Munne; Stree Janma Hi Tujhi Kahani; 1953: Bhagyavaan; Saubhagya; Mahatma; 1954: Savdhan; 1956: Sudarshan Chakra; 1957: Aliya Bhogasi; 1959: Deep Jalta Rahe; Pativrata; 1961: Ek Dhaga Sukhacha; Kalanka Shobha; 1962: Kshan Aala Bhagyacha; Saptapadi; Vithu Mazha Lekurvala; 1963: Subhadra Haran; 1964: Vaishakh Vanava; 1967: Thamb Lakshmi Kunku Lavte; 1969: Saticha Vaan; Mujhe Seene Se Laga Lo; 1973: Nasti Uthathev; 1975: Bhakta Pundalik; 1978: Dhakti Mehuni; 1980: Satichi Punyayi.

DHARMARAJ, RABINDRA (1949–82)

Documentarist and Hindi director. Former journalist (e.g. Vietnam War from US perspective) and radio newsreader whose ‘BBC voice’ was later used extensively for strident commentaries by Films Division productions. Joined Pentecostal Church. Moved to Bombay (1971) and assisted Fali Bilimoria, Benegal et al. Did short course in film and video in California. Bombay-based executive in advertising agencies Lintas and Hindustan Thompson (as film-maker). Died soon after the first screening of his only feature, Chakra.

FILMOGRAPHY: 1971: Crisis on the Campus (Sh); 1974: No Tree Grows (Sh); 1976: Indian Airlines … Pride of India (Sh); 1980: Chakra.

DHARMA RAO, TAPI (1887–1973)

Telugu scenarist-lyricist, poet, journalist and literary critic born in Behrampur. Influenced as a student by the historian Gidugu Ramamurthy Panthulu, who advocated a vyavaharika (or demotic) Telugu. Was personal secretary to the Rajah of Bobbili, a Justice Party ideologue for the interests of the zamindar class and Chief Minister of Madras Presidency in the early 1930s. Pursued the notion of a people’s language in his poetry (esp. in Dyayonam, Bhikshapatram, Andhra Tejarri) and in plays like Vilasarjunam, Taptashrukanam and Avanni Kannellena. Wrote essays on historical and cultural issues, e.g. in journals like Samadarshini and Janavani, later collected in his Kottapali Onamalu Sahitya Mormaralu. Worked on films by Ramabrahmam (Malapilla, 1938; Raitu Bidda, 1939). Wrote scripts and lyrics for e.g. L.V. Prasad’s Drohi (1948), B.A. Subba Rao’s Palletoori Pilla (1950) and K.S. Prakash Rao’s Deeksha (1951). A major advocate of a separate state for Telugu-speaking people prior to the formation of Andhra Pradesh. Wrote c.40 scripts and several very popular lyrics. Father of film director Tapi Chanakya.

DHARMENDRA DEOL (B. 1935)

Actor born in Phagwara, Punjab. Former mechanic in a factory. Top Hindi star for three decades. Created an influential image as a markedly North Indian, even specifically Punjabi macho man devoted to his mother and committed to upholding the honour of the family or of the village. Since the mid-70s, after Bachchan’s impact, mainly in action films, occasionally using complicated gadgetry but always emphasising peasant simplicity and beating the villain in physical combat. Since mid-80s, notably in T. Rama Rao’s films but also in other Madras-based Hindi productions, his presence is used mainly to ensure a film’s nationwide distribution in a respectable economic category. His early 60s films, in sharp contrast to his current post-Sholay image, presented a secularised Hindustani version of Bengali literary stereotypes, launched by Bimal Roy’s Bandini and continued in Hrishikesh Mukherjee’s 60s socials (Anupama, Manjhli Didi, Satyakam) and in Phani Majumdar’s Akashdeep. Early 70s work transposed this image into tales of existential suffering (Mohan Segal’s Raja Jani) and into Mukherjee’s whimsical comedies (Guddi, Chupke Chupke) made alongside Pramod Chakravarty and Arjun Hingorani thrillers and films like Vijay Anand’s Blackmail. Currently promoting his son Sunny Deol (e.g. Sunny; Ghayal, 1990); best-known performances of the 90s in J.P. Dutta films.

FILMOGRAPHY: 1955: Railway Platform; 1960: Dil Bhi Tera Hum Bhi Tere; 1961: Boy Friend; Shola Aur Shabnam; 1962: Anpadh; Shadi; 1963: Soorat Aur Seerat; Bandini; Begana; 1964: Aap Ki Parchhaiyan; Aayi Milan Ki Bela; Ganga Ki Lehren; Haqeeqat; Main Bhi Ladki Hoon; Mera Kasoor Kya Hai; Pooja Ke Phool; 1965: Akashdeep; Chand Aur Suraj; Kajal; Neela Akash; Purnima; 1966: Anupama; Aaye Din Bahar Ke; Baharen Phir Bhi Aayengi; Devar; Dil Ne Phir Yaad Kiya; Dulhan Ek Raat Ki; Mamata; Pari; Mohabbat Zindagi Hai; Phool Aur Patthar; 1967: Ghar Ka Chirag; Chandan Ka Palna; Jab Yaad Kisiki Aati Hai; Manjhli Didi; 1968: Aankhen; Baazi; Baharon Ki Manzil; Izzat; Mere Humdum Mere Dost; Shikar; 1969: Soldier; Admi Aur Insaan; Aaya Sawan Jhoom Ke; Pyar Hi Pyar; Satyakam; Yakeen; Khamoshi; 1970: Ishq Par Zor Nahin; Jeevan Mrityu; Kab Kyon Aur Kahan; Man Ki Aankhen; Mera Naam Joker; Sharafat; Turn Haseen Main Jawan; 1971: Guddi; Mera Gaon Mera Desh; Naya Zamana; Rakhwala; 1972: Do Chor; Lalkaar; Raja Jani; Seeta Aur Geeta; Samadhi; Jiban; Anokha Milan; 1973: Blackmail; Jheel Ke Us Paar; Jugnu; Jwar Bhata; Kahani Kismat Ki; Keemat; Loafer; Phagun; Yaadon Ki Baraat; 1974: Dost; International Crook; Kunwara Baap; Patthar Aur Payal; Pocketmaar; Resham Ki Dori; Do Sher; 1975: Teri Meri Ik Jindri; Apne Dushman; Chaitali; Chupke Chupke; Dhoti Lota Aur Chowpatti; Ek Mahal Ho Sapnon Ka; Kehte Hain Mujhko Raja; Pratigya; Saazish; Sholay; 1976: Charas; Maa; 1977: Chacha Bhatija; Do Sholay; Dream Girl; Khel Khiladi Ka; Chala Murari Hero Banne; Dharam Veer; Do Chehre; Tinku; Charandas; Kinara; Swami; 1978: Azad; Dillagi; Phandebaaz; Shalimar; 1979: Dil Ka Heera; The Gold Medal; Kartavya; Chunauti; 1980: Alibaba Aur Chalis Chor; Ram Balram; The Burning Train; Aas Paas; 1981: Qatilon Ke Qatil; Krodhi; Professor Pyarelal; Khuda Kasam; Naseeb; 1982: Badle Ki Aag; Baghavat; Do Dishayen; Ghazab; Main Inteqam Loonga; Meharbani; Rajput; Samrat; Teesri Aankh; 1983: Naukar Biwi Ka; Andha Kanoon; Putt Jattan De; Jaani Dost; Qayamat; Razia Sultan; 1984: Dharam Aur Kanoon; Jagir/Teen Murti; Jeene Nahin Doonga; Jhootha Sach; Raj Tilak; Sunny; Baazi; 1985: Ghulami; Karishma Kudrat Ka; Sitamgarh; 1986: Begana; Main Balwan; Mohabbat Ki Kasam; Savere Wali Gadi; Sultanat; Insaniyat Ke Dushman; Loha; 1987: Aag Hi Aag; Dadagiri; Hukumat; Insaaf Kaun Karega; Insaaf Ki Pukar; Jaan Hatheli Pe; Mard Ki Zabaan; Mera Karam Mera Dharam; Watan Ke Rakhwale; 1988: Khatron Ke Khiladi; Mardon Wali Baat; Soorma Bhopali; Zalzala; Mahaveera; Paap Ko Jalakar Raakh Kar Doonga; Ganga Tere Desh Mein; Sone Pe Suhaaga; Vardi; Aakhri Muqabala; Yateem; 1989: Kasam Suhaag Ki; Nafrat Ki Aandhi; Sachaai Ki Taaqat; Batwara; Elaan-e-Jung; Sikka; Shehzade; Hathyar; Ilaaka; 1990: Pyar Ka Karz; Nakabandi; Humse Na Takrana; Veeru Dada; Sher Dil; Kanoon Ki Zanjeer; Paap Ki Aandhi; 1991: Kaun Kare Qurbani; Mast Kalandar; Dushman Devata; Farishte; Trinetra; Hamla; Kohraa; 1992: Virodhi; Zulm Ki Hukumat; Tahalka; Kal Ki Awaaz; Khule Aam; Kshatriya; Waqt Ka Badshah; 1993: Superman; Kundan; Aag Ka Toofan; 1994: Maha Shaktishali; Juari; Rakhwale; 1995: Maidan-e-Jung; Azmayish; Taaqat; Paapi Devata; Veer; Hum Sub Chor Hain; Fauji; Binani Hove To Isse.

Meena Kumari and Dharmendra in Purnima (1965)

DIXIT, MADHURI (B. 1967)

Hindi actress born in Ratnagiri. The youngest of a Bombay engineer’s four children. Mother was trained in classical music. As a biology student at the Parle College, Madhuri agreed to act in the Hindi film Abodh, which flopped. Also appeared in some episodes of a Doordarshan TV series, Bombay Meri Hai. Her breakthrough came with N. Chandra’s Tezaab, in which she introduced a novel kind of sensuality, mainly via the song ‘Ek do teen’, choreographed by Saroj Khan. Her sensual dances, often exuding sexuality more overtly than had been the convention in Hindi films, guaranteed mass appeal. Performed the suggestive ‘Dhak dhak’ song in Beta and her reputation culminated with the controversial ‘Choli ke peeche’ in S. Ghai’s Khalnayak, which included the piquant question: ‘What’s beneath the blouse?’ Considered by many as the leading female star of the 90s after she catapulted to mega-stardom following Hum Aapke Hain Koun…!, followed by Raja.

FILMOGRAPHY: 1984: Abodh; 1986: Swati; 1987: Hifazat; Uttar Dakshin; Mohre; 1988: Dayavan; Mahasangram; Khatron Ke Khiladi; Vardi; Tezaab; 1989: Ilaka; Mujrim; Paap Ka Ant; Parinda; Prem Pratigya; Tridev; Ram Lakhan; Kanoon Apna Apna; 1990: Diwana Mujhsa Nahin; Dil; Jamai Raja; Jeevan Ek Sangharsh; Izzatdar; Kishan Kanhaiya; Sailaab; Thanedar; Khilaaf Pyar Ka Devata; 1991: 100 Days; Prahaar; Pratikar; Dharavi; Saajan; 1992: Beta; Sangeet; Zindagi Ek Jua; Prem Diwani; Khel; 1993: Khalnayak; Phool; Prem Pooja; Sahiban; Dil Tera Aashiq; Aansoo Bane Angarey; 1994: Anjaam; Hum Aapke Hain Koun…!; 1995: Raja; Paapi Devata; Yaarana.

DMK FILM

Unique and extraordinarily influential type of propaganda cinema pioneered in Tamil Nadu by the Dravida Munnetra Kazhagam (DMK). Histories of the DMK trace the party’s ancestry to 19th C. reform literature in the erstwhile Madras Presidency, where writers like Subramanya Bharati (1882–1921; sometimes considered the greatest modern Tamil poet) extended their reformist politics to advocate a specifically Tamil nationalism. After the establishment of the Justice Party aka the South Indian Liberation Federation (Est: 1917), this nationalism retained a strongly anti-Aryan thrust in its claim to represent the indigenous cultures of South India, attempting e.g. to rewrite Indian history to trace the Tamil influence back to the Indus Valley civilisation. The Justice Party had a strategic alliance with the pro-imperialist landed élite but also advocated bourgeois-democratic reformism opposing e.g. caste oppression. The party broadened its base in Kerala and Andhra Pradesh, esp. when contesting the provincial elections after the Montagu-Chelmsford reforms (1919) on an anti-Brahmin platform. The Party was transformed in the post-WW2 era by one of the most influential politicians in 20th C. Tamil Nadu, Periyar E.V. Ramaswamy Naicker (1879–1973), a former Congress Party member who founded the Self-Respect Movement (1926), a social action group aimed at eradicating Untouchability and caste and advocating an atheist politics. According to Charles Ryerson, at that time the movement deployed five principles: no God, no religion, no Gandhi, no Congress and no Brahmins. In 1944, Periyar transformed the Justice Party into the separatist Dravidar Kazhagam (DK) and later called for India’s first Independence Day in 1947 to be declared a day of mourning, since his demand for an independent Dravida Nadu or Tamil state remained unrealised. In 1949, his chief disciple, the playwright and scenarist C.N. Annadurai broke away to found the DMK. The DMK was elected to the TN state assembly in 1967, mainly on an anti-Hindi platform, repeating their victory in 1971 through a conditional alliance with Indira Gandhi’s Congress. The DMK split once again when its most famous member, film star MGR, was expelled for indiscipline and launched the Anna-DMK (ADMK) in 1972, which later became the All-India Anna Dravida Munnetra Kazhagam (AIADMK), winning power along with the Congress in 1977 and making MGR the Chief Minister. The DMK under Karunanidhi returned to power in 1988 after MGR died, but was dismissed by the Congress (I)-backed minority government in 1990 and then decimated in the 1991 elections following Rajiv Gandhi’s assassination which brought into power MGR’s former heroine Jayalalitha as the new AIADMK leader and Chief Minister. The DMK Film genre is the most spectacular of the party’s propaganda fronts and helped make five film personalities Chief Ministers (Annadurai, Karunanidhi, MGR, his wife and former star V.N. Janaki, and Jayalalitha) since 1967. Annadurai launched the genre adapting his own play Velaikkari to the screen, followed by his script for Nallathambi (both 1949). The films, esp. Nallathambi, were major hits and spawned many more as the party decided to use film as its main propaganda medium with writers like A.V.P. Asaithambi (dialogue for T.R. Sundaram’s Sarvadhikari, 1951), A.K. Velan and the DMK poet Kannadasan who also produced the propaganda hit Sivagangai Seemai (1959). Karunanidhi scripted Manthiri Kumari (1950) as MGR’s first folk legend for directly political purposes. He also wrote and contributed lyrics for the most famous DMK film, Parasakthi (1952), Sivaji Ganesan’s début. A string of hits followed, often starring MGR or Ganesan: Marmayogi and Sarvadhikari (both 1951), Sorgavasal (1954), and the MGR-directed Nadodi Mannan (1958). Annadurai had codified an elaborately plotted and highly charged melodramatic idiom promoting an iconoclastic ‘rationalism’ and an anti-Brahmin, Tamil-nationalist ideology. The films incorporated numerous references to Party symbols and colours, anagrams of Party leaders’ names and characters reciting whole passages from Annadurai’s speeches (cf. Pandharibai in Parasakthi). These devices are part of a very rhetorical visual and literary style as the hero, usually in the courtroom at the end of the film, presents his (and his Party’s) case in a speech that could last up to 30’. The success of the DMK Film idiom has been linked (see Bhaskaran and Sivathamby) to the fact that the cinema was an important social equaliser in Tamil Nadu, where the other performing arts traditions were rigidly demarcated along class/caste lines. The old Congress Party’s attempt (e.g. by C. Rajagopalachari) to continue that élitism in the cinema allowed its DMK opponents to present cinema as a people’s art. Numerous studies have been devoted to the DMK Film: K. Sivathamby’s The Tamil Film as a Medium of Political Communication (1981); Robert Hardgrave’s When Stars Displace the Gods: The Folk Culture of Cinema in Tamil Nadu (1975); Hardgrave and Anthony Neidhart, Film and Political Consciousness in Tamil Nadu (1975); S. Theodore Baskaran’s The Message Bearers (1981) which deals with the pre-DMK history of political film; Ka. Thirunavukkarasu’s Dravidar Iyakkamum Thiraipada Ulagamum (1990); M.S.S. Pandian’s The Image Trap: M.G. Ramachandran in Film and Politics (1992). For histories of the DMK Party and Tamil politics, see Margaret Ross-Barnett’s The Politics of Cultural Nationalism in South India (1976) and Charles Ryerson’s Regionalism and Religion: The Tamil Renaissance and Popular Hinduism (1988).

Madhuri Dixit and Sanjay Kapoor in Raja (1995)

DOORDARSHAN

Official title for state-owned Indian television, after it was delinked from the AIR and established as an independent corporation under the Ministry of Information & Broadcasting (1976). TV was introduced experimentally in 1959, supported by UNESCO, the US government and Philips, with a weekly half-hour service covering a radius of 40km centred on Delhi. With Indira Gandhi as the new Information & Broadcasting Minister, this became a daily service (1965). In 1972, a station was established in Bombay, then in Srinagar (1973) followed by Calcutta and Madras, with 39 more centres set up in the 80s. In 1975, the Satellite Instructional Television Experiment (SITE) was launched with support from NASA using Delhi and Ahmedabad as ground stations to broadcast ‘instructional programmes’ to 2500 villages in six states (Bihar, MP, Orissa, Rajasthan, AP and Karnataka). The programme was briefly accompanied by a much smaller but arguably more significant experiment at Pij, in Gujarat, where a 1-kV transmitter addressed 750 community sets in 350 villages: several major film-makers produced programmes and discussed them with the villagers. Colour programmes were introduced, controversially, in 1982, to telecast the Asian Games in New Delhi with imported outside broadcast and electronic news-gathering units using Soviet satellite services while setting up 20 low-power transmitters. The first Indian telecommunications satellite assembled at the ISRO failed; the second, INSAT IB, launched in 1983, also inaugurated the Special Plan for the Expansion of the Television Network. The Plan claimed to be unique in the history of TV expansion, eventually installing 13 high-power and 113 low-power transmitters, linking them up to make terrestrial broadcasts available to 70% of the population within a period of 18 months (1983–4). The Seventh Five-Year plan doubled its communications media investment to Rs 150 billion, 49% of this sum going to Doordarshan alone. Although advertising had been allowed since 1977, Doordarshan went commercial only in 1982, also making New Delhi the centre of a daily ‘national programme’ dominating peak-hour viewing. Initially, its commercial shows were predominantly film-based, such as the Chitrahaar series (stringing together song sequences from Indian movies) and the weekend feature films. Started selling 30’ slots for independently made TV serials sponsored by advertisers with the serial Hum Log (We, the People, 1984–5), a ‘developmental’ soap opera sponsored by Colgate-Palmolive and Nestlé. In 1987, advertising revenue topped Rs 10 billion with 65% coming from only six multinational corporations. Best-known serials were the Hindu epics, Ramayan (by Ramanand Sagar, 1986–8) and Mahabharat (by B.R. Chopra, 1988–90). Doordarshan’s monopoly over both advertising and news and its role as the ruling government’s most effective propaganda platform was often criticised. The Janata Party’s 1977 election manifesto promised to make Doordarshan fully autonomous and set up the B. G. Verghese Working Group on Autonomy for Akashvani and Doordarshan (1978) to work out the logistics of such a move. However, the Prasar Bharati bill presented in 1979 offered a vastly watered-down version of the promised autonomy. The report of the government-appointed Working Group on Software for Indian TV, aka the P.C. Joshi Committee Report (1984), was extremely critical of Doordarshan’s ‘Delhi-centrism’, its mode of introducing consumerism in the countryside and its dependence on foreign networks for programme ideas. The report appeared only in excerpts in independent journals. Doordarshan started collaborating with the NFDC (1988), producing films by e.g. Aravindan, Adoor Gopalakrishnan, Girish Kasaravalli, Mira Nair and Mani Kaul, initially to reduce its massive dependence on the film industry. The results were mostly telecast in late-night film slots. In 1992–3 the Hong Kong-based STAR-TV cable network (subsequently bought by Rupert Murdoch) challenged Doordarshan’s monopoly. It heralded a major boom in commercial satellite channels both in English and Hindi (the latter led by STAR subsidiary ZEE-TV). Between 1993–5 the proliferation of cable channels spread to other languages (Malayalam with ASIANET, Tamil with SUN), depending on a parallel, mainly multinational, satellite services industry (e.g. the Pan American Satellite-4, Asiasat etc.), which provides increasingly cheaper beaming facilities over the South Asian footprint. Doordarshan’s political control over the Indian territory was legally challenged when a Supreme Court ruling (13 February 1995) declared the Air Waves to be public property. In response to the changing situation, Doordarshan introduced the commercial Metro Channel in 1993, and DD-3 in 1995, as well as several regional channels.

DOSHI, CHATURBHUJ ANANDJI (1894–1969)

Hindi and Gujarati director born in Kathiawar, Gujarat. Journalist for progressive daily Hindustan (1926) under editor Indulal Yagnik. Silent era scenarist (1930) for Jayant Desai, Nandlal Jaswantlal, Nanubhai Vakil etc. Wrote several Ranjit films. One of the top Gujarati scenarists; scripted the key Punatar productions that launched a Gujarati film industry (Gunsundari, Nanand Bhojai, both 1948) and Raskapur’s Mehndi Rang Lagyo (1960); at times considered a successor to scenarist Mohanlal Dave. As film-maker, he is known for devising a more rationalist interpretation of the mythological.

FILMOGRAPHY: 1938: Gorakh Aya; Secretary; 1939: Adhuri Kahani; 1940. Musafir; 1941: Pardesi; Sasural; 1942: Bhakta Surdas; Dhiraj; Mehmaan; 1943: Chhoti Maa; Shankar Parvati; 1944: Bhartrahari; 1945: Murti; 1946: Phulwari; 1947: Bela; Kaun Hamara; 1948: Jesal Toral; Karaiyavar; Sati Sone; 1949: Bhakta Puran; Vevishal; 1950: Akhand Saubhagya; Kisi Ki Yaad; 1954: Aurat Teri Yahi Kahani; 1956: Aabroo; Dassehra; 1957: Khuda Ka Banda; Shesh Naag; 1958: Sanskar.

DUNCAN, ELLIS R. (B. 1908)

Tamil director and American cinematographer aka Dungan. Born in Ohio; graduate of UCLA and the American Institute of Cinematography and worked in Hollywood as a cameraman (1927). Came to India (1935) to sell camera equipment and stayed for 17 years making several major Tamil films, starting with Sati Leelavathi, based on S.S. Vasan’s novel and introducing MGR. M.L. Tandon, who had earlier met Duncan at UCLA, got him to direct films. Iru Sahodarargal, also with MGR, made him the top director of a nascent Tamil film industry, also editing his own work and integrating music and comedy routines into the plot, which was perhaps his most influential contribution. A series of hits followed: Ambikapathy with M.K. Thyagaraja Bhagavathar at Salem Shankar Films; Shakuntalai and the memorable Meera with the singer M.S. Subbulakshmi at Chandraprabha Cinetone. Best-known work at Modern Theatres: Ponmudi and the seminal MGR hit Manthiri Kumari (which was completed by T.R. Sundaram). Although Duncan did not know Tamil (his interpreters were known as ‘rush directors’), his work is remembered for its emphasis on Tamil dialogue: the famed scenarist Elangovan débuted in his Ambikapathy while Ponmudi remains one of the poet Bharatidasan’s best-known scripts; Manthiri Kumari was Karunanidhi’s first major literary contribution to cinema. Duncan worked with well-known actor-singers such as G.N. Balasubramanyam, M.S. Subbulakshmi (the two acting together in Shakuntalai), and T.N. Rajarathnam Pillai (who featured in Kalamegham). Credited with co-direction of an Indo-US co-prod. The Jungle (William Berke, 1952), starring Rod Cameron, Marie Windsor and Caesar Romero, later dubbed into Tamil as Kaadu. During WW2 made propaganda shorts (e.g. Returning Soldier with T.S. Balaiah), and after Independence was commissioned by the government to film the transfer of power ritual. In the 50s returned to live in Wheeler city, West Virginia, occasionally working in India, e.g. as a 2nd unit photographer for Hugo Fregonese’s Harry Black (1958) and John Guillermin’s Tarzan Mera Saathi (1962).

FILMOGRAPHY: 1936: Sati Leelavathi; Simantini; Iru Sahodarargal; 1937: Ambikapathy; 1940: Shakuntalai; Suryaputri; Kalamegham; 1943: Daasi Penn; 1945: Valmiki; Meera; Returning Soldier; 1949: Ponmudi; 1950: Manthiri Kumari; 1952: Kaadu.

DURAI

Prominent 70s independent Tamil director. Former assistant to Yoganand and G.V. Iyer (Hamsa Geethe, 1975). First film, Avalum Penn Thaane, is a tragic portrayal of an orphaned woman saved from a vice den who sacrifices her life to protect another woman from being trapped into prostitution. It attracted some critical attention as one of the better mid-70s commercial films engaging with the feminist movement. However, he went on to make a formula of this theme, featuring a series of florid female characters such as the tragic heroine who marries her lover’s son in Oru Veedu Oru Ulagam. Best-known film is Pasi, which redeems its sentimentalism through a realistic usage of dialect and a number of well-sketched characterisations. Worked in Hindi, Kannada, Telugu and Malayalam. Also scripted his films.

FILMOGRAPHY: 1974: Avalum Penn Thaane; 1975: Oru Kudumbathin Kathai; 1976: Mugiyada Kathe; Asai Arubathu Naal; 1977: Raghupati Raghava Rajaram; 1978: Aval Thantha Uravu; Chadarangam; Pavathin Sambalam; Ayiram Janmangal; Oru Veedu Oru Ulagam; 1979: Kadamai Nenjam; Pasi; Neeya; Needhikku Mun Neeya Nana; Malligai Mohini; Priya Bandhavi; Pathai Marinal; 1980: Kaadu; Maria My Darling; Pennukku Yar Kaval; Enga Vathiar; Porkalam; Thani Maram; Oli Pirandathu; 1981: Aval Oru Kaviyam; Vadagai Veedu; Mayil; Kilinjalgal; 1982: Ruby My Darling; Velicham Vitharunna Pennkutty Nalanthana; Thunai; Theerpugal Thirutha Padalam; 1983: Do Gulab; 1984: Pet Pyar Aur Paap; 1985: Veli; 1986: Oru Manithan Oru Manaivi; 1987: Veera Pandian; 1988: Palaivanathil Pattampoochi; 1990: Pudhiya Athiyayam.

DUTT, GEETA (1930–72)

Aka Geeta Roy. Singer born in Faridpur (now Bangladesh). Trained under composer Hanuman Prasad who launched her in Bhakta Prahlad (1946). First major hit in Filmistan production Do Bhai (1947) where, to S.D. Burman’s music, she sang Mera sundar sapna. Although an orthodox rendition compared with her later work, it pioneered a move away from the ghazal-inflected folk style inherited from the studio era represented by e.g. Amirbai Karnataki or by Shamshad Begum’s Pancholi songs. She had hits in Jogan (1950), composed by Bulo C. Rani (e.g. Ghunghat ke pat khole re) and Anarkali (1953), but is best remembered for her Guru Dutt films (she was married to the director) like Baazi (1951: she introduced a crooning style with her hit Tadbirse bigdi here), Mr and Mrs ’55 (1955), Pyaasa (1957), Kaagaz Ke Phool (1959) and Sahib Bibi Aur Ghulam (1962). The songs of these films remain among the biggest successes in post-Independence Hindi cinema.

DUTT, GURU (1925–64)

Hindi film director and actor. Born in Bangalore as Gurudatta Padukone. Educated in Calcutta. Studied dance at Uday Shankar’s India Cultural Centre, a dance academy, in Almora (1942–4). Telephone operator in Calcutta before joining Prabhat Studio (1944) as actor (Lakhrani), then choreographer and assistant director (Hum Ek Hain, 1946). Met Dev Anand and was part of an informal group of ex-IPTA members at Navketan, the company that produced his first film, Baazi. Set up own production house with Baaz. Introduced Waheeda Rehman in CID (1956), propelling her to stardom through his films. Made adventure films, comedies (also starring in Twelve O’clock) and love stories. Films often referred to social issues and exploitation, partly following Chetan Anand’s version of John Huston-type realism but imbuing them with thematic layers amid complex, richly stylised imagery (courtesy of cinematographer V.K. Murthy) and exquisite songs. Made India’s first CinemaScope film, Kaagaz Ke Phool, which flopped. Refused to sign his films after that but continued as producer and actor. Sahib Bibi Aur Ghulam was credited to his co-scenarist Abrar Alvi but is attributable to Dutt. His premature death by suicide was foreshadowed in the autobiographical Kaagaz Ke Phool. His last film, Baharen Phir Bhi Aayengi, was finished by his brother Atma Ram in 1966, with Dharmendra in the role Dutt had played. A 2nd film left unfinished, K. Asif’s Love and God, was eventually released in 1986 in a completely reshot and recast version. As producer, launched the career of his assistant Raj Khosla with CID. With the darkly romantic Pyaasa, almost certainly inspired by Saratchandra’s novel Srikanta, muted social critique suddenly veers to tragedy as Dutt launched a cycle of films that have remained India’s most spectacular achievement in melodrama. His work encapsulates with great intensity the emotional and social complexities affecting the artist when the reformism associated with Nehruite nationalism disintegrated under the pressures of industrialism and urbanisation, creating the space for Indian modernism but also generating immense social dislocation. Dutt’s work, like his life, is located on the faultline of those conflicting forces and his supreme achievement is to have succeeded, at times, in both using and modifying available aesthetic modes to represent a profoundly contradictory experience, often via a focus on his extraordinary female figures (e.g. Waheeda Rehman) who are made to represent the conflictual dynamics of history. Book-length analysis of his films by Arun Khopkar (1985).

FILMOGRAPHY (* also act/** act only): 1945: Lakhrani**; 1951: Baazi; 1952; Jaal; 1953: Baaz*; 1954: Aar Paar*; 1955: Mr and Mrs ‘55*; 1956: Sailaab; 1957: Pyaasa*; 1958: Twelve O’clock**; 1959: Kaagaz Ke Phool*; 1960: Chaudhvin Ka Chand**; 1962: Sahib Bibi Aur Ghulam**; Sautela Bhai**; 1963: Bahurani**; Bharosa**; 1964: Sanjh Aur Savera**; Suhagan**

DUTT, SUNIL (B. 1929)

Hindi star and director born in Khurd, Jhelum Dist. (now Pakistan) as Balraj Dutt. Former announcer on Radio Ceylon. Best known in his early career as the outlaw hero of Mother India, playing the son of his future wife Nargis. Then shifted to the image of the clean-cut modern youth in late 50s socials (Bimal Roy’s Sujata). Continued with both images throughout his career. Also played remarkable comedy roles, e.g. the bumbling lover in Padosan. Best work with B.R. Chopra. Recently, like Dilip Kumar, specialises in larger-than-life roles (Shaan). Directorial début, Yaadein, is an overtly experimental one-man show. Launched his son Sanjay Dutt to Hindi stardom with Rocky. Became MP representing Congress (I) in North Bombay constituency in 1979, playing a heroic role in the 1993 communal riots in Bombay.

FILMOGRAPHY (* also d): 1955: Kundan; Railway Platform; 1956: Ek Hi Raasta; Kismet Ka Khel; Rajdhani; 1957: Mother India; Payal; 1958: Post Box 999; Sadhana; 1959: Didi; Insaan Jaag Utha; Sujata; 1960: Duniya Jhukti Hai; Ek Phool Char Kaante; Hum Hindustani; Usne Kaha Tha; 1961: Chhaya; 1962: Jhoola; Main Chup Rahungi; 1963: Aaj Aur Kal; Gumrah; Mujhe Jeene Do; Yeh Raaste Hain Pyar Ke; Nartaki; 1964: Beti Bete; Ghazal; Yaadein*; 1965: Khandaan; Waqt; 1966: Amrapali; Gaban; Mera Saaya; 1967: Hamraaz; Meharbaan; Milan; 1968: Gauri; Padosan; Sadhu Aur Shaitan; 1969: Bhai Bahen; Chirag; Meri Bhabhi; Pyaasi Shyam; 1970: Darpan; Bhai Bhai; Jwala; 1971: Reshma Aur Shera*; 1972: Jai Jwala; Zameen Aasmaan; Zindagi Zindagi; 1973: Heera; Pran Jaye Par Vachan Na Jaye; Man Jeete Jag Jeet; 1974: Chhattis Ghante; Geeta Mera Naam; Kora Badan; 1975: Himalay Se Ooncha; Neelima; Umar Qaid; Zakhmi; 1976: Nagin; Nehle Pe Dehla; 1977: Sat Shri Akal; Ladki Jawan Ho Gayi; Aakhri Goli; Darinda; Gyaniji; Paapi; Charandas; 1978: Jindri Yar Di; Kala Admi; Ram Kasam; Daku Aur Jawan*; 1979: Ahimsa; Jaani Dushman; Muqabala; 1980: Ek Gunah Aur Sahi; Ganga Aur Suraj; Lahu Pukarega; Shaan; Yari Dushmani; 1981: Rocky (d. only); 1982: Badle Ki Aag; Dard Ka Rishta*; 1984: Laila; Raj Tilak; Yaadon Ki Zanjeer; 1985: Faasle; 1986: Kala Dhandha Goray Log; Mangal Dada; 1987: Watan Ke Rakhwale; 1988: Dharamyudh; 1991: Yeh Aag Kab Bujhegi*; Qurban; Pratigyabadh; Hai Meri Jaan; 1992: Virodhi; Kshatriya; Parampara; 1993: Phool.

Shyama and Sunil Dutt in Duniya Jhukti Hai (1960)

DUTT, UTPAL (1929–93)

Prolific Bengali and Hindi actor born in Shillong, Assam; also director and a major Marxist theatre personality in Bengal. After 1977 associated with the CPI(M). Started career in the 40s with Geoffrey Kendall’s theatre group performing Shakespeare, later directing Shakespeare for the Little Theatre Group. Formed his own group in 1949, then joined the Bengal unit of IPTA (1950–1) doing agitational plays staged on street corners and occasionally during political rallies to massive audiences, such as Chargesheet (1950), written overnight following the arrest of CP members and performed next day at Hazra Park. The Special Train was performed on behalf of striking workers of the Hindustan Automobile Factory, Uttarpara (1961). Also did theatrical spectaculars: Angar (1959), Kallol (1965; a play about the Royal Indian Navy mutiny of 1946, sparking off political rallies), Din Badaler Pala (1967, written for the CPI(M)’s electoral campaign) and Tiner Talwar (1970). Barricade (1972) and Dushwapner Nagari (1975) were staged in the context of the Emergency. Also made major interventions in the Jatra form (e.g. Rifle, Sanyasir Tarabari). Claims influence of Erwin Piscator to ‘create proletarian myths of revolution’ (cf. Dutt, 1984). His work, comprising mostly historical reconstructions, was criticised by the Left for its determinism and the recourse to the ‘great man’ theory of history. Prolific film actor with a spectacular début as Michael Madhusudhan, a legendary 19th C. Bengali poet, repeating the role several times on the stage. After Mrinal Sen’s Bhuvan Shome, shifted to Hindi films, often playing retired soldiers or bluff comedian fathers (Guddi) in melodramas. Also important comedy roles in Bengali, e.g. Mohan Baganer Meye, Shriman Prithviraj et al. Claimed to act in films mainly to finance his theatrical work. Played key roles in recent Satyajit Ray films, e.g. the king in Hirak Rajar Deshe and the stranger in Agantuk. Directorial work extends his theatrical work. Autobiography, including his views on theatre, published in 1982. Stridently populist essays on film, often targeting the New Indian Cinema were published after his death as Towards A Heroic Cinema (1994).

FILMOGRAPHY (* also d): 1950: Michael Madhusudhan; Vidyasagar; Jaan Pehchan; 1952: Siraj-ud-Dowla; 1953: Maharaj Nandakumar; 1954: Vikram Urvashi; Chitrangada; 1955: Rani Rashmoni; 1956: Kirti Garh; Shubha Lagna; Mahakavi Girishchandra; 1958: Jogajog; Rajdhani Theke; 1960: Uttar Megh; Kuhak; 1961: Megh*; Pankatilak; Dilli Theke Kolkata; Saptapadi; 1962: Kancher Swarga; Abasheshe; Sakshi; 1963: Shesh-Anka; Maniram Dewan; Surya Sikha; 1964: Momer Alo; 1965: Ghoom Bhangar Gaan*; Shakespeare Wallah; 1966: Sankha Bela; 1967: Mahashweta; 1968: Chowringhee; 1969: Aparichita; Bibaha Bibhrat; Bhuvan Shome; Saat Hindustani; The Guru; 1970: Bombay Talkie; Kalankita Nayak; Interview; Heer Ranjha; 1971: Fariyad; Khunje Berai; Kuheli; Ek Adhuri Kahani; Guddi; 1972: Calcutta ’71; Shesh Parba; Mere Jeevan Saathi; Sabse Bada Sukh; Marjina Abdallah; Shriman Prithviraj; Parivartan; 1973: Mr Romeo; Agni Bhramar; Honeymoon; Shravan Sandhya; Rodon Bhora Basanta; Shesh Pristhay Dekhun; 1974: Amanush; Asati; Charitraheen; Bisarjan; Bikele Bhorer Phool; Chorus; Phuleshwari; Sadhu Judhishthirer Karcha; My Friend; Thagini; Alor Thikana; Sedin Du -janayjukti Takko Aar Gappo; Chhutir Phande; Swikarokti; 1975: Palanka; Sansar Simantey; Swayamsiddha; Salaam Memsaab; Nishi Mrigaya; Julie; Anari; Aparajito; Sei Chokh; Ek Hans Ka Joda; Jana Aranya; Mohan Baganer Meye; 1976: Ananda Mela; Dampati; Sandhya Surya; Datta; Kitne Paas Kitne Door; Raees; Yugo Manab Kabir; Nidhi Ram Sardar; Do Anjaane; Shaque; Santan; Asadharan; Pratisruti; Jatayu; 1977: Anand Ashram; Anurodh; Farishta Ya Qatil; Ek Hi Raasta; Babu Moshai; Mantramugdha; Sister; Swati; Imaan Dharam; Kissa Kursi Ka; Kotwal Saab; Priyatama; Lai Kothi; Safed Hathi; Swami; Yahi Hai Zindagi; Sanai; 1978: Moyna; Tilottama; Dhanraj Tamang; Bandi; Atithi; Toote Khilone; Striker; Joi Baba Felunath; Chakravyuha; Niskriti; 1979: Jhor*; Nauka Dubi; Golmaal; Kartavya; Prem Vivah; The Great Gambler; Bayan; Naya Bakra; 1980: Bandhan; Gharer Baire Ghar; Hirak Rajar Deshe; Paka Dekha; Pankhiraj; Shesh Bichar; Agreement; Apne Paraye; Khwab; Nishana; Ram Balram; Asha; 1981: Baisakhi Megh*; Kalankini; Subarna Golak; Saheb; Barsaat Ki Ek Raat/Anusandhan; Naram Garam; Shaukeen; Meghmukti; Angoor; Raaste Pyar Ke; Chaalchitra; Agni Pareeksha; 1982: Raj Bodhu; Matir Swarga; Hamari Bahu Alka; Pratiksha; Prateeksha; 1983: Rang Birangi; Maa*; Achha Burn; Kisise Na Kehna; Pasand Apni Apni; Shubh Kaamna; Agami Kal; Indira; Jay Parajay; Duti Pata; Srinkhal; Prayashchitta; 1984: Ahuti; Harishchandra Shaibya; Madhuban; Pujarini; Rashifal; Inquilab; John Jani Janardan; Lakhon Ki Baat; Paar; Bandh Honth; Yeh Desh; Love Marriage; Inquilab Ke Baad*; Shapath; Ulta Seedha; 1985: Aar Paar/Anyay Abichar; Bhalobasha Bhalobasha; Pratigya; Putulghar; Tagori; Bandhan Anjana; Saheb; 1986: Uttar Lipi; Jiban; Pathbhola; Aap Ke Saath; Baat Ban Jaye; Kirayedaar; Main Balwan; Sada Suhagan; Lal Mahal; 1987: Aaj Ka Robin Hood; Pyar Ke Kabil; Sukumar Ray (Sh); Samrat-o-Sundari; Pratikar; Jar Je Priyo; 1988: Prati Paksha; Agun; Agaman; Mahaveera; Sagar Sangam; Pratik; Parasmoni; Jyoti; 1989: Asha-o-Bhalobasha; Biday; Gili Gili Ge; Bahurani; Judge Saheb; Aakrosh; Angar; Kari Diye Kinlam; Libaas; Shubha Kamana; Ladaai (B); Mahajan; Garmil; 1990: Mera Pati Sirf Mera Hai; Raktorin; Agnikanya; Triyatri; Jawani Zindabad; Qaidi; Nyayadanda; 1991: Agantuk; Ahankar; Path-o-Prasad; Maan Maryada; Pati Param Guru; Sajani Go Sajani; Nawab; 1992: Padma Nadir Majhi; Manikanchan; Pennam Calcutta; Mayabini; 1993: Bhranta Pathik; Mishti Madhur; 1994: Ajana Path; 1995: Kecho Khurte Keute; Pratidhani; Abirbhab.

DUTTA, J.P. (B. 1949)

Hindi director born in Bombay. Son of cineaste O.P. Dutta. Belongs to late 80s generation of Hindi commercial film-makers (e.g. Vinod Chopra, N. Chandra) aiming for a realist surplus through the sensory intensification of established film genres, as in 70s Hollywood films (e.g. Scorsese). Locates all his scripts in feudal Rajasthan, among conflicts featuring the Jat and the immensely powerful Thakur zamindars. His début, Sarhad (1978) was to star Vinod Khanna but remained unfinished. Faced major controversy when his next film, Ghulami, sparked off communal violence in Rajasthan. Best-known film Hathyar extended the ancestral conflict into Bombay’s gang wars.

FILMOGRAPHY: 1985: Ghulami; 1988: Yateem; 1989: Hathyar, Batwara; 1992: Kshatriya.

EAST INDIA FILM COMPANY

Est: 1932 in Calcutta. One of the first sound studios in Bengal, set up with RCA-Photophone equipment and Mitchell cameras. Owned by B.L. Khemka. Bengali productions include films by Tulsi Lahiri (Jamuna Puliney, 1933), Naresh Mitra’s Sabitri (1933), Dhiren Ganguly (Bidrohi, 1935) and Debaki Bose (Sonar Sansar, 1936). Most prominent in-house director was Hindi film-maker A.R. Kardar (1933–6). The studio branched out into Tamil (e.g. K. Subramanyam’s Bhakta Kuchela, 1936) and Telugu films (e.g. Pullaiah’s Savithri, 1933). Until the mid-40s it was the only fully equipped sound studio available to Tamil film-makers and was a major reason for numerous Bengali film technicians, particularly cameramen (best known: Jiten Bannerjee) working in the South, a tradition later continued by Gemini Studios.

Ekalavya see Ghosh, Robi

ELANGOVAN (1913–71)

Tamil script and dialogue writer in the 40s, originally named T.K. Thanikachalam. Début with Duncan’s seminal Ambikapathy (1937), followed by several story and script credits for films which established a new style in film melodrama: Raja Chandrasekhar’s Ashok Kumar (1941), R.S. Mani’s Kannagi (1942), Central Studios’ Sivakavi (1943), R.S. Mani’s Mahamaya (1944: some accounts credit him with direction as well), K. Subramanyam’s Gokula Dasi (1948), S.M. Sreeramulu Naidu’s Pavalakkodi (1949), and especially Ramnoth’s epic Ezhai Padum Padu (1950). Formerly associated with the journal Manikodi whose literary idiom he transferred to cinema (cf. Kannamba’s monologues in Kannagi). Critic and film-maker K. Hariharan writes: ‘He breathed new fire into film dialogues [with] a passion quite removed from the standard mythologicals’ and quotes popular scenarist A.L. Narayanan as saying that Elangovan and P. Neelakantan, ‘were the first real screen writers in Tamil’. The literary scripting style was adopted later by e.g. A.S.A. Samy in Valmiki (1946) and S.D. Sundaram in Kanniyin Kathali (1949). it was also an important precursor of Annadurai’s later declamatory scripts. Wrote Raja Sandow’s Thiruneelakantar (1939), Raja Chandrasekhar’s Arundhati (1943), S. Nottani’s Inbavalli (1949), K.S. Gopalakrishnan’s Parijatham (1950) and many others.

EMPIRE FILMS

The Imperial Conference (1926) resolved to reserve 7.5% of screen time in the British Empire for films made within the Empire. This measure was intended to privilege the British film industry as opposed to the US industry in the Indian market, helping to revitalise the post-WWl British cinema in the process. However, although the idea was initially welcomed by organisations like the Bombay Cinema and Theatres Association and the Indian Motion Picture Producers Association, such organisations soon raised the demand, that as the Empire’s main film industry, 50% of the quota should be reserved for Indian cinema. Whereas the first result of the Conference was to limit Hollywood’s access to the Indian market, the Indian demands effectively ended up regulating British access to the Indian market as well, favouring indigenous production. In the context of the Swadeshi polemic, the Indian Merchants Chamber led by Seth Walchand Hirachand argued that the only answer to combat Hollywood (and, implicitly, Britain) in India was a combination of tax incentives and the tenfold escalation of customs duty on imported films. Many of these debates informed the Indian Cinematograph Committee’s work (1928), published in 5 volumes.

ESOOFALLY, ABDULALLY (1884–1957)

Exhibitor born in Surat, Gujarat. Travelled 1908–14 with tent bioscope through large parts of the Far East, including Burma, Singapore and Indonesia, introducing the cinema to these regions. In 1914 he settled in Bombay where he partnered Ardeshir Irani in an exhibition concern based on the acquisition of the Alexandra Theatre and later of the Majestic. Remained Irani’s partner for over 40 years. Active member of the Cinema Exhibitors Association of India since 1946.

FATMA, BEGUM

Probably first woman director in India. Married the Nawab of Sachin and mother of silent superstars Sultana and Zubeida as well as of Shahzadi. Career on Urdu stage, then film actress in Irani’s Star Film (Veer Abhimanyu); set up Fatma Film (1926), later Victoria-Fatma Film (1928). Actress at Kohinoor and Imperial Studios while producing, writing and directing (often also acting in) her own films at the Fatma Co. Continued acting in the 30s, e.g. for Nanubhai Vakil and Homi Master.

FILMOGRAPHY (* also d): 1922: Veer Abhimanyu; 1924: Prithvi Vallabh; Gul-e-Bakavali; Kala Naag; Sati Sardarba, 1925: Naharsinh Daku; Devadasi; Mumbai Ni Mohini; Gaud Bangal; 1926: Khubsoorat Bala; Indrajal; Panna Ratna; Bulbul-e-Paristan (only d.); 1928: Chandravali*; Heer Ranjha*; 1929: Kanakatara*; Milan Dinar*; Naseeb Ni Devi*; Shakuntala*; Mahasundar.

FATTELAL, SHEIKH (1897–1964)

Marathi director and technician. Real name: Yashin Mistri, aka Sahebmama Fattelal also spelt Fatehlal. Born in Kagal, Kolhapur. Belonged to hereditary artisanal caste (Mistri means ‘carpenter’, although his father was a stonemason). Apprenticed to the Kolhapur artist Abalal Rehman. Lifelong partner of Vishnupant Damle. Co-disciple with Damle of Baburao’s technician-artist cousin, Anandrao Painter. Co-founder of and all-round technician at Maharashtra Film. Partner and head of art department at Prabhat where he organised spectacular sets (e.g. Amritmanthan, 1934). Debut as co-dir of his only silent film, Maharathi Kama (1928). Co-directed Saint films with Damle, including Sant Tukaram (1936) (for Filmography, see Damle). Also major achievements as art director: e.g. Ayodhyecha Raja/Ayodhya Ka Raja, Maya Machhindra (both 1932), Amar Jyoti (1936), Kunku/Duniya Na Mane (1937), Mazha Mulga/Mera Ladka (1938), Manoos/Admi (1939), Shejari/Padosi (1941) and Ramshastri (1944). Produced a film after Damle’s death (1945) for Prabhat; then solo direction of two features.

FILMOGRAPHY: 1955: Jagadguru Shankaracharya; 1956: Ayodhyapati.

FAZIL (B. 1953)

Successful Malayalam director, and one of the first to make the transition into big-budget Tamil films. Born in Alleppey, Kerala; theatre director and actor while at university. Degree in literature; later worked with Kavalam Narayana Panicker’s theatre group Thiruvarung. Film début assisting A. Vincent. Directorial début: the musical Manjil Virinja Pookkal which he also scripted and produced. Since then has been associated with the urban middle-class family musical melodrama, e.g. the Ilaiyaraja musical hit Poove Poo Chooda Va. His Tamil films are sometimes adapted from his own Malayalam hits (e.g. the melodrama Ente Mamattukuttiamma remakes En Bommu Kutti Ammavukku), although the incisiveness of the original (according to critic K. Hariharan) is usually diluted to suit the populist tastes of Tamil distributors. Varusham 16 was the Tamil debut of major star Khushboo. Co-directed the widely discussed Manichitratharazu.

FILMOGRAPHY: 1980: Manjil Virinja Pookkal; 1981: Dhanya; 1983: Eettillam; Marakkailo Rikalum; Ente Mamattukuttiamma; 1984: Nokketha Dhoorathu Kannum Nattu; 1985: Poove Poo Chooda Va; 1986: Ennennum Kannettante; Poovinnu Puthiya Poonthennal; 1987: Poovizhi Vasalile; Manivathoorile Ayiram Sivarathrikal; 1988: En Bommu Kutti Ammavukku; 1989: Varusham 16; 1990: Arangetra Velai; 1991: Ente Suryaputhrikku; Karpura Mullai; 1992: Killer; Papayude Sontham Appoose; 1993: Kilipetchu Ketkava; 1993: Manichithratharazu; 1994: Manathe Vellitheru.

FILM ADVISORY BOARD

Est: 1940. First instance of direct state production of documentary film in India. Started as part of the Dept of Information to advise on the making of propaganda shorts during WW2 under chairmanship of Alexander Shaw (formerly associated with John Grierson in the Empire Marketing Board and later producer with Crown Film Unit). J.B.H. Wadia, V. Shantaram and Ezra Mir worked briefly as chief producers (1942). The FAB was intended to collaborate with independent producers/financiers, co-ordinating and overseeing the distribution of indigenous and imported war propaganda films. Initial productions included documentaries and newsreels made at Wadia Movietone (e.g. early work of documentarist P.V. Pathy), films commissioned from the advertising agency D.J. Keymer and localised versions of newsreels by 20th Century-Fox. Replaced in 1943 by Information Films of India.

FILM AND TELEVISION INSTITUTE OF INDIA

India’s premier training institute for film-making, cinematography, editing and sound-recording. Founded in 1960, a decade after the S.K. Patil Film Enquiry Committee’s recommendations, as the Film Institute of India. It was established in Pune using the premises of the former Prabhat Film. Became an autonomous organisation funded by the Ministry of Information & Broadcasting in 1974, simultaneously expanding to include a TV section in the context of Doordarshan’s development plans. The FTII’s history is most closely associated with Ritwik Ghatak who joined as Professor of Film and Vice-Principal (1966–7) and formed several of the New Indian Cinema pioneers, such as Kumar Shahani, Mani Kaul, Adoor Gopalakrishnan et al., as well as numerous key technicians, e.g. cinematographer K.K. Mahajan. The FTII produced two feature films, Raakhi Raakhi (Mahesh Kaul, 1969) and Jai Jawan Jai Makan (Vishram Bedekar, 1971).

Film Finance Corporation see National Film Development Corporation

FILMISTAN

Bombay-based studio; Est: 1943–44 leasing the former premises of the Sharda studio. Launched by major breakaway group from Bombay Talkies led by their production controller Rai Bahadur Chunilal and producer Shashadhar Mukherjee. Their first film was Gyan Mukherjee’s Chal Chal Re Naujawan (1944, with Ashok Kumar). The studio continued more or less from S. Mukherjee’s two influential Bombay Talkies productions: Naya Sansar (1941) and the colossal hit Kismet (1943). Its subsequent output elaborated these into the first consistent generic codification and regulation of a post-Independence All-India Film market-place. By the early 50s, the ‘film factory’ (as B.R. Chopra, who worked there briefly, called it) had revolutionised distribution with mid-budget genre productions selling mainly on their star value and their music. The approach was exemplified by Gyan Mukherjee himself and extended by P.L. Santoshi, Subodh Mukherjee, Nasir Hussain and Najam Naqvi, with stars Ashok Kumar, Dev Anand, Dilip Kumar, Shammi Kapoor and Nalini Jaywant, and music directors C. Ramchandra and S.D. Burman. Following the hits Shaheed (1948), Shabnam (1949: establishing the famous star pair of Dilip Kumar and Kamini Kaushal and featuring Burman’s music) and Samadhi (1950), Filmistan’s style arguably had the largest impact of any studio on later independent commercial film-making in Hindi. This is evident e.g. in Manmohan Desai’s cinema. Other notable Filmistan cineastes are PL. Santoshi, Nandlal Jaswantlal, Kishore Sahu and Ramesh Saigal. The studio yielded yet another mutation when Shashadhar Mukherjee moved out to start Filmalaya (1958).

FILMS DIVISION

Est: 1949. A ‘mass-media unit’ run by the Ministry of Information & Broadcasting, it is ‘the central film-producing organisation responsible for the production and distribution of newsreels, documentaries and other films required by the Government of India for public information, education and for instructional and cultural purposes’ (UNESCO report, 1973; quoted in Jag Mohan, 1990). Until the post-Emergency period which saw, for the first time, the independently made documentary (cf. Anand Patwardhan), the Films Division had the monopoly on documentary cinema in India, making upwards of 200 shorts/documentaries and weekly newsreels (Indian News Review). Each film had over 9000 prints and was dubbed into 18 Indian languages and exhibited through compulsory block booking in every permanent cinema in the country. Its early work used imagery today considered typical of the iconography of the Nehru era, such as N.S. Thapa’s documentary on the Bhakra Nangal dam (1958), and connects via the war propaganda productions of the Film Advisory Board with the British documentary tradition pioneered by John Grierson, a link further strengthened by film producers Jean Bhownagry, James Beveridge (Shell Film Unit) and, briefly in the late 60s, film-maker Basil Wright working at Films Division on loan from UNESCO. Best-known 70s work was by Sukhdev. Recent productions include Shyam Benegal’s feature-length documentaries Nehru and Satyajit Ray (both 1984) and Mani Kaul’s Siddheshwari (1989). However the bulk of the Films Division’s enormous output is by in-house film-makers.

GADKAR, JAYSHREE (B. 1942)

Actress born in Karwar Dist., Karnataka. Introduced into films by Raja Paranjpe as child actress. Major 60s and 70s star in Marathi film, imaged repeatedly as innocent and tearful daughter-in-law in some of the longest and most sentimental Marathi socials/melodramas (e.g. Bhalji Pendharkar’s Mohityanchi Manjula). Early work strongly influenced by Hansa Wadkar who played her foster-mother in her first major hit, Sangtye Aika. Played Tamasha dancing-girl in several Anant Mane and Dinkar D. Patil rural melodramas in the 60s, when Dhirubhai Desai and Babubhai Mistri also cast her in Hindi mythologicals. Now associated with roles opposite stunt star Dara Singh in Chandrakant films (Har Har Mahadev, Kisan Aur Bhagwan). Published autobiography in 1986.

FILMOGRAPHY: 1956: Dista Tasa Nasta; Gaath Padli Thaka Thaka; 1957: Aliya Bhogasi; Aai Mala Kshama Kar; Pahila Prem; Devagharcha Lena; Utavala Narad; 1958: Sanskar; Padada; 1959: Sangtye Aika; Yala Jeevan Aise Nav; Pativrata; Ek Armaan Mera; Madari; Do Gunde; Charnon Ki Dasi; 1960: Avaghachi Sansar; Lagnala Jato Mi; Saranga; Paishyacha Paoos; Pancharati; Bindiya; Police Detective; 1961: Kalanka Shobha; Manini; Rangapanchami; Shahir Parashuram; Vyjayanti; Jai Bhawani; Ramleela; Sasural; 1962: Baap Mazha Brahmachari; Bhagya Lakshmi; Preeti Vivah; Sukh Ale Majhya Daari; Private Secretary; 1963: Mohityanchi Manjula; Naar Nirmite Nara; Subhadra Haran; Sukhachi Savli; Yeh Dil Kisko Doon; Mere Arman Mere Sapne; 1964: Ek Don Teen; Kai Ho Chamatkar; Saval Mazha Aika; Sundara Manamadhye Bharli; Vaishakh Vanava; Sati Savitri; Seeta Maiya; 1965: Gopal Krishna; Mahasati Ansuya; Aai Kuna Mhanu Mi; Malhari Martand; Sadhi Manse; Yugo Yugo Mi Vat Pahili; Kadhi Karishi Lagna Mazhe; 1966: Toofan Mein Pyar Kahan; Hi Naar Rupasundari; Hirva Chuda; Patlachi Soon; Pavanakathcha Dhondi; Veer Bajrang; 1967: Poonam Ka Chand; Baharon Ke Sapne; Bai Mi Bholi; Sangu Kashi Mi; Shrimant Mehuna Pahije; Thamb Lakshmi Kunku Lavte; Suranga Mhantyat Mala; Lav Kush; 1968: Balaram Shri Krishna; Har Har Gange; Mata Mahakali; Ek Gao Bara Bhangadi; Jivhala; 1969: Dongarchi Maina; Gan Gaulan; Murali Malhari Rayachi; Tila Lavite Mi Raktacha; Ram Bhakta Hanuman; 1970: Bhagwan Parashuram; Dagabaaz; Shri Krishna Leela; Gharkul; Veer Ghatotkach; Meech Tujhi Priya; 1971: Tulasi Vivah; Aai Ude Ga Ambabai; Lakhat Ashi Dekhani; Ashich Ek Ratra Hoti; Mata Vaishno Devi; 1972: Naag Panchami; Hari Darshan; Kasa Kai Patil Bara Hai Ka?; Kunku Mazha Bhagyacha!; Pathrakhin; Soon Ladki Hya Gharchi; Shiv Bhakt Baba Balak Nath; 1973: Mi Tuzha Pati Nahi; Mahasati Savitri; 1974: Har Har Mahadev; Dawat; Balak Dhruv; Kisan Aur Bhagwan; Soon Majhi Savitri; Sugandhi Katta; Bhagat Dhanna Jat; 1975: Paach Rangachi Paach Pakhare; Ek Gaon Ki Kahani; Maya Machhindra; Ghar Gangechya Kathi; 1976: Mazha Mulga; Bajrang Bali; 1977: Gayatri Mahima; Bolo He Chakradhari; 1978: Chandoba Chandoba Bhaglas Ka?; 1979: Har Har Gange; Lagebandhe; 1980: Savat; Jidda; Kadaklakshmi; Saubhagyavan; Shiv Shakti; Nishana; 1981: Jiyo To Aise Jiyo; Soon Majhi Lakshmi; Baine Kela Sarpanch Khula; Jai Tulaja Bhawani; Alakh Niranjan; 1982: Jaya Parvati Vrat; Lekhne Mathe Mekh; Avhaan; Farz Aur Kanoon; Sati Naag Kanya; 1983: He Daan Kunkvache; Thorli Jau; 1984: Attaracha Phaya; Gangavatarana; Rath Jagannathacha; Jakhmi Vaghin; Naya Kadam; Sulagte Arman; Shravan Kumar; Sindoor Ka Daan; Maya Bazaar; 1985: Masterji; Veer Bhimsen; Khichadi; Devashapath Khara Sangen; 1986: Bijali; Krishna Krishna; Patton Ki Baazi; Ramayan (TV); 1987: Bhatak Bhawani; Poorna Satya; Sher Shivaji; Nazrana; 1988: Mar Mitenge; Eeshwar; Pandharichi Vari; Shiv Ganga; 1989: Mal Masala; Kanoon Apna Apna; 1990: Amiri Garibi; 1991: Mumbai Te Mauritius; Yeda Ki Khula?; 1994: Sasar Maher (also d.); 1995: Gandha Matila Aala; He Geet Jeevanache.

GAGGAIAH, VEMURI (1895–1955)

Noted Telugu stage and film actor of the 40s. Legendary stage star with an imposing presence and loud voice, which suited demonic roles in mythologicals, e.g. Yama and Kans. Film début with East India Film’s production of Savithri playing Yama, god of death. Known mainly as one of the first actors to define a performative idiom tailored to the mythological.

FILMOGRAPHY: 1933: Savithri; 1935 Shri Krishna Leelalu; 1936: Draupadi Vastrapaharanam; Sati Tulasi; 1937: Mohini Rugmangada; 1938: Markandeya; 1940: Chandika; Mahiravana; 1941: Dakshayagnam; 1942: Bhakta Prahlada; 1943: Garuda Garvabhangam; 1948: Bhakta Siriyala.

GANDHI, NAVAL (B. 1897)

Hindi director born in Karachi. Graduated in Ahmedabad (1919) and went on European study tour. Joined Irani’s Majestic (1923). Later worked at Orient Pics where he made one of the most discussed quality films of the silent era, Balidan, adapted from Tagore. Went on to direct its star, Zubeida, at Orient and at Kohinoor UA. Worked at the Directorate of Services Kinematography, the film wing of the armed forces during WW2, where he produced P.V. Pathy’s documentaries. Went into radio in the early 50s.

Jayshree Gadkar in Patlachi Soon (1966)

FILMOGRAPHY: 1924: Chandan Malayagiri; Mumbai Ni Sethani; Paap No Pashchatap; Shahjehan; Paap No Fej; Sanyasi; 1926: Yauvan Chakra; 1927: Balidan; 1930: Devadasi; Veer Rajput; 1931: Nadira; Diwani Duniya (all St); 1932: Shikari.

GANESAN, SIVAJI (B. 1927)

Tamil superstar, originally Viluppuram Chinnaiahpillai Ganesan but best known as Sivaji. Born in Sirkali, TN, into the peasant Kallar caste although his father worked on the railways. According to the official biography, the day he was born his father was jailed for participating in the Independence movement in Nellikuppam. Enjoyed a fitful education and joined theatre groups. Made his reputation as actor in C.N. Annadurai’s play Sivaji Kanda Indhu Rajyam, a historical on the Maratha Emperor Shivaji which also gave him his screen name. He followed Annadurai when the latter started the DMK (1949), and his début, in the wordy role of Gunasekharan in Parasakthi, made him the official icon of the Party for some years (cf. DMK Film). He started distancing himself from the DMK in the mid-50s, joining E.V.K. Sampath’s Tamil Nationalist Party (1961), then joined Congress and wound up supporting the opposition Janata Dal. Moving away from the early DMK’s atheistic politics, he acted in several mythologicals, esp. Sampoorna Ramayanam and Thiruvillaiyadal, in nationalist historicals (his most famous film Veerapandiya Kattaboman) and in biographicals (Kappalotiya Thamizhan, a film on V.O. Chidambaram Pillai, a 19th C. anti-imperialist who defied the British to start the Steam Navigation Co.). Was associated in his middle period mainly with the films of A. Bhimsingh and A.P. Nagarajan. Played the negative role of the womaniser in Thirumbi Paar and then some years later, more famously, in Rangoon Radha. According to K. Sivathamby (1981), Ganesan and his main rival, MGR (with whom he acted in one film, Kundukkili), dominated the Tamil cinema to such an extent that the two automatically demanded Madras distribution rights in their contracts and could bankrupt a producer by causing production delays, a power the stars used to further their political ambitions. Their power base is buttressed by several fan clubs and the Ganesan Rasikar Manram. Rajya Sabha Member of Parliament (1982–8). However it is maintained that Ganesan had a more significant iconic presence among the Tamil middle-class, leading to his 1980s-90s deification, than MGR could ever acquire. His younger brother ran Sivaji Prod. and his son Prabhu was propelled to stardom in the 80s in films like Kozhi Kuvutthu (1982) and Vetri Vizha (1989, adapting Robert Ludlum’s The Bourne Identity).

Sivaji Ganesan and Helen in Uthama Puthran (1958)

FILMOGRAPHY: 1952: Parasakthi; Panam; 1953: Poongothai/Pardesi; Anbu; Kangal; Thirumbi Paar; Manithanum Mrigamum; Pempudu Koduku; 1954: Andha Naal; Illara Jyothi; Ethirparadathu; Kalyanam Panniyum Brahmachari; Kundukkili; Thuli Visham; Thooku Thooki; Manohara/Manohar; 1955: Ulagam Palavitham; Kalvanin Kadhali; Kaveri; Koteshwaran; Mangayar Thilakam; Mudhal Thedi/Modalatedi; Pennin Perumai; 1956: Amara Deepam; Tenali Raman; Naney Raja; Nalla Veedu; Raja Rani; Naan Petra Selvam; Rangoon Radha; Vazhvile Oru Naal; 1957: Pudhuvayal; Tangamalai Rahasyam; Makkalai Petra Maharasi; Manamagal Thevai; Bhagyavati; Vanangamudi; Rani Lalithangi; Ambikapathy; Sarangadhara; 1958: Annaiyin Aanai; Uthama Puthran/Sitamgarh; Kathavarayan; Shabash Meena; Sampoorna Ramayanam; Pati Bhakti; Bommalapelli/Bommai Kalyanam; School Master; 1959: Aval Yar; Thangapathumai; Naan Solium Rahasiyam; Bhagapirivinai; Maragatham; Veerapandiya Kattaboman/Amar Shaheed; 1960: Daiva Piravi; Kurvanji; Irumputhirai; Padikkatha Methai; Petra Manam; Pavai Vilakku; Raja Bhakti; Makkala Rajya/Kuzhandaigal Kanda Kudiyarasu; Vidiveli; 1961: Ellam Unnakkaga; Kappalotiya Thamizhan; Pasamalar; Punarjanmam; Pavamanippu; Marudu Nattu Veeran; Palum Pazbamum; Srivalli; 1962: Alayamani; Senthamarai; Nishchaya Thambulam; Padithal Mattu Pothuma; Bale Pandian; Bandha Pasam; Parthal Pasi Theerum; Vadivukku Valai Kappu; Valar Pirai; 1963: Arivali; Annai Illam; Iruvar Ullam; Raktha Tilakam; Kulamagal Radhai; Chittor Rani Padmini; Kumkumam; Paar Magale Paar; Naan Vanangum Daivam; Kalyanin Kanavan; Mamakaram; 1964: Karnan; Pachai Vilakku; Andavan Kathali; Kaikodutha Daivam; Pudhiya Paravai; Muradhan Muthu; Navarathri; School Master; 1965: Pazhani; Anbukkarangal; Shanti; Thiruvillaiyadal; Neelavanam; 1966: Motor Sundaram Pillai; Mahakavi Kalidas; Saraswathi Sabatham; Selvam; Thaye Unakkaga; 1967: Kandan Karunai; Nenjirukumvarai; Pesum Daivam; Thangai; Paladai; Thiruvarut Selvar; Iru Malargal; Ootivarai Uravu; 1968: Thirumal Perumai; Harishchandra; Enga Ooru Raja; Galatta Kalyanam; En Thambi; Thillana Mohanambal; Lakshmi Kalyanam; Uyarntha Manithan; Arunodhayam; 1969: Anbalipu; Thanga Surangam; Kaval Daivam; Gurudakshinai; Anjal Petty 520; Nirai Kudam; Daivamagan; Thirudan; Sivantha Mann; 1970: Enga Mama; Vilayattu Pillai; Vietnam Veedu; Ethiroli; Raman Ethanai Ramanadi; Dharti; Sorgam; Engiruthu Vandhal; Pathukappu; 1971: Iru Thuruvam; Thangaikkaga; Kulama Kunama; Sumathi En Sundari; Praptham; Savale Samali; Thenum Palum; Moondru Daivangal; Babu; 1972: Raja; Gnana Oli; Pattikada Pattanama; Dharmam Engay; Thavaputhalvan; Vasantha Maligai; Neethi; Maa Inti Jyothi; 1973: Bharatha Vilas; Raja Raja Chozhan; Ponnunnjal; Engal Thanga Raja; Gauravam; Manithiral Manikam; Raja Part Rangadurai; Ranganna Sabatham; Bhakta Tukaram; 1974: Sivakamyin Selvan; Thayi; Vani Rani; Thanga Padakkam; En Magan; Anbai Thedi; Gauravam; 1975: Manithanum Daivamagalam; Avanthan Manithan; Mannavan Vandanadi; Anbe Aruyere; Vaira Nenjam; Doctor Siva; Pattam Bharathamum; 1976: Unakkaga Naan; Grihapravesham; Sathyam; Uthaman; Chitra Pournami; Rojavin Raja; Avan Oru Charitram; Ilaya Thalaimurai; Ennai Pol Oruvan; 1977: Deepam; Naam Pirandha Maan; Annan Oru Koyil; Andaman Kathali; Chanakya Chandragupta; Jeevana Theeralu; 1978: Thyagam; Punya Bhoomi; General Chakravarthi; Thacholi Ambu; Pilot Premnath; Justice Gopinath; 1979: Thirisulam; Emayam; Kavariman; Nallathoru Kudumbam; Naan Vazhavippen; Pattakathi Bhairavan; Vetrikku Oruvan; 1980: Dharma Raja; Yamanukku Yaman; Ratha Pasam; Rishi Moolam; Vishwa Roopam; 1981: Amarakaviyam; Sathyam Sundaram; Mohana Ponnagai; Kalthoon; Lorry Driver Rajakannu; Madi Veetu Ezhai; Kizhvanam Sivakkam; 1982: Hitler Umanath; Oorukku Oru Pillai; Vaa Kanna Vaa; Garuda Sowkiyama; Sangili; Vasanthathil Oru Naal; Theerpu; Thyagi; Paritchaikku Neramchu; Oorum Uravum; Nenjangal; Nivurigappina Nippu; Thunai; 1983: Neethipathi; Imaigal; Sandhippu; Mridanga Chakravarthi; Sumangali; Vellai Roja; Uruvavugal Maralam; Bezwada Bebbuli; 1984: Thiruppam; Chiranjeevi; Tharasu; Vazhkai; Charitra Nayakan; Simma Soppanam; Ezhuthantha Sattangal; Iru Methaigal; Vamsa Vilakku; Thavani Kanavukal; 1985: Bandham; Nam Iruvar; Padikkatha Panayar; Neethiyin Nizhal; Nermai; Muthal Martyathai; Raja Rishi; Padikkadhavan; 1986: Sadhanai; Marumagal; Ananda Kannir; Viduthalai; Thaikku Oru Thalattu; Maaveeran; Lakshmi Vandhachu; 1987: Veerapandian; Mutukkal Moonru; Anbulla Appa; Thambathiyam; Vishwanatha Nayakudu; Agni Putrudu; 1988: En Thamil En Makkal; Marmagal; Pudhiya Vanam; 1991: Gnana Paravai; 1992: Muthal Rural; Thevar Magan; Nangal; Chinna Marumagal; 1993: Paramparyam; 1995: Pasumponn.

GANESH, GEMINI

Aka Ramaswamy Ganesan, known in Tamil as Kadhal Mannan (King of Romance). Tamil star also known for performances in Telugu, Malayalam and Hindi. Graduated in chemistry and worked at the Madras Christian College. Joined the Gemini Studio in 1946 as casting assistant. Became a star with his double role in Manampola Mangalyam, during the making of which he met Telugu and Tamil star Savitri, whom he married. Known mainly for soft romantic roles (e.g. Kalyana Parisu), or Vanjikottai Valiban (where he played opposite two female leads, Padmini and Vyjayanthimala); also for love stories in which he plays the loser. Later played in mythologicals, e.g. A.P. Nagarajan’s Kandan Karunai and several P. Subramanyam films in Malayalam such as Kumara Sambhavam; the melodramatic lead with Sowcar Janaki in Panthulu’s Tamil remake of School Master. Father of Hindi star Rekha.

FILMOGRAPHY (* also d): 1947: Miss Malini; 1952: Thayi Ullam; 1953: Avvaiyyar; Manampola Mangalyam; 1954: Penn; 1955: Maheshwari; Valliyin Selvam; Maman Magal; Kanavane Kan Kanda Daivam; Kalam Maripochu; Pennin Perumai; Missiamma; 1956: Prema Pasam; Asai; Devata; Mathar Kula Manikam; Sadaram; 1957: Miss Mary; Manalane Mangayin Bhagyam; Mallika; Maya Bazaar; Yar Paiyan; Saubhagyavati; Karpurakarasi; Kutumba Gauravam; 1958: Thirumanam; Vanjikottai Valiban; Raj Tilak; Pati Bhakti; Kadan Vangi Kalyanam; School Master/Badi Panthulu; Bhuloka Rambha/Bhuloka Rambhai/Pareeksha; 1959: Kalyana Parisu; Veerapandiya Kattaboman/Amar Shaheed; Vazha Vaitha Daivam; Nalla Theerpu; Adisaya Thirudan; Bhagya Devatha/Bhagya Devathai; Ponnu Vilayum Bhoomi; 1960: Kalathur Kannamma; Parthiban Kanavu; Pudhiya Pathai; Meenda Sorgam; Ellorum Innattu Mannar; Kairasi; 1961: Kappalotiya Thamizhan; Pasamalar; Nazrana; Saugandh; Bhagya Lakshmi; Thennilavu; Pavamanippu; Panithirai; 1962: Kathirunda Kankal; Konjum Salangai; Adiperaku; Parthal Pasi Theerum; Sumaithangi; Manithan Maravillai; Patha Kannikkai; Swarnamanjari/Mangaiyar Ullam Mangada Selvam; 1963: Lavakusa; Ldayathil Nee; Karpagam; Ezhai Pangalan; 1964: Oralkoodi Kalanayi; Pasamum Nesamum; Vazhkai Vazhvadarke; 1965: Hello Mister Zamindar; 1966: Ramu; Chinnachiru Ulagam; Thene Mazhai; 1967: Kandan Karunai; Pattathu Rani; Seeta; Padhyam; Penn Entral Penn; 1968: Balaram Shri Krishna; Panama Pasama; Thamarai Nenjam; 1969: Kumara Sambhavam; Avare En Daivam; Iru Kodukal; Kuzhandai Ullam; Thanga Malar; Porsilai; Aindhu Laksham; Manaivi; Shanti Nilayam; Kulavilakku; 1970: Ethirkalam; Tapalkaran Thangai; Sorgam; Sinehithi; Kanmalar; Kaviya Thalaivi; Malathi; 1971: Punnagai; 1912. Kanna Nalama; Enna Mudalali Sowkiyama; Appa Tata; Kurathi Magan; Ellai Kodu; Velli Vizha; Daivam; Shakti Leela; Professor; Shri Guruvayoorappan; 1973: Ganga Gauri; Nalla Mudivu; School Master; Thirumalai Daivam; Malai Nattu Mangai; Kattilla Thottilla; Jesus; 1974: Manikka Thothil; Nan Avanillai; Devi Shri Karumariamman; Devi Kanyakumari; 1975: Swami Ayyappan; Uravukku Kayi Koduppam; 1976: Dashavatharam; Idaya Malar*; Lalitha; Unakkaga Naan; 1977: Naam Pirandha Maan; Shri Murugan; Oka Thalli Katha; 1978: Shri Kanchi Kamakshi; Bhrashthu; 1919 Allavudeenum Albutha Velakkum/Allavudeenum Arputha Vilakkum/Alladdin and the Wonderful Lamp; Gnana Kuzhandhai; 1983: Oppantham; Soorakottai Singhakutty; 1988: Rudraveena; Unnal Mudiyum Thambi; Ponmana Selvan.

GANGULY, DHIRENDRANATH (1893–1978)

Bengali director, painter and actor born in Calcutta. Studied in Shantiniketan, graduated from the Government School of Art, Calcutta (1915); art teacher in the Nizam’s Art College, Hyderabad. Successful portrait painter and sought to extend his oil painting techniques into photography. Published 2 collections of photographic self-portraits, Bhaber Abhiyakti and Biye (1922), as photo montages with Ganguly himself modelling all the characters. Set up Indo-British Film (1918) in Calcutta with Nitish Lahiri. First film, Bilet Pherat, was probably ready in 1919. Returned to Hyderabad and set up Lotus Film (1922–4) on the Nizam’s invitation. Went back to Calcutta, after a short stay in Bombay, and started British Dominion Films Studio (1929) together with P.C. Barua. Remained ardent supporter of Empire Films concept. Unable to sustain his studio into the sound era, he went freelance in 1934, including two separate periods at New Theatres. With Bilet Pher at introduced a type of satire into film (continued in The Marriage Tonic, Takay Ki Na Hay) analogous to 19th C. tradition of Naksha satirical literature, drawing on Pat painting and the musical satires of Calcutta Theatres. Among his later films were adaptations of Premendra Mitra’s novels (e.g. Ahuti, Daabi).

FILMOGRAPHY (* act only): 1921: Bilet Pherat*; Shri Radha Krishna*; 1922: Sadhu Aur Shaitan*; Indrajit; Lady Teacher; Hara Gauri; Chintamani; Bimata; 1923: The Marriage Tonic; Yayati; 1927: Shankaracharya*; 1930: Panchasar*; Kamaner Aagun*; Alik Babu; 1931: Takay Ki Na Hay; Charitraheen; Maraner Pare* (all St); 1933: Mastuto Bhai; 1934: Excuse Me; Sir; Night Bird; Halkatha; 1935: Bidrohi; 1936: Country Girl; Dwipantar; 1938: Halbangala; Achin Priya; Abhisarika; 1940: Path Bhoole; Karmakhali; 1941: Pratishodh*; Ahuti; 1943: Daabi; 1947: Srinkhal; 1948: Shesh Nibedan; 1949: Cartoon; 1962: Abhisarika*; Rakta Palash*.