GANGULY, JAHAR (1904–69)

Actor born in 24 Parganas Dist., Bengal. Major stage actor, dancer and singer in Calcutta Theatres, e.g. as Fatikchand in Poshyaputra (1932) and as Bhola Moira in Anthony Kabial in the late 60s. Broke through in film with Premankur Atorthy’s Dena Paona. Cast in almost 1/3 of Bengali films in 40s and 50s as a character actor in comedy counterparts to the dramatic lead. A crucial mediator between the Calcutta Theatres style and popular cinema (e.g. his Jyotish Bannerjee and Naresh Mitra films). Best-remembered lead role as Manas opposite Kanan Devi’s Niharika in Manmoyee Girls’ School, a part reprised from his 1932 Art Theatres production. Also major role in Shahar Theke Dooray, and remarkable cameos in Satyajit Ray’s Parash Pathar and Chidiakhana. Continued as stage actor until the 60s.

FILMOGRAPHY: 1931: Geeta (St); Dena Paona; 1934: Tulsidas; 1935: Manmoyee Girls’ School; Mantra Shakti; Payer Dhulo; Kanthahaar; 1936: Pather Sheshey; Kal Parinaya; Mahanisha; Bishabriksha; 1937: Talkie of Talkies; 1938: Sarbajanin Bibahotsab; Bekar Nashan; Ekalavya; 1939: Janak Nandini; Jakher Dhan; Nara Narayan; Sharmistha; Vaman Avatar; 1941: Kavi Joydev; Bijoyini; Pratishodh; Shri Radha; Nandini; Pratisruti; Karnarjun; 1942: Nari; Bhishma; Garmil; Milan; Bondi; Pashan Devata; Shesh Uttar/Jawab; 1943: Shahar Theke Dooray; Sahadharmini; Jogajog/Hospital; Dwanda; Poshya Putra; Nilanguriya; Jajsaheber Nathni; Paper Pathey; Dampati; Rani; Priya Bandhabi; 1944: Matir Ghar; Samaj; Shesh Raksha; Chhadmabeshi; Sandhya; 1945: Bondita; Kato Door; Do Tana; Path Bendhe Dilo; Mane Na Mana; Kalankini; Grihalakshmi; Dui Purush; Raj Lakshmi; 1946: Pather Sathi; Sat Number Bari; Ae To Jiban; Natun Bou; Bande Mataram; Matrihara; Tumi Aar Ami; Dukhe Jader Jiban Gara; 1947: Pather Daabi; Abhiyatri; Srinkhal; Ratri; Jharer Parey; Mandir; Swapna-o-Sadhana; Tapobhanga; Ramer Sumati; 1948: Anirban; Bankalekha; Nandaranir Sansar; Narir Rup; Sadharan Meye; Samapika; 1949: Rangamati; Sankalpa; Anuradha; Abhijatya; Abhimaan; Kamana; Mahadan; Niruddesh; Singhdwar; 1950: Biresh Lahiri; Indranath; Mahasampad; Kankantala Light Railway; Eki Gramer Chhele; Banprastha; Garabini; Gipsy Meye; Mejdidi; Sahodar; 1951: Kulhara; Babla; 1952: Meghmukti; 1953: Sat Number Kayedi; Makarshar Jaal; Keranir Jiban; Harilakshmi; Sitar Patal Prabesh; Niskriti; 1954: Maa-o-Chhele; Nababidhan; Naa; Kalyani; Mani-Aar-Manik; Sati; Barbela; Agni Pareeksha; Nilsbari; Shivashakti; Grihapravesh; Mantra Shakti; 1955: Nishiddha Phal; Devatra; Parishodh; Bidhilipi; Kalo Bou; Godhuli; Dui Bone; Mejo Bou; Bhagwan Shri Shri Ramakrishna; Bhalobasha(?); 1956 Sagarika; Asabarna; Saheb Bibi Golam; He Maha Manab; Chirakumar Sabha; Paradhin; Asamapta; Trijama; Mamlar Phal; Rajpath; Nabajanma; Bandhan; Chhaya Sangini(?); Asha; 1957: Bara Maa(?); Tapasi; Madhu Malati; Ghoom; Baksiddha; Adarsha Hindu Hotel; Chhaya Path; Parer Chheley Punar Milan; Ogo Sunchho; Abhoyer Biye; Ami-Baro-Habo; Madhabir Jonye; Chandranath; Parash Pathar; 1958: Shri Shri Maa; Bandhu; Manmoyee Girls’ School; Kangsa; Dak Harkara; Jogajog; O Amar Desher Mati; Purir Mandir; 1959: Janmantar; 1960: Khokha Babur Pratyabartan; Chhupi Chhupi Ashey Gariber Meye; Ajana Kahini; Nader Nimai; Biyer Khata; 1961: Manik; Raibahadur; Kathin Maya; 1962: Bandhan; Nabadiganta; 1963: Dui Bari; Barnachora; Sat Bhai; Nirjan Saikate; Palatak; Tridhara; Nyayadanda; Uttar Falguni; 1964: Jiban Kahini; Bireshwar Vivekananda; Kanta Taar; Natun Tirtha; Dui Parba; 1965: Dinanter Alo; Raja Rammohun; Mukhujey Paribar; 1966: Ramdhakka; Shesh Tin Din; Sudhu Ekti Bachhar; 1967: Mahashweta; Chidiakhana; 1968: Charan Kabi Mukundadas; Hansamithun; 1969: Arogyaniketan; Pita Putra; Protidan.

GANGULY, JIBAN (1905–53)

Calcutta Theatres stage star, e.g. as Lav in Sisir Bhaduri’s Natyamandir production of Seeta (1924). Lead role in the film of Atorthy’s novel Chasher Meye made a substantial impact on New Theatres’ early style of ‘following the path of literature’ (B.N. Sircar, 1952; cf. B. Jha, 1990). Played several literary roles, e.g. in Sailajananda Mukherjee’s novel Pataal Puri filmed by Priyanath Ganguly and in Tagore’s Gora filmed by Naresh Mitra.

FILMOGRAPHY: 1927: Shankaracharya; 1930: Bigraha; 1931: Chasher Meye; Abhishek; 1932: Sandigdha(all St); 1933: Sabitri; 1934: Taruni; 1935: Pataal Puri; Swayambara; 1936: Kal Parinaya; Sonar Sansar; 1937: Ranga Bou; Muktisnan; 1938: Sarbajanin Bibahotsab; Abhigyan; Gora; 1939: Parasmani; Parajay; 1940: Tatinir Bichar; Shapmukti; Thikadar; 1941: Mayer Pran; 1943: Paper Pathey; 1949: Samarpan; Pratirodh; 1950: Krishan; Panchayat; 1951: Kulhara; 1954: Vikram Urvashi; Naramedh Yagna; Chitrangada.

GANGULY, PRIYANATH N. (1887–1956)

One of Madan’s top silent directors together with Jyotish Bannerjee. Started working for Madan in 1904. Directorial début with experimental comedy short Bear-scare in the Rajah’s Garden Party. Embarked on a series of documentaries, Swadeshi Films, for Madan’s Elphinstone Bioscope, made with Kumar Gupta and covering e.g. the Prince of Wales’s visit (1905), the Grand Masonic Procession (1906), etc. Started Asiatic Cinematograph Co. in Calcutta, a production and distribution concern that built two theatres in the city and shot Indian visit of George V in direct competition with the Madan unit and Hiralal Sen (1911). Early features at Madan included versions of Bankimchandra Chatterjee’s novels (Krishnakanter Will, Durgesh Nandini and Debi Choudhrani). Manager of Madan’s Elphinstone Picture Palace in the early 30s. Joined East India Film and took over Kali Films/India Film Industry (1935) where he hired Sisir Bhaduri, Satu Sen, Sushil Majumdar, Tulsi Lahiri and encouraged the post-Kallol generation of film-makers (esp. novelist-film-maker Sailajananda Mukherjee, filming his novel Pataal Puri). Kali Films also produced the first film in Oriya, the mythological Seeta Bibaha (1934).

FILMOGRAPHY: 1926: Krishnakanter Will; 1927: Jana; Durgesh Nandini; 1929: Kapal Kundala; 1930: Kal Parinaya; 1931: Debi Choudhrani (all St); Prahlad; 1933: Jamuna Puliney/Radha Krishna; 1934: Taruni; 1935: Pataal Puri; Bidyasundar; 1936: Kal Parinaya.

GEMINI PICTURES

Aka Gemini Studios. Best-known Madras studio in the 40s for redefining the concept of mass entertainment with Chandralekha (1948), the first Madras film to break successfully into the Hindi cinema. S.S. Vasan started Gemini as a distribution agency, the Gemini Pics Circuit, distributing and partly financing films by K. Subramanyam’s Motion Pics Producers Combine. When the Combine went bankrupt, Vasan bought the studio in 1939 at public auction for a mere Rs 86,427–11 (Annas)-9 (Paise) (according to Randor Guy). The studio’s début feature was probably Balkrishna Narayan Rao’s Madanakamarajan (1941), but it only took off when cameraman-scenarist K. Ramnoth joined it along with his Vauhini partner, art-director A.K. Sekhar. This team made most of Gemini’s early features: Mangamma Sapatham (1943), Kannamma En Kadhali (1945) and Miss Malini (1947) before the Chandralekha blitz catapulted it on to the national stage. In the early days, the most important event in the studio was Uday Shankar’s dance extravaganza Kalpana (released 1948) which also provided training for most of Gemini’s technicians as well as providing the model for an Orientalist dance idiom later associated with influential Tamil choreographers like Hiralal and Chopra Master. A few minor hits followed Chandralekha before the studio’s second major onslaught on the national box office with Apoorva Sahodarargal (1949), a trilingual that established the studio’s dominance in the genre of the costumed adventure movie. Although its Hindi version Nishan was not a major success, Vasan continued making Hindi films, often signing them himself: e.g. the Dilip Kumar and Dev Anand film Insaniyat (1955), Vyjayanthimala’s Raj Tilak (1958) and Paigham (1959) starring Dilip Kumar, Raaj Kumar and Vyjayanthimala. They also made the megabudget Tamil classic Avvaiyyar (1953). An important later production was Motor Sundaram Pillai (1966), Sivaji Ganesan’s only film at this studio. In 1958 the studio expanded into the Gemini Colour lab, licensed by Eastmancolor Kodak film. After Vasan’s death, his son S.S. Balasubramanyam produced the unsuccessful Ellorum Nallavare (1975). Gemini’s productions declined in the 70s, although it remained successful as a studio and equipment rental business now taken over by the Anand Cine Services.

GENERAL PICTURES CORPORATION

First professional film studio in Madras; Est: 1929 at Tondiarpet by film-maker A. Narayanan after visiting Universal City in Hollywood. It was linked to a distribution-exhibition network extending into Burma and Singapore. Prominent film-makers included R.S. Prakash, C. Pullaiah (as cameraman) and Y.V. Rao (initially as actor). General Pics consolidated the pioneering work of R. Venkaiah and Prakash with Star of the East Film and made 18 features and a number of shorts commissioned by e.g. the Health Department and by Imperial Chemical Industries (Burma Oil Company Fire, The Spirit of Agriculture, etc.). It closed in 1933, being replaced by the Srinivasa Cinetone sound studio in 1934.

GEORGE, KULAKKATIL GEEVARGHESE (B. 1945)

Malayalam director born in Tiruvalla, Kerala, into Syrian Christian family; son of a signboard painter. Graduate in political science from University of Kerala (1967). Diploma from FTII (1971), then for three years assistant to Kariat (e.g. on Maya, 1972) contributing substantially to some documentaries credited to Kariat (e.g. Manavallakurchi: My Village, 1973). Films often use contemporary political or social issues as a pivot for thriller-like plots (e.g. Yavanika). Controversial film Lekhayude Maranam Oru Flashback (Lekha’s Death is a shorter version by c.40’) faced legal controversy for allegedly exploiting the suicide of actress Shobha. Commercially successful films also enjoy a large art-house following in Kerala. Produced the film Mahanagaram (Rajeev Kumar, 1992).

FILMOGRAPHY: 1971: Faces (Sh); Health in the Village (Doc); 1975: Swapnadanam; 1977: Vyamoham; 1978: Onappudava; Rappadigalude Gatha; Mannu; Ini Aval Urangatte; 1979: Ulkadal; 1980: Mela; Kolangal; 1982: Yavanika; 1983: Lekhayude Maranam Oru Flashback; Adaminte Variyellu; 1984: Panchavadippalam; 1985: Irakal; 1987: Kathakku Pinnil; 1988: Mattoral; Yathrayude Anthyam (TV); 1990: Ee Kanni Koodi.

GHAI, SUBHASH (B. 1943)

Hindi director born in Nagpur. Along with Manmohan Desai and Ramesh Sippy, one of the top producer-directors of 80s Hindi cinema. Graduated as actor from the FTII (1968), then actor and scenarist, collaborating with B.B. Bhalla (e.g. Khan Dost, 1976). Directorial début produced by N.N. Sippy. Broke through with Karz. Lavish song picturisations underline his commitment to big-screen spectaculars. Claims independence from the star system but relies on it for his extravagant marketing campaigns, regularly using Dilip Kumar, Anil Kapoor and Jackie Shroff. Also acted in a number of films (Aradhana, 1969; Umang, 1970; Bharat Ke Shaheed and Do Bachche Dus Haath, 1972; Grahan, 1972; Dhamki, 1973; Natak, 1975). Became independent producer with his own Mukta Arts (1983). His most recent feature, Khalnayak, attracted censorship problems because of Madhuri Dixit’s performance of the provocative song Choli ke peeche. The film also featured Sanjay Dutt who was arrested shortly before its release charged with being implicated in the bomb explosions in Bombay in March 1993. Also produced Uttar Dakshin (1987) and Mukul Anand’s Trimurti (1995).

FILMOGRAPHY: 1976: Kalicharan; 1978: Vishwanath; 1979: Gautam Govinda; 1980: Karz; 1981: Krodhi; 1982: Vidhata; Meri Jung; 1983: Hero; 1986: Karma; 1989: Ram Lakhan; 1991: Saudagar; 1993: Khalnayak.

GHANTASALA VENKATESWARA RAO (1923–74)

Telugu and Tamil composer and also singer. Legendary name in popular Telugu music who sang over 10,000 songs in his career, and composed, apparently, for over 125 films. Born in Chautapelle, Gudivada Taluk, AP, the son of a musician. Orphaned as a child. Child actor, in near slavery conditions, in plays like Chintamani and Sant Sakkubai. Apprenticed to the school of Susarlu Krishna Brahma Sastry; graduated from the music school at Vijayanagar while earning a living as an itinerant singer and beggar. Received the title of Vidwan in 1941. Was arrested and imprisoned in the Alipore jail for singing patriotic songs during Gandhi’s Satyagraha agitations (1942). Went to Madras (1945); cast in small film roles, e.g. Balaramaiah’s Seeta Rama Jananam (1942) and Thyagayya (1946), while occasionally recording for AIR. Broke through in Swargaseema (1945), singing duets with Bhanumati to Nagaiah’s score. Turned composer for L.V. Prasad’s Mana Desam. Known mainly for love duets (recently released on cassette by HMV, titled Divyaprema). Combined native idioms with classical Carnatic styles, e.g. in compositions for Chiranjeevulu and Rahasyam, set to the lyrics of Malladi Ramakrishna Sastry. His work in these two films was, to V.A.K. Ranga Rao, his best film work although both films flopped. Also produced Paropakaram (1953). Made a rare screen appearance in the hit Shri Venkateswara Mahatyam (1960).

FILMOGRAPHY (* act only): 1949: Mana Desam; Keelugurram/Maya Kudhirai; 1950: Shavukaru; Lakshmamma; 1951: Nirdoshi/Niraparadhi; Patala Bhairavi; 1952: Palletooru; Petti Chesi Choodu; 1953: Chandraharam; Paropakaram; Bratuku Theruvu; 1955: Kalvanin Kadhali; 1956: Chiranjeevulu; 1957: Maya Bazaar; Thodi Kodallu; Vinayaka Chaviti; 1958: Manchi Manushuku Manchi Roju; 1959: Shabash Ramudu; 1960: Shantinivasam; Shri Venkateswara Mahatyam*; 1961: Raktha Sambandham; 1962: Gundamma Katha; 1963: Lavakusa; Veera Kesari/Bandhipotu; Valmiki; Paruvu Pratishthalu; Anuragam; 1964: Satyanarayana Mahatyam; 1965: Simhachala Kshetram; Pandava Vanavasam; Madhuve Madi Nodu; CID; 1966: Paramanandayya Sishyula Katha; 1967: Peddakayya; Rahasyam; Punyavati; Nirdoshi; 1968: Veerapooja; Govula Gopanna; Pantalu Pattimpulu; 1969: Jarigina Katha; 1970: Nanna Thamma; 1971: Ramalayam; 1972: Menakodalu; Vamsodharakudu; 1973: Poola Mala; 1974: Ammayi Pelli; Tulasi; 1977: Sati Savitri; Vasthade Maa Bava.

GHATAK, ANUPAM (1911–47)

Second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) born in Mymensingh (now Bangladesh). Studied music under his father Atul Ghatak and later under Keshab Ganesh Dhekan, becoming a noted flautist. Sang on radio (1930). Assisted composer Bishen Chand Boral in Hiren Bose’s Mahua (1934) at New Theatres, and then Rai Chand Boral for the classic Bidyapati/Vidyapati (1937). First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shapmukti to the experimental Gane more kon indradhanu in Agni Pareeksha.

FILMOGRAPHY (* act only): 1934: Mahua*; 1935: Payer Dhulo; Bidrohi*; 1936: Grihadah*; 1939: Bhole Bhale; Ladies Only; Sadhana; Seva Samaj; Uski Tamanna; 1940: Shapmukti; Civil Marriage; 1941: Karnarjun; Mayer Pran; 1942: Pashan Devata; 1943: Shri Ramanuja; 1945: Champa; 1946: Ayi Bahar; Badnami; Khush Naseeb; Shalimar; 1947: Aisa Kyon; Faisla; 1948: Banjare; 1949: Abhishapta; 1950: Shri Tulsidas; 1953: Shamsheer; 1954: Kalyani; Agni Pareeksha; 1955: Anupama; Devimalini; Paresh; Drishti; 1956: Kirti Garh; Ekti Raat; Shankar Narayan Bank; Asamapta; Nagardola; 1957: Madhabir Jonye; Ektara; Surer Parashey; Parer Chheley.

GHATAK, RITWIK KUMAR (1925–76)

Bengali director born in Dhaka. Left East Bengal (now Bangladesh) in early youth when family migrated to Calcutta. Became politically active (1946) and joined the DPTA as playwright, director and actor (1948–54), including Bijon Bhattacharya’s production of Nabanna (1948) and his Jwala (1950) and Officer (1952). Set up Natyachakra Theatre Group, then broke away to work with Sombhu Mitra’s Bohurupee Group (1949). Entered film as assistant to Manoj Bhattacharya (Tathapi, 1950). Acted and was generally involved in the making of Chinnamul, helping to transform documentary film into committed fiction cinema, an effort extended into Nagarik (1952, released in 1977). Continued street theatre work and was voted best theatre actor and director at all-India IPTA conference, Bombay (1953). Forced out of IPTA because of ideological differences and set up Group Theatre (1954) animated by his interpretation of Stanislavski’s approach. Purged from CPI (1955). Joined Filmistan in Bombay as scenarist; scripted Bimal Roy’s Madhumati (1958) arid collaborated with Hrishikesh Mukherjee on Musafir (1957). Professor of Film Direction and Vice-Principal of the FTII (1966–7). Wrote the play Sei Meye while in a mental asylum and staged it there with doctors and patients (1969). Suffered increasingly from alcoholism. Active in cine technicians’ unions throughout his career. Authored numerous short stories, at least eight plays including Bengali adaptations of Gogol and Brecht. Among his published writings on film are Chalachitra Manash Ebam Aro Kichhu (1975) and Cinema and I (1987, the first volume of a collected works project by the Ritwik Memorial Trust). Anthologies of critical writings on Ghatak by Shampa Bannerjee (1982), Haimanti Bannerjee (1985) and Rajat Roy (1979, 1983). Also scripted Swaralipi (1961), Kumari Mon (1962), Dwiper Nam Tiya Rang (1963) and Raj Kanya (1965). Within the political framework of WW2, the 1943 famine and Partition, Ghatak launched with Ajantrik a new investigation into film form, expanding the refugee experience into a universalised leitmotiv of cultural dismemberment and exile evoking an epic tradition drawing on tribal, folk and classical forms (Buddhist sculpture, Baul music, the khayal). As a film-maker investigating cinema’s image-sound dialectic in epic constructs, Ghatak’s unconventional, even idiosyncratic use of e.g. Tagore in his films - evoking the character of Shakuntala from Prachin Sahitya in Komal Gandhar, and the Shishu Tirth sequence in the bar in Subarnarekha – has been analysed in contrast to the assimilation of Tagore in other Bengali films. Aesthetically his work can be placed alongside that of Bengali novelist Manik Bandyopadhyay (1908–56) and the teachings of his musical forbear Ustad Allauddin Khan. His influence has been most fundamental on his FTII students (1964–5), e.g. Kumar Shahani, Mani Kaul and John Abraham.

Ritwik Ghatak in his Jukti Takko Aar Gappo (1974)

FILMOGRAPHY (* act only): 1950: Tathapi*; Chinnamul*; 1952: Bedeni (incomplete); Nagarik; 1954: Naramedh Yagya; 1955: Adivasiyon Ka Jeevan Srot (Doc); Bihar Ke Darshaniya Sthan (Doc); 1957: Ajantrik; 1959: Bari Theke Paliye; Kata Ajanare (incomplete); 1960: Meghe Dhaka Tara; 1961: Komal Gandhar; 1962: Subarnarekha; Scissors (Sh); 1963: Ustad Allauddin Khan (Doc) (uncredited); 1964: Bagalar Bangadarshan (incomplete); 1965: Fear (Sh); Rendezvous (Sh); 1967: Scientists of Tomorrow (Doc); 1968: Raunger Gholam (incomplete); 1970: Puruliar Chhou Nritya (Doc); Amar Lenin (Sh); Yeh Kyun? (Sh); 1971: Durbargati Padma (Sh); 1972: Indira Gandhi (Doc) (incomplete); 1973: Titash Ekti Nadir Naam; 1974: Jukti Takko Aar Gappo; 1975: Ramkinker (Doc) (incomplete).

GHOSE, GAUTAM (B. 1950)

Bengali director born in Faridpur, East Bengal (now Bangladesh). Father was a professor of English literature. Active in student politics in Calcutta. Freelance journalist and fringe theatre director. Made early documentaries as extension of his photojournalism. Influenced in this early practice by documentarist Sukhdev, who inspired him to do his own screenplays, camerawork, music and editing (in his early films). First feature, Maabhoomi, based on the Telangana uprising of 1941, imbues fiction with semi-documentary mode influenced by Solanas/Getino films of the 60s and by the folk Burrakatha form. Later moved to more conventional forms. Often places his stories in conditions of extreme social marginality, presented through his actors as physical, primitive and elemental battles of survival (Dakhal, Paar). Worked with the writings of Bengali novelist Kamal Kumar Majumdar (e.g. Antarjali Jatra). Most recent film Padma Nadir Majhi is an ambitious and expensive Indo-Bangladesh co-production adapting a classic novel by Manik Bandyopadhyay. Also directed a TV series adapting famous Bengali short stories (1986). Acted in Buddhadev Dasgupta’s Grihajuddha (1982), playing the reporter Sandipan who is killed, and composed the music for Agni Sanket (Sanjib Chattopadhyay, 1988).

FILMOGRAPHY: 1973: New Earth (Doc); 1976: Hungry Autumn (Doc); Chains of Bondage (Doc); 1979: Maabhoomi; 1981: Dakhal; Development in Irrigation (Doc); 1984: Paar; 1985: Parampara (Doc); 1986: The land of Sand Dunes (Doc); A Tribute to Odissi (Doc); 1987: Ek Ghat Ki Kahani (Doc); Antarjali Jatra/Mahayatra; 1989: Sange Meet Se Mulaqat (Doc); 1990: Mohor (Doc); 1991: The Bird of Time (Doc); 1992: Padma Nadir Majhi; 1993: Patang.

GHOSH, KALIPRASAD (B. 1889)

Bengali director educated at Calcutta University. Started as theatre director with Calcutta Theatres’ Minerva Company. Established Indian Kinema Arts (1927) with Minerva proprietor Ghanshyamdas Chokhani. Joined East India Film in 1932 and Bombay’s Sagar Movietone in 1934 before returning to Calcutta (1936).

FILMOGRAPHY: 1927: Shankaracharya; 1928: Nishiddha Phal; 1929: Apahrita; 1930: Kanthahaar; 1932: Bhagya Lakshmi (all St); 1934: Shaher Ka Jadoo; 1936: Lagna Bandhan; 1943: Jajsaheber Nathni; 1948: Dhatri Debata; 1950: Vidyasagar; 1952: Kar Papey; 1955: Rani Rashmoni; 1958: Shri Shri Maa.

GHOSH, NACHIKETA (1924–76)

Bengali and Hindi composer. A doctor by training; also known as an accomplished tabla player. Trained in music by Anathnath Basu and Latafat Hussain. Worked briefly in radio. His compositions recall Hemanta Mukherjee’s work in defining a typically post-Independence ‘adhunik’ (modern/contemporary) popular idiom characterised by eclecticism and its sentimental address to an urban middle class. Popular compositions in Joydev and in 70s films like Bilambita Lay, Nishipadma, Dhanyi Meye and Stree. Also set nursery rhymes to music which remained popular.

FILMOGRAPHY: 1953: Boudir Bone; 1954: Joydev; 1955: Nishiddha Phal; Pather Sheshey; Jharer Parey; Bhalobasha; Ardhangini; 1956: Trijama; Nabajanma; 1957: Tapasi; Prithibi Amar Chai; Harishchandra; Natun Prabhat; Rastar Chhele; 1958: Bandhu; Bhanu Pelo Lottery; Indrani; Rajdhani Theke; Jonakir Alo; 1959: Chaowa-Pawa; Swapna Puri; Derso Khokhar Kando; Kichhukshan; Nirdharita Silpir Anupastithi Tey Personal Assistant; 1960: Akash-patal; Haat Baraley Bandhu; Khudha; Biyer Khata; 1961: Kanamachi; 1964: Kanta Taar; 1968: Chhoto Jignasa; Rakta Rekha; 1969: Chiradiner; Shesh Theke Shuru; 1970: Nishipadma; Bilambita Lay; 1971: Fariyad; Dhanyi Meye; 1972: Chinnapatra; Natun Diner Alo; Stree; Sabari; 1973: Agni Bhramar; Bon Palashir Padabali; Nakal Sona; Nani Gopaler Biye; Shravan Sandhya; 1974: Alor Thikana; Asati; Sujata; Mouchak; 1975: Chhutir Phande; Kajal Lata; Nagar Darpane; Priya Bandhabi; Sanyasi Raja; Swayamsiddha; Sei Chokh; 1976: Mom Batti; Ananda Mela; Hotel Snow Fox; 1976: Asadharan; 1977: Brajabuli; 1984: Abhishek.

GHOSH, NEMAI (1914–88)

Bengali and Tamil director/cameraman. Born in Calcutta. Assistant to Bibhuti Das at the Aurora Studio (1932); resigned following a trade union dispute. For several years involved with a cine-technicians’ union. Member of the Calcutta Film Society from the outset (1943) and was considered by Ray as his first-choice cameraman for Pather Panchali (1955). Member of the IPTA, acting in its seminal play Nabanna. First film: Chinnamul, a classic of IPTA-inspired socialist realism, admiringly reviewed by Pudovkin in Pravda (1951). Moved to Madras (1951) where he worked as cameraman on Tamil and Kannada films, e.g. G.V. Iyer’s Hamsa Geethe (1975). Key member of a Marxist collective, the Kumari Films Co-op, which produced Padhai Theriyudu Paar. Also made documentaries, e.g. light and Candle and Mysore University. Vice-President of the Federation of Film Societies for several years and a Naxalite sympathiser in the 70s.

FILMOGRAPHY: 1950: Chinnamul; 1960: Padhai Theriyudu Paar; 1981. Sooravalli.

GHOSH, PARBATI (B. 1944)

Oriya actress and director. Started as actress aged 6. Known mainly as producer, with husband Gaura Ghosh, producing seminal films in the early history of the Oriya cinema, e.g. Bhai Bhai (1956); Lakhmi (1962); Kaa (1966). Turned to direction with Sansar (with her husband), and then adapted Fakir Mohan Senapati’s classic 19th C. novel, Chamana Atha Guntha for directorial comeback.

FILMOGRAPHY: 1971: Sansar, 1986: Chamana Atha Guntha.

GHOSH, ROBI (1931–97)

Major Bengali comedian. Best known in the role of Bagha in Satyajit Ray’s fantasy, Goopy Gyne Bagha Byne, repeating the character in Hirak Rajar Deshe and in Sandeep Ray’s sequel Goopy Bagha Phere Elo, as well as for the unemployed youth in Aranyer Din Ratri. Stage actor with Utpal Dutt’s Little Theatre Group (1953–60), e.g. Chhayanat and Angar. 60s films continued in the line of Bengali film comedians (e.g. Tinkari Chakraborty, Indu Mukherjee, Amar Mullick, etc.). Ghosh regarded Tulsi Chakraborty, along with Harold Lloyd and Harry Langdon, as his main influence. Also acted in other Ray films (Abhijaan, Mahapurush, Aranyer Din Ratri, Jana Aranya), for Tapan Sinha (Apanjan, Sabuj Dwiper Raja) and Mrinal Sen (Abasheshe, Chorus). Also acted in almost all Dinen Gupta films between 1972–85. His small body, mobile face and extraordinary timing was acclaimed by his stage mentor, Utpal Dutt, for its Brechtian ability to slip in and out of the characters and stereotypes (used subversively in the role of Mr Mitter in Jana Aranya). Ghosh regards the comedian as uniquely able to communicate with diverse audiences, having assimilated both the boisterous folk comedy and the urbane comedy of manners. Ran the amateur stage group, Chalachal, which closed in 1970. Returned to the professional stage with e.g. Bibar (1973), Shrimati Bhayankari (1980), Kane Bibhrat (1983) and Sabash Peto Panchu (1988). Also directed two films, one (1974) under the pseudonym Ekalavya.

FILMOGRAPHY (* also d): 1959: Kichhukshan; 1961: Megh; 1962: Hansuli Banker Upakatha; Abhijaan; Agun; Abasheshe; 1963: Nirjan Saikate; Palatak; Shesh Prahar; Chhaya Surya; Binimoy; Nyayadanda; 1964: Saptarshi; Kashtipathar; Natun Tirtha; Momer Alo; Lal Patthar; Subah-o-Debatargrash; Mahapurush; 1965: Ek Tuku Basa; Surer Agun; Kal Tumi Aleya; 1966: Dolgobinder Karcha; Galpa Holeo Satti; Griha Sandhaney; Manihar; Swapnaniye; Uttar Purush; 1967: Asbite Asbio Na; 1968; Apanjan; Baghini; Baluchari; Hansa Mithun; Panchasar; Goopy Gyne Bagha Byne; 1969: Arogyaniketan; Bibaba Bibbrat; Teen Bhubhaner Parey; Satyakam; Aranyer Din Ratri; Teer Bhoomi; 1970: Sheela; Ae Korechho Bhalo; Rupasi; 1971: Dhanyi Meye; Kubeli; Pratibad; 1972: Ajker Nayak; Chhayatir; Padi Pishir Barmi Baksha; Shesh Parba; Basanta Bilap; Chitthi; Marjina Abdallah; Shriman Prithviraj; Alo Amar Alo; Maa-o-Mati; Subse Bada Sukh; Calcutta ’71; 1973: Megher Pare Megh; Achena Atithi; Daabi; Pranta Rekha; 1974: Sadhu Judhishthirer Karcha*; Bikele Bhorer Phool; Chorus; Jadu Bansha; Phuleshwari; Rakta Tilak; Sangini; Thagini; Chhutir Phande; Mouchak; Premer Phande; 1975: Raag Anuraag; Sansar Simantey; Salaam Memsaab; Jana Aranya; Mohan Baganer Meye; Sudur Niharika; Harano Prapti Niruddesh; 1976: Nidhi Ram Sardar*; Ek Je Chhilo Desh; Ananda Mela; Dampati; Era-Ek-Jug; Jatayu; Samrat; Sankhabish; 1977: Abirvab; Brajabuli; Mantramugdha; Pratima; Proxy; Bar Bodhu; 1978: Nadi Theke Sagare; Ganadevata; Lattu; Charmurti; Tilottama; 1979: Jhor; Chirantan; Malancha; Nauka Dubi; Ghatkali; Sabuj Dwiper Raja; Samadhan; Satma; Shahar Theke Dooray; Sonay Subaga; Krishna Sudama; 1980: Kuhasa; Bandhan; Bancha-ramer Bagan; Ae To Sansar; Gopal Bhanar; Hirak Rajar Deshe; Paka Dekha; Priyatama; Batasi; 1981: Baisakhi Megh; Kalankini; Pahari Phool; Subarna Golak; Meghmukti; Swami Stri; Maa Bipat Tarini Chandi; Pratisbodh; 1982: Amrita Kumbher Sandhaney; Rashmayir Rashikala; Raj Bodhu; Matir Swarga; Simanta Raag; 1983: Aparoopa; Ae Chhilo Mone; Amar Geeti; Din Jay; Indira; Jay Parajay; Jiban Maran; Robi Shom; Kauke Bolo Na; Aloye Phera; Samarpita; Srinkhal; Banashree; Duti Pata; Mohaney Dike; 1984: Prarthana; Rashifal; Shorgol; Uncle; Vasundhara; Inquilab Ke Baad; 1985: Abasheshe; Hulusthul; Kenaram Becharam; Pratigya; Tagori; 1986: Abhishap; Abbimaan; Bouma; Jiban; 1987: Lalan Fakir; Aaj Ka Robin Hood; Bidrohi; Antarjali Jatra/Mahayatra; Raj Purush; Samrat-o-Sundari; Amor Sangi; 1988: Agni Sanket; Koroti; Antaranga; Ora Charjon; Madhuganjer Sumati; 1989: Shubha Kamana; Amar Tumi; 1990: Chakranta; Chetana; Jwar Bhata; Abhimanyu; 1991: Prashna; Amar Saathi; Palatak; Antarer Bhalobasha; Goopy Bagha Phere Elo; Agantuk; 1992: Padma Nadir Majhi; Anutap; Priya; Gunjan; Shaitan; Ananya; Adhikar; 1993: Mon Mane Na; Kuchbaron Kanya; Maya Mamata; Krantikaal; Shanka; Prajapati; 1994: Tobu Mone Rekho; Geet Sangeet; Sagar; Phiriye Dao; 1995: Kahini; Mohini; Pratidhani; Kumari Maa; Mejo Bou.

GIDWANI, MOTI B. (B. 1905)

Hindi director born in Karachi. Studied film-making in Britain (1926–7) and returned to make his first feature, which failed and helped close down Maharashtra Film. Went on to direct for Imperial and Sagar and made a name as a ‘safe’ freelance director. Evidence suggests he co-operated with Irani on making of Alam Ara (1931). Major successes in collaboration with Dalsukh Pancholi: the Punjabi film Yamla Jat, the musical thriller Khazanchi that lifted Lahore’s local film industry into national prominence, and Zamindar. His Kisan Kanya was India’s first colour production using Cinecolour process (Sairandhri, 1933, was processed in Germany).

FILMOGRAPHY: 1929. Nisha Sundari; 1930: Josh-e-Jawani; Veer Na Ver; Dav Pech; 1931: Gulam (all St); Anangsena; 1932: Niti Vijay; 1933: Daku Ki Ladki; Insaan Ya Shaitan; 1934: Manjari; Noor Mahal; 1936: Gulam Daku; 1937: Kisan Kanya; Do Auratein; 1940: Yamla Jat; 1941: Khazanchi; 1942: Zamindar; 1945: Kaise Kahun; 1946: Khamosh Nigahen.

GOHAR KAYOUM MAMAJIWALA (1910–85)

Mainly silent Hindi actress often billed as the Glorious Gohar. Born in Lahore. Daughter of actress; started on the stage as a child. Major star at Kohinoor. Left with Chandulal Shah to form Jagdish Film and then Ranjit. Her first hit was Homi Master’s Lanka Ni Laadi. Acted in several Master films in roles especially scripted for her by Mohanlal Dave with strong roots in popular Gujarati serial novels. Shah later used her screen persona for his famous satires on Gujarat’s urban business communities in Gohar’s best-known silents, Typist Girl/Why I Became a Christian and Gunsundari/Why Husbands Go Astray. Some later films, esp. those alongside Raja Sandow, developed mythological associations, e.g. Betaab’s scripts (Sati Savitri, Vishwamohini). Other films, in which she plays the upper-class socialite opposite the suave heroics of the brothers Bilimoria (Toofani Taruni, Barrister’s Wife) were important items in Ranjit’s popular film-novelettes.

FILMOGRAPHY: 1925: Baap Kamai; Ghar Jamai; Lanka Ni Laadi; 1926: Briefless Barrister; Lakho Vanjaro; Mumtaz Mahal; Prithvi Putra; Ra Kawat; Samrat Shiladitya; Sati Jasma; Shirin Farhad; Telephone Ni Taruni; Delhi No Thug; Typist Girl; Mena Kumari; 1927: Bhaneli Bhamini; Gunsundari; Sati Madri; Sindh Ni Sumari; 1928: Grihalakshmi; Vishwamohini; 1929: Bhikharan; Chandramukhi; Pati Patni; Rajputani; 1930: Pahadi Kanya; Raj Lakshmi; Diwani Dilbar (all St); 1931: Devi Devayani; 1932: Radha Rani; Sati Savitri; Sheilbala; 1933: Miss 1933; Vishwamohini; 1934: Tara Sundari; Toofani Taruni; Gunsundari; 1935: Barrister’s Wife; Desh Dasi; Keemti Aansoo; 1936: Prabhu Ka Pyara; Sipahi Ki Sajni/Sipahini Sajni; 1937: Pardesi Pankhi; 1940: Achhut.

GOPALAKRISHNAN, ADOOR (B. 1941)

Malayalam director born in Adoor, Kerala. Stage début as actor aged 8. Graduated from Gandhigram Rural University (1960) having produced over 20 plays, including ones he wrote himself. Notable among these was Godothe Kathe, adapting Beckett’s Waiting For Godot, with Gopi. Resigned from government job and graduated from the FTII (1965). Founder and president of the Chitralekha Film Co-op in Trivandrum (1965), the first of its kind in India, set up by FTII graduates as a production-distribution centre for personal films outside the commercial sector. In the mid-70s, a laboratory was added to the Trivandrum studio. Writes his own scripts, two of which (Elippathayam and Mukha Mukham) were published in English by Seagull Books in Calcutta (1985). Films show an emphasis on psychology depicted through gesture (cf. S. Ray). Theorised his approach in Cinemayude Lokam (1983). The reformist dimension of his work achieves an extra edge given the relative absence of that tradition in Travancore’s literature. Travancore’s delayed entry into the nationalist mainstream and its sudden transformation from a feudal state ruled by Dewan CP. Ramaswamy Aiyer into one run by a CPI government, created a break in Kerala’s history which animates his films: e.g. his portrayal of the Nair community of former rent collectors in Elippathayam and of the Communist movement itself in Mukha Mukham and Mathilukal.

FILMOGRAPHY: 1965: A Great Day (Sh); 1968: And Man Created (Doc); Danger At Your Doorstep (Doc); 1969: Towards National STD (Doc); 1972: Swayamvaram; 1974: Guru Chengannur (Doc); 1975: Past in Perspective (Doc); 1977: The Myth (Doc); Kodiyettam; 1979: Yakshagana (Doc); 1980: The Chola Heritage (Doc); 1981: Elippathayam; 1982: Krishnattam (Doc); 1984: Mukha Mukham; 1987. Anantaram; 1989: Mathilukal; 1993: Vidheyan; 1995: Kathapurushan.

GOPALAKRISHNAN, K. S.

Tamil director. Originally a playwright, started as actor in Nawab Rajamanikkam Co. Later production manager for Venus Pics. Scripted Bhimsingh’s Padikkatha Methai (1960) and later Krishnan-Panju’s Annai (1962). Commercially successful middle-budget director in 60s/70s Tamil cinema, initially making theatrical melodramas (début feature, Sharada, is about a man with sexual problems). Shifted to mythologicals with the hit Adi Parasakthi after A.P. Nagarajan revived the genre. Adi Parasakthi is sometimes seen as the first mythological hit to revive the famous ‘little’ tradition of 50s Tamil cinema: films featuring local deities rather than stories from pan-Indian epics. Launched his own studio after the success of Karpagam, naming it after the film. He is not to be confused either with an earlier Tamil director who worked at the Gemini Studios in the 40s, or with the more recent Malayalam director with the same name.

FILMOGRAPHY: 1962: Sharada; Daivathin Daivam; 1963: Karpagam; 1964: Ayiram Roopai; Kaikodutha Daivam; Suhagan; 1965: Ennathan Mudivu; Rishte Naate; Ennathan Mudivu; 1966: Chinnachiru Ulagam; Chitthi; Selvam; 1967: Kan Kanda Daivam; Pesum Daivam; 1968: Panama Pasama; Uyira Manama; 1969: Kulavilakku; 1970: Malathi; Tapalkaran Thangai; 1971: Adi Parasakthi; Kulama Kunama; 1972: Kurathi Magan; Vazhai Yadi Vazhai; 1973: Nathayil Muthu; Vandhale Magarasi; 1974: Swathi Nakshatram; 1976: Dashavatharam; Vayilla Poochi; 1977: Palabhisekham; Punniyam Seithaval; Rowdy Rakkamma; 1978: Shri Kanchi Kamakshi; Ullathil Kuzhanthayadi; 1979: Adukku Malli; 1980: Nandri Kalangal; Neer Nilam Neruppu; 1981: Magarantham; 1982: Daiviyin Thiruvilaiyadal; Nayakarin Magal; 1983: Yuga Dharmam; 1985: Padikkatha Panayar; 1986: Mahashakti Mariamman; 1988: Parthal Pasu; 1989: Athaimadi Methaiyadi; 1992: Kaviya Thalaivan.

GOPI (B. 1937)

Aka Bharath Gopi. Malayalam actor and more recently director, born in Chirayankil near Trivandrum. Full name: V. Gopinathan Nair. Known mainly as stage actor before joining films. Discovered by noted playwright and director of the Trichur School of Drama, G. Shankara Pillai; then lead actor of the Prasadhana Little Theatre. Achieved a major reputation on the stage, notably in roles like that of Shandilyan in the farce Bhagavatha Yajjukam (dir. Aravindan) and in folk-dominated plays of Kavalam Narayana Panicker’s Thiruvarung (e.g. Avanevan Kadamba), before Adoor Gopalakrishnan cast him in Swayamvaram and Kodiyettam. His theatrical experience of stylised choreography, Kalaripayattu-derived footwork, complex incantatory speech and folk percussion patterns, provided him with unique skills to internalise the rhythm of a shot (cf. the raising of the circus tent scene in Thampu, or the tea-stall scene in Mani Kaul’s Satah Se Uthata Admi). Played several straight dramatic roles, e.g. as the government co-ordinator Mamachen in George’s Adaminte Variyellu, the drunk in Neram Pularumbol and the corrupt trade union leader in Nihalani’s Aaghat. Suffered a partial paralysis in the late 80s forcing him to suspend his acting career for some years. He turned to direction having débuted earlier with Njattadi, a jaundiced view of Leftist activists deploring the blind adventurism besetting the movement. Recently also worked as a theatre director (e.g. Kavalam Narayana Panicker’s Thirumudi). Published autobiography Abhinayam Anubhavam (1994).

Gopi in Kodiyettam (1977)

FILMOGRAPHY (* d only): 1972: Swayamvaram; 1974: Thumbolarcha; 1976: Choondakari; 1977: Kodiyettam; 1978: Aaru Manikkur; Thampu; 1979: Peruvazhiyampalam; Njattadi (also d); 1980: Satah Se Uthata Admi; Greeshamam; 1981: Kalian Pavithran; Palangal; 1982: Alolam; Champalakadu; Snehapoorvam Meera; Thuranna Jail; Ormakkayi; Yavanika; Marmaram; 1983: Adaminte Variyellu; Akkare; Asthram; Lekhayude Maranam Oru Flashback; Nizhal Moodia Nirangal; Rachana, Ashtapadi; Kattathe Kilikoodu; Ente Mamattukuttiamma; Sandhya Mayungam Neram; 1984: Aduthaduthu; Appunni; April 18; Arorumariyathe; Oru Painkillikatha; Panchavadippalam; Swantham Sarika; 1985: Chidambaram; Aaghat; Archana Aradhana; Kanathaya Pennkutty; Karimbin Poovinakkare; Kayyum Thalayum Purathidaruthu; Neram Pularumbol; Onathumbikorunjal; Punnaram Cholli Cholli; Scene No. 7; Irakal; Meenamasathile Sooryan; 1986: Nilavinte Nattil; 1988: Ulsavapittennu*; 1991: Yamanam*; 1994: Swaham; 1995: Ormakalunda-yirikkanam.

GOPICHAND, TRIPURANENI (1910–62)

Telugu director born in Telangana, AP. Wrote c.300 Telugu short stories, two major novels (Parivartana, 1942; Asamarthuni Jiva Yatra, 1945) and essays on political theory, e.g. Marxism Ante Emiti? (1954). Was briefly the Secretary of the Andhra Radical Democratic Party (1954). Arguments for ideology of rational reformism were presented in his literary column ‘Ubhaya Kushalopari’ for Ramabrahmam’s journal Prajamitra. Wrote scripts for L.V. Prasad, P. Pullaiah and Adurthi Subba Rao. First film as director, Lakshmamma, made in direct competition to a Balaramaiah film on a Telugu folk ballad. Made only two more films, both based on his own literary fiction.

FILMOGRAPHY: 1950: Lakshmamma; 1951: Perantalu; 1952: Priyuralu.

GOVINDA (B. 1963)

90s Hindi star specialising in dance and comedy movies often marketed in terms of his modest origins in the Bombay suburb of Virar. Born Govind Ahuja, the son of film producer and former actor Arun Ahuja (who played the role of Shamu in Mehboob’s Aurat, 1940) and bhajan singer Nirmala Devi. Debut in the musical Love 86. After working mainly as a low-budget star in the tradition of Mithun Chakraborty, the success of Aankhen and Raja Babu defined his distinct comedy persona, usually featuring comic sidekicks Shakti Kapoor and Kadar Khan, the heroine Karishma Kapoor and numerous songs, including controversially lewd ones such as the ‘Sarkailo khatia’ number in Raja Babu.

FILMOGRAPHY: 1986: Love 86; Tan Badan; Ilzaam; Sada Suhagan; Duty; 1987: Marte Dam Tak; Khudgarz; Mera Lahu; Dadagiri; Pyar Karke Dekho; Sindoor; Dariya Dil; Ghar Mein Ram Gali Mein Shyam; 1988: Jeete Hain Shaan Se; Shiv Shakti; Pyar Mohabbat; Hatya; Ghar Ghar Ki Kahani; Tohfa Mohabbat Ka; Halaal Ki Kamai; Paap Ko Jalakar Raakh Kar Doonga; Farz Ki Jung; Khatarnak; Mahasangram; 1989: Dost Garibon Ka; Gharana; Do Qaidi; Aasman Se Ooncha; Gair Kanooni; Billoo Badshah; Aakhri Baazi; Jaisi Kami Waisi Bharni; Jungbaaz; Taaqatwar; Sachaai Ki Taaqat; Gentleman; Paap Ka Ant; Kali Ganga; Mastan; 1990: Taqdeer Ka Tamasha; Awaargi; Naya Khoon; Izzatdar; Swarg; Apmaan Ki Aag; Raeeszada; 1991: Hum; Bhabhi; Kaun Kare Qurbani; 1992:

Govinda and Karishma Kapoor in Coolie No. 1 (1995)

Shola Aur Shabnam; Jaan Se Pyara; Zulm Ki Hukumat; Radha Ka Sangam; Baaz; Muqabala; 1993: Aankhen; Prateeksba; Zakhmon Ka Hisab; Admi Khilona Hai; Bhagyavaan; Teri Payal Mere Geet; 1994: Raja Babu; Dulara; Prem Shakti; Khuddar; Ekka Raja Rani; Aag; Brahma; Rakhwale; Beta Ho To Aisa; 1995: Andolan; Hathkadi; Kismet; Coolie No 1; Rock Dancer; Gambler.

GULZAR, SAMPOORAN SINGH (B, 1936)

Mainstream Hindi-Urdu director and writer born in Deena, Jhelum Dist. (now Pakistan). Started as a poet associated with the PWA; became Bimal Roy’s lyricist (Mora gora ang lai in Bandini, 1963), then his full-time assistant. Wrote scripts and lyrics for several film-makers (Hrishikesh Mukherjee, Asit Sen, Basu Chatterjee, Buddhadev Dasgupta, Kumar Shahani etc). First film: Mere Apne, a remake of Tapan Sinha’s Apanjan (1968). Though himself an Urdu writer, claims strong influence of Bengali literature. Made one film based on a Saratchandra Chattopadhyay novel (Khushboo) and two on Samaresh Basu’s writing (Kitaab, Namkeen). Finished S. Sukhdev’s last film Shaira, a documentary on Meena Kumari. He describes his cinema as a ‘study of human beings … interesting human relationships in different aspects, different situations’ (Vasudev and Lenglet, 1983). Has published three anthologies of poetry (Janam, Ek Boond Chand, Kuch Aur Nazme) and several books for children including verse tales from the Panchtantra in Hindi. Writes his own scripts and prolific dialogue writer as well as lyricist (e.g. Ashirwad, 1968; Khamoshi, 1969; Safar, 1970; Gharonda and Khatta Meetha, both 1977; Masoom, 1982).

FILMOGRAPHY: 1971: Mere Apne; 1972: Koshish; Parichay; 1973: Achanak; 1975: Khushboo; Mausam; Aandhi; 1977: Kinara; Kitaab; 1979: Meera; 1980: Shaira; 1981: Angoor; 1982: Namkeen; 1984: Suniyel Aika (Sh); 1985: Ek Akar (Doc); 1987: Ijaazat; 1988: Mirza Ghalib (TV); Libaas; 1990: Lekin …; Ustad Amjad Ali Khan (Doc); 1992: Pandit Bhimsen Joshi (Doc).

Gummadi see Venkateswara Rao, Gummadi

GUPTA, DINEN (B. 1932)

Bengali director and cameraman born in Calcutta into a family in the film business. Member of the 50s generation of Calcutta cineastes (Ghatak, Sen et al.) influenced by the IPTA, the Calcutta Film Society (Est: 1941) and Italian neo-realism (screened in India at the International Film Festival in 1952). Early work as assistant to cameraman Ramananda Sengupta: shot some of Ghatak’s early films (e.g. Ajantrik, 1957; Bari Theke Paliye, 1959), Tarafdar’s Ganga (1960) and Harisadhan Dasgupta’s work. Directorial début with Natun Pata locates him, somewhat belatedly, in the post-Pather Panchali (1955) tradition of rustic lyricism. Pratham Pratisruti was based on Ashapurna Devi’s famous novel. Ajker Nayak belonged to the ‘lumpen rebel’ genre that emerged in 70s Bengali cinema after the Naxalite uprising, but it stuck closer to e.g. Sinha’s version of events rather than the better-known M. Sen iconography. Later made some comic melodramas (e.g. Basanta Bilap, Raag Anuraag, etc.). Shoots his own films as well as those of other film-makers.

FILMOGRAPHY: 1969. Banajyotsna; Natun Pata; 1971: Pratham Pratisruti; 1972: Ajker Nayak; Basanta Bilap; Marjina Abdallah; 1973: Pranta Rekha; 1974: Debi Choudhrani; Sangini; 1975: Raag Anuraag; Nishi Mrigaya; 1977: Rajani; Sanai; Proxy; 1978: Tilottama; 1979: Srikanter Will; 1980: Priyatama; 1981: Kalankini; 1982: Sathe Satyam; Jwain Pua; 1983: Indira; Sagar Balaka; 1984: Rashifal; 1985: Abasbesbe; 1987: Mahamilan; Sargam; 1988: Antaranga; 1990: Bakulbasar (TV); Tero Sandhyar Galpo (TV); 1991: Kato Bhalobasha; 1994: Nati Binodini.

GUPTA, HEMEN (1914–67)

Bengali-Hindi director born in Rajasthan. Degree in literature from Calcutta University. Private secretary of Subhashchandra Bose; full-time radical activist in 1930–2 Civil Disobedience movement and in terrorism around Midnapore Dist., Bengal. Arrested, jailed (1932–8) and allegedly sentenced to death. This period is commemorated in two of his best-known films, Bhuli Naai and ’42. His film project on the Bengal famine (1945) was banned by the British government. Moved to Bombay in 1951 and made several Hindi films for Filmistan and for Bimal Roy, e.g. the classic adaptation of Tagore’s Kabuliwala. His Insaaf Kahan Hai was never released. Raj Kamal was left incomplete (1957), as was his last film, Anamika (1967).

FILMOGRAPHY: 1943: Dwanda; 1944: Takraar; 1947: Abhiyatri; 1948: Bhuli Naai; 1949: ’42; 1952: Anandmath; 1954: Kashti; Meenar; 1956: Taksaal; 1959: Insaaf Kahan Hai; 1960: Babar; 1961: Kabuliwala; 1966: Netaji Subhashchandra Bose.

HAIDER, GHULAM (1908–53)

Music composer born in Hyderabad (Sind, Pakistan). Studied dentistry. Leading composer from the Lahore group with e.g. Shyam Sundar, Khurshid Anwar and S.D. Batish. With Naushad initiated a musical revolution helping to institutionalise an All-India Film aesthetic in the 40s. Learnt music from Babu Ganeshlal, with whom he worked in theatre playing harmonium in Calcutta. Briefly composer for the Jenaphone recording label. Broke into films in Lahore with Shorey; then worked for Pancholi starting with the Punjabi film Gul-e-Bakavali featuring Nurjehan as a child actress. Regular composer for Pancholi until Poonji. His score for Khazanchi led to a series of Pancholi hits pioneering new marketing strategies. Best-known compositions, often sung by Shamshad Begum, invoke Punjabi folk rhythms and extensively feature percussion instruments like the dholak. Moved to Bombay in 1944 where he worked in Filmistan (Chal Chal Re Naujawan) and Minerva. Composed one successful Mehboob film (Humayun) and gave Lata Mangeshkar her first big break in playback singing (Majboor, in duets with Geeta Dutt and Mukesh). Returned to Lahore after Partition, where he started Filmsaz with director S. Nazir Ajmeri and actor S. Gul, making Beqaraar. Also scored Akeli, Bheegi Palkein and the two Nurjehan films Gulenar (1953) and Laila.

FILMOGRAPHY: 1934: Thief of Iraq; 1935: Majnu 1935; Swarg Ki Seedhi; 1939: Gul-e-Bakavali; 1940: Yamla fat; 1941: Choudhury; Khazanchi; 1942: Khandaan; Zamindar; 1943: Poonji; 1944: Bhai; Chal Chal Re Naujawan; Phool; 1945: Humayun; 1946: Behram Khan; Jag Biti; Shama; 1947: But Tarash; Manjdhar; Mehndi; 1948: Barsaat Ki Ek Raat; Majboor; Padmini; Patjhad; Shaheed; 1949: Kaneez; 1950: Do Saudagar; Putli; 1953: Aabshar.

Haldar, Krishna see Atorthy, Premankur

HAMSALEKHA (B. 1951)

Star Kannada music composer and lyric writer also active in Tamil and Telugu films. Born Govindaraju Gangaraju in Bangalore. Employed in his father’s printing press and, later, as a member of his brother G. Balakrishna’s orchestra. Film debut as songwriter in Triveni (1973). Started his theatre group Vivekaranga (1974) staging musicals. Directed, wrote and composed the apparently unreleased film Rahu Chandra (1981). Film career actually began writing dialogues and lyrics for Nanu Nanna Hendthi, 1985). Broke through with his next film, Ravichandran’s rock musical Premaloka and became part of the Kannada film boom in the late 80s. Scored some 150 films over the next decade. Mostly writes both dialogues and lyrics for his Kannada films.

FILMOGRAPHY (* also lyr): 1986: Henne Ninagenu Bandhana*; 1987: Premaloka*; Mr Raja*; Antima Theerpu*; Digvijaya*; Bedi*; Sangrama*; Divyashakti*; 1988: Avale Nanna Hendthi*; Ranadheera*; Prema Tapaswi*; Vijaya Khadga; Sangliana*; Matrudevobhava; Anjada Gandu*; Balondu Bhavageethe*; Jadiketha Moodi; Ranaranga*; Dharmapatni; Pelli Chesi Choodu; Kodiparakkuthu; Pudhiya Vanam; Kirataka*; 1989: Mutyamanta Muddu; Anantana Avanthara; Yuddhakanda*; Idhu Ungal Kudumbam; Avane Nanna Ganda*; Amanusha*; Yuga Purusha*; Sura Sundaranga*; Indrajit*; Arthanadam; CBI Shankar*; Kindara Jogi*; Singari Bangari; Onti Salaga*; Neram Nadhi Kadhu; Agni; Narasimha*; Parashurama*; Poli Huduga*; Premagni*; 1990: Kaliyuga Abhimanyudu; Nammoora Hemmira*; SP Sangliana*; Kempu Gulabi*; Trinetra*; Avesha*; Velai Kidaichiruchu; Bannada Gejje*; Prema Yuddham; Hosa Jeevana*; Muthina Hara*; Sididedda Gandu*; Abhimanyu*; Rani Maharant*; Pratap*; Aata Bombata*; Ananta Prema*; Challenge Gopalakrishna*; Nighooda Rahasya*; College Hero*; Bhujangayana Dashavatara*; 1991: Hatyakanda; Ajagajanthara*; Punda Prachanda*; Neenu Nakkare Haalu Sakkare; Ide Police Belt*; Garuda Dhwaja*; Navatare*; SP Bhargavi*; Ramachari*; Shanti Kranti; Puksatte Ganda Hotte Thumba Unda; Rowdy and MLA; Veera Deera; Anatharakshaka; Teja; Shivaraj; Kaliyuga Bhima; Nayaka; 1992: Ankuram; Belli Kalungara; Chaitrada Premanjali; Chitralekha; Entede Bhanta; Halli Mestru; Ksheera Sagara; Vajrayudha; Purushottama; Solillada Saradada; Gopi Krishna; Sahasi; Nanna Thangi; Hosa Kalla Hale Kulla; Police File; Guru Brahma; Gandharva; Chikka Yajamanaru; Mannina Doni; Marana Mridanga; Jhenkara; Shri Ramchandra; Rajakiya; Atanka; 1993: Mangalya Bandhana; Gadhidi Ganda; Anuraghada Alegalu; Shringara Kavya; Sarkarakke Saval; Annaya; Akasmika; Midida Hridayagalu; Hridaya Bandhana; Chirabandhavya; Mane Devaru; Hoovu Hannu; Kadambari; Munjaneya Manju; Shringara Raja; Golibar; Kalyana Rekha; Wanted; Kumkumabhagya; Mojina Madhuve; Jailor Jagannath; Apoorva Jodi; Ba Nalle Madhuchandrakke; Bevu Bella; Kempaiah IPS; Rupayi Raja; Karulina Koogu; 1994: Chinna; Musuku; Time Bomb; Sammilana; Rasika; Samrat; Mahakshatriya; Gopikalyana; Meghamale; Chinna Nee Naguthiru; Sididedda Pandavaru; Makkala Sakshi; Halunda Thavaru; Lockup Death; Hongirana; Muthanna; Jana; Shri Gandha; 1995: Puttnanja; Professor; Muthinantha Hendthi; Kone Edaithe; Mojugara Sogasugara; Thayi Illada Thavaru; Deergha Sumangali; Om; Eshwar; Kalyanotsava; Tungabhadra; Madhura Maitri; Ganayogi Panchakshara; Police Power; Chiranjeevi Rajegowda; Dore; Mr Abhishek.

HARIHARAN, T.

Malayalam director born in Calicut. Arts teacher in Kerala and film critic; also associated with the theatre. Became assistant to M.S. Mani in Madras (1960) and to M. Krishnan Nair. Continued as assistant until successful directorial début in 1973 with a hit about a wealthy young woman who returns from Singapore and is sought after for her money. Panchagni was a major hit, as was Sargam, starring Manoj K. Jayan. Films often written by M.T. Vasudevan Nair addressing the latter’s favoured themes revisiting the condition of a declining feudal Nair community (e.g. Parinayam), Made one Hindi film, Anjaam. Along with I.V. Sasi, represents a cinema implicated in the economy of Kerala’s migrant workers in the Middle East in the 1980s.

FILMOGRAPHY: 1973: ladies’ Hostel; 1974: College Girl; Raja Hamsam; Ayalathe Sundari; Bhoomidevi Pushpiniyayi; 1975: Babu Mon; Love Marriage: Madhura Pathinezhu; 1976: Panchami; Rajayogam; Themmadi Velappan; Kanyadanam; Ammini Ammavan; 1977: Ivanente Priyaputhran; Sujatha; Sangamam; Tholkkan Enikku Manassilla; 1978: Adimakachavadam; Kudumbam Namakku Sreekovil; Snehathinte Mukhangal; Yagaswam; 1979: Edavazhiyile Pucha Mindappucha; Sharapanjaram; 1980: Muthichippikal; Lava; 1981: Valarthu Mrugangal; Pucha Sanyasi; Shriman Shrimati; 1982: Ankuram; Anuraga Kodathi; 1983: Varanmare Avashyamundu; Evedayo Oru Sathru; 1984: Poomadathu Pennu; Vikatakavi; Vellom; 1986: Panchagni; Nakhakshathangal; Anjaam; 1987: Amritam Gamaya; 1988: Aranyakam; 1989: Oru Vadakkan Veeragatha; Charan Data; 1990: Oliyambugal; 1992: Sargam; 1994: Parinayam.

HAZARIKA, BHUPEN (B. 1926)

Born in Sadiya, Assam. Most important Assamese singer and composer in post-Independence period. Deeply influenced by Paul Robeson. Child actor in Agarwala’s second film, Indramalati (1939). Degree from Benares University (1946); doctorate at Columbia University with a thesis on the role of mass communication in India’s adult education (1952). Returned to lecture at Gauhati University, but resigned (1955) in favour of film-making and music. Member of Assam’s first IPTA provincial committee (with Agarwala, Bishnu Rabha and Phani Sarma, 1946). Released first record, Mahatmer Mahaprayam, in 1948. Major intervention in musical forms like Bihu (spring festival music), Ban-geet and Bar-geet (devotionals written by medieval Saint poets Shankara Deb and Madhab Deb), and plantation workers’ music. Toured Assam’s riot-affected areas with Hemango Biswas and their musical troupe (1960). Early films as music director were part of continuing collaboration with IPTA colleagues Rabha and Sarma, as was his directorial début, Era Bator Sur, starring Balraj Sahni. His Shakuntala starred the popular singer Khagan Mahato. His films are noted for tremendously popular music, often with singers from Bombay, e.g. Lata Mangeshkar in Era Bator Sur, Talat Mahmood in Pratidhwani and Asha Bhosle, Kishore Kumar and Mukesh in Chik Mik Bijuli Mera Dharam Meri Maa was the first production of the newly formed state of Arunachal Pradesh. Member of Assamese State Legislative Assembly (1967–72). Edited art journal Gati (1964–7), columnist on Amar Pratinidhi (1963–80). Published several books of essays and anthologies of songs. Wrote and scored his own films, music director only on the others. Equally popular as a Bengali singer. In the 1990s associated mainly with the films/TV productions of Kalpana Lajmi.

FILMOGRAPHY (* also d): 1948: Siraj; Sati Behula; 1955: Pioli Phukan; Era Bator Sur*; 1957: Dhumuha; Kari-o-Komal; Jiban Trishna; 1958: Jonakir Alo; 1959: Mabut Bandhu Re*; Kecha Sone; Puwati Nishar Sapon; 1960: Dui Bechara; 1961: Shakuntala*; 1963: Maniram Dewan; 1964: Pratidhwani/Ka Swaratr*; 1966: Lati Ghatt*; 1969: Chik Mik Bijuli*; 1971: Ekhane Pinjar; 1973: 27 Down; 1974: Aarop; Bristi; For Whom the Sun Shines* (Doc); 1975: Chameli Memsaab; Khoj; 1976: Dampati; Mera Dharam Meri Maa*; Rupkonwar Jyotiprasad Aru Joymatt*; Palasor Rong; 1977: Banahansa; Through Melody and Rhythm* (Doc); 1978: Banjoi; 1979: Mon Prajapati*; Chameli Memsahib; Chbat Maiya Ki Mahima; 1980: Akan; 1981: Nagpash; 1982: Aparoopa/Apeksha; 1983: Deepar Prem (only act.); 1985: Angikar; 1986: Sankalpa; Ek Pal; Swikaroktr* (Sh); 1988: Siraj*; Lohit Kinare(TV); 1992: Rudali; 1994: Sopan; Gajamukta; 1995: Boumoni.

HEBLIKAR, SURESH (B. 1945)

Kannada director and actor born in Dharwar. Studied economics at Karnatak University and advertising in Bombay. Worked in a bank and performed on the amateur stage in English and in Kannada. Hired to play the lead in Kankana (1975) and continued as a screen actor, appearing in Rushya Shringa (1976), Khandavideko Mamsavideko (1979), Vatsalya Patha (1980), Alemane (1981), Amara Madhura Prema and Jyoti (1982), Matte Vasantha (1983), Kanoonige Saval (1984), Chukki Chandramma (1991), Shh…! (1993) and Murder (1994). Turned director in 1983. Recent film Aaghata is produced by psychiatrist Ashok Pai, fictionalising a real-life case study with the intention of popularising psychiatry. The producer has made other films on similar lines, usually featuring Girish Karnad as the problem-solving doctor.

FILMOGRAPHY: 1983: Antarala; 1984: Ecology of the Western Ghats (Doc); Energy (Doc); Smoking Tuna (Doc); 1985: Agantuka; 1988: Kadina Benki; 1989: Prathama Usha Kirana; 1992: Chamatkar, 1994: Aaghata (also act.).

Hema Malini see Malini, Hema

HINDUSTAN CINEMA FILMS COMPANY

Est: 1918 in Nasik, Maharashtra. First purely indigenous film studio with corporate shareholding. Started by Phalke to replace the ailing Phalke Films with partners Waman Shridhar Apte, Mayashankar Bhatt (later financier for Sharda Studio), Gokuldas Damodar and Madhavji Jessing. Phalke resigned from the Board (1919) but returned to become its chief producer and technical adviser (1923) as well as its main film-maker, directing 43 of its 96 films. 35 of the films were directed by G.V. Sane, 11 by Shinde (including Tukaram, 1921); other directors include V.S. Nirantar (4), Kashinath Bharadi, Munshi Abbas and Abhaychand Lahiri who each made one film there. The first studio to have its own distribution operation (run briefly by Bhogilal Dave) with offices in Bombay and Madras. Started offshoot Bharat Film (1919). Its last film, Phalke’s Setu Bandhan (1932), was post-synchronised for sound but the studio failed in 1933.

HISTORICALS

Like the reformist social, the historical genre derived from late 19th C. novel and theatre writing. Used mainly to glorify epochs of regional (usually military) power, it incorporated ‘Tipu Sultan in Kannada, Shivaji in Marathi, Pratapaditya or Siraj-ud-Dowla in Bengali – although Maratha and Rajput history transcended all bounds to gain an all-India popularity’ (Meenakshi Mukherjee, 1985). Often the language of the most spectacular historicals (see K. Asif, Sohrab Modi and Kamal Amrohi) was Urdu and the favourite settings were the Caliphates, the Delhi Sultanate (13th-16th C.) or the Mughal empire (16th C.). As Mukherjee points out via novelist Abdul Halim Sharar, the ‘Muslim evocation of a glorious past could hark back to the days of Moorish domination of Spain and other Mediterranean lands’. Generally, the genre was invented to represent the ‘moment of departure’ for Indian nationalism (Partha Chatterjee, 1986), resurrecting national or regional glory to create allegories for communal and regional difference and to consolidate the reform movements’ new historiography. The specific functions of the genre varied from region to region: in conditions where royalty had been reduced to a largely ceremonial role (e.g. South India), it was a specific response to imperialist domination: e.g. in Travancore where the first major novel by C.V. Raman Pillai (1858–1922), Martanda Varma (1891; filmed in 1931) resurrected the 18th C. emperor; in the old Mysore province several Company Natak plays returned to the glory of the Vijayanagar Empire (14th C.). The early cinema takes off directly from the stage historical (cf. Baburao Painter). The most evident influence was the Parsee theatre, where the genre was interpreted entirely as a play about feudal power and therefore a crucial mediation of kinship relations (see Aga Hashr Kashmiri, Mehboob). Influential regional imitations of this mode included the Bengali plays of Dwijendralal Roy (Mewar Patan, 1909), interpreted by Parthasarathy Gupta in the context of Swadeshi (cf. Gupta, 1988), and the famous Shahjehan (1909) or those of Khirode Prasad Vidyavinode (e.g. Alamgir, 1921, staged by Sisir Bhaduri). Imperial Studio re-coded the genre along Cecil B. DeMille lines. Bhalji Pendharkar and G.V. Iyer (in his Rajkumar films) used the genre for directly ideological ends. In most instances where the cinema took off from folk or popular theatre (as in Telugu), early historicals are usually blurred into other genres like the mythological or the Saint film (e.g. Vel Pics) and are conventionally referred to as ‘costume’ dramas, a tradition later continued by Gemini’s adventure films and politicised as an imaginary pseudo-history by MGR.

Shahu Modak and Shanta Hublikar in Mazba Mulga (1938)

HUBLIKAR, SHANTA (1914–92)

Actress born in Hubli, Karnataka. Entered films at Kolhapur, where she worked with Torney and Bhalji Pendharkar. Became an icon in Marathi cinema with her popular role as the prostitute Maina in Shantaram’s Manoos/Admi and esp. with the song Ah kis liye kal ki baat, one of the biggest hits in the Prabhat repertoire. Its Marathi version, Kashalya Udyachi Baat (Why speak of tomorrow?) became the title of her autobiography (1990). Also played the rich Nalini who discovers higher moral principles through meeting the poor but honest Diwakar (Shahu Modak) in K. Narayan Kale’s Mazha Mulga/Mera Ladka at Prabhat. Later acted in Hindi films (e.g. by V.M. Vyas), one Kannada film opposite Kemparaj Urs (Jeevana Nataka) and did some stage roles in Sangeet Natak musicals.

FILMOGRAPHY: 1934: Bhedi Rajkumar/Thaksen Rajputra; 1937: Kanhopatra; 1938: Mazha Mulga/Mera Ladka; 1939: Manoos/Admi; 1941: Ghar Ki Laaj; Prabhat; 1942. Malan; Pahila Palna; Jeevana Nataka; 1945: Kul Kalank; 1958: Ghar Grihasthi; Saubhagyavati Bhava.

HUSNLAL-BHAGATRAM (HUSNLAL: ?-1968; BHAGATRAM: ?-1973)

Music composer duo. First instance of two composers working together and signing all their work jointly. Popular in Hindi film in late 40s/50s, esp. Pyar Ki Jeet (e.g. the Mohammed Rafi hit Ik dil ke tukde), Badi Baben, Adhi Raat, Afsana, Sanam. Suraiya sang several of their compositions and some of their hits were popularised over Radio Ceylon. Later became members of Laxmikant-Pyarelal’s orchestra. Har Mandir Singh’s Geet Kosh credits them with the music of Bambi in the 40s (probably a dubbed version of David Hand’s Walt Disney film of 1942).

FILMOGRAPHY: 1944: Chand; 1946: Hum Ek Hain; Nargis; 1947: Heera; Mirza Sahiban; Mohan; Romeo and Juliet; 1948: Aaj Ki Raat; Lakhpati; Pyar Ki Jeet; 1949: Amar Kahani; Balam; Badi Bahen; Bansaria; Hamari Manzil; Jal Tarang; Naach; Raakhi; Sawan Bhadon; 1950: Adhi Raat; Apni Chhaya; Birha Ki Raat; Chhoti Bhabhi; Gauna; Meena Bazaar; Pyar Ki Manzil; Sartaj; Surajmukhi; 1951: Afsana; Sanam; Shagun; Stage; 1952: Kafila; Raja Harishchandra; 1953: Aansoo; Farmaish; 1954: Shama Parwana; 1955: Adl-e-Jehangir; Kanchan; Mr Chakram; 1956: Aan Baan; 1957: Dushman; Jannat; Krishna Sudama; 1958: Trolley Driver; 1961: Apsara; 1963: Shaheed Bhagat Singh; 1965: Tarzan And The Circus; 1966: Sher Afghan.

HUSSAIN, ANWAR (B. 1929)

Assamese director. Completed first film, the formally and ideologically orthodox Sarapat, aged 26: a resigned tale of human failure and family disaster. Later work is an early use in Assamese cinema of the language of mythology, both secular and religious, seen most notably in Tejimola.

FILMOGRAPHY: 1955: Sarapat; 1958: Natun Prithibi; 1963: Tejimola; 1977: Paap Aru Prayash chitta; 1983: Shri Shri Maa Kamakhya.

HUSSAIN, NASIR (B. 1931)

Hindi director born in Bhopal, MP. Briefly worked for A.R. Kardar, then joined Filmistan as scenarist (1948); wrote some of Subodh Mukherjee’s films starring Dev Anand: Munimji (1955), Paying Guest (1957). First film, Tumsa Nahin Dekha, was Shammi Kapoor’s first big hit and inaugurated a new type of 60s musicals with Mohammed Rafi’s singing clearly influenced by rock and roll. Independent producer with his own Nasir Hussain Films (1960). Made some of the most popular and frequently imitated love stories Jab Pyar Kisise Hota Hai, the Zeenat Aman hit Yaadon Ki Baraat, Hum Kisise Kum Nahin starring Rishi Kapoor, and Qayamat Se Qayamat Tak (1988), produced and scripted by him, directed by his son Mansoor, which launched his nephew and 90s star Aamir Khan. The film spearheaded the return of the teenage love theme. Since then produces his son’s films.

FILMOGRAPHY: 1957: Tumsa Nahin Dekha; 1959 Dil Deke Dekho; 1961: Jab Pyar Kisise Hota Hai; 1963: Phir Wohi Dil Laya Hoon; 1967: Babaron Ke Sapne; 1969: Pyar Ka Mausam; 1977: Caravan; 1973: Aangan; Yaadon Ki Baraat; 1977: Hum Kisise Kum Nahin; 1981: Zamane Ko Dikhana Hai; 1984: Manzil Manzil; 1985: Zabardast.

ILAIYARAJA

Prolific Tamil composer with a legendary reputation. Born as Daniel Rajayya, the 8th son of an estate supervisor in Pannaipuram, TN. Joined his stepbrother Varadarajan, a CP member, to form a music group, Pavalar Brothers, staging live concerts often as election propaganda for Left groups. Went to Madras as a teenager, where he learnt Western classical music and the Western technique of writing musical scores. Learnt Carnatic music from singer and mridangam performer T.V. Gopalakrishnan. Joined films as a member of various film orchestras. Sensational début as composer in Annakkili, using rural folk melodies. Introduced fusion effects into Tamil cinema combining Carnatic, Western classical and pop (cf. Raja Parvai). Early hits for the films of his childhood friend Bharathirajaa (Pathinaru Vayathinile). Extensively associated with playback singer S.P. Balasubramanyam and, for a while, lyricist Vairamuthu. Recent music hits notably in Mani Rathnam’s films, e.g. Raja rajadhirajan indha raja in Agni Nakshatram, followed by the songs of Anjali, etc. Commanded fees equalling those of the highest-paid actors in Tamil and was an independent star attraction until he was partially eclipsed by A.R. Rehman. Made two independent music albums, How to Name It and Nothing but Wind, both continuing his fusion experiments, as in the composition I Love You, Mozart in which he has flautist Hariprasad Chaurasia playing the raga Kalyani with a violin evocation of Mozart’s 40th Symphony. Occasionally provided lyrics and sang his compositions. Composed music apparently for c.700 films in five languages (the exhaustive filmography is virtually impossible to compile). Published two books, the European travelogue Sangeetha Kanavugal, and Vettaveliyil Kotti Kidakkudhu, addressing his philosophical preoccupations. In an essay (1996) M.S.S. Pandian demonstrates that Ilaiyaraja’s popularity represented ‘a moment of great anxiety for the musical elite’.

FILMOGRAPHY: 1916 Annakkili; Bhadrakali; Paluti Valartha Kill; Uravadum Nenjam; 1977: Alukkoru Asai; Avar Enakke Sontham; Bhuvana Oru Kelvi Kuri; Deepam; Durga Devi; Gayatri; Kavikuyil; Odi Vilayadu Thatha; Penn Janmam; Sainthadamma Sainthadu; Pathinaru Vayathinile; Thunai Eruppal Meenakshi; 1978: Achani; Aval Appadithan; Aval Oru Pachchai Kuzhandhai; Bhairavi; Chattam En Kaiyil; Chittu Kuruvi; Elamai Vunjaladugiradhu; Ithu Eppadi Irukku; Kannan Oru Kai Kuzhanthai; Katrinile Varum Geetham; Kizhakke Pokum Rayil; Mariamman Thiruvizha; Mullum Malarum; Sigappu Rojakkal; Sondhadu Needana; Thirukalyanam; Thyagam; Vattathukkul Chaduram; Vazha Ninaithal Vazhalam; Matu Tappada Maga; Aaru Manikkur; Vyamoham; Vayasu Pilichindi; Priya; 1979: Urvashi Neenu Nanna Preyasi/Urvashi Nive Naa Preyasi; Yugandhar; Azhage Unnai Aradikiran; Akal Vilakku; Annai Oru Alayam; Azhiyada Kolangal; Aarilirunthu Arubathu Varai; Udhiri Pookal; Kalyanaraman; Kavariman; Kuppathu Raja; Chella Kili; Dharma Yuddham; Thayillamal Nannilai; Naan Vazhavippen; Niram Maratha Pookal/Niram Maradha Pushpangal; Pagalil Oru Iravu; Puthiya Varpugal; Poonthalir; Ponnu Urukku Puthusu; Mudhal Iravu; Anbe Sangeetha; Kadavul Amaitha Medai; Lakshmi; Mugathil Mugam Parkalam; Nadhiyai Thedi Vandha Kadal; Nallathoru Kudumbam; Pattakathi Bhairavan; Rosappu Ravikkaikari; Sakkalathi; Vetrikku Oruvan; Amma Evarikaina Amma; Pancha Bhoothalu; 1980: Janma Janmada Anubandha; Anbukku Naan Adimai; Ilamaikolam; Ullasa Paravaigal; Enga Oor Rasathi; Kallukkul Eram; Kannil Theriyum Kathaigal; Kali; Gramathu Adhiyayam; Guru; Samanthi Poo; Savithri; Soolam; Sundarime Varuga Varuga; Thayi Pongal; Nadhiyai Thedi Vandha Kadal; Nizhalgal; Nenjathai Killathey; Poottadha Poothukkal; Ponnagaram; Murattu Kalai; Moodupani; Rishi Moolam; Rusi Kanda Poonai; Johnny; Sridevi; Dooram Arike; Manju Moodal Manju; Ayiram Vasal Ithayam; Ellam En Kairasi; Ithayithal Oru Edam; Naan Potta Saval; Ore Mutham; Oru Iravu Oru Paravai; Kotha Jeevithulu; Pasidi Mogalu; 1981: Raja Parvai; Geetha; Nee Nanna Gellalare; Bhari Bharjari Bete; Shikari; Do Dil Diwane; Alaigal Oyvathillai; Aradhanai; Ellam Inbamayam; Idru Poyi Nalai Vaa; Enakkaga Kathiru; Garjanai/Garjanam/Gar jane; Kadal Meengal; Karaiyellam Shenbagappu; Kalthoon; Kazhagu; Koyil Pura; Shankaral; Tik Tik Tik; Nandu; Netrikkan; Panneer Pushpangal; Balanagamma; Pennin Vazhkai; Madhumalar; Meendum Kokila; Rajangam; Rama Lakshman; Ranuva Veeran; Veediyum Varai Kathiru; Seethakoka Chilaka; Echil Iravugal; Kanni Theevu; Nallathu Nadanthe Theerum; Nandu; Rattha Katteriyin Marma Maligai; 1982: Kanya Dweep; Azhagiya Kanney; Archanai Pookkal; Ilanjodigal; Echil Iravugal; Engeyo Ketta Kural; Kalyana Kalam; Kanne Radha; Kathal Oviyam; Kozhi Kuvutthu; Sahalakala Vallavan; Sangili; Thanikatu Raja; Thayi Moogambikai; Marumagaley Varuga; Thyagi; Theerpu; Thooral Ninnu Pochu; Nalanthana; Nizhal Thedum Nenjalgal; Nenaivellam Nithya; Nenjalgal; Payanangal Mudivathillai; Pakkathu Veetu Roja; Paritchaikku Neramchu; Pannaipurathu Pandavargal; Puthu Kavithai; Boom Boom Madu; Pookkari Raja; Magane Magane; Moondram Pirai; Metti; Ranga; Rani Theni; Lottery Ticket; Valibame Vaa; Vaa Kanna Vaa; Hitler Umanath; Agaya Gangai; Alolam; Era Vizhi Kaviyangal; Gopurangal Saivathillai; Kavithai Malar; Kelviyum Nane Bathilum Nane; Mangal Nila; Poolapallaki; 1983: Adutha Varisu; Anandakummi; Andha Sila Natkal; Anney Anney Ayiram Nilave Vaa; Bhagavathipuram Railway Gate; Devi Sridevi; Ennaipar En Azhagai Paar; Ethanai Konam Ethanai Parvai; Ilamai Kalangal; Indru Nee Nalai Naan; Inimai Idho Idho; Jyothi; Kan Sivanthal Man Sivakkum; Kokkarako; Malaiyur Mambattiyan; Manaivi Solle Mandiram; Mann Vasanai; Mellappesungal; Mundhanai Mudichu; Muthu Engal Sotthu; Oru Odai Nadhiyagiradhu; Payum Puli; Ragangal Maruvathillai; Sattai Illatha Pambaram; Soorakottai Singhakutty Thanga Magan; Thoongathe Thambi Thoongathe; Urangatha Ninaivugal; Veetile Raman Veliyele Krishnan; Vellai Roja; Yuga Dharmam; Pallavi Anupallavi; Nyaya Gedditu; Aa Rathri; Oomakuyil; Pinninvalu; Sandhyakku Virinja Poovu; Sadma; Abhilasha (Tel); Mantrigari Viyyankudu; Rajakumar; Sagara Sangamam; Oppantham; 1984: Alaya Deepam; Ambigai Neril Vandhal; Anbe Odi Vaa; Anbulla Malare; Anbulla Rajnikant; Pudhumai Penn; Dhavani Kanavugal; Enakkul Oruvan; Ezhuthantha Sattangal; Ingeyum Oru Gangai; January 1; Kayi Kodukkum Kayi; Kairasikaran; Komberi Mookan; Kuva Kuva Vathukal; Magudi; Meendum Oru Kadhal Kadai; Mudivalla Arambham; Nalai Onadu Naal; Naan Mahaan Alia; Naan Padum Padal; Nalla Naal; Nallavanukku Nallavan; Neengal Kettavai; Nee Thodum Pothu; Neram Nalla Neram; Nilavu Suduvathillai; Nyayam; Nooravathunaal; O Mani Mane; Poovilangu; Pozhudu Vidinachu; Sanganatham; Thalaiyana Mandiram; Thambikku Entha Ooru; Thangamdi Thangam; 24 Mani Neram/24 Hours; Unnai Naan Santhithan; Vaidehi Kathirunthal; Vazhkai; Vellai Pura Ondru; Nagara Mahime; Accident; Mangalam Nerunne; My Dear Kuttichathan/Chhota Chetan; Onnanu Nammal; Unaroo; Challenge; Gadusu Pindam; Ithe Naa Saval; Jalsarayudu; Mayadari Mogudu; Merupu Dadi; Noorava Roju; Nuvva Nena/Neeya Nanna; Prema Sangamam; Sahasame Jeevitham; Sitara; Takkaridonga; Tiger Rajani; Veerabhadrulu; Etho Mogam; Kalyana Kanavugal; Thavani Kanavukal; 1985: Aan Pavam; Aduthathu Albert; Alai Osai; Amudha Ganam; Anbin Mukavari; Andha Oru Nimidam; Annai Bhoomi; Chinna Veedu; Eetti; En Selvame; Hello Yaar Pesarathu; Idaya Koyil; Japanil Kalyanaraman; Kakki Chattai; Kanni Rasi; Ketti Malam; Kumkuma Chimizh; Malargal Naniginrana; Muthal Mariyathai; Nane Raja Nane Mandiri; Naan Sigappu Manithan; Nallathambi; Neethiyin Marupakkam; Oru Kaithiyin Diary; Padikkadhavan; Padikkatha Panayar; Pagal Nilavu; Pillai Nila; Pudhiya Theerpu; Raja Rishi; Selvi; Sindhu Bhairavi; Shri Raghavendrar; Thanga Mana; Thendrale Ennai Thodu; Udaya Geetham; Unnai Thedi Varuven; Un Kannil Neer Vazhindal; Urimai; Uyarntha Ullam; Ajeya; Namma Bhoomi; Mera Lnteqam; Anveshana; Illali Sapadham; Jalsa Bullodu; Khooni; Kirathakudu; Mangalya Bandham; Monagadu Mosagadu; Muthyala Jallu; Jwala; Praja Poratam; Preminchu Pelladu; Rahasya Hanthakudu; Shivabhakta Naga Shakti; Shri Shirdi Saibaba Mahatyam; Geetanjali; Poove Poo Chooda Va; Yathra; Namma Bhoomi; 1986: Satya Jyothi; Jadu Nagari; Amman Koil Kizhakkale; Aruvadainal; Ananda Kannir; Lravu Pookkal; Isai Padum Thendrai; Unakkagave Vazhkiran; Enakku Nane Needipathi; Engal Thaikulame Varuga; Kannukku Mai Ezhuthu; Karimedi Karivayan; Kalamellam Un Mediyil; Kodai Malai; Sadhanai; December Pookkal; Dharmapatni; Thaluvatha Kaikal; Thaikku Oru Thalattu; Nam Ooru Nalla Ooru; Natpu; Nanum Oru Thozhilali; Neethana Anda Kuyil; Punnagai Mannan; Paru Paru Pattinam Paru; Palaivana Rojakkal; Maragatha Veenai; Mandhira Punnagai; Maaveeran; Mr Bharat (Ta); Mudhal Vasantham; Murattu Karangal; Mella Thirandathu Kathavu; Mouna Ragam; Yaro Ezhuthia Kavithai; Vikram; Vidunja Kalyanam; 1987: Poovizhi Vasalile; Ninaikka Therindha Maname; Ullam Kavarntha Kalvan; Teertha Karayanile; Vazhgai Valarga; Nayakan; Puyal Padum Pattu; Kalyana Kacheri; Anand; Iniya Uravu Poothathu; Manadhil Urudhi Vendhum; Sankeerthana; Aradhana; Khaidi; Andarikante Ghanudu; Rendu Thokala Titta; Kamagni; Ore Oru Gramathile; Veedu; Idhu Oru Thodarkathai; Enga Ooru Pattukaran; Kadamai Kanniyam Kattupadu; Kadhal Parisu; Krishnan Vandhan; Sirai Paravai; Chinna Kuyil Padhutthu; Ninaive Oru Sangeetham; Thoorathu Pachai; Padu Nilave; Persollum Pillai; Mangai Oru Gangai; Irattaival Kuruvi; Velaikkaran; Jalli Kattu; 1988: Shenbagame Shenbagame; En Uyir Kannamma; Rasave Unnai Nambi; Satya; Irandil Onru; Oruvar Vazhum Alayam; Solla Thudikuthu Manasu; En Jeevan Paduthu; En Bommu Kutti Ammavukku; Guru Shishyan; Agni Nakshatram; Therkkithi Kalian; Pasaparaivaigal; Parthal Pasu; Poonthotha Kavalkaran; Soora Samharam; Ennai Veetu Pogathe; Naan Sonnadhe Sattam; Unnai Mudiyum Thambi; Illam; Enga Ooru Kavalkaran; Idhu Engal Needhi; Manamagale Vaa; Dharmathin Thalaivan; Padatha Thenikkal; Thayam Onnu; Moonnam Pakkam; Maharshi; Rudraveena; Abhinandana; Shri Kanakamahalaxmi Recording Dance Troupe; Jamadagni; Swarna Kamalam; Varasoduchadu; Rakthabhisekham; En Vazhi Thani Vazhi; 1989: Ennai Petha Rasa; En Purushanthan Enakkum Mattumthan; Varusham 16; En Uyir Thozhan; Rajadhi Raja; Thenral Sudum; Pongivarum Kaveri; Pattukoru Thalaivan; Pandinattu Thangam; Apoorva Sahodarargal/ Appu Raja; Ninaivu Chinnam; Shiva (Ta); Shiva (Te); Enga Ooru Mappillai; Poruthanthu Potham; Annanukkey Jey; Raja Rajathan; Kadhal Oyvathillai; Pickpocket; Chinnappadas; Karagatta Karan; Ponmana Selvan; Dharmam Vellum; Vadhiyar Veetu Pillai; Mappillai; Pasa Mazhai; Anbu Kattalai; Padicha Pullai; Kaiveesu Amma Kaiveesu; Pudhu Pudhu Arthangal; Thiruppumunai; Vetri Vizha; Thangamana Rasa; Mahadev; Garijinchina Ganga; Prema; Chettukinda Pleader; Geetanjali; Rudra Neta; Gopalraogari Abbayi; Ashoka Chakravarthi; Indrudu Chandrudu; Kondaveeti Donga; 1990: Anjali; Arangetra Velai; Adisaya Piravi; Urudhimozhi; Ooru Vittu Oru Vandhu; Engatta Modathe; En Oyir Tholan; Oru Pudhiya Kadhai; Kavalukku Kettikaran; Kizhakku Vasal; Kiladi Kanmani; Jagadeka Veerudu Atilokasundari; Kshatriyan; Thalattu Padava; Nadigan; Nilapennay Panakkaran; Pudhu Pattu; Pattukku Naan Adimai; Pulan Visaranai; Periaveetu Pannaikaran; Pondatti Thevai; Michael Madana Kamarajan; My Dear Marthandan; Mounam Sammadham; Raja Kaiye Vacha; Vellaya Thevan; Velai Kidaichiruchu; Bobbili Raja; 1991: Aditya 369; Nirnayam; Chinna Gounder; Chinna Thambi; En Rasavin Manisile; 1992: Thevar Magan; A Okati Adakku; Killer; Papayude Sontham Appoose; 1994: Magalir Mattum; Sammohanam; Adharma; Mogha Mull; 1995: Sati Leelavathi.

Ilangovan see Elangovan

IMPERIAL FILMS COMPANY

Est: 1926. Successor to the Majestic and Royal Art Film companies set up by Ardeshir Irani as a diversification of his exhibition interests in partnership with Esoofally, Mohammed Ali and Dawoodji Rangwala. Organised as a vertically integrated combine with its own exhibition infrastructure. Started following the decline of Kohinoor, it continued many of the latter’s Mohanlal Dave-inspired genres, often with the same stars and film-makers. Imperial became closely associated with the costumed historical genre launched with Anarkali (1928), shot and released almost overnight in direct competition to Charu Roy’s The Loves of a Mughal Prince (1928). Irani also rushed out Alam Ara (1931), released as India’s first full talkie narrowly beating Madan Theatres’ Shirin Farhad (1931). Imperial was the first studio to shoot scenes at night (in Khwab-e-Hasti, 1929) using incandescent lamps. It owned India’s top silent star, Sulochana, and promoted her along with Zubeida, Jilloo and, for a while, the young Prithviraj Kapoor. This was perhaps the first major instance of a deliberate manufacturing of a star-cult as a marketing strategy. Top Imperial film-makers include R.S. Choudhury, B.P. Mishra and Mohan Bhavnani, whose film-making set the house style, as did Nandlal Jaswantlal’s sound films. A fair number of the studio’s talkies were remakes of its own silent hits with Sulochana (Anarkali; 1928 & 1935), Wildcat of Bombay (1927) became Bambai Ki Billi (1936), etc. It made films in at least nine languages: Hindi, Gujarati, Marathi, Tamil, Telugu, Burmese, Malay, Pushtu and Urdu. The first Iranian sound film, Dukhtar-e-Lur (aka Dokhtare Lor Ya Irane Diruz Va Emruz, 1932) was also made here. Kisan Kanya (1937) by Gidwani was India’s first indigenously manufactured colour film, made with the Cinecolour process. When it closed in 1938, its economic and generic inheritance was continued by Sagar Movietone.

INDIAN KINEMA ARTS

Silent studio; Est: 1927 in Calcutta by exhibitor Ghanshyamdas Chokhani. First film was the influential Punarjanma (1927) scripted by Premankur Atorthy and shot by Nitin Bose, the début of-a combination that later launched International Filmcraft with Chasher Meye (1931). With P.C. Barua’s Barua Pics and Dhiren Ganguly’s British Dominion Films, this studio is a direct predecessor of the New Theatres. Following the advent of New Theatres (1931), it was taken over by B.D. Rawal and converted into a studio facility for hire.

INDIAN PEOPLES’ THEATRE ASSOCIATION

Theatre movement informally affiliated to the CPI; launched as an All-India front in Bombay (1943) with a manifesto calling for a ‘defence of culture against Imperialism and Fascism’. While its immediate antecedents were in the PWA (1936) and thus in the European anti-Fascist movements of the 30s, the front found its identity with Sombhu Mitra’s staging of Bijon Bhattacharya’s play Nabanna (1943) and with Jyotindra Moitra’s song series Nabajibaner Gaan (1944). Both works were based on the Bengal famine of 1943. Subsequent work included travelling musical and theatre groups, predominantly in context of 40s CPI-led struggles in Bengal, Andhra (Telangana) and Kerala. Through the 40s and early 50s, it grew into the only instance of a cultural avant-garde in contemporary Indian history. It was active also in Punjab, Assam (see Jyotiprasad Agarwala and Bhupen Hazarika), Orissa (see K. Pattanayak) and AP (the Praja Natya Mandali, which also made one film, Raja Rao’s Puttillu, 1953), despite a nearprogrammatic emphasis on reclaiming the popular vernacular by using local folk and occasionally popular modes of performance. The strategy’s major strength lay in enabling several regional movements to forge new links and to reinvent their own local traditions, e.g. in Kerala, where the Kerala Peoples’ Arts Club (KPAC) played a key role in the CP’s organisation of the peasantry in Malabar and North Travancore leading to the insurrection against the erstwhile Travancore State (1946–50). Radical theatre movements around e.g. Thoppil Bhasi’s plays also traced an ancestry via the Young Namboodiri movements of the 30s (with V.T. Bhattathirippad) to the Yogakshema Sabha (Est: 1908) and to the major early 20th C. poet Kumaran Asan. The less activist but equally influential aspect of the front was in the major urban centres with e.g. the work of playwright-film-maker K.A. Abbas and dancer Uday Shankar. For a brief period following WW2 and in the early years of Independence, virtually the entire cultural intelligentsia was associated with or influenced by IPTA/PWA initiatives, possibly because it was seen as the ‘only cultural organisation engaged in serious creative activity’ (Sudhi Pradhan, 1979). The IPTA’s impact on cinema includes the collective effort of Dharti Ke Lal (1946) mobilising actors Balraj Sahni and Sombhu Mitra, musician Ravi Shankar and writer-scenarist Krishan Chander; Neecha Nagar (1946: cf. Chetan Anand); the plays of Inder Raj Anand staged by Prithviraj Kapoor which led to Raj Kapoor’s film team with e.g. scenarist Abbas and music directors Shankar-Jaikishen. The IPTA also supported some independently made films: e.g. Shantaram’s Dr Kotnis Ki Amar Kahani (1946). In Bengal, its influence on film was mediated through Manoj Bhattacharya’s Tathapi and Nemai Ghosh’s Chinnamul (both 1950), which represent Ghatak’s and Bijon Bhattacharya’s first encounters with film. Other Bengali films connected with the IPTA include Bimal Roy’s Udayer Pathey/Hamrahi (1944); Satyen Bose’s Bhor Hoye Elo (1953) and Rickshawalla (1955) and Sushil Majumdar’s Dukhir Iman (1954). In Kerala, the key event for the IPTA style’s transition to film was Neelakuyil (1954) by Ramu Kariat and P. Bhaskaran though the KPAC tradition itself was best exemplified by Thoppil Bhasi’s films and scripts.

INFORMATION FILMS OF INDIA

Est: 1943 as a successor to the Film Advisory Board. Launched as producer of war propaganda documentaries, shorts and the Indian News Parade (ancestor to Films Division’s current Indian News Review). Started by the British-Indian government, it required all exhibitors to include up to 2000 ft of ‘Government-approved film’ in each screening. This law was incorporated as an amendment to the Defence of India Act (Rule 44A). In the four years when the IFI was in force (i.e. before it yielded to the Films Division), its chief producer was Ezra Mir and the producer of the Indian News Parade was William J. Moylan. It produced c.170 shorts in addition to the newsreels before it closed in 1946.

IRANI, ARDESHIR MARWAN (1886–1969)

Director and producer in several languages; born in Pune. Studied at the J.J. School of Art in Bombay; teacher and kerosene inspector before joining his father in the phonograph and musical instruments trade in Bombay. Entered film as exhibitor representing Western Indian interests of Universal Film. Partnered Abdulally Esoofally in exhibition interests launched with acquisition of Alexandra and Majestic theatres (1914). The partnership lasted 55 years. Initially went into film production to keep distribution outlets supplied. Launched Star Film (1920) in partnership with Bhogilal K.M. Dave, releasing their first film, Manilal Joshi’s Veer Abhimanyu in 1922. They became Majestic Film (1923), then Royal Art Studio (1925) and finally the major silent era studio, Imperial Film (1926). A ‘mogul’ in the mould of the big Hollywood studio bosses; credited with between 225 and 250 productions in his lifetime, about half in the silent era, and talkies in nine languages including Farsi (Dukhtar-e-Lur, the first Iranian sound film). Early screen directions often jointly credited to Naval Gandhi but took rare solo directorial credit for India’s first full sound feature, Alam Ara, for which, having imported a sound technician from Hollywood (Wilford Deming), he finally recorded most of the sound himself. Bought rights to Cinecolour process and set up colour laboratory, producing India’s first indigenously processed colour film Kisan Kanya (1937). Produced only one film after Imperial went into liquidation in 1938 (Pujari, 1946) but remained active member of the Indian Motion Picture Producers Association (IMPPA) of which he had been, in 1933, its first president. In 1974, Kennedy Bridge in Bombay was renamed Ardeshir Bridge and his Jyoti Studios (Est: 1939) passed to his son, Shapur A. Irani.

FILMOGRAPHY: 1924. Mumbai Ni Sethani; Shahjehan; Paap No Fej; 1925: Navalsha Hirji (all St); 1931: Alam Ara; 1933: Dukhtare-Lur.

ISHARA, BABU RAM

Hindi director born in Una, Himachal Pradesh, as Roshanlal Sharma. Went to Bombay aged 16 to enter the film industry. Late 60s scenarist and dialogue writer in Hindi for Dulal Guha, B.K. Adarsh, etc. Early 70s films (Chetna, Charitra) sparked major censorship debates over nudity and ‘artistic licence’ of exploitation cineastes, particularly because of their art-house claims (cf. New Indian Cinema). His work indirectly led to the governmental guidelines addressed to the Censor Board (1979) directing the deletion of ‘scenes which have the effect of justifying or glorifying drinking [and of] vulgarity, obscenity and depravity’. Prolific scenarist; also wrote his own films.

FILMOGRAPHY: 1969: Insaaf Ka Mandir; 1970: Chetna; Gunah Aur Kanoon; 1971: Man Tera Tan Mera; 1972: Ek Nazar; Maan Jaiye; Milap; Zaroorat; 1973: Charitra; Dil Ki Raahein; Ek Nao Do Kinare; Hathi Ke Daant; Nai Duniya Naye Log; 1974: Bazaar Band Karo; Dawat; Prem Shastra; 1975: Kaagaz Ki Nao; 1978: Pal Do Pal Ka Saath; Rahu Ketu; 1979: Ghar Ki Laaj; 1980: Jise Tu Kabool Karle; Kaaran; 1981: Khara Khota; 1982: Log Kya Kahenge; 1983: Jai Baba Amarnath; 1984: Hum Do Hamare Do; Aurat Ka Inteqam; 1985: Sautela Pati; 1986: Aurat; 1987: Besahara; Sila; 1988: Woh Phir Aayegi; 1994: Janam Se Pehle; 1995: Hukumnama.

ISLAM, KAZI NAZRUL (1889–1976)

Composer and songwriter born in Burdwan Dist., Bengal. With Tagore he was the major influence on popular Bengali music in the 20th C. Known as the Bidrohi Kavi or Rebel Poet and directly associated with radical nationalist movements (e.g. through the journal Dhoomketu which he edited in 1922, leading to his imprisonment on a charge of sedition), his poetry constitutes the first radical intervention into Hindu and Muslim devotional music, e.g. his famous addresses to the goddess Kali, his ghazal compilations (Chokher Chatak, 1929) and Islamic devotionals (Zulfikar, 1932). Much of his music, continued by the IPTA’s Bengali song repertoire, was polemically seen as a radical-romantic use of the ‘tradition’ (e.g. Salil Choudhury, 1955). One of the first composer-writers to sign contracts with major record companies in Bengal (for Megaphone and Senola and later HMV) and with the Indian Broadcasting Corp., opening up new employment opportunities to a generation of younger composers such as Anil Biswas, S.D. Burman, Kamal Dasgupta and even Kishore Kumar (whose song Ai ek dui tran char gili gili/bam chick boob chick badhke bol in Kehte Hain Mujhko Raja, 1975, adapts Islam’s famous Cham chiki ude gelo). Created an urban variation of tribal jhumur music for Sailajananda Mukherjee’s Pataal Puri and wrote the songs for Nandini (1941) and Dikshul (1943). Some sources credit him as director for Dhruva, in which he played the Hindu sage Narad. Started Bengal Tiger Pics with Abbasuddin Ahmed. Their film of Islam’s novel Madina remained unfinished.

FILMOGRAPHY (* also act): 1934: Dhruva*; 1935: Pataal Puri; 1936: Graher Pher; 1938: Gora; 1942: Chowringhee.

IYER, GANAPATHY VENKATRAMANA (B. 1917)

Kannada director born in Nanjangud, Karnataka. Also major lyricist, scenarist, producer and actor, nicknamed ‘the barefoot director’. Belongs to family of temple priests in old Mysore. Started in theatre in 1928. Career in two phases: actor-playwright for Gubbi Veeranna, scenarist for several key historicals starring Rajkumar, film-maker (usually with co-director T.V. Singh Thakore) and sought-after lyricist-scenarist for c.65 Kannada films; then, after Reddy’s Samskara (1970), promoter of art-house cinema. Produced Karnad and Karanth’s Vamsha Vriksha (1971); directed Hamsa Geethe and first Sanskrit feature, Adi Shankaracharya. Later made another, Bhagavad Geeta. Culturally the two periods are closely linked: his recent Saint films argue for a revival of brahminical orthodoxy and Advaita philosophy to recover ‘ancient truths’, thus returning to themes inherent in mythologicals derived from feudalbrahminical literature, music and theatre under royal patronage around the turn of the century. Early scripts for Rajkumar (e.g. Ranadheera Kanteerava, 1960) were part of a populist effort to reposition South India’s feudalism in terms of Karnataka’s regional-chauvinist movements from mid-40s onwards. His wordy prose socials, e.g. Bhoodana, and the use of classical Carnatic music in Hamsa Geethe are part of an effort to update old Mysore’s brahminical art forms seen as the pinnacle of achievement in conservative views of Karnataka’s cultural history. Also acted in e.g. Radha Ramana (1943), Bedara Kannappa (1954), Bhakta Mallikarjuna, Mahakavi Kalidasa, Sodari (all 1955), Sadarame/Sadarama (1956), Kantheredu Nodu (1961), and Hemavathi (1977). Published Mooru Chitra Mooru Daari (1984).

FILMOGRAPHY: 1962: Bhoodana; Thayi Karulu/Thayin Karunai; 1963: Lawyara Magalu; Bangari; 1964: Post Master; 1966: Kiladi Ranga; 1967: Rajashekhara; 1968: Mysore Tonga; Nane Bhagyavati; 1969: Chowkada Deepa; 1975: Hamsa Geethe/Aakhri Geet; 1976: Nalegalannu Maduvavaru; 1977: Kudre Motte; 1983: Adi Shankaracharya; 1986: Madhvacharya; 1989: Shri Ramanujacharya; Wall Poster; 1992: Bhagavad Geeta.

JADDANBAI (B. 1892)

Hindi-Urdu director, singer, composer and actress born in Allahabad, UP. Joined Playart Phototone in Lahore (1932); later set up Sangeet Films (1936), writing, scoring and directing its films. Sang in Hindi and in Punjabi films such as Insaan Ya Shaitan, Seva Sadan, Talash-e-Haq and Raja Gopichand, also scoring the last two films. Scripted Anjuman (1948). Mother of 50s/60s Hindi superstar Nargis.

FILMOGRAPHY (* act only): 1933: Raja Gopichand*; Insaan Ya Shaitan*; 1934: Prem Pareeksha*; Seva Sadan*; Naachwali*; 1935: Talash-e-Haq*; 1936: Hridaya Manthan; Madam Fashion; 1937: Jeevan Swapna; Moti Ka Haar

JAFFREY, SAEED (B. 1929)

Internationaly successful actor born in Maler Kotla in Punjab. His father worked in the Indian Medical service. Degree in history in Allahabad; worked for AIR (1951–6); formed English theatre company, the Unity Theatre, in New Delhi (1951). Worked for TV in India (1955–6). Studied at RADA in London (1956) and at the Catholic University of America. Worked for United Nations Radio and at the India Tourist Office in the USA (1958–60). Toured Shakespeare across the USA and joined the Actors’ Studio in New York. Extensive stage career in the USA and in Great Britain (1966). Cartoonist for New York Mirror. Wrote, produced and narrated Reflections of India for WQXR radio (1961–2). Made a recording of his poetry readings, Adventures in Appreciation. Hindi début in Ray’s Shatranj Ke Khiladi. Acts in many commercial Hindi films often using the Lucknowi dialect. Narrated early Merchant-Ivory shorts and appeared in their features. Numerous TV appearances in Britain, including his own series Tandoori Nights (1985–7). Made a big impact in the innovative TV series Gangsters and in the British TV film, My Beautiful Launderette.

Rajkumar (right) in G.V. Iyer’s Kiladi Ranga (1966)

FILMOGRAPHY: 1969: Callam The Worst Soldier I Ever Saw (TV); The Guru; View from the Window (TV); The Perfumed Garden; 1971: The Horsemen; 1972: The Sun Rises in the East (TV); 1974: The Wilby Conspiracy; 1975: The Man Who Would Be King; 1976: Gangsters (TV); 1977: Shatranj Ke Khiladi; 1978: Hullabaloo over Georgie and Bonnie’s Pictures; The Last Giraffe; Destiny ON); 1979: Tales of the Unexpected: Poison (TV); Minder: The Bengal Tiger (TV); Ek Baar Phir; 1980: We Think the World of You (TV); Staying On (TV); 1981: Chashme Buddoor; Sphinx; 1982 Star; Gandhi; Courtesans of Bombay Masoom; 1983: The Jewel in the Crown (TV); Kisise Na Kehna; Romance; Romance; Agaman; Ek Din Babu Ka; Mandi; Cricketer; 1984: A Passage to India; The Far Pavilions (TV); Mashaal; Bhavna; The Razor’s Edge; Le Soleil se leve a Vest; 1985: Sagar; Phir Aayi Barsaat; My Beautiful Laundrette (TV); Far from the Kama Sutra (TV); White Lies (TV); Down With Oswald Pick (TV); Farfrom the Ganges (TV); Film Fare (TV); Ram Teri Ganga Maili; Jaanoo; Karishma Kudrat Ka; Tandoori Nights (TV); 1986: Mohammed’s Daughter (Sh); Qatl;Jalwa; Kala Dhandha Goray Log; 1987: Awaam; Khudgarz; Aulad; Adalat; Isi Bahane (TV); Tamas (TV); Killing on the Exchange (TV); 1988: Vijay; Khoon Bhari Maang; Just Ask for Diamond; Eeshwar; Kab Tak Chup Rahungi; Hero Hiralal; The Deceivers; Partition (TV); 1989: Ram Lakhan; Daata; Aakhri Gulam; Hisab Khoon Ka; Chaalbaaz; Hard Cases (TV); Manika; Une vie plus tard; Romancing the Taj (TV); 1990: Aandhiyan; Yaadon Ka Mausam; Sindoor Ki Awaaz; Solah Satra; Diwana Mujhsa Nahin; Dil; Naya Khoon; Shaandaar; After Midnight; Ghar Ho To Asia; Patthar Ke Insaan; 1991: Ajooba; Masala; Harum Scarum (TV); Rumpole and the Quacks (TV); Gunehgaar Kaun; Henna; Indrajit; Yaara Dildara; 1992: Vartmaan; Suryavanshi; Laatsaab; Nishchay; 1993: Balma; Guddu; Anmol; Chalte Chalte (TV); Aashiq Awara; Aaina; 15th August; Ek Hi Raasta; Aulad Ke Dushman; Little Napoleons (TV); 1994: Param Veer Chakra; Dilwale; Bali Umar Ko Salaam; Salami; Yeb Dillagi; 1995: Sauda; Vartaman; Jai Vikranta; Param Veer Chakra; Prem; Saajan Ki Baahon Mein; Veergati; Kartavya; Angrakshak; Gambler; Trimurti.

JAGGAIAH, KONGARA (B. 1926)

Telugu actor born in Morampudi, Tenali taluk, AP. Graduated from Andhra Christian College, Guntur, where he staged amateur plays with NTR. Schoolteacher in Duggirala while working with NTR’s National Art Theatre, e.g. his best-known play, Chesina Papam (1946). Sanskrit scholar and student of Jampala Venkata Narasimham. Activist with the Navya Sahitya Parishat (1942) and the PWA (until 1949). Telugu newsreader at AIR, New Delhi. Début in H.V. Babu’s Adarsham. Lead role in Gopichand’s Priyuralu. Appeared regularly in Telugu films mainly playing the second lead to heroes like A. Nageshwara Rao (Ardhangi, Dr Chakravarthi) until the 70s. Known for his classically accented oratory. Character actor in 80s melodrama, often in heavily made up grandfather roles. Produced two films Padandi Munduku and Shabash Papanna. Also known for translations of Rabindra Sangeet into Telugu and for his compilation of Acharya Athreya’s work. Member of Parliament representing the Congress (O) from the Ongole constituency, AP, in 1967.

FILMOGRAPHY: 1952: Adarsham; Priyuralu; 1954: Bangaru Papa; 1955: Ante Kavali; Beedala Asti; Ardhangi/Pennin Perumai; Pasupu Kumkuma; Santosham/Naya Admi; Donga Ramudu; 1956: Muddubidda; Melukolupu; Balasanyasamma Katha; 1957: Repu Neede; Aalu Magalu; Peddarikalu; Veera Kankanam; Bhale Bhava; Varudukavalil Manamagal Thevai; Bhale Ammayilu; MLA; 1958: Anna Thamudu; Atta Okinti Kodale; Shri Krishna Garudi; Dongalunnaru Jagratha; Mundadugu; Appu Chesi Pappu Koodu Kadan Vangi Kalyanam; 1959. Koothuru Kapuram; Bhagya Devatha; 1960: Renukadevi Mahatyam; Kuladaivam; Dharmane Jayam; Pelli Kanuka; Kumkumarekha; Jalsarayudu; Annapurna; Samajam; 1961: Velugu Needulu; Kanna Koduku; Taxi Ramudu; Intiki Deepam Illale; Pellikani Pillalu; 1962: Padandi Munduku; Gali Medalu; Aradhana; Appagintalu; Chitti Tamudu; Constable Koothuru; 1963: Eedu Jodu; Anubandhalu; Manchi Rojulu Lostai; Thobuttuvulu; 1964: Poojapalam; Atmabalam; Gudigantalu; Peetalameeda Pelli; Dr Chakravarthi; 1965: Uyyala Jampala; Chaduvukonna Bharya; Keelu Bommalu; Antastulu; Preminchi Choodu; Manasulu Mamathalu; Veelunama; 1966: Manase Mandiram; Ame Evaru; Astiparulu; 1967: Pranamithrulu; 1968: Bandhipotu Dongalu; Chinnari Papalu; Chuttarikalu; Gramadevathulu; Kalasina Manushulu; Papakosam; Veeranjaneya; 1969: Ardha Rathri; Dharmapatni; Jarigina Katha; Sepoy Chinnaiah; 1970: Talli Tandrulu; Yamalokapu Goodachari; Kodalu Diddina Kapuram; Drohi; Manasu Mangalyam; Maro Prapancham; 1971: Jeevitha Chakram; Vintha Samsaram; Suputhrudu; Patindalla Bangaram; Raitu Bidda; Bangaru Talli; Naa Thammudu; Chinnanati Snehitulu; Ramalayam; Talli Kuthulu; Kalyana Mandapam; Bharya Biddalu; 1972: Collector Janaki; Shabash Papanna; Prajanayakudu; Shabash Baby; Badi Panthulu; Koduku Kodalu; Balamithrula Katha; Bangaru Babu; 1973: Ramrajyam; Nindu Kutumbam; Devudu Chesina Manushulu; Ramude Devudu; Vintha Katha; Memu Manushulame; Kaidi Baba; Marapurani Manishi; Meena; 1974: Mangalya Bhagyam; Bhoomikosam; Manchi Manushulu; Devadasu; Deeksha; Gali Patalu; Kode Naagu; Peddalu Marali; Alluri Seetaramaraju; Tulasi; Manushulu Matti Bommalu; Harathi; Dora Babu; 1975: Eduruleni Manishi; Kavitha; Pellikani Thandri; Ramuni Minchina Ramudu; Samsaram; Manasakshi; 1976: Aradhana; Rama Rajyamlo Raktha Pasam; Oka Deepam Veligindhi; Devude Gelichadu; Raja; Peddanayya; Muthyala Pallaki; Shri Rajeshwari Vilas Coffee Club; Uttamuralu; 1977: Bangaru Bommalu; Adavi Ramudu; Raja Ramesh; Jeevana Theeralu; Panchayathi; Premalekhalu; Edureetha; Gadusu Ammayi; Jeevithamlo Vasantham; 1978: Dongala Veta; KDNo.l; Karunamayudu; Lambadolla Ramadasu; Sahasavanthudu; Vichitra Jeevitham; Ramakrishnulu; Yuga Purushudu; Shri Rama Raksha; Moodu Puvvulu Aaru Kayalu; 1979: Ramabanam; Maavari Manchithanam; Judagadu; Yugandhar; Samajaniki Saval; Mangala Toranalu; Vetagadu; Ra Ra Krishnaiah; 1980: Edantastulameda; Bhale Krishnudu; Kalyana Chakravarthi; Ram Robert Rahim; Shri Vasavi Kannika Parameshwari Mahatyam; Sandhya; Ragile Jwala; Srishti Rahasyulu; Manavude Mahaniyudu; Aatagadu; Bommala Koluvu; 1981: Talli Kodakala Anubandham; Guru Shishyulu; Tiruguleni Manishi; Nyayam Kavali; Jeevitha Ratham; Rani Kasularangamma; Seethakoka Cbilaka; Lakshmi; Aggirava; Antham Kadidi Arambham; Mayadari Alludu; Ramakrishnamanulu; 1982: Megha Sandesam; Gopala Krishnudu; Dharma Vadi;-Bobhili Puli; Edi Nyayam Edi Dharmam; Eenadu; Jagannatha Rathachakralu; Naa Desam; Prema Sankellu; Madhura Swapnam; Tingu Rangadu; Yamakinkarudu; 1983: Agni Samadhi; Chanda Sasanudu; Dharma Poratam; Koteeshwarudu; Poratham; Rama Rajyamlo Bheemaraju; Sivudu Sivudu Sivudu; Yuddha Bhoomi; Bandhulu Anubandhulu; 1984: Kanchu Kagada; Suvarna Sundari; Anubandham; Babulugadi Debba; Disco King; Grihalakshmi; Jagan; Mr Vijay; Naagu; Palnati Puli; Raaraju; Ramayanamlo Bhagavatham; Sahasame Jeevitham; Swati; Udanthudu; Alaya Deepam; 1985: Kirathakudu; Krishnagaradi; Uriki Soggadu; Palnati Simham; Thirugubatu; Agni Parvatham; Nyayam Meere Cheppali; Maha Sangramam; Lanchavatharam; Rechukka; Bharya Bbarthala Bandham; Maharaju; Pacbani Kapuram; lllale Devata; Adavi Donga; Vijeta; Mahamanishi; Edadugula Bandham; 1988: Inspector Pratap; Tiraga Bidda Telugu Bidda; Prema Kiritam; Ashwathama; Jeevana Ganga; Ramudu Bheemudu; Rakthabhisekham; Dharma Teja; 1989: Mamatala Kovela; Bala Gopaludu; Adarshavanthudu; Ajatashatru; 1990: Alludugaru.

JAGIRDAR, GAJANAN (1907–88)

First major freelance director-character actor in Marathi and Hindi cinema. Born in Amravati. Child actor on amateur stage. Started Arun Players in Pune and staged Chekov’s Cherry Orchard and Harindranath Chattopadhyay’s Returned from Abroad. Claimed Ernst Lubitsch’s The Patriot (1928) as a major influence. Started in films as writer of English intertitles at Prabhat; then bit actor. Apprenticed to Bhalji Pendharkar. Made films for Master Vinayak’s Huns Pictures, briefly at Minerva Movietone as scenarist for Sohrab Modi (Meetha Zaher, Talaaq, etc.) and at P.K. Atre’s company. Best-known film: Ramsbastri (at Prabhat), taking over the direction from Raja Nene and Bedekar as well as playing the lead role. Main performance was as the Muslim patriarch in Shantaram’s Shejari. Appointed first director of the FTII (1960) and became well-known pedagogue applying e.g. Stanislavski’s theories to local conditions in a book about acting (1983). Published two autobiographies (1971 & 1986). Made a TV serial, Swami, on the life of Madhavrao Peshwa, celebrating Marathi chauvinism.

FILMOGRAPHY (* also d/** only d): 1932: Jalti Nishani/Agnikankan; 1934. Sinhasan**; 1936: Honhar*; Aseer-e-Hawas; 1937: Begunah**; 1938: Umaji Naik**; Meetha Zaher; Talaaq; 1940: Main Hart**; 1941: Payachi Dasi/Charnon Ki Dasi*; Shejari/Padosi; 1942: Vasantsena*; 1943: Kanoon; 1944: Ramshastri*; Kiran*; Anban; 1945: Kaise Kahun; 1946: Jhumke; Shatranj; Behram Khan*; 1947: Jail Yatra*; 1948: Dhanyavaad*; 1950: Birha Ki Raat*; Sabak; Pagle; 1952. Chhatrapati Shivaji; 1953. Armaan; Mahatma; 1954: Maan; Mallika-e-Alam Nurjehan; Oon Paoos; Angarey; Mahatma Kabir**; 1955: Ghar Ghar Mein Diwali*; 1956: Chhoo Mantar; Zindagi Ke Mele; Dassehra; 1957: Paying Guest; Aparadhi Kaun; Talash; Yahudi Ki Ladki; Zamana; 1958: Taxi Stand**; Trolley Driver*; Dulhan; Karigar; Raj Tilak; 1959: Qaidi No. 911; Chacha Zindabad; 1960: Babar; Hum Hindustani; Umaji Naik**; 1961: Shahir Parashuram; Vaijayanti*; Hum Dono; Tanhaai; 1962: Main Chup Rahungi; Aarti; 1963: Chhota Jawan; Sukhachi Savli*; Grihasthi; 1964: Ek Don Teen; Sarfarosh; 1965: Yugo Yugo Mi Vaat Pahili; Ek Saal Pahele; Guide; Kajal; Main Hoon Alladdin; Tu Hi Meri Zindagi; 1966: Dillagi; Suraj; Amrapali; Chhota Bhai; Hum Kahan Ja Rahe Hain; Shankar Khan; Bandar Mera Saathi; 1967: Mera Munna; 1968: Farishta; Dil Aur Mohabbat; Humsaya; Mangalsutra; Jhuk Gaya Aasmaan; 1969: Admi Aur Insaan; Beti Tumhare Jaisi; Saajan; Anmol Moti; Ittefaq; Nai Zindagi; Paisa Ya Pyar; 1970: Insaan Aur Shaitan; Poraki; Ti Mi Navhech; Dr X; Devi; Ghar Ghar Ki Kahani; Jeevan Mrityu; Raaton Ka Raja; Jwala; 1971: Nate Jadle Don Jivache; Donhi Gharcha Pahuna*; Hulchul; 1972: Sub Ka Saathi; Aai Mi Kuthe Jau?; Zindagi Zindagi; 1973: Aa Gale Lag Jaa; Bandhe Haath; Chori Chori; Garibi Hatao; Naina; Sonal; 1974: Raja Shivachhatrapati; Ashiana; Badi Maa; Hamrahi; Woh Main Nahin; Mera Vachan Gita Ki Kasam; 1975: Badnaam; Mutthi Bhar Chawal; 1976: Aaj Ka Yeh Ghar; Gumrah; Meera Shyam; Raksha Bandhan; 1917: Admi Sadak Ka; Aankh Ka Tara; Paradh; Imaan Dharam; Ram Bharose; Chhota Baap; Dhoop Chhaon; Do Dilwale; Mandir Masjid; Naami Chor; Shankar Hussain; 1978: Anjaam; Des Pardes; Karmayogi; Dost Asava Tar Asa; 1979: Maan Apmaan; Naiya; Saanch Ko Aanch Nahin; 1980: Deva Pudhe Manoos; Mantryanchi Soon; Paij; 1981: Umrao Jaan; Dahshat; Sher Shivaji; 1983: Rishta Kaagaz Ka; Lal Chunaria; Love In Goa; 1984: Bhool; 1986: Aap Ke Saath; Yeh Preet Na Hogi Kam; Sutradhar; 1988: Swami** (TV).

Gajanan Jagirdar in Ramshastri (1944)

JAMUNA, NIPPANI (B. 1937)

Telugu actress, also worked in Hindi, Tamil and Kannada. Born in Hampi, Karnataka; educated in Duggirala. Associated with the stage group Praja Natya Mandali, e.g. the play Maabhoomi. Screen début in her colleague Raja Rao’s film, Puttittu. Early films with Tilak and Chanakya (e.g. Anta Manavalle). Famous roles in Missamma, and in Bangaru Talli, the Telugu remake of Mehboob’s opus Mother India (1957). First Hindi starring role in Prasad’s comedy, Miss Mary.

FILMOGRAPHY: 1953 Puttillu; 1954 Anta Manavalle; Iddaru Pellalu; Maa Gopi; Menarikam; Nirupedalu; Vaddante Dabbu; Bangaru Papa; 1955: Santos ham/Naya Admi; Vadinagari Gajulu; Donga Ramudu; Missamma/Missiamma; 1956: Tenali Ramakrishna; Chintamani; Nagula Chaviti/Adarshasati; 1957 Bhagya Rekha; Veera Kankanam; Dongalo Dora; Vinayaka Chaviti; Sati Ansuya; Miss Mary; Tangamalai Rahasyam; 1958: Bhukailasa; Bommalapelli/Bommai Kalyanam; Pellinati Pramanalu; Shri Krishnamaya; Appu Chesi Pappu Koodu; 1959: Koothuru Kapuram; Maa Inti Mahalakshmi/Enga Veetu Mahalakshmi; Sipayi Kooturu; Vachina Kodalu Nachindi; Vazhkai Oppantham; Nalla Theerpu; Naradhar Kalyanam; Kanniraindha Kanavan; Thayi Magalukku Kattiya Thali; 1960: Kadavunin Kuzhandai; Dharmane Jayam; Mahakavi Kalidasa; Annapurna; Jalsarayudu; 1961: Usha Parinayam; Krishna Prema; Pellikani Pillalu; 1962: Gul-e-Bakavali Katha; Pelli Thambulam/Nishchaya Thambulam; Gundamma Katha/Manidan Maravalli; 1963: Thobuttuvulu; Nadi Aada Janma; Moogamanasulu; 1964. Murali Krishna; Manchi Manishi; Bobbili Yuddham; Poojapalam; 1965: CID; Dorikite Dongalu; Mangamma Sapatham; Keelu Bommalu; Todu Needa; 1966: Shri Krishna Pandaviyam; Palnati Yuddham; Navarathri; Srikakula Andhra Mahavishnu Katha; Sangeetalakshmi; Shri Krishna Tulabharam; Letamanasulu; Adugu Jadalu; Ramu; 1967: Chadarangam; Poolarangudu; Upayamlo Apayam; 1968: Paala Manasulu; Sati Arundhati; Amayukudu; Chinnari Papalu; Challani Needa; Bangaru Sankellu; Pelliroju; Bandhipotu Dongalu; 1969: Ekaveera; Muhurtabalam; 1970: Aada Janma; Manasu Mangalyam; Maro Prapancham; 1971: Bangaru Talli; Mattilo Manikyam; Pavitra Hridayalu; Ramalayam; Sati Ansuya; Shrimanthudu; 1972: Atthanu Diddina Kodalu; Collector Janaki; Maa Inti Kodalu; Vintha Dampathulu; Sampoorna Ramayanam; Menakodalu; Pandanti Kapuram; 1973: Pasi Hridayalu; Mamatha; Dabbuku Lokam Dasoham; Bangaru Manushulu; Dhanama? Daivama?; Inti Dongalu; Memu Manushulame; Nindu Kutumbam; Snehabandham; 1974: Peddalu Marali; Manushulu Matti Bommalu; Deergha Sumangali; Deeksha; Gauri; Bhoomikosam; 1975: Vanaja Girija; Moguda Pellamma; Yashoda Krishna; Parivarthana; Bharati; Anuragalu; Samsaram; Ee Kalam Dampathulu; 1976: America Ammayi; Manishi Mrugham; Seeta Kalyanam; 1977: Chanakya Chandragupta; Gadusu Pillodu; Sati Savitri; Seeta Rama Vanavasu; 1978: Akbar Saleem Anarkali; Shri Rama Pattabhishekham; Katakatala Rudraiah; 1979: Bangaru Chellalu; Shrimad Virata Parvam; 1980: Shri Vinayaka Vijayam; 1987: Mandala Dheesudu.

JANAKI, S. (B. 1938)

South Indian singer born in Pallapatla, Guntur Dist., AP. Made her reputation with an AIR prize (1956) and became a staff artist at AVM (1957). Broke through in Tamil cinema under T. Chalapathi Rao and in Telugu via a duet with singer Ghantasala performing under the musical direction of Pendyala. Has sung over 13,000 songs in 12 languages.

JANAKI, SOWCAR (B. 1922)

Telugu, Tamil, Kannada and Hindi actress, originally Shankaramanchi Janaki. Born in the 24 Parganas Dist., Bengal. Acted in several radio plays when a child. Married aged 15; separated soon after and sought a career in films as a single parent. Discovered by L.V. Prasad, whom she considers her mentor, and made her début in Shavukaru. Although the film wasn’t a hit, she appended its title to her name ever since. Made her Tamil début at Modern Theatres, in the Bharatidasan scripted Valayapathi. Often paired in 50s Tamil films with M.R. Radha (e.g. Nalla Idathu Sambandham). Also acted in Tamil plays, e.g. by K. Balachander. Produced and acted in Balachander’s melodrama Kaviya Thalaivi, followed by Krishnan-Panju’s Ranga Rattinam. Her sister, Krishnakumari, was also a noted Tamil, Kannada and Telugu star, and granddaughter Vaishnavi joined films in the late 80s.

FILMOGRAPHY: 1950: Shavukaru; 1952: Adarsham; Valayapathi; 1953: Prapancham; Pichhipullaiah; 1954: Vaddante Dabbu; Devasundari; 1955: Cherapakura Chedevu; Kanyadanam; Pasupu Kumkuma; Rojulu Marayi/Kalam Maripochu; Kanyasulkam; 1956: Nagula Chaviti/Adarshasati; Bhagya Chakra; Bhagyodaya; Sadarame/Sadarama; 1957: Aalu Magalu; Bhale Bhava; Ratnagiri Rahasya/Tangamalai Rahasyam; Bhagya Rekha; 1958: Nalla Idathu Sambandham; School Master/Badi Panthulu; Anna Thamudu; Ganga Gauri Samvadam; Ettuku Pai Ettu; 1959: Abalai Anjugam; Mahishasura Mardini/Durga Mata; 1960: Naan Kanda Sorgam; Kodeduddulu Ekaramnela; Mohabbat Ki Jeet; 1961: Batasari/Kanal Neer; 1962: Manchi Manushulu/Penn Manam; Daivaleele; Partha Pasi Theerum; 1963: Kanya Ratna; Gauri; Malli Madhuve; Sati Shakthi; Paar Magale Paar; Saaku Magalu/Pempudu Koothuru; Savati Koduku; Devasundari; 1964: Deshadrohulu; Peetalameeda Pelli; Dr Chakravarthi; Navakoti Narayana; 1965: Naanal; 1966: Motor Sundaram Pillai; Mahakavi Kalidas; 1967: Thaikku Thalaimagan; Bhama Vijayam/Bhale Kodalu; 1968: Manchi Kutumbam; Teen Bahuraniyan; Chinnari Papalu; Undamma Bottupeduta; Ethir Neechal; Lakshmi Kalyanam; Uyarntha Manithan; Chakram; 1969: Kaval Daivam; Thunaivan; Iru Kodukal; 1970: Rendu Kutumbala Katha; Nadu Iravil; Kasturi Tilakam; Kaviya Thalaivi; 1971: Ranga Rattinam; 1972: Prajanayakudu; Appa Tata; Thiruneelakantar; Daivam; Thanga Thurai; Neethi; 1973: Prarthanai; School Master; Engal Thanga Raja; Khaidi Baba; Padmavyuham; 1974: Sorgathil Thirumanam; Kaliyuga Kannan; 1975: Cinema Paithiyam; Manithanum Daivamagalam; Nalla Marumagal; Uravukku Kayi Koduppam; Balipeetam; Devudulanti Manishi; Naaku Swatantram Vachindi; Vemulavada Bhimakavi; 1976: Manasakshi; Premabandham; Athirishtam Azhaikkirathu; Dashavatharam; Idaya Malar; Nalla Penmani; Perum Pukazhum; 1977: Olimayamana Ethirkalam; Adrushtavanthuralu; Oka Talli Katha; 1978: Anbin Alaigal; Kannan Oru Kai Kuzhanthai; 1979: Pattakathi Bhairavan; Samajaniki Saval; 1980: Arada Gaya; Ellam En Kairasi; Shanti; 1981: Thillu Mullu; Jagamondi; Varaala Abbayi; 1982: Mamiyara Marumagala; 1983: Rajakumar; Engalalum Mudiyum; 1984: Chiranjeevi; Kayi Kodukkum Kayi; 1987: Brahma Nayudu; Sardar Krishnama Nayudu; Gauthami; Vairagyam; 1988: Murali Krishnudu; Adade Adharam; 1989: Geetanjali.

JASWANTLAL, NANDLAL (1906–61)

Hindi director born in Bardoli, Surat. Son of Jaswantlal Mehta, administrative officer at Kohinoor. Started career as Kohinoor Studio employee (1924). Assisted Chandulal Shah (1926–9) and directed films for Ranjit Studio (1929–33). Silent star scenarist Mohanlal Dave apparently joined Ranjit solely to be able to work with Jaswantlal. Left to make a tour of Europe (1934); then joined Imperial (1934–6) where he directed Sulochana in several remakes of her own R.S. Choudhury and Bhavnani silent hits. Worked briefly in Madras running a film laboratory (1937), then returned to direction. Silent work influenced by Gandhian nationalism. Best known for his later Filmistan musicals: Anarkali (with Bina Rai and music by C. Ramchandra) and Nagin (with Vyjayanthimala), one of the biggest post-Independence musical hits. Admired for his sophisticated lighting (with cameraman Pandurang Naik). Used extreme close-ups and unusual angles creating disjointed but dramatic and sensual spaces (e.g. the beginning of Anarkali). Last film Akeli Mat Jaiyo was completed by Chandulal Shah. Apparently filmed many of the famous song sequences of M. Sadiq’s musical Taj Mahal’ (1963).

FILMOGRAPHY: 1929: Jawani Diwani; Pardesi Saiyan; 1930: Pahadi Kanya; 1931: Premi Jogan; Ghunghatwali (all St); 1933: Pardesi Preetam; 1934: Indira MA; Kashmeera; 1935: Pujarini; 1936: Bambai Ki Billi; Jungle Queen; 1939: Jeevan Saathi; 1941: Kamadhenu; 1943: Pratigya; 1944: Kadambari; 1945: Amrapali; 1947: Sati Toral; Veerangana; 1951: Sanam; 1953: Anarkali; 1954: Nagin; 1956: Taj; 1957: Champakali; 1963: Akeli Mat Jaiyo.

JAYALALITHA JAYARAM (B. 1948)

Tamil, Telugu and Kannada star, now better known as a politician. Born in Mysore, the daughter of screen star Sandhya. Learnt the Bharat Natyam. Claims that she wanted to study law, but dropped out of school to follow her aunt Vidyavati (who acted in e.g. En Veedu/Naa Illu, 1953) into films to support her family. Début in Shankar V. Giri’s English film Epistle. Early career in Kannada where her second film, Chinnada Gombe, was a major hit. Introduced to Tamil by C.V. Sridhar (Vennira Adai). Telugu début in Manasulu Mamathalu, but became a star in that language playing the vampish lead in G. Krishna’s James Bond-type hit Goodachari 116. First film with MGR, the star most closely associated with both her cinematic and political careers, is Panthulu’s Ayirathil Oruvan, followed by MA. Thirumugham’s Kannithai. She is a crucial element in MGR’s films, esp. 1968–70 when she was at the pinnacle of her career and featured in almost every MGR film, usually to allow the proletarian hero to move across class barriers (e.g. Nam Naadu, Mattukkara Velan). Left films about the same time as MGR, after which she wrote for Cho’s fortnightly Tughlaq until MGR made her an important member of his All-India Anna Dravida Munnetra Kazhagam (1981). After MGR’s death became embroiled in a bitter rivalry with MGR’s wife V.N. Janaki over the leadership of the party, which she eventually led to victory, becoming Chief Minister (1991–6). She was briefly imprisoned after her electoral defeat in 1996 for possessing ‘wealth disproportionate to her known sources of income’. Made a comeback in films playing ‘herself (as a politician/Chief Minister) in Neenga Nalla Erukkanum, delivering a message on prohibition.

FILMOGRAPHY: 1961: Epistle; Shrishaila Mahatme; 1963: Manchi Roju Lostai; 1964: Chinnada Gombe; Mane Aliya; Amarashilpi Jakanachari; 1965: Vennira Adai; Nanna Kartavya; Ayirathil Oruvan; Nee; Manasulu Mamathalu; Kannithai; Mavana Magalu; 1966: Motor Sundaram Pillai; Muharassi; Yar Nee; Kumari Penn; Chandrodyam; Thanipiravi; Major Chandrakant; Gauri Kalyanam; Mani Makudam; Badukuva Daari; Goodachari 116; Ame Evaru; Astiparulu; Navarathri; Kanni Pilla (?); 1967: Thaikku Thalaimagan; Kandan Karunai; Arasa Kattali; Madi Veetu Mappilai; Raja Veetu Pillai; Kavalkaran; Naan; Gopaludu Bhoopaludu; Chikkadu Dorakudu; 1968: Rahasiya Police 115; Andru Kanda Mukham; There Thiruvizha; Kudiruntha Koil; Galatta Kalyanam; Panakara Pillai; Kannan En Kathalan; Moonrezuthu; Bommalattam; Pudhiya Bhoomi; Kanavan; Muthu Chippi; Enga Ooru Raja; Kadhal Vaghanam; OH Vilakku; Sukha Dukhalu; Niluvu Dopidi; Brahmachari; Tikka Shankaraiah; Baghdad Gajadonga; Izzat; Attagaru Kottakodalu; 1969: Adimai Penn; Gurudakshinai; Daivamagan; Nam Naadu; Shri Rama Katha; Adrushtavanthalu; Katha Nayakudu; Gandikota Rahasyam; Adarsha Kutumbam; Kadaladu Vadaladu; Mattukkara Velan; 1970: Enga Mama; En Annan; Engal Thangam; Engiruthu Vandhal; Thedi Vantha Mappillai; Anadhai Anandan; Pathukappu; Akkachellelu; Alibaba 40 Dongalu; Shri Krishna Vijayam; Dharmadatha; 1971: Kumari Kottam; Sumathi En Sundari; Savale Samali; Thanga Gopuram; Annai Velanganni; Adi Parasakthi; Neerum Neruppum; Oru Thai Makkal; Bharya Biddalu; Shri Krishna Satya; 1972: Raja; Thikkutheriyatha Kattil; Raman Thediya Seethai; Pattikada Pattanama; Dharmam Engay; Annamitta Kai; Shakti Leela; Neethi; Akka Tammudu; Devudamma; 1973: Ganga Gauri; Vandhale Magarasi; Suryakanthi; Pattikatu Ponnaiah; Baghdad Perazhagi; Devudu Chesina Manushulu; Dr Babu; Jesus; 1974: Thirumangalyam; Thayi; Vairam; Anbu Thangai; Anbai Thedi; Premalu Pellilu; 1975: Avalukku Ayiram Kangal; Avanthan Manithan; Pattam Bharathamum; Yarukkum Vetkamillai; 1976: Chitra Pournami; Kanavan Manaivi; 1977: Shri Krishna Leela; Unnai Chutrumugalam; 1980: Nadhiyai Thedi Vandha Kadal; 1992: Neenga Nalla Erukkanu.

JAYAMMA, B. (1915–88)

First star of Kannada cinema and singer with classical training. Born in Chikmagalur, Karnataka. Started aged 7 on the Company Natak stage in Gubbi Veeranna’s theatre troupe, where she worked with her niece, B. Sundaramma, the group’s star actress. Became lead actress in 1928 and played Draupadi on stage in their big-budget spectacular, Kurukshetra (1934). Entered films in Veeranna-produced films directed by Belgian Raphael Algoet, Y.V. Rao, S. Soundararajan and H.L.N. Simha, mostly in adaptations of the Gubbi Co. stage mythologicals. Also played major roles in 40s Vauhini films in Telugu. Made a late 60s comeback, playing e.g. the haughty queen mother of hero Rajkumar in Immadi Pulakesi.

FILMOGRAPHY: 1931: His Love Affair; 1932: Hari Maya (both St); 1935: Sadarame; 1938. Gul-e-Bakavali; 1941: Subhadra; 1942: Jeevana Nataka; 1944: Bhartrabari (Ta); 1945: Hemareddy Mallamma; Swargaseema; 1946: Lavangi; Thyagayya; 1947: Brabma Ratham; 1949: Natya Rani; Mangayar Karasi; 1950: Raja Vikrama; 1951: Mantradandam; 1953: Gunasagari/Sathya Shodhanai; Gumasta; Jaladurga/Karkottai; 1958: Anna Thangi; 1965: Mavana Magalu; 1966: Prema Mayi; 1967: Immadi Pulakesi; 1968: Anna Thamma; Bedi Bandhavalu; 1970. Mukti; 1971: Sakshatkara.

Jayoo Nachiket see Jayoo and Nachiket Patwardhan

JAYWANT, NALINI (B. 1926)

Actress born in Bombay; cousin of Shobhana Samarth. Début aged 13. In Mehboob’s Bahen she sang the Wajahat Mirza duet, Nahin khate hain bhaiyya merepaan, with Sheikh Mukhtar, central to the film’s incest theme. A Filmfare cameramen’s poll voted her the most photogenic Indian actress ever. In her best-known work she usually functioned as the one who embraces life in counterpoint to the otherwise ‘realistic’ melodrama of R.S. Choudhury, Mehboob and Mahesh Kaul (e.g. Naujawan). Later she developed a curiously autonomous, guilt-free performative style (e.g. the Navketan thriller Kala Pani). Her association with realism was extended by Ramesh Saigal, Bimal Roy and most notably Zia Sarhadi’s Awaaz, while films with Kardar (Jadu), Mahesh Kaul (Naujawan, esp. the number Thandi hawaien) and Subodh Mukherjee developed the alternate musical persona exemplified by the 50s Filmistan musicals with Dev Anand (e.g. Munimji). Often partnered Ashok Kumar in 1950–2 after their success in Filmistan’s Samadhi and Sangram at Bombay Talkies.

FILMOGRAPHY: 1941: Radhika; Nirdosh; Bahen; 1942: Aankh Micholi; 1943: Adab Arz; 1946: Phir Bhi Apna Hai; 1948: Anokha Pyar; Gunjan; Varasdar; 1949: Chakori; 1950: Aankhen; Hindustan Hamara; Muqaddar; Samadhi; Sangram; 1951: Ek Nazar; fadu; Nand Kishore; Naujawan; 1952: Do Raha; Kafila; Naubahar; Saloni; Jalpari; Rahi; 1953: Shikast; 1954: Baap Beti; Kavi; Lakeeren; Mehbooba; Naaz; Nastik; 1955: Chingari; Jai Mahadev; Lagan; Munimji; Railway Platform; Raj Kanya; 1956: Aan Baan; Awaaz; Durgesh Nandini; Fifty-Fifty; Hum Sub Chor Hain; Insaafi Twenty-Sixth fanuary; Sudarshan Chakra; 1957: Kitna Badal Gaya Insaan; Miss Bombay; Mr X; Neel Mani; Sheroo; 1958: Kala Pani; Milan; 1959: Maa Ke Aansoo; 1960: Mukti; 1961: Amar Rahe Yeh Pyar; Senapati; 1962: Girls’ Hostel; Zindagi Aur Hum; 1965: Bombay Race Course; 1980: Bandish; 1983: Nastik

JEETENDRA (B. 1942)

Major 70s Hindi star with Rajesh Khanna in an era dominated by love stories preceding Bachchan. Original name Ravi Kapoor. Introduced in Shantaram’s late 50s/60s musicals, his early work was in mid-budget B-productions, often dancing in white, patent-leather shoes. He made a serious attempt to change his image by sticking on a moustache in 70s Gulzar films (e.g. Kinara and Khushboo) and playing a male Julie Andrews in the Sound of Music adaptation, Parichay. Later work pioneered a more financially efficient but formally impoverished industrial cinema in Madras, e.g. films by K. Raghavendra Rao (Himmatwala, Jaani Dost), K. Bapaiah (Mawaali, Maqsad) and Dasari Narayana Rao (justice Choudhury, Prem Tapasya).

Ashok Kumar and Nalini Jaywant in Kafila (1952)

FILMOGRAPHY: 1959: Navrang; 1963: Sehra; 1964: Dulha Dulhan; Geet Gaya Pattharone; 1966: Dillagi; 1967: Boond Jo Ban Gaye Moti; Farz; Gunahon Ka Devta; Parivar; 1968: Aulad; Mere Huzoor; Suhaag Raat; 1969: Anmol Moti; Badi Didi; Dharti Kahe Pukar Ke; Do Bhai; feene Ki Raah; Jigri Dost; Vishwas; Waris; 1970: Himmat; Humjoli; Maa Aur Mamta; Naya Raasta; Mere Humsafar; Khilona; Jawab; 1971: Chahat; Kathputli; Banphool; Bikhare Moti; Caravan; Ek Nari Ek Brahmachari; Yaar Mere; 1972: Bhai Ho To Aisa; Ek Bechara; Ek Hasina Do Diwane; Parichay; Roop Tera Mastana; Shadi Ke Baad; Sazaa; 1973: Anokhi Ada; Chori Chori; Gehri Chaal; Jaise Ko Taisa; 1974: Bidaai; Dulhan; Roti; 1975: Aakhri Dao; Khushboo; Rani Aur Lalpari; Umar Qaid; 1976: Sankoch; Santan; Udhaar Ka Sindoor; Nagin; 1977: Palkon Ki Chhaon Mein; Apnapan; Dharam Veer; Ek Hi Raasta; Dildaar; Jai Vijay Kasam Khoon Ki; Kinara; Priyatama; Zamanat; 1978: Badalte Rishte; Chowki No. 11; Dil Aur Deewar; Karmayogi; Swarg Narak; Tumhari Kasam; Nalayak; 1979: Love Ln Canada; Aatish; Hum Tere Aashiq Hain; Jaani Dushman; Khandaan; Lok Parlok; faandaar; Naya Bakra; The Gold Medal; 1980: Aap Ke Dhvane; Asha; fal Mahal; Judaai; Jyoti Bane Jwala; Maang Bharo Sajana; Neeyat; Nishana; Waqt Ki Deewar; Takkar; The Burning Train; 1981: Ek Hi Bhool; fyoti; Khoon Aur Pani; Khoon Ka Rishta; Raaste Pyar Ke; Meri Awaaz Suno; Pyaasa Sawan; Raksha; Shaaka; Sharada; Chorni; Mosambi Narangi; 1982: feevan Dhara; Anokha Bandhan; Apna Bana Lo; Badle Ki Aag; Deedar-e-Yaar; Farz Aur Kanoon; Dharam Kanta; Insaan; Jiyo Aur Jeene Do; Mehndi Rang Layegi; Samrat; Justice Choudhury; 1983: Arpan; Himmatwala; Jaani Dost; Mawaali; Nishan; Prem Tapasya; 1984: Akalmand; Haisiyat; Kaamyaab; Maqsad; Qaidi; Tohfa; Yeh Desh; Zakhmi Sher; 1985: Balidan; Haqeeqat; Hoshiyar; Locket; Mera Saathi; Pataal Bhairavi; Sanjog; Sarfarosh; 1986: Aag Aur Shola; Aisa Pyar Kahan; Bond 303; Dosti Dushmani; Dharam Adhikari; Ghar Sansar; Jaal; Sada Suhagan; Sinhasan; Suhagan; Swarg Se Sundar; 1987: Apne Apne; Aulad; Himmat Aur Mehnat; Insaaf Ki Pukar; Jaan Hatheli Pe; Khudgarz; Madadgaar; Majaal; Sindoor; New Delhi; 1988: Mulzim; Tamacha; Kanwarlal; Sone Pe Suhaaga; Mar Mitenge; 1989: Aag Se Khelenge; Nafrat Ki Aandhi; Aasmaan Se Ooncha; Dav Pech; Kasam Vardi Ki; Souten Ki Beti; Majboor; 1990: Taqdeer Ka Tamasha; Zehreelay Amiri Garibi; Hatimtai; Mera Pati Sirf Mera Hai; Shesh Naag; Nyay Any ay; Agnikaal; Aaj Ka Shahenshah; Thanedar; 1991: Shiv-Ram; Ranabhoomi; Sapnon Ka Mandir; Maa; Dil Ashna Hai; 1992: Insaaf Ki Devi; Sone Ki Lanka; Yeh Raat Phir Na Aayegi; 1993: Aaj Ki Aurat; Prateeksha; Geetanjali (H); Bhookamp; Rang; Admi Khilona Hai; Tahqiqaat; Aansoo Bane Angarey Khalnayika; Santan; Chauraha; 1994: Udhaar Ki Zindagi; Ghar Ki Izzat; 1995: Janam Kundali; Paapi Devata; Zamana Deewana; Kalyug Ke Avatar; Hum Sub Chor Hain.

JHA, PRAKASH (B. 1952)

Hindi director born in Champaran, Bihar. Briefly trained as editor at the FTII (1976), dropped out and made documentaries. Faces after the Storm, on Biharsharif riots, was unofficially banned. First feature Hip Hip Hurray within 60s Hollywood schoolboy-cheerleader genre. Sees himself as a political film-maker. Briefly married to the actress Deepti Naval (1984).

FILMOGRAPHY: 1976: Rhythms of a Land and its People (Doc); 1977: Darpok Ki Dosti (Sh); 1978: Friends Together (Doc); 1979: Ode to the Child (Sh); 1981: Pas de deux (Doc); 1982: Faces after the Storm (Doc); 1983: Shri Vatsa (Sh); May I Think Sir? (Doc); 1984: Hip Hip Hurray; Damul; 1987: Ek Aur Itihas (Doc); Looking Back (Doc); Parinati; 1988: An Expression (Sh); 1989: Katha Madhopur Ki (Sh); 1990: Mungerilal Ke Haseen Sapne (TV); Tribal Festival (Doc); 1994: Didi.

JOSHI, MANILAL (1893–1927)

Major silent director and one of the first to stand up for authorial rights of film directors. Also initiated the convention of giving on-screen credit to cast and crew. Former schoolteacher in Bombay, apprenticed to cameraman V.B. Joshi at Kohinoor Studio (1920). Turned film-maker at Ardeshir Irani’s Star Film (1922) with Veer Abhimanyu, apparently containing Indian cinema’s first flashbacks. His first independent production house (Swastika Film; Est: 1923) failed; then set up Ashoka Pics (1924) and made Prithvi Vallabh. Its success encouraged others to go independent as well. Worked for Kohinoor and took over production of its sister company, Laxmi Films (1925). Major film directors who worked with him around this time inc. B.P. Mishra and R.S. Choudhury (with Prithvi Vallabh and until the closure of Laxmi), and Chandulal Shah (who joined films at Laxmi). Made Mojili Mumbai, about the decadence of the urban Westernised bourgeoisie, one of the first films in a contemporary setting. Also worked briefly at Sharda Studio and at Vazir Haji’s Excelsior Film (1927). Films distinguished by careful cinematography and for ‘popularising the social’ (Bharucha, 1938).

FILMOGRAPHY: 1922: Veer Abhimanyu; Raja Parikshit; Ratnavali; 1923: Sati No Sraap; Kirat Arjun; 1924: Prithvi Vallabh; 1925: Indrasabha; Raj Yogi; Desh Na Dushman; Veer Kunal, Mojili Mumbai; Devadasi; Suvarna; Khandani Khavis; Kala Chor, Sati Simantini; 1926: fungle Nifadibuti; Ajabkumari; Ratan Manjari; Dulari; Kashmeera; 1927: Nanand Bhojai; Parsa Eblis; Shrimati Nalini; laila Majnu; Lohika Lilam; Prem Ni Pratima (all St).

KALE, KESHAV NARAYAN (1904–74)

Marathi and Hindi director born in Dayal, Ratnagiri Dist., Maharashtra. Studied English at St. Xavier’s College, Bombay (1924–8). Started as a journalist. Noted Marathi literary and theatre critic associated with radical journals Ratnakar, Yashwant and Pratibha. Co-founded vanguard theatre group Natyamanwantar (cf. Date and Bhole) in 1933, claiming influence of Ibsen, Shaw and Stanislavski (whose theoretical writings he translated into Marathi). As the group’s ideologue, actor and playwright, emphasised the absence of a performance theory in Marathi theatre and sought to rewrite its history in terms of acting and emotionality. Joined cinema as actor (1926) with S.N. Patankar, later worked at Imperial and Ranjit Studios. Left cinema to study law (1931–4). Hired as scenarist for Prabhat (1934). Wrote dialogue and lyrics for Dharmatma, giving this Saint film a political thrust by drawing analogies between Sant Eknath and Gandhi and by deflecting the mandatory miracle scenes towards more social concerns. Provided the lyrics for Chandrasena and the script for Amar Jyoti. Turned director at Prabhat in 1937 and made best-known film Mazha Mulga as fictional autobiography about the struggles of a young radical writer. Worked with humourist P.K. Atre and filmed two of his screenplays (Lapandav, Baeelweda). Devoted himself to the theatre (1943–53) before making more films. Published a number of books, e.g. several essays on film theory and a volume of poetry, Sahakarmanjari (1932). First Professor of Film Appreciation at the FTII in early 60s. Worked on the Marathi journal, Sahitya Patrika.

FILMOGRAPHY (* act only): 1926; Satyavijaya*; 1928: Pataal Ketu*; Jagadguru Shrimad Shankaracharya*; 1929: Bhikharan*; Jai Somnath*; Pati Patni* (all St); 1932: Marathyatil Dulhi/Amar Shaheed*; 1935: Dharmatma*, 1936: Amar Jyoti*; 1937: Wahan, 1938 Mazha Mulga/Mera Ladka, 1940. Lapandav; 1943: Baeelweda; 1953: Ammaldar; Bolavita Dham*; 1959: Didi.

KALINGRAO, P. (1914–81)

Singer and music director. Major influence on the introduction of bhava geet (light classical music) into popular Kannada music with several HMV and Columbia singles using the medieval Saint poetry of Purandaradasa and contemporary poetry including Masti Venkatesha Iyengar, Ku.Vem.Pu. and D.R. Bendre. The son of Yakshagana performer Pandaveshwara Puttaiah, he worked since childhood on the Company Natak stage with the Ambikaprasada Natak Mandali. Composed film music for H.L.N. Simha (Abba/A Hudgi, 1959), Kemparaj Urs (Bhakta Ramadas, 1948), and C.V. Raju (Krishnaleele, 1947; Shri Krishna, 1953; Natashekhara, 1954). Also acted in the Kannada film Vasantsena (1941) and scored the Malayalam one, Sasidharan (1950).

KALKI (1899–1954)

Pen name of the noted Tamil novelist R. Krishnamurthy. Left school to join Gandhi’s non-co-operation agitations (1921) and was jailed several times by the British. Journalist for Navashakti, then for the famous Ananda Vikatan owned by S.S. Vasan, where he published some of his best-known stories. Scripted K. Subramanyam’s seminal Thyagabhoomi (1939), simultaneously publishing a novelised version in Ananda Vikatan with stills of the film and a racy text about ‘a thwarted woman dishing it back to her husband in later years’ (C.S. Lakshmi, 1984). His many contributions to the journal and to his own periodical, Kalki, are mainly reformist stories and Walter Scott-type historicals, largely determining the iconography of Gemini’s historicals. Apparently, M.S. Subbulakshmi used her earnings from Savithri (1941) to finance Kalki. Several of his novels were filmed, e.g. Kalvanin Kadhali (1955), Ponvayal (1954) and Parthiban Kanavu (1960). As a popular lyricist, he wrote songs for M.S. Subbulakshmi in Duncan’s Meera (1945), including the song Katrinile varum geetham. Together with writers of the famous Manikodi group (e.g. B.S. Ramaiah) and with director K. Subramanyam, Kalki is one of the pro-Congress film people in the pre-DMK Film period to call for a more responsible attitude to film and to draw attention to the medium’s political potential. His reviews of early Tamil films are collected in his book Kalaichelvam (1956).

KALLOL GROUP

The first literary collective to influence cinema in Bengal was the group around the journal Bharati (Est: 1877). Founded by Dwijendranath Tagore and others as the Tagore clan’s house journal, it published a history of the Bengali cinema in 1923. The journal’s writers Premankur Atorthy, Hemendra Kumar Roy, Narendra Dev and Sourindramohan Mukherjee were the first to write seriously for and about cinema, eventually becoming film-makers. The second group, launched in 1923 by the Bengali journal Kallol, came to be known as the Kallol Group. Its immediate predecessor was the Four Arts Club which published Jharer Dola (1922) with stories by Dinesh Ranjan Das, Gokulchandra Nag, Suniti Devi and Manindralal Basu. Kallol, edited by Dinesh Ranjan Das, was followed by other journals, notably Kalikalam (1926) and Pragati (1927). Collectively they defined a literary realism contextualised by 20s peasant agitations and urban unemployment, self-consciously transgressive of the middle-class norms, e.g. through their interest in popular industrialised fictional forms. In Tagore’s Shesher Kabita (1929) he summarised their critique of his work via the Westernised wastrel Amit Raye, who attacks Tagore for his inability to show the cruel aspects of sexuality, and his limitations in portraying the dispossessed in their true colours (allegations attributed to poet Buddhadev Bose). Malini Bhattacharya wrote (1988) that their ‘sound and fury [d]id not produce anything like a formal breakthrough leading to a fictional discourse [other than] demanding a greater representation in fiction of problems pertaining to [pleasants, workers and women’. However the movement signified an era that also saw the first Bengali translations of Thomas Mann, Tolstoy, Proust, Romain Rolland, Gorky and Knut Hamsun, and the emergence of writers like Jibanananda Das, Bishnu Dey and Buddhadev Bose. The movement directly touched the cinema when Dinesh Ranjan Das became a film-maker at British Dominion (Kamaner Aagun, 1930) and later at New Theatres (Abasbesbe, 1935), followed by writers Premendra Mitra and Sailajananda Mukherjee, first as scenarists and then as successful directors. The realist emphasis in some of their films has been seen as a precedent for IPTA-inspired films in 50s Bengal. The modernist tendency in Kallol’s work was later consolidated by the journals Parichay (1931) and Kavita (1935).

KALPANA (?-1979)

60s Kannada star who formed the top screen duo with Rajkumar in Kannada film history. Born in Mangalore. Trained in classical dance by Shri Vittal Shetty; stage actress while at university in Mangalore with the Bellari Lalithamma Nataka Mandali. Started under Panthulu’s direction (Saaku Magalu, Chinnada Gombe) but Puttanna Kanagal moulded her career after her breakthrough in his Bettimoda. In several key roles she embodied the ‘woman’ as imaged in the Kannada author Triveni’s romantic fictions. Her tragic roles (Gejje Pooje, Sharapanjara, in Lakshminarayan/Chaduranga socials) helped define a cinema derived from popular literature (cf. Navya Movement) and pulp fiction. Also acted in mythologicals by Hunsur Krishnamurthy where her distinctive tragic style, (e.g. Shri Kannika Parameshwari Kathe) departs from the norms set by her predecessor, Leelavathi. Committed suicide in a lonely traveller’s bungalow in Gotur, Karnataka.

FILMOGRAPHY: 1963: Saaku Magalu; 1964: Chinnada Gombe; Nandi; 1965: Kavaleradu Kulavondu; 1966: Mantralaya Mahatme; Shri Kannika Parameshwari Kathe; Sadhu Mirandal; Madras To Pondicherry; Mayor Nair; 1967: Pattathu Rani; Padavidhara; Bellimoda; Bangarada Hoovu; Dhanapishachi; Immadi Pulakesi; Premakku Permitte; 1968: Gandhinagara; Mahasati Arundhati; Sarvamangala; Hannele Chiguridaga; Anandakanda; Anna Thamma; Hoovu Mullu; Manninamaga; 1969: Odahuttidavaru; Kappu Bilapu; Uyyale; Mathru Bhoomi; Kaanike; Mukunda Chandra; Brindavana; 1970: Gejje Pooje; Arishina Kumkuma; Anirikshita; Pratikara; Karulina Kare; Lakshmi Saraswathi; Vagdhana; Namma Mane; Seeta; Devara Makkalu; Mukti; 1971: Ondekula Ondedaiva; Sharapanjara; Bhale Adrushtavo Adrushta; Sothu Geddavalu; Kulagaurava; 1972: Nari Munidare Mari; Subhadra Kalyanam; Uttara Dakshina; Yavajanmada Maitri; Na Mechida Huduga; Jeevana Jokaali; Goodu Putani; Menakodalu; Mareyada Deepavali; 1973: Bidugade; Triveni; Gandhadagudi; Kesarina Kamala; Andala Ramudu; 1974: Tulasi; Eradu Kanasu; Idu Namma Desha; 1975: Dari Tappida Maga; Beluvalada Madilalli; Nireekshe; Asti Kosam; Kotalo Paga; Maya Machhindra (Tel); Ramuni Minchina Ramudu; 1976: Bayalu Dari; Vijayavani; Rajanarthakiya Rahasya; 1978: Sandarbha; Vamsa Jyothi; Maleya Makkalu.

KALYANASUNDARAM, PATTUKOTAI (1930–59)

Tamil lyricist, born in Pattukotai, TN. Son of folk composer Arunachalam Pillai. Worked as farmer and labourer in salt flats, later as organiser of the peasantry in the Thanjavur delta. One of his early poems was used in a play, Kannin Manigal, staged at the Tamil Nadu Farmers’ Conference, Dindigul (1954). His best-known work was in C.V. Sridhar’s Kalyana Parisu (1959). His last film was A. Kasilingam’s Kalai Arasi (1963). Wrote 196 often propagandist songs in over 55 films in a brief 9-year career, many of them for MGR’s films. Although his lyrics bore the stamp of Pa. Jeevanandan’s brand of Marxism, they also showed the vitality of the folk idiom and the reformist ardour derived from poets like Subramanya Bharati and Bharatidasan. Published his poetry extensively in journals like Janasakthi. His biography is by P.E. Balakrishnan (1965).

Kalpana in Gejje Pooje (1970)

KALYANJI-ANANDJI

aka Kalyanji Veerji Shah (b. 1928) and Anandji Veerjee Shah (b. 1933). Music composers; started career as musicians in film orchestras and conductors of live bands. The elder brother, Kalyanji, a freelance musician, pioneered a virtual revolution in film music when he imported a claviolin and first played it to get the sinuous snake music composed by Hemanta Mukherjee in Nagin (1954), the first instance of electronic instrumentation in Hindi film. He started as music director for Babubhai Mistri and Ravindra Dave. Subsequent electronics-dominated music for films by Dave, Manmohan Desai and Prakash Mehra was central to musicals with Shammi Kapoor (Bluff Master), Rajesh Khanna (Sachcha Jhutha, Bandhan) and Bachchan (Don, Muqaddar Ka Sikandar, Zanjeer), preceding e.g. Bappi Lahiri and Ilaiyaraja. Their music for Saraiya’s Saraswatichandra was a big hit. Currently known more for their live concerts in India, at Madison Square Garden in New York, the Wembley Arena in London and in South Africa, often featuring Bachchan in stage extravaganzas. Had a major recent success with Rajiv Rai’s Tridev, its song Oye oye becoming one of the most popular in 80s Hindi cinema.

FILMOGRAPHIES: Kalyanji: 1958: Samrat Chandragupta; Post Box 999; 1959: Bedard Zamana Kya Jaane; Chandrasena; Ghar Ghar Ki Baat; O Tera Kya Kehana. Kalyanji-Anandji: 1959: Madari; Satta Bazaar; 1960: Chhalia; Delhi Junction; Dil Bhi Tera Hum Bhi Tere; 1961: Passport; Pyaase Panchhi; 1962: Gangu; Mehndi Lagi Mere Haath; 1963: Bluff Master; Kahin Pyar Na Ho Jaye; Phool Bane Angarey; Sunehri Nagin; Akhand Saubhagyavati; 1964: Birju Ustad; Dulha Dulhan; Ishara; Ji Chahta Hai; Majboor; 1965: Himalay Ki God Mein; Jab Jab Phool Khile; Johar Mehmood In Goa; Purnima; Saheli; 1966: Johar In Kashmir; Preet Na Jane Reet; 1967: Aamne Samne; Dil Ne Pukara; Mera Munna; Parivar; Raaz; Upkaar; 1968: Baazi; Hasina Maanjayegi; Juari; Saraswatichandra; Suhaag Raat; Teen Bahuraniyan; 1969 Bandhan; Ek Shriman Ek Shrimati; Mahal; Nannha Farishta; Raja Saab; Tamanna; Vishwas; 1970: Aansoo Aur Muskaan; Geet; Ghar Ghar Ki Kabani; Gopi; Holi Aayee Re; Johnny Mera Naam; Kab Kyon Aur Kahan; Mere Humsafar; Priya; Purah Aur Paschim; Sachcha Jhutha; Safar; Yaadgaar; 1971: Chhoti Bahu; Hum Turn Aur Woh; Joi Bangla Desh; Johar Mehmood In Hong Kong; Kathputli; Maryada; Paras; Preet Ki Dori; Rakhwala; Upaasna; Kangan; 1972: Anokhi Pehchan; Aparadh; Ek Hasina Do Diwane; Hari Darshan; Jaanwar Aur Insaan; Joru Ka Gulam; Lalkaar; Malik; Manavata; Sub Ka Saathi; Victoria No 203; 1973: Agni Rekha; Banarasi Babu; Blackmail; Ek Kunwari Ek Kunwara; Gulam Begum Badshah; Heera; Kahani Kismat Ki; Kashmakash; Samjhauta; Zanjeer; Raja Kaka; 1974. Albeli; Anjaan Raahein; Chattan Singh; Five Rifles; Haath Ki Safai; Har Har Mahadev; Hamrahi; Jeevan Sangram; Kasauti; Kora Kagaz; Paap Aur Punya; Patthar Aur Payal; Shubh Din; Vardan; Vachan; 1975: Anokha; Apne Dushman; Bhoola Bhatka; Chori Mera Kaam; Dharmatma; Do Thug; Faraar; Himalay Se Ooncha; Mounto; Raffoo Chakkar; Uljhan; Zorro; 1976: Adalat(H); Bairaag; Do Anjaane; Do Shatru; Bajrang Bali; Ek Se Badkhar Ek; Hera Pheri; Kabeela; Kalicharan; Khan Dost; Lagaam; Rangila Ratan; Sankoch; Shankar Shambhu; 1977: Aakhri Goli; Chakkar Pe Chakkar; Chalu Mera Naam; Darinda; Farishta Ya Qatil; Hatyara; Hira Aur Patthar; Kalabaaz; Kasam Khoon Ki; Khel Khiladi Ka; Khel Kismat Ka; Khoon Pasina; Kulavadhu; Naami Chor; Yaaron Ka Yaar; 1978: Aakhri Daku; Anjaam; Anjane Mein; Atithi; Besharam; Chor Ke Ghar Chor; Do Musafir; Don; Ganga Ki Saugandh; Karmayogi; Muqaddar Ka Sikandar; Nasbandi; Rahu Ketu; Trishna; Nalayak; 1979: Ahimsa; Bagula Bhagat; Guru Ho Jaa Shuru; Jaandaar; 1980: Qurbani; Desh Drohi; Bombay 405 Miles; Jwalamukhi; Kashish; Neeyat; Sau Din Saas Ke; 1981: Aakhri Mujra; Commander; Haqdaar; Itni Si Baat; Qatilon Ke Qatil; Khoon Ka Rishta; Krodhi; Lawaris; Main Aur Mera Hathi; Professor Pyarelal; Yeh Rishta Na Toote; 1982: Khush Naseeb; Raj Mahal; Rustom; Vidhata; Log Kya Kahenge; 1983: Ghunghroo; Haadsa; Kalakaar; Nastik; Taqdeer; 1984: Dharam Aur Kanoon; Raj Tilak; Yahan Wahan; Bandh Honth; Ek Chitthi Pyar Bhari; 1985: Karishma Kudrat Ka; Pighalta Aasmaan; Yudh; Pahunche Huye Log; 1986: Baat Ban Jaye; Chameli Ki Shaadi; Jaanbaaz; Mangal Dada; Nasihat; Sultanat; Jhanjhar; Imaandar; 1987: Hirasat; Kalyug Aur Ramayan; Thikana; 1988: Falak; Sherni; Mohabbat Ke Dushman; Rukhsat; Mahaveera; Saazish; 1989: Izhaar; Daata; Tridev; Jadugar; 1990: Pyar Ka Toofan; CID; Naache Nagin Gali Gali; Ghar Parivar; Iraada; 1991: Kaun Kare Qurbani; Pratigyabadh; Dharam-Sankat; 1994: Ulfat Ki Nayi Manzilen.

KAMALABAI, SURABHI (B. 1913)

Telugu actress born in the famed Surabhi Theatres troupe of AP: her mother developed labour pains during a show, absented herself briefly and then the troupe presented the newly born infant to the audience. Kamalabai became a top actress with Surabhi; film début when H.M. Reddy hired the troupe for Telugu cinema’s first sound film, Bhakta Prahlada. Worked in the Telugu films of the Sagar Studio (Bombay) and East India Film (Calcutta). Also in the film version of Bellari Raghava’s stage classic Draupadi Manasamrakshanam. Starred alongside C.S.R. Anjaneyulu in the Saint film, Tukaram. Later acted middle-aged women in Telugu and Tamil films.

FILMOGRAPHY. 1931: Bhakta Prahlada; 1932: Paduka Pattabhishekham; Shakuntala; 1933. Savithri; Prithvi Putra; 1936: Draupadi Manasamrakshanam; 1937. Tukaram; 1938. Bhakta Jayadeva; 1942: Patni; 1948: Chandralekha; 1949: Keelugurram/Maya Kudhirai; 1951: Patala Bhairavi/Pataal Bhairavi; Mangala; 1952: Manavati; Prema/Kathal; 1953: Rohini; Vayyari Bhama; Ammalakalu/Marumagal; 1955: Vijayagauri; 1959: Shabash Ramudu; 1961: Velugu Needalu; 1968: Umachandi Gauri Shankarula Katha.

KAMALAHASAN (B. 1954)

Tamil star and a major figure in Malayalam, Telugu and briefly in Hindi cinemas. Born in Paramakudi near Madurai Dist., TN. Joined films aged 6 in Bhimsingh’s Tamil films (Kalathur Kannamma, Parthal Pasi Theerum) and in Sethumadhavan’s Malayalam Kannum Karalum. Rediscovered as an adult by K. Balachander (Arangetram), featuring regularly in the director’s 70s films, in his Telugu hit Maro Charithra, and in its equally successful Hindi remake (Kamalahasan’s Hindi début) Ek Duuje Ke Liye. Tried to shift to Hindi cinema, playing the Chaplinesque hero in Ramesh Sippy’s love triangle Sagar, but was not successful. Acted in some of I.V. Sasi’s Malayalam films but broke away from his established image in K. Vishwanath’s Sagara Sangamam, astounding viewers with his dancing skills in the difficult Bharat Natyam style (he was trained as a dancer by K.J. Sarasa and had worked as a choreographer in films). Following the ribald, wordless comedy Pushpak, he imposed yet another image with the Brando-inspired starring role in Nayakan. Since then performed, like De Niro, major physical transformations (e.g. the dwarf in Apoorva Sahodarargal), combining a light ‘heroic’ style with a heavier naturalism for older characters. Started his own production unit with Raja Parvai. Has produced some (under his Rajkamal prod.) and scripted or shared script credit for several of his recent films: (Apoorva Sahodarargal, Guna, Mahanadhi). Acted with Sivaji Ganesan in another Godfather adaptation, Thevar Magan, which he scripted and produced as well. The film allowed Kamalahasan to return to the theme of feudal landlords in his native Madurai landscape which, he claimed, recalls Sicily.

FILMOGRAPHY: 1960: Kalathur Kannamma; 1961: Thayilla Pillai; 1962: Parthal Pasi Theerum; Patha Kannikkai; Kannum Karalum; 1963: Vanambadi; Ananda Jyoti; 1972. Kanna Nalama; 1973: Arangetram; Sollathen Ninaikiran; 1974: Paruvakalam; Gumastavin Magal; Nan Avanillai; Panathukkaga; Aval Oru Thodarkathai; Kanyakumari; Vishnu Vijayam; 1975: Ayirathil Oruthi; Antharangam; Apoorva Ragangal; Cinema Paithiyam; Malai Sooda Va; Melnattu Marumagal; Pattam Poochi; Pattikatu Raja; Thangathile Vairam; Then Sindhuthe Vanam; Jnan Ninne Premikkunu; Thiruvonam; Mattoru Seeta; Rasaleela; 1976: Idaya Malar; Kumara Vijayam; Lalitha; Manmatha Leelai; Moham Muppathu Varusham; Moondru Mudichu; Oru Udhappu Kann Simittukirathu; Sathyam; Unarchikal; Agnipushpan; Appooppan; Aruthu; Samasya; Swimming Pool; Ponn; Nee Ente Lahari; Sivathandavam; Ashirvadam; Madhura Swapnam; Kuttavum Sitshayum; Anthuleni Katha; 1977: Aadu Puli Atham; Avargal; Naam Pirandha Maan; Pathinaru Vayathinile; Uyarnthavargal; Unnai Chutrumugalam; Sridevi; Ashtamangalyam; Nirai Kudam; Ormakal Marikkumo; Anandam Paramanandam; Satyavan Savithri; Adyapadam; Madanolsavam; Kokila; Kabita; 1978: Aval Appadithan; Chattam En Kaiyil; Elamai Vunjaladugiradhu; Manitharil Ithanai Nirangala; Nizhal Nijamkirathu; Paruvamazhai; Sigappu Rojakkal; Maro Charithra; Vayasu Pilichindi; Sommokadidhi Sokokadidhi; Kathrina Nimisham; Anumodhanam; Vayanadan Thampan; Yeetta; Padakkudhira; Thappu Thalangal; 1979: Azhiyada Kolangal; Neeya; Sigappukkal Mookuthi; Ninaithale Inikkum; Thayillamal Nannilai; Kalyanaraman; Mangala Vadyam; Neela Malargal; Allavudeenum Albutha Velakkum/Allavudeenum Arputha Vilakkum; Andamaina Anubhavam; Idi Kathakadu; 1980: Ullasa Paravaigal; Guru; Varumayin Niram Sigappu; Maria My Darling; Kalyana Jyothi; Satyavanthudu; Natchatiram; 1981: Meendum Kokila; Rama Lakshman; Raja Parvai; Kadal Meengal; Ellam Inbamayam; Tik Tik Tik; Saval; Akali Rajyam; Ek Duuje Ke Liye; Do Dil Diwane; Prema Pichhi; Shankarlal; Thillu Mullu; 1982: Simla Special; Pagadai Pannirendu; Vazhve Mayam; Moondram Pirai; Sahalakala Vallavan; Sanam Teri Kasam; Yeh To Kamaal Ho Gaya; Dil Ka Sathi Dil; Pyara Tarana; Andhiveyilille Ponnu; Ezham Rathri; Afsana; Do Dilon Ka; Agni Satchi; Mattuvin Chattangale; Premabhishekham; Nandri Meendum Varuga; Rani Theni; 1983: Thoongathe Thambi Thoongathe; Uruvavugal Maralam; Chattam; Sagara Sangamam; Snehabandham; Zara Si Zindagi; Sadma; Snehabhishekham; Benki Alli Aralida Hoovu; Poikkal Kuthirai; 1984: Ek Nai Paheli; Enakkul Oruvan; Yeh Desh; Yaadgaar; Raj Tilak; Karishma; Jalsarayudu; Sahasa Simham; Oru Kaithiyin Diary; 1985: Andha Oru Nimidam; Japanil Kalyanaraman; Kakki Chattai; Mangamma Sapatham; Meendum Parasakthi; Uyarntha Ullam; Sagar; Giraftaar; Swati Muthyam; Jalsa Bullodu; Dekha Pyar Tumhara; 1986: Manakanakku; Vikram (Tarn); Punnagai Mannan; Oka Radha Idduru Krishnulu; Nanum Oru Thozhilali; December Pookkal; 1987: Persollum Pillai; Nayakan; Vrutham; Pushpak/Pushpak Vimana/Pesum Padum; Kathal Parisu; Kadamai Kanniyam Kattupadu; 1988: Sathya; Soora Samharam; Unnai Mudiyum Thambi; 1989: Apoorva Sahodarargal/Appu Raja; Vetri Vizha; Indrudu Chandrudu; Chanakyam/Chanakyan; 1990: Michael Madana Kamarajan; My Dear Marthandan; 1991: Guna; Singaravelan; Sivaranjani; 1992: Thevar Magan; 1993: Maharasan; Kalaingnan; Mahanadhi; 1994: Nammavar; Magalir Mattum; 1995: Kurudhippunal; Shubha Sankalpam; Sati Leelavathi.

KAMBADASAN

Tamil lyricist; born as C.S. Rajappa in Villayanur near Pondicherry. Stage actor, musician and lyric writer introduced to the theatre by P. Sambandam Mudaliar. Film début in Fram Sethna’s Vamana Avataram (1939), and wrote dialogue/lyrics for Balkrishna Narayan Rao’s Salivahanan (1944). Became a leading lyricist with the success of Arultharum deva mathave in Nagoor/Taliath’s Gnanasoundari (1948) and withjiten Bannerjee’s Mangayar Karasi (1949), esp. the song Parthalpasi theerum sung by P.U. Chinappa. These and other songs were among the early musical hits to achieve an independent popularity on disc. Also wrote the hits of Vanaratham (1956), a dubbed Tamil version of S.U. Sunny’s Udan Khatola (1955) with Naushad’s music.

KAMBHAR, CHANDRASEKHAR (B. 1937)

Kannada director born in Belgaum Dist., Karnataka. Noted Kannada poet, folklorist and playwright (Jokumaraswamy, 1972; Sambhasiva, 1985; Siri Sampige, 1986, written in the Yakshagana idiom); author of a dictionary of Kannada folklore (1984). Fulbright Scholar (1968) and lecturer at the Universities of Chicago and Bangalore. Vice-Chancellor of the newly established university at Hampi, Karnataka. Advocate of a depoliticised folk revivalism particularly strong in Karnataka theatre (cf. B.V. Karanth) and literature since the early 70s. Extended his views into features and documentaries when, with other Kannada writers and theatre directors, he turned to film in the late 70s (cf. Navya Movement).

FILMOGRAPHY (* also act/** only music): 1977: Udugore**; 1978: Sandarbha **;Kaadu Kudure*; 1981: Sangeetha*; 1989: Kote Udugore**; 1990: Hasiru Kaibisi Karedavo.

Kameshwara Rao, Kamalakara see Rao, Kamalakara Kameshwara

KANAGAL, SUBRAVESHTI RAMASWAMY PUTTANNA (1933–85)

Kannada director born in Kanagal, Karnataka; also worked in Malayalam (signing S.R. Puttanna) and in Hindi. Graduated in Mysore. Younger brother of noted Kannada theatre personality Kanagal Prabhakara Sastry. Later employed as an actor in Soorat Ashwath’s Kala Sangha stage company. Also worked as still photographer in Mysore. Joined Panthulu as assistant (Ratnagiri Rahasya, 1957). Successful Kannada cineaste in the late 60s and 70s, and the first to achieve a mass audience among the urban middle class. Sometimes hailed as predecessor to 70s Navya Movement-inspired cinema that followed Samskara (1970). Early work in Malayalam elaborated Panthulu’s definition of the progressive social (e.g. the remake of School Master). After the first Kannada film, Bellimoda, this was modulated into a variant of reformist fiction drawn from sentimental novellas and short stories: writers like M.K. Indira (Gejje Pooje) Ta Ra Su, Triveni, etc. Classic formula usually privileges family unit shown coping with traumatic crises, often focusing on women characters. Later work, in colour and post-Nagara Haavu (remade in Hindi as Zehreela Insaan) developed hallucinatory psychodrama, psychological realism being replaced by a destructive passion often characterised as a sense of being ‘possessed’ from within. The sheer duration of his films (averaging over 3 hrs) reinforces the sense of heightened emotionality, juxtaposed with very mobile, often highly subjective camera movements. Noted for authoritarian directorial style and for introducing new acting talent (Kalpana, Arathi, Shivaram, etc). Set up his own company in 1977.

FILMOGRAPHY: 1964: School Master; Kalanjukuttiya Thangam; 1965: Chettathi; Pakkalo Bellem; 1966: Puchakanni; Mayor Nair; 1967: Swapnabhoomi; Bellimoda; 1968: Teacheramma; 1969: Mallammana Pavada; Kappu Bilapu; 1970: Gejje Pooje; Karulina Rare; Iddaru Ammayilu; 1971: Sharapanjara; Sakshatkara; Sudurum Sudavalliyum; Irulum Valiyum; 1972: Nagar a Haavu; 1973: Edakallu Guddada Mele; 1974: Upasane; Zehreela Insaan; 1975: Shubhamangala; Bili Hendthi; Katha Sangama; 1976: Collegeranga; Phalithamsha; 1978: Paduvarahalli Pandavaru; 1979: Dharmasere; 1981: Ranganayaki; 1982: Manasa Sarovara; 1983: Dharanimandala Madhyadolage; 1984: Amrutha Galige; Runamukthalu; 1985: Masanada Hoovu.

KANAM, E.J. (1926–87)

Malayalam writer born in Kottayam, Kerala. Schoolteacher; later journalist; known mainly for introducing sentimental middle-class pulp fiction known as paingili into Malayalam, which became a staple source for the work of e.g. Kunchako, P. Subramanyam, M. Krishnan Nair and PA. Thomas. Film début at Kunchako’s Udaya Studios with the story for Bharya (1962). Other notable films include Kunchako’s Thirichadi (1968) and Dattuputhran (1970); P. Subramanyam’s Kaliyodam (1965), Puthri, Kattumallika and Priyatama (all 1966), Adhyapika (1968) and Swargaputhri (1973). Worked for P.G. Vishwambaran in the early 80s: Himavahini (1983), Sandhyakenthinu Sindhuram and Thirakkil Alpa Samayam (both 1984).

KANCHANMALA (1923–81)

Telugu actress born in coastal AP. Stage star in Telugu; then entered cinema at Sagar Studio, Bombay, with a minor role in Veer Abhimanyu. After her 2nd film, at Calcutta’s Aurora, Ahindra Choudhury’s Vipranarayana, broke through in H.M. Reddy’s Grihalakshmi, where her sexually charged performance as the dancer Madhuri next to Kannamba’s role as the suffering wife solicited a kind of male voyeurism later exploited in Vauhini’s 40s socials. Played the victimised wife in B.N. Reddi’s nationalist Vande Mataram, also appeared in reformist socials by e.g. Ramabrahmam (Malapilla, Illalu) and sang duets with composer Ogirala in Y.V. Rao’s Malli Pelli. Played the major role of the wicked stepmother in Gemini’s Balangamma, after which a legal dispute with the studio boss S.S. Vasan effectively put her career in limbo for almost a decade. Her acting style was later extended by stars like Kamala Kotnis and Bhanumati.

FILMOGRAPHY: 1935: Shri Krishna Tulabharam; 1936: Veer Abhimanyu; 1937: Vipranarayana; 1938: Grihalakshmi; Malapilla; 1939: Vande Mataram; Malli Pelli; 1940: Mahiravana; Illalu; 1942: Balanagamma; 1963: Nartanasala.

KANNADASAN (1927–81)

Prodigious Tamil poet, lyricist (over 5000 film songs) and producer. Key figure in the early DMK Film propaganda genre, often credited with reintroducing a classical Tamil literary ‘tradition’ to contemporary film audiences. Born as A.S. Muthaiah in Amaravatipudur, TN. Joined the journal Tirumakal (1944) which published his first poems. Published his own journals, the weekly Tenral, the monthly Mullai and the film journal Tenral Tirai; also edited the monthly Kannadasan and newspaper Katitam. Joined Modern Theatres’ story department (1947). Début as lyricist for Ramnoth’s Kanniyin Kathali (1949) but worked mainly as a dialogue writer until G.R. Rao’s Illara Jyothi (1954). Joined the DMK (1947–64); responsible for some of their main propaganda lyrics in e.g. N.S. Krishnan’s Panam (1952), T.R. Sundaram’s Thirumbi Paar (1953) and Yoganand’s MGR classic Madurai Veeran (1956). Founded Kannadasan Pics producing Malai Itta Mangai (1958), Sivagangai Seemai (1959), Kavalai Illatha Manithan (1960), Vanambadi (1963), etc. Became an independent star attraction after his successful lyrics in Bhimsingh’s early films, usually set to music by the Vishwanathan-Ramamurthy team (e.g. Ponal pokattum poda in Palum Pazhamum, 1961). Left the DMK after an argument with Karunanidhi, an incident often cited to indicate the degree to which personal rivalries between film people affected the DMK Party structure. Kannadasan later became a member of the Tamil Nadu Congress Committee. One of his last films is Balu Mahendra’s Moondram Pirai (1982). Other writings include 21 novels, 10 volumes of religious discourses and over 4000 poems (cf. Kannadasan, 1970).

KANNAMBA, PASUPULETI (1912–64)

Telugu and Tamil actress and singer. Started on the stage at the Rajarajeshwari Natya Mandali and was largely responsible for the group’s initial popularity along with her mentor (and later husband), stage and film director Kadaru Nagabhushanam. Film début in the screen version of their play Harishchandra, initially filmed by Prafulla Ghosh and remade by Nagabhushanam himself in 1943. Continued in film versions of their plays with acclaimed music scores: H.V. Babu’s Draupadi Vastrapaharanam and Kanakatara. Played the destitute wife in H.M. Reddy’s Grihalakshmi, incarnating its rational reformism with her passionate denunciation of God and religious notions of truth. Later associated with emphatic acting in e.g. Talliprema and Mayalokam, also playing Sivaji Ganesan’s mother in Manohara and MGR’s mother in Thaikupinn Tharam. Best known for the title role in Kannagi. Some of her still popular music has been reissued by the musicologist V.A.K. Ranga Rao.

FILMOGRAPHY: 1935: Harishchandra; 1936: Draupadi Vastrapaharanam; 1937: Kanakatara; 1938: Grihalakshmi; 1940: Chandika; Bhoja Kalidasa; Krishnan Thoothu; 1941: Ashok Kumar; Talliprema; 1942: Kannagi; Sumati; 1943: Harishchandra; 1944: Mahamaya; 1945: Mayalokam; Maya Machhindra; Paduka Pattabhishekham; 1947: Daiva Neethi; Tulasi Jalandhar; Palnati Yuddham; Nam Iruvar; 1949: Mangayar Karasi; Navajeevanam; 1950: Laila Majnu; 1952: Pedaraitu; Moonrti Pillaigal/Mugguru Kodukulu; 1954: Manohara; Sati Sakkubai; 1955: Anarkali; Vadina; 1956: Naga Panchami; Thaikku Pinn Tharam; 1957: Makkalai Petra Maharasi; Kutumba Gauravam; 1958: Aadapettanam; Avan Amaran; 1959: Pelli Meeda Pelli; Uzhavukkum Thozhilukkum Vandhanai Seivom; Vazha Vaitha Daivam; Raja Sevai; Raja Mukutam; 1960: Dharmane Jayam; Jalsarayudu; Abhimanam; 1961: Usha Parinayam; Intiki Deepam lllale; Pelli Pilupu; Krishna Kuchela; Jagadeka Veeruni Katha/Jagathala Prathapan; 1962: Pelli Thambulam; Dakshayagnam; Swarnamanjari; Nuvva Nena; Atmabandhuvu; 1963: Paruvu Pratishthalu; Apta Mithrulu; 1964: Bangaru Timmaraju; Ramadasu; 1965: Keelu Bommalu.

KAPOOR, PRITHVIRAJ (1906–72)

Revered actor born in Peshawar (now Pakistan) as Prithvinath Kapoor. Son of a police officer. Earned a major reputation on the amateur stage in Lyallpur and Peshawar. Interrupted law studies to join Imperial (1929). Acted in several B.P. Mishra adventure and love stories (e.g. Cinema Girl, opposite Ermeline, India’s version of Clara Bow). Starred in India’s first sound film, Alam Ara. He impressed with a perfect speaking voice (he never sang). Then joined the Grant Anderson theatre company and performed Shakespeare in English, with special acclaim for his Laertes in Hamlet. Worked in New Theatres (1933–9), playing the hero in Hindi versions (Durgadas Bannerjee often playing the same role in Bengali) of its hit bilinguals. Broke through with Debaki Bose’s Rajrani Meera and as Rama in Seeta opposite Durga Khote. Vidyapati was his crowning achievement in Calcutta. Chandulal Shah hired him for the Ranjit Studio (1938–40) in Bombay, where he acted in some remarkable melodramas with Kardar (e.g. Pagaf) and Chaturbhuj Doshi (Adhuri Kahani). Best-known performance as freelance actor was in the title role of Alexander the Great in Sohrab Modi’s military epic Sikandar. The film heightened his enduring reputation, enhanced by the role of Emperor Akbar in Mughal-e-Azam, as the embodiment of Mughal royalty in Hindi-Urdu cinema (spoofed by K. Shankar’s Rajkumar). Invested his earnings in the Hindi theatre, setting up Prithvi Theatres (1944) where he produced plays while shooting films at night. Mounted a major play against Partition, Inder Raj Anand’s Deewar (1945) which earned him death threats from Islamic fundamentalists. He persisted with anti-sectarian politics, producing the technically and artistically masterful plays Pathan (1947) and Gaddar (1948). Launched many new talents through Prithvi Theatres, including Ramanand Sagar (Kalakaar, 1952), music directors Shankar-Jaikishen and Ram Ganguly (who scored Aag, 1948), all of whom were later key members of Raj Kapoor film units. Also launched his sons Raj, Shammi and Shashi. His main performances of the 50s: in Shantaram’s Dahej and in his son’s Awara, which ended on a dramatic confrontation between the fictional father and son played by a real father and son. Kal Aaj Aur Kal featured three generations of Kapoors in a celebration of feudal patriarchy. While directing Paisa, adapted from a Prithvi Theatres play of 1954, he lost his voice, which never regained its full sonorousness. Had to close his theatre and reduce his film work. In the late 60s and 70s acted in several Hindi and some Punjabi mythologicals. Played the patriarchal lead in the Saint film Nanak Naam Jahaaz Hai, credited with the revival of the Punjabi film industry. Died of cancer in 1972.

FILMOGRAPHY (* also d): 1930: Cinema Girl; Prince Vijaykumar; Sher-e-Arab; 1931: Namak Haram Kon; Bar Ke Pobar; Golibar; Too/an (all St); Alam Ara; Draupadi; 1932: Dagabaaz Ashiq; 1933: Rajrani Meera; 1934: Daku Mansoor; Ramayan; Seeta; 1935: Inquilab; Josh-e-Inteqam; Swarg Ki Seedhi; 1936: Grihadah/Manzil; 1937: Milap; President; Vidyapati;Jeevan Prabhat; Anath Ashram; 1938: Abhagin; Dushman; 1939 Adhuri Kahani; Sapera; 1940. Aaj Ka Hindustan; Deepak; Chingari; Pagal; Sajani; 1941: Raj Nartaki/Court Dancer; Sikandar; 1942: Ujala; Ek Raat; 1943: Aankh Ki Sharam; Bhalai; Gauri; Ishara; Vish Kanya; 1944: Maharathi Kama; Phool; 1945: Devadasi; Nala Damayanti; Shri Krishnarjun Yuddha; Vikramaditya; 1946: Prithviraj Samyukta; Valmiki; 1947: Parashuram; 1948. Azadi Ki Raah Par; 1950: Dahej; Hindustan Hamara; 1951. Awara; Deepak; 1952: Anandmath; Chhatrapati Shivaji; Insaan; 1953: Aag Ka Dariya; 1954: Ehsan; 1957: Paisa*; Pardesi; 1958: Lajwanti; 1960: Mughal-e-Azam; 1961: Senapati; 1963: Harishchandra Taramati; Pyar Kiya To Darna Kya; Rustom Sohrab; Gujree; 1964: Ghazal; Jaban Ara; Rajkumar; Zindagi; 1965: Aasmaan Mahal; Jaanwar; Jahan Sati Wahan Bhagwan; Khakaan; Lutera; Shri Ram Bharat Milap; Sikandar-e-Azam; 1966: Daku Mangal Singh; Insaaf; Lal Bangla; Love And Murder; Shankar Khan; Sher Afghan; Yeh Raat Phir Na Aayegi; 1967: Shamsheer; 1968: Balaram Shri Krishna; Teen Bahuraniyan; 1969: Insaaf Ka Mandir; Nai Zindagi; Sati Sulochana; Nanak Naam Jahaaz Hai; 1970: Ek Nannhi Munni Ladki Thi; Gunah Aur Kanoon; Heer Ranjba; 1971: Kai Aaj Aur Kai; Padosi; Sakshatkara; Nanak Dukhiya Sab Sansar; 1972: Mele Mitran De; Bankelal; Naag Panchami; 1973 Naya Nasha; 1976: Bombay By Nite.

Raj Kapoor in Main Nashe Mein Hoon (1959)

KAPOOR, RAJ (1924–88)

Hindi megastar, producer, director and allround showman. Born in Peshawar (now Pakistan) as Ranbirraj Kapoor; son of actor Prithviraj Kapoor. Worked with his father as stage actor, Prod. manager and art director. First film role aged 11. Started as clapper-boy at Bombay Talkies; then assistant director there and at Ranjit (1946). Set up R.K. Films (1948) to make Aag. Expanded into a full-scale studio at Chembur in Bombay (1950), continuing with Mehboob, Kardar and Sohrab Modi the studio tradition into the post-Independence period. Screen persona makes repeated references to Chaplin’s tramp, but Kapoor also asserted his debt to Capra (their first meeting is recorded in Capra’s autobiography) and to De Sica (esp. Miracolo a Milano, 1950). The earlier films, esp. Awara and Shri 420 scripted by K.A. Abbas, evince a sentimental approach to social reform, presenting political Independence as a loss of innocence in exchange for stability, condensed into the persona of the mother/lover as played by Nargis. With their elaborate sets, fine camerawork and music (usually composed by Shankar-Jaikishen and written by Shailendra and Hasrat Jaipuri), the films achieved immense popularity throughout India, in the USSR and in the Middle East. Although Boot Polish was credited to Prakash Arora, one of his assistants, most of the film’s final version was attributable to Kapoor. Also produced his classic performance in Jagte Raho/Ek Din Raatre. Sangam, his first colour film, used locations in exotic Europe. Became more sexually explicit in the 70s after the box-office failure of his ambitious Mera Naam Joker, a maudlin epic inspired by Limelight (1951) which took 6 years to make. Bobby introduced Dimple Kapadia as star opposite Rishi Kapoor. The combination of sentimentalism with lush stylisation and steamy sexuality (presented with moral indignation) in his later work recalls Cecil B. DeMille. Kidar Sharma (1952) described Raj Kapoor as an example of The director with the Cave Man conception of love.’ Mahesh Bhatt (1993) described him as An audacious film-maker who displayed the feverish carnality of a schoolboy in most of his films.’ Produced his own directions.

FILMOGRAPHY (* also d/** only d): 1935: Inquilab; 1943: Hamari Baat; Gauri; 1946: Valmiki (H); 1947: Neel Kamal; Dil Ki Rani; Chittor Vijay; Jail Yatra; 1948: Gopinath; Amar Prem; Aag*; 1949: Barsaat*; Andaz; Sunehre Din; Parivartan; 1950: Banwra; Banwre Nain; Dastaan; Jaan Pehchan; Pyar; Sargam; 1951: Awara*; 1952: Amber; Ashiana; Anhonee; Bewafa; 1953: Dhun; Paapi; Aah; 1954: Boot Polish; 1955: Shri 420*; 1956: Jagte Raho/Ek Din Raatre; Chori Chori; 1957: Sharada; 1958: Parvarish; Phir Subah Hogi; 1959: Anari; Char Dil Char Raahein; Do Ustad; Kanhaiya; Main Nashe Mein Hoon; 1960: Jis Desh Mein Ganga Behti Hai; Chhalia; Shriman Satyavadi; 1961: Nazrana; 1962: Aashiq; 1963: Dil Hi To Hai; Ek Dil Sau Afsane; 1964 Sangam*; Dulha Dulhan; 1966: Teesri Kasam; 1967: Around the World; Diwana; 1968: Sapnon Ka Saudagar; 1970: Mera Naam Joker*; 1971: Kal Aaj Aur Kal; 1973: Bobby**; Mera Desh Mera Dharam; 1975: Do Jasoos; Dharam Karam; 1976: Khan Dost; 1977: Chandi Sona; 1978: Satyam Shivam Sundaram**; Naukri; 1980: Abdullah; 1981: Naseeb; Gopichand Jasoos; Vakil Babu; 1982: Chor Mandli; Prem Rog**; 1985: Ram Teri Ganga Maili**; 1990. Dhadaka.

KAPOOR, SHAMMI (B. 1931)

Originally Shamsher Raj Kapoor. Actor born in Bombay, younger brother of Raj Kapoor. Employed in his father Prithviraj Kapoor’s Prithvi Theatres 1948–52. Introduced in mildly successful swashbuckling imitations of Errol Flynn in a phase that he later described as ‘playing a male starlet’. With Tumsa Nahin Dekha he shaved his pencil moustache and started evoking James Dean and Elvis Presley (e.g. Baar baar dekho in China Town) following the more freewheeling approach elaborated by Dev Anand. This style set the tone for Filmistan’s late 50s films, e.g. Shakti Samanta’s b&w whodunits and colour romances, laying the foundations for Manmohan Desai’s later appeal to an urban lumpen culture in e.g. Bluff Master. Kapoor often played a spoiled, rich lad who wins over the girl but also gets embroiled in gang rackets or family feuds, all of which are solved by beating up the villain. Most remarkable performance in Junglee. Presided over the Hindi cinema’s first consistent attempts to address a Westernised teenage audience with songs invoking Western rock, often picturised in discotheques. These were the prototypes of a 60s consumerist cinema that, in Manmohan Desai’s words, consisted entirely of ‘highlights’, i.e. loosely strung together, dramatically self-contained episodes. His 70s directorial efforts include a Hindi remake of Irma La Douce, 1963 (Manoranjan). Married Geeta Bali in 1955. Remarried after her death. Since the mid-70s has often appeared in bearded, middle-aged character parts and also in television serials. Produced a video entertainment magazine called ‘Shammi Kapoor Presents Manoranjan’. Chairman of the Internet Users Club of India.

FILMOGRAPHY (* also d): 1953: Gul Sanobar; feevan fyoti; Laila Majnu; Rail Ka Dibba; Thokar; 1954: Chor Bazaar; Ehsan; Mehbooba; Shama Parwana; 1955: Daku; Miss Coca Cola; Naqab; Tangewali; 1956: Hum Sub Chor Hain; Mem Sahib; Rangeen Raatein; Sipahsalaar; 1957: Coffee House; Mirza Sahiban; Maharani; Tumsa Nahin Dekha; 1958: Mujrim; 1959 Dil Deke Dekho; Mohar; Raat Ke Rahi; Ujala; Char Dil Char Raahein; Sahil; 1960: Basant; College Girl; Singapore; 1961: Boy Friend; Junglee; 1962: China Town; Dil Tera Diwana; Professor; Vallah Kya Baat Hai; 1963: Bluff Master; Pyar Kiya To Darna Kya; Shaheed Bhagat Singh; 1964: Kashmir Ki Kali; Rajkumar; 1965: Jaanwar; 1966. Badtameez; Teesri Manzil; Preet Na Jane Reet; 1967: An Evening in Paris; Laat Saheb; 1968: Brahmachari; 1969: Prince; Sachaai; Tumse Achha Kaun Hai; 1970: Pagla Kahin Ka; 1971: Andaz; Jaane Anjane; Preetam; Jawan Mohabbat; 1974: Manoranjan*; Chhote Sarkar; 1975: Salaakhen; Zameer; 1976: Bandalbaaz*; 1977: Mama Bhanja; Parvarish; 1978: Shalimar; 1979: Ahsaas; Meera; 1981: Ahista Ahista; Armaan; Harjaai; Professor Pyarelal; Naseeb; Rocky; Biwi-o-Biwi; 1982: Yeh Vaada Raha; Desh Premi; Prem Rog; Vidhata; 1983: Betaab; Ek faan Hain Hum; Hero; Romance; Aan Aur Shaan; Wanted; 1984: Sohni Mahiwal (H); 1985: Badal; Balidan; Ek Se Bhale Do; Ram Tere Kitne Naam; 1986: Allah Rakha; Kala Dhandha Goray Log; Karamdaata; Ghar Sansar; 1987: Himmat Aur Mehnat; Hukumat; Ljaazat; 1989: Daata; Bade Ghar Ki Beti; Mohabbat Ka Paigam; Batwara; 1990: Dhadaka; 1991: Ajooba; Mast Kalandar; Lakshmanrekha; 1992: Nishchay Humshakal; Tahalka; Chamatkar(H); Heer Ranjha; Khule Aam; Mahashay 1993: Gardish; Aaja Meri faan; Dosti Ki Saugandh; Turn Karo Vaada; 1994: Pyar Ka Rog; Premyog; Rock Dancer.

KAPOOR, SHASHI (B. 1938)

Hindi star, producer and director; son of Prithviraj Kapoor and younger brother of Raj and Shammi Kapoor. Started on the stage aged 6 in his father’s production of Shakuntala (1944). Also acted the child, Raj, in Aag and in Awara. Abandoned studies and worked for Prithvi Theatres; then met Geoffrey Kendall’s touring theatrical group Shakespeareana (which toured India between 1953–6) and joined them in Bangalore, playing Shakespeare in English and eventually marrying actress Jennifer Kendall. Turned to film in 1960. Started working with Merchant-Ivory Prod. with The Householder (1963). Achieved a reputation in the West (which peaked as he played the title role in Conrad Rooks’s Siddhartha) and stardom in Indian love stories after Jab Jab Phool Khile, often starring opposite Asha Parekh and Sharmila Tagore. Increasingly caught up in dramatically undemanding films and later played the second principal role in a series of Bachchan films following the success of their Deewar (Kabhi Kabhie, Trishul, Kala Patthar, Shaan). Set up his own company, Film-Valas, to distribute Merchant-Ivory’s Bombay Talkie, branching into production in 1978 with Benegal’s Junoon and Kalyug as well as Aparna Sen’s 36 Chowringhee Lane (1981) and Girish Karnad’s Utsav. Regularly acted in British productions. As an actor he was not often given the chance to stretch himself and his image remains that of a lighthearted, slightly cynical seducer. His major cultural achievements are the works he produced and the revival of the Prithvi Theatre in Bombay in honour of his father. Directed one film, Ajooba, an Indo-Soviet production starring Bachchan in an Arabian Nights spectacular. Returned from semi-retirement to play the ageing Urdu poet in Ismail Merchant’s In Custody. Appeared in episodes of the satirical TV series Siyasat as a Chief Minister. Not to be confused with the older Hindi actor, Shashi Kapoor, who acted mostly in mythologicals.

FILMOGRAPHY (* also d): 1948: Aag; 1950: Sangram; Samadhi; 1951: Awara; 1961: Char Diwari; Dharmaputra; 1962: Prem Patra; Mehndi Lagi Mere Haath; 1963: Holiday In Bombay; The Householder; Yeh Dil Kisko Doon; 1964: Benazir; 1965 Jab Jab Phool Khile; Mohabbat Isko Kehte Hain; Waqt; Shakespeare Wallah; 1966: Biradari; Neend Hamari Khwab Tumhare; Pyar Kiye Jaa; 1967: Pretty Polly; Aamne Samne; Dil Ne Pukara; 1968: Hasina Maan Jayegi; Juari; Kanyadaan; 1969: Ek Shriman Ek Shrimati; Jahan Pyar Mile; Pyar Ka Mausam; Raja Saab; 1970: Bombay Talkie; Abhinetri; My Love; Rootha Na Karo; Suhana Safar; 1971. Patanga; Sharmilee; 1972: Jaanwar Aur Insaan; 1973: Aa Gale Lag Jaa; Chori Chori; Naina; Mr Romeo; 1974: Chor Machaye Shor; Lnsaniyat; Jeevan Sangram; Paap Aur Punya; Vachan; Roti Kapda Aur Makaan; 1975: Anari; Chori Mera Kaam; Deewar; Prem Kahani; Salaakhen; 1976: Aap Beeti; Deewangee; Fakira; Koi Jeeta Koi Haara; Shankar Dada; Naach Utha Sansar; Kabhi Kabhie; 1977: Chakkar Pe Chakkar; Chor Sipahi; Doosra Admi; Farishta Ya Qatil; Heera Aur Patthar; Imaan Dharam; Mukti (H); 1978: Ahuti; Amar Shakti; Apna Khoon; Atithi; Do Musafir; Heeralal Pannalal; Muqaddar; Phaansi; Rahu Ketu; Satyam Shivam Sundaram; Trishna; Trishul;Junoon; Siddhartha; 1979: Ahsaas; Kali Ghata; Duniya Merijeb Mein; Gautam Govinda; Kola Patthar; Suhaag; 1980: Do Aur Do Paanch; Ganga Aur Suraj; Kala Pani; Neeyat; Shaan; Swayamvar; Kalyug; 1981: Basera; Ek Aur Ek Gyarah; Kranti (H); Krodhi; Maan Gaye Ustad; Silsila; Vakil Babu; 1982: Bezubaan; Namak Halal; Saval (H); Vijeta; 1983: Bandhan Kachche Dhaagon Ka; Ghunghroo; Heat And Dust; 1984: Pakhandi; Ghar Ek Mandir; Zameen Aasmaan; Swati (H); Yaadon Ki Zanjeer; Utsav; Bandh Honth; 1985: Aandhi Toofan; Alag Alag; Bepanah; Bhawani Junction; Pighalta Aasmaan; New Delhi Times; 1986: Anjaam; Aurat; Door Desh; Pyar Kijeet; Karamdata; Ek Main Aur Ek Tu; Ilzaam; 1987: Maa Beti; Ijaazat; Naam-o-Nishan; Sindoor; Ghar Ka Sukh; Sammy And Rosie Get Laid; Chakma; 1988: Commando; Hum To Chale Pardes; Farz Kijung; The Deceivers; Meri Zabaan; Aakhri Muqabala; 1989: Bandook Dahej Ke Seene Par; Apna Ghar; Desh Ke Dushman; Mera Muqaddar; Mera Farz; Tauheen; Oonch Neech Beech; Gair Kanooni; Clerk; 1991: Ajooba*; Raeeszada; Akela; 1992: Siyasat; 1993: In Custody/Muhafiz.

KAPUR, SHEKHAR (B. 1945)

Aka Chandrasekhar Kapur; actor and director born in Lahore. Nephew of Dev and Vijay Anand. Educated in New Delhi. Chartered accountant and management consultant in London. Entered Hindi films as actor. Directorial début with Masoom, a low-budget, Hollywood-inspired melodrama using techniques derived from advertising films. Also directed the ‘curry’ western, Joshilay (resigning before it was complete; final version, released in 1989, was credited to the producer, Sibte Hasan Rizvi) and the special-effects-laden Mr India. Compered a controversial Channel 4 (UK) TV discussion programme, On The Other Hand. Made many advertising films and is a noted fashion model. Several of his big Hindi productions have been delayed, leading to a reputation for an expansive, slow-working style. However, Bandit Queen, constituting a departure from his earlier work, fictionalised the life of Phoolan Devi for Channel 4 in London, based on Mala Sen’s book. The film caused a major censorship controversy, following accusations of defamation by Phoolan Devi herself and of exploitation by feminist and other independent groups. Also directed the first episodes of the TV series Tahqiqat, starring Vijay Anand as Sam the Detective.

FILMOGRAPHY (* only d): 1974: Ishq Ishq Ishq; 1975: Jaan Hazir Hai; 1978: Pal Do Pal Ka Saath; Toote Khilone; 1979: Jeena Yahan; 1980: Bhula Na Dena; 1982: Masoom*; Bindiya Chamkegi; 1985: Joshilay*; Khandaan (TV); 1987: Mr India*; 1988: Swayamsiddha (TV); Falak; 1989: Gawahi; Udaan (TV); Mahanagar (TV); 1989: Nazar; 1990: Drishti; 1992: Saatwan Asmaan; 1994: Bandit Queen*; Tahqiqat (TV).

KAR, AJOY (1914–85)

Bengali director and cameraman born in Calcutta. Left college to become a professional photographer (1931); assistant cameraman to Jatin Das at East India Film (1935) and cinematographer at Indrapuri Studios, Calcutta (1938). Shot over 80 features. Became director in the Sabhyasachi collective with Binoy Chatterjee (scripts), Jatin Datta (sound), Kamal Ganguly (editor), Bishnu Chakraborty (art d), Bimal Ghosh (prod, controller) and actress Kanan Devi. Signed first 3 films as Sabhyasachi. Made several films based on Rabindranath Tagore and Saratchandra Chatterjee novels. Crucial figure in reformist Bengali prose cinema of late 50s and 60s surrounding Uttam Kumar (cf. the classic Saptapadi). Founded India Film Laboratory in Calcutta (1957). Studied colour film technology in the USA (1976). Work often located on the cusp between literary respectability and broad melodrama (e.g. Malyadaan, adapting Tagore to tell the story of a dull orphan girl growing into womanhood).

FILMOGRAPHY: 1949: Ananya; Bamuner Meye; 1950: Mejdidi; 1951: Jighansa; 1954: Grihapravesh; 1955: Sajghar; Paresh; 1956: Shyamali; 1957: Bardidi; Harano Sur; 1959: Khelaghar; 1960: Suno Baro Nari; 1961: Saptapadi; 1962: Atal Jaler Ahwan; 1963: Saat Pake Bandha; Barnali; 1964: Prabhater Rang; 1966: Kanch Kata Hirey; 1969: Parineeta; 1971: Malyadaan; 1973: Kay a Hiner Kahini; 1976: Datta; 1979: Nauka Dubi; 1984: Bishabriksha; Madhuban.

KARANTH, BABUKODI VENKATRAMANA (B. 1929)

Kannada director born in Bangalore. Aged 7, acted the title role in Kuvempu’s play Nanna Gopala. Joined Gubbi Veeranna’s Gubbi Company in 1944. Embarked on a postgraduate degree in Hindi and studied music in Benares. Also studied at the National School of Drama (1963). School teacher in Delhi while working with the Dishantar theatre group. Stage productions in Kannada of Oedipus (adapted by P. Lankesh), Girish Karnad’s Hayavadana and Kambhar’s Jokumaraswamy (all in 1971) for his own theatre group Benaka. Introduced folk idioms borrowed from the Yakshagana to the stage, pioneering a trend later associated with cultural indigenism. Director of the National School of Drama (1978–81), and of Repertory at Bharat Bhavan, Bhopal (1981–6). He had to leave following allegations of having tried to burn alive one of the company’s actresses. Returned to his native Karnataka where he runs the state’s repertory company, Rangayana. Most of his film-making was partnered by Karnad, except for Chomana Dudi. Scored several films, e.g. G.V. Iyer’s Hamsa Geethe (1975), Mrinal Sen’s Parashuram (1978), Ek Din Pratidin (1979) and Kharij (1982), M.S. Sathyu’s Kanneshwara Rama (1977, also act), Girish Kasaravalli’s Ghattashraddha (1977), Akramana (1980), Mooru Darigalu (1981), Tabarana Kathe (1986) and Bannada Vesha (1988), Katte Ramachandra’s Arivu (1979), the children’s film Hangama Bombay Ishtyle (1978) and his wife Prema Karanth’s Phaniyamma (1982).

FILMOGRAPHY (* also act): 1971: Vamsha Vriksha*, 1975: Chomana Dudi; Kalla Kalla Bachitko/Chor Chor Chhupja; 1977: Tabbaliyu Neenade Magane/Godhuli.

KARANTH, PREMA (B. 1936)

Kannada director born in Bangalore. Brought up by grandparents in a small Karnataka village in Kolar District. Wrote stories and articles for children’s magazine, Chandamama. Well-known director on Kannada stage noted particularly for children’s theatre (e.g. Kambhar’s Alibaba and the Forty Thieves, 1978). Studied at Benares University and graduated in direction at National School of Drama (1971), worked in Delhi-based theatre groups Yatrik and Dishantar, and in husband B.V. Karanth’s Benaka in Bangalore (1975). Did costumes for over 120 plays in English, Hindi and Kannada. Assisted Karnad and Karanth on Tabbaliyu Neenade Magane/Godhuli (1977), G.V. Iyer on Kudre Motte, in which she also acted. Worked at the Adarsh Film Institute with Kasaravalli.

FILMOGRAPHY (* only act): 1977: Kudre Motte*; 1982: Amara Madhura Prema*; Phaniyamma; 1983: Simhasana*; 1985: The Jewel of Manipur. Part 1 (Doc); 1986: The Jewel of Manipur. Part 2 (Doc); 1988: Appiko (Doc); 1989: Nakkala Rajkumari; 1990: Sapne Huye Sakaar (Doc).

KARDAR, ABDUL RASHID (1904–89)

Hindi-Urdu director born into Lahore’s landed gentry; affectionately known as ‘Miyanji’. Considered a promising painter and still photographer. Moved to Bombay (1922) to work at Kohinoor. Did poster-paintings at Sharda Studio. Acted in a few films but, unable to get directorial assignment, returned to Lahore. Joined B.R. Oberai’s Pioneer Prod. as actor. Started United Players Corp. (1928), which, with partners Kardar and Hakim Ramprashad, grew into Playart Phototone. Although an important event in the early history of Lahore cinema, Kardar made only one film there (Heer Ranjha). Moved to Calcutta (1933) and became top director for East India Film (1933–6); then to Bombay (Ranjit and National Studios). Bought CIRCO Studio to launch the Kardar Studios with Sharada. It closed in 1968 despite an all-industry rescue effort. Started Musical Pics (1950). Launched directors M. Sadiq (who later directed Guru Dutt in Chaudhvin Ka Chand, 1960) and S.U. Sunny. Made his best-known films in 1940, a series of psychodramas attempting to match the realism of Urdu literature (Pagal, Holt, Pooja). Then moved to portmanteau musicals featuring his regular composer Naushad, including comedy spoofs with Kishore Kumar (Baap Re Baap). Apparently Dastaan was based on the US film Enchantment (1948), Jadu on Raoul Walsh’s The Loves of Carmen (1927) and Baghi Sipahi on R.V. Lee’s Cardinal Richlieu (1935). His comeback with Dil Diya Dard Liya went wrong and Dilip Kumar ended up directing the movie credited to Kardar.

FILMOGRAPHY (* also act/** act only): 1929: Husn Ka Daku*; Heer Ranjha**; 1930: Sarfarosh; Safdarfung; Farebi Shahzada; 1931: Khooni Katar*; Awara Raqasa; Kismet ki Hera Pheri**; Farebi Daku (all St); 1932: Heer Ranjha; 1933: Aurat Ka Pyar; Abe Hayaf**; 1934: Seeta**; Chandragupta; Sultana; 1935: 1936: Baghi Sipahi; 1937: Mandir, Milap; 1938: Baghban, 1939: Thokar; 1940 Holi; Pagal, Pooja; 1941: Swami; 1942: Nai Duniya; Sharada; 1943: Kanoon; Sanjog; 1944: Pehle Aap; 1945: Sanyasi; 1946: Shahjehan; 1947: Dard; 1949: Dillagi; Dulari; 1950: Dastaan; 1951: Jadu; 1952: Diwana; 1953: Dil-e-Nadaan; 1955: Baap Re Baap; Yasmin; 1958: Do Phool; 1966: Dil Diya Dard Liya; 1975: Mere Sartaj.

KARIAT, RAMU (1927–79)

Malayalam director born in Engandiyur, Trichur Dist., Kerala, into a farming family. Started writing poetry and prose as a teenager for the weekly Mathrubhoomi. Assisted Vimal Kumar and P.R.S. Pillai on Thiramala (1953). First film, Neelakuyil (co-d with P. Bhaskaran), started independent cinema in Kerala. Member of the CPI. Early work is in context of the broad cultural renaissance spearheaded by the Kerala Peoples’ Arts Club (see IPTA), indebted to the 40s CPI-led uprising against Travancore State. Several major writers entered film through Kariat, e.g. Thakazhy Shivashankar Pillai (author of Chemmeen), Uroob (who scripted Neelakuyil), playwrights Thoppil Bhasi, K.T. Mohammed and S.L. Puram Sadanandan. Opened up new areas in Malayalam film with work strongly imbued with lyrical, even mystical feelings about a newly discovered sense of community through subjects often placed among fisherfolk and villagers. Briefly a Kerala MP. Finished shooting the Telugu film Kondagali before his death, but it remained unedited. His Chemmeen was later re-released in a Hindi-dubbed version called Chemmeen Lahren (1980). Acted in Bhaskaran’s Rarichan Enna Pauran (1956). Also produced M. Lakshmanan’s Tamil film Kannamma (1972). His last film, Karumbu, was completed later by K. Vijayan and released in 1984.

FILMOGRAPHY: 1954: Neelakuyil; 1956: Bharata Natyam (Doc); 1957: Minnaminungu; 1961: Mudiyanaya Puthran; 196$. Moodupadam, 1965: Chemmeen; 1968: Ezhu Rathrikal; 1970: Abhayam; 1972: Maya; 1973: Manavallakurchi: My Village (Doc); 1974: Nellu; 1976: Dweep; 1978: Ammuvinte Attinkutty Kondagali; 1979: Karumbu; 1980: Malankattu.

KARNAD, GIRISH RAGHUNATH (B. 1938)

Kannada and Hindi actor and director. Born in Matheran, Maharashtra, into medical family. Educated in English and Marathi but wrote in Kannada. Graduated in mathematics and statistics (1958). Rhodes Scholar, Oxford University (1960–3), later President of the Oxford Union Society (1963). Wrote first play Yayati (1961) in England. Manager of Oxford University Press in Madras (1963–70). Known mainly as playwright (also wrote: Tughlaq, 1964; Hayavadana, 1971; Anjumallige, 1977; Hittina Hunja, 1980; Nagamandala, 1986), where he is often considered part of a new post-Independence theatre movement with Badal Sircar, Mohan Rakesh and Vijay Tendulkar. Unlike the others, his plays are generally mythologicals informed by psychoanalytic symbology (Hayavadana, Nagamandala). Homi Bhabha fellowship for creative work in folk theatre (1970–2). Joined film as scenarist and lead actor for Samskara. First film as director, Vamsha Vriksha (with B.V. Karanth, the director of his stage plays), in the wake of Samskara‘s success. Moved to Hindi film to work with Benegal as actor and scenarist (Nishant, 1975; Manthan, 1976, and the script of Kalyug, 1980). Since then has been a prolific actor in Hindi film and on television. Made one big-budget Hindi film for Shashi Kapoor, Utsav. First director of autonomous FTII (1974–5). President of the Karnataka State Nataka Akademi (1976–8) and of the Sangeet Natak Akademi (1988–93). His best-known film, Kaadu, placed him, with Benegal, squarely within New Indian Cinema’s ruralism, although he also made the martial-arts adventure movie Ondanondu Kaladalli inspired by Kurosawa. Scripted his own films.

FILMOGRAPHY (* only d/** also d): 1970: Samskara; 1971: Vamsha Vriksha**; 1973: D.R. Bendre* (Doc); Kaadu*; Jadu Ka Shankh; 1975: Nishant; 1976 Manthan; Kanakambara; 1977: Swami; Jeevanmukt; Tabbaliyu Neenade Magane/Godhuli*; 1978: Ondanondu Kaladalli*; 1979: Ratnadeep; 1980: Anveshane; Asha; Apne Paraye; Man Pasand; 1981: Paanch Qaidi; Shama; Umbartha/Subah; Kitapatti; 1982: Teri Kasam; Aparoopa/Apeksha; 1983: Ananda Bhairavi; Ek Baar Chale Aao; Sampark; Divorce; 1984: Utsav*; Tarang; Woh Ghar* (TV); Khoon Aur Sazaa; 1985: Meri Jung; Sur Sangam; Nee Thanda Kanike; Khandaan (TV); Pyari Bhabhi; 1986: Nilakurinhi Poothappol; Naan Adimai Illai; Sutradhar; Nenapina Doni; 1987: Swami; 1988: Akarshan; Kadina Benki; Kanaka Purandaradasa* (Doc); Mil Gayi Manzil Mujhe; 1989: Lamp in the Niche* (Parts 1&2) (Doc); 1990: Santha Shishunala Shareefa; Sara Jahan Hamara (TV); 1991: Swami and Friends (TV); Mysore Mallige; Jawahar; Guna; 1992: Cheluvi**; 1994: Kadhalan; Poornasatya.

Girish Karnad in Swami (1977)

Karnataki, Vinayak see Vinayak, Master

KARUN, SHAJI NARAYANAN (B. 1952)

Malayalam director born in Perinad Taluk, Quilon district, Kerala. Well-known cameraman, notably for Aravindan’s films but also for K.G. George and M.T. Vasudevan Nair. Graduate from the FTII’s cinematography course (1974). Directorial début, Piravi, was widely discussed in India and abroad. His camerawork (e.g. for Aravindan) virtually defines the look of Kerala’s New Indian Cinema with its soft, half-light effects that, in the black and white period, played a role reminiscent of Subrata Mitra’s work in 60s Bengali film. Colour work tends to suppress primary colours, their harsh introduction symbolising degeneracy or corruption. Also made several documentaries, e.g. Kerala Carnival, Manishada, Drishya Kerala, Kannikal etc.

FILMOGRAPHY: 1974: Lady of the Landing (Sh); 1988: Piravi; 1994: Swaham.

KARUNANIDHI, MUTHUVEL(B. 1924)

Tamil scenarist and DMK politician born in Tirukkuvalai, Tanjore Dist., TN. Political activist with the Dravidar Kazhagam (DK) from the age of 14; left school to become C.N. Annadurai’s assistant and worked on Periyar E.V. Ramaswamy Naicker’s paper, Kudiarasu. Led the 1953 Kallakkudi riots in which the DMK protested against the renaming of a railway station after a North Indian industrialist. Elected to the Tamil Nadu State Assembly in 1957 on a DMK ticket. Key figure in the anti-Hindi agitation of 1965, for which he was imprisoned. Minister for Public Works and Transport under Annadurai when the DMK was elected in 1967. Chief Minister in 1969 following Annadurai’s death; defeated by his former protégé MGR in 1977. Returned to power (1988), but was dismissed by the Congress (I)-backed minority government in 1990; in the 1991 election, following Rajiv Gandhi’s assassination, his party lost every seat in the state assembly except his own. Defeated Jayalalitha and returned to power in 1996. Film début at the Jupiter Studio, co-scripting A. Kasilingam’s Abhimanyu (1948) with A.S.A. Sami. First DMK film: Manthiri Kumari for T.R. Sundaram (1950). Wrote Kasilingam’s Maruthanattu Ilavarasi (1950), three films for L.V. Prasad (Manohara, 1954; Thayilla Pillai, 1961; Iruvar Ullam, 1963) and his best-known film, Krishnan-Panju’s Parasakthi (1952). According to Ka. Thirunavukkarasu (1990), he scripted 57 films, e.g. S.M. Sreeramulu Naidu’s MGR hit Malaikallan (1954), Kasilingam’s Sivaji Ganesan film Rangoon Radha (1956) based on Annadurai’s novel, and P. Neelakantan’s Poompuhar (1964) and Poomalai (1965). Also wrote c.50 short stories (e.g. Kuppai Thothi/Dustbin), many speeches, commentaries on Tamil literature and a speculative archaeology of the Tamil language tracing it to the Sangam poets and the Indus Valley. Columnist for the daily Murasoli and the journal Kumkumam. Turned producer with Mekala Pics, initially with MGR, MGR’s wife V.N. Janaki and P.S. Veerappa (Naam, 1953); the partnership soon broke up leaving Karunanidhi proprietor with Murasoli Maran, the duo later expanding into the popular SUNTV Tamil cable channel.

KASARAVALLI, GIRISH (B. 1949)

Kannada director born in Kasaravalli village, Karnataka. Degree in pharmacology (1971). Even before graduating from the FTII (1975) had virtually taken over direction of Nagabharana’s Grahana (1978). First feature, Ghattashraddha, in the wake of Samskara (1970) and based on U.R. Ananthamurthy’s writing, extended the anti-brahminism of the literary Navya Movement. Principal of Adarsh Film Institute, Bangalore; edited a Kannada anthology on film theory with essays by Eisenstein, Kracauer, Bazin, Metz, Wollen et al (1983).

FILMOGRAPHY: 1975: Avashesh (Sh); Anya (Sh); 1977: Ghattashraddha; 1980: Akramana; 1981: Mooru Darigalu; 1986: Taharana Kathe; Glowing Embers (Doc); 1988: Bannada Vesha (TV); 1989: Mane/Ek Ghar.

KASHMIRI, AGA HASHR (1879–1935)

Scenarist and best-known early 20th C. Urdu-Hindi playwright of enormously influential Parsee theatre plays. On contract to the Alfred Theatre in Bombay (1901–5) and then (after 1916) to the Madan Theatres’ Elphinstone and Corinthian companies in Calcutta, providing adaptations of Shakespeare (A Winter’s Tale became Mureed-e-Kash, 1899; Measure for Measure became Shabeed-e-Naaz aka Achhuta Daman in Hindi, 1902; King John became Saeed-e-Havas, 1907; Macbeth was Khwab-e-Hasti). Made a big impact with his linguistic transpositions of Shakespearean tragedy’s feudal elements of blood ties and blood feuds, honour, sacrifice and destiny into Farsi, Arabic (he knew both languages) and Moorish legends, simultaneously taking on board the European baroque’s Orientalist treatment of such sources. He extended his Shakespearean matrix to several partially original plays like Meethi Churi (1902), Safed Khoon (influenced by King Lear, 1907) and his best-known play, Yahudi Ki Ladki (1915), all of which were repeatedly filmed in the silent and early sound periods. His initial writing style followed the post-Indrasabha convention of mixing Urdu prose and poetry with Hindustani music. Later, with plays like Pehla Pyar (1911) and Van Devi (1916), he started writing in Hindustani, shifting away from historicals into socials and Pauranic mythologicals treated in the social genre: Bhishma (1925: filmed under his direction in 1933s), Seeta Banwas (1927). This linguistic and generic convergence helped, through his scripts, shape the films of Madan Theatres (Pati Bhakti, 1922; Paper Parinam, 1924; Dharmapatni, 1926; Aankh Ka Nasha, 1928 and Bharati Balak, 1931, which he also directed) and formed the persona of New Theatres’ famed tragedian, K.L. Saigal, scripting his influential Chandidas (1934), Yahudi Ki Ladki (1933) and writing his lyrics (e.g. Prem nagarmein banaoongi ghar main and Dukh ab din beetat nain). Turki Hoor, staged 1922 and filmed by J.J. Madan (1924), cast the male Narmada Shankar in the female lead, leading to censorship and the deletion of one scene.

KATHAVACHAK, RADHESHYAM (B. 1890)

Writer born in Bareilly. Major 1920s Parsee theatre playwright, e.g. for New Alfred Co. In plays like Shri Krishnavtar (1926), Rukmini Mangal (1927) and Shravan Kumar (1928) he more or less invented the mythological in its familiar Hindi film version, still practised in e.g. Sagar’s TV serial, Ramayan (1986–8). Established as the most successful playwright of his generation with the hit Abhimanyu (New Alfred, 1916), whose book was a bestseller. He drew upon his strong familial roots in the performative traditions of the Ramleela and pioneered the mediation of Northern and Central Indian folk performances into the later mass cultural manifestation of the genre in Hindi cinema. Unlike e.g. Betaab, he made few claims for classicism beyond that of writing in ‘pure’ Hindi (as distinct from Urdu). He attempted to link up with the devotional rather than with the spectacular and addressed a proletarian audience through the publications of his Radheshyam Press in Bareilly. Worked briefly for Madan Theatres as scenarist and songwriter and freelanced often for former New Alfred colleagues. His autobiography (1957) is considered a classic description of the early 20th C. commercial theatre and also gives a first-hand description of the Madan film factory. Also scripted or wrote lyrics for Bhavnani’s Shakuntala (1931), Dhrupad Rai’s Shri Satyanarayan (1935), Varma’s Usha Haran (1940), Sohrab Modi’s Jhansi Ki Rani (1953) and Sharad Desai’s Shravan Kumar (1960).

KAUL, MAHESH (1911–72)

Hindi director born in Lahore. Educated at Moni College, Nagpur, and worked as a journalist and as branch manager of a bank. Entered films as lyricist and dialogue writer. Début as actor in Abbas-scripted Naya Sansar. Played Dronacharya in Altekar’s mythological, Mahatma Vidur. Also produced his third film as director, Gopinath, featuring Raj Kapoor in one of his first major roles alongside IPTA actress Tripti Mitra. The film presents an influential version of a starkly realist acting idiom in 40s Hindi political melodrama. Worked briefly in Filmistan in mid-50s. Directed Guru Dutt in Sautela Bhai and played the crusty colonial father-in-law in Kaagaz Ke Phool. Scripted Daryani’s Dukh Sukh (1974). Uncle of Mani Kaul.

FILMOGRAPHY (* act only): 1941: Naya Sansar*; 1942: Apna Ghar/Aple Ghar*; 1943: Mahatma Vidur*; Angoori; 1944. Parisian; 1948: Gopinath; 1951: Naujawan; 1953: Jeevan Jyoti; 1957: Abhimaan; 1958: Aakhri Dao; Talaaq; 1959’: Kaagaz Ke Phool*; 1961: Pyar Ki Pyaas; 1962: Sautela Bhai; 1967: Diwana; Palki; 1968: Sapnon Ka Saudagar; 1969: Raakhi Raakhi; 1971: Tere Mere Sapne*; 1973: Agni Rekha.

KAUL, MANI R. (B. 1942)

Director born in Jodhpur, Rajasthan. Graduate from University of Jaipur (1963) and from the FTII (1966) where he was taught by Ghatak. Nephew of Mahesh Kaul. Often acted in Film Institute student films in the mid-60s, and appeared as actor in Basu Chatterjee’s Sara Akash (1969). Received Jawaharlal Nehru Fellowship (1974–6). Part of the YUKT Collective that made Ghashiram Kotwal. Prominent cultural activist and organiser, often making common cause with Shahani in efforts to extend the range of Indian film cultures, and significant teacher of a new generation of FTII graduates, some of whom became key members of his film unit. First film, Uski Roti, is a cinematic exploration of narrative space and volume, defining much of New Indian Cinema’s formal vocabulary. Since Satah Se Uthata Admi, based on Hindi poet G.M. Muktibodh, made features on e.g. Dhrupad music and on terracotta artisans, emphasising improvised reconstruction of available material. Edits his colour films first in b&w, having printed every single take. Later work strongly influenced by his study of Dhrupad music with Ustad Zia Mohiyuddin Dagar and of Anandvardhan’s Dhwanyaloka, a 9th C. Sanskrit text on aesthetics exploring states of conscious perception while positing language as possessing a specific, suggestive dimension beyond its denotative or metaphoric faculties. Developing aspects of classical music theories, particularly the Sangeet Samay Saar (14th C.), Kaul emphasises the value of what is absent the varjit, the forbidden - as perennially in ‘argument’ (vivadi) with what is narratively present. The evanescent moment of creation is posed at the point where human action simultaneously registers what exists and in the process, produces something unprecedented. His elaborate theory of contemporary aesthetic practice, ‘Seen From Nowhere’, was presented in the cultural historian Kapila Vatsyayan’s seminar Inner Space, Outer Space (Indira Gandhi National Centre For Art) and published in the book Concepts of Space: Ancient and Modern. Among various non-Indian sources, has drawn from haiku poetry, the nouveau roman, mannerist painting, Bresson and Ozu. Recent return to fiction cinema draws mainly from Dostoevsky (Nazar, Idiot). Refused to sign the documentary Historical Sketch of Indian Women during the Emergency when its producers, Films Division, required him to change the last shot and the commentary.

Mani Kaul working on Idiot (1991)

FILMOGRAPHY: 1967: Yatrik (Sh); 6.40p.m. (Sh); Homage to the Teacher (Sh); 1968: Forms and Design (Doc); 1969: Uski Roti; 1970: During and after Air Raid (Doc); 1971: Ashad Ka Ek Din; 1973: Duvidha; 1974: The Nomad Puppeteers (Doc); 1975: Historical Sketch of Indian Women (Doc; uncredited); 1976: Chitrakathi (Doc); Ghashiram Kotwal; 1979: Arrival (Doc); 1980: Satah Se Uthata Admi; 1981: Desert of a Thousand Lines (Sh); 1982: Dhrupad; 1984: Moti Manas; 1988: Before My Eyes (Doc); 1989: Siddheshwari; Nazar; 1991: Idiot; 1994: The Cloud Door (Sh).

K.D. BROTHERS

Often described as India’s largest film importers in the early silent era, the company, not well documented because of its early closure, was apparently owned by Krishnadas Dwarkadas. By 1917 the company was well known as importers of projectors and raw stock, with branches in Calcutta and Benares. Its advertised film imports in the Bombay Chronicle include William Fox’s A Wife’s Sacrifice (1919), the Gaumont Gazette and, in 1921, independently made newsreels showing events connected with the Swadeshi agitations: e.g. Collecting Foreign Clothes in the Streets of Bombay, Enthusiasts on their way to the Bonfire near the Elphinstone Mills and several shots of Gandhi and Maulana Shaukat Ali. By the early 20s, K.D. Brothers mainly dealt with newsreels such as Chimanlal Luhar’s early work. Probably starting with tent bioscopes, by the early 20s their interests expanded to include two of Bombay’s front-line theatres, the Globe and the West End. An advertisement saying that the West End would release ‘no serial and no Indian film’ while the Globe would show the ‘best of serial chapter plays and the pick of Indian productions’, clearly reveals their twin distribution interests. Among the Indian films they distributed, within India and abroad (foreign distribution was for a while controlled by A. Narayanan) were Hindustan Cinema and Bharat films, the first two Dhiren Ganguly films and Suchet Singh’s Narasinh Mehta (1920).

KHAN, SHAH RUKH (B. 1965)

Major 90s Hindi star. Former stage actor in New Delhi, debuted on television in the serial Circus. First screen role playing Raghujan in Mani Kaul’s Idiot. In his early starring roles he often played unconventional ‘negative’ roles, e.g. in Baazigar and Darr. Alongside his mainstream productions, also acts regularly features in Ketan Mehta, Aziz Mirza and Kundan Shah films, some of which he has also distributed.

FILMOGRAPHY: 1991: Idiot; Dil Ashna Hai; 1992: Diwana; Chamatkar; Raju Ban Gaya Gentleman; Maya Memsaab; 1993: King Uncle; Bazigar; Darr; Kabhi Haan Kabhi Naa; 1994: Anjaam; 1995: Karan Arjun; Zamana Deewana; Oh Darling Yeh Hai India!; Guddu; Dilwale Dulhania Le Jayenge; Ram Jaane; Trimurti.

KHANDEKAR, VISHNU SAKHARAM (1898–1976)

Influential Marathi writer and essayist born in Sangli, Maharashtra. Closely associated with the progressive, secular tradition of the reformist G.G. Agarkar. A former schoolteacher, his best-known novels (Ulka, 1934; Hirva Chafa, 1938; Pandhre Dhag, 1939) are often deliberately pedagogical, with characters presented as social ‘types’ in situations devised as guides to morally correct behaviour. Wrote several original scripts, e.g. for Master Vinayak (Jwala, 1938; Amrit and Junnarkar’s Sangam, both 1941) some of which he later novelised (Rikama Devhara based on Devata, 1939; Sukhacha Shodh, 1939, etc.). His literary world is ‘peopled on the one side by ambitious men who have lost their humanity and, on the other, by the poor [w]ho suffer but never lose their humaneness; poverty is always perceived as a social consequence of crippling ambition’ (Mordekar, Aug 1941). His stories are high melodrama full of sacrifices bravely borne, passionate revenge and holy sin in extraordinarily convoluted plots (Chhaya, 1936; Mazhe Bal, 1943), exerting a strong influence in Marathi cinema, e.g. on Raja Paranjpe/G.D. Madgulkar. Based scripts on C.V. Joshi’s popular political satires featuring the bumbling duo Gundyabhau and Chimanrao: Lagna Pahave Karun (1940) and Sarkari Pahune (1942). Scripted C. Raghuvir’s Soneri Savli (1953), Madhav Shinde’s Antaricha Diva (1960), Mansala Pankh Astaat (1961) and Sunbai (1962; also providing the lyrics together with Shanta Shelke).

KHANNA, RAJESH (B. 1942)

Originally Jatin Khanna. The first of the late 60s/early 70s Hindi superstars with a big impact on the industry, later equalled only by Bachchan. His late 60s roles were often low-budget genre films (e.g. Yash Chopra’s thriller Ittefaq). Broke through in two popular love stories made and released simultaneously: Aradhana and Do Raaste, which shaped his film persona, later elaborated by Shakti Samanta. His image is traceable to Gulshan Nanda’s novelettes generated in the context of the industrialisation of 60s Hindi publishing pioneered by Mitra Prakashan’s best-selling journal, Manohar Kahaniyan, in Allahabad, and its numerous imitations aiming serials at less-educated readers. In the 70s, he often played a social orphan (Hathi Mere Saathi) deprived of maternal love and stricken by some existential malaise (Amar Prem) driving him to depravity (Dushman, Kati Patang) from which the heroine and foster-mother rescue him, usually by naming him as their protector. Often partnered by Sharmila Tagore or Mumtaz in his best-known films. His image of the innocent in a big bad world extended also to famous roles as a man who laughs to cover up some internal tragedy (Anand, Andaz). This approach influenced film-makers like Yash Chopra, but it was quickly overtaken in the mid-70s by Bachchan, making Khanna’s style an anachronism in the 80s. Stood for election as a Congress (I) candidate in Delhi, almost defeating the right-wing BJP leader, L.K. Advani. In a by-election he defeated the film star Shatrughan Sinha (who now represented the BJP) and became an MP.

FILMOGRAPHY: 1966: Aakhri Kbat; 1967: Baharon Ke Sapne, Raaz; Aurat; 1969: Aradhana; Bandhan; Do Raaste; Doli; Ittefaq; Khamoshi, 1970: Aan Milo Sajna; Anand; Kati Patang; Sachcha Jhutha, Safar, The Train; 1971: Amar Prem; Andaz; Badnaam Farishte, Chhoti Bahu; Dushman, Hathi Mere Saathi; Maryada; Mehboob Ki Mehndi; 1972: Apna Desh; Anuraag; Bawarchi; Dil Daulat Duniya; Joru Ka Gulam; Malik, Mere Jeevan Saathi; Shehzada; 1973: Avishkar, Daag; Namak Haram, Raja Rani; 1974: Aaina; Aap Ki Kasam; Ajnabi; Humshakal; Prem Nagar, Roti; 1975: Akraman; Prem Kahani; 1976: Bandalbaaz; Maha Chor, Mehbooba; Tyaag; Ginny Aur Johnny, 1977: Anurodh; Chalta Purza; Chhaila Babu; Karm; Palkon Ki Chhaon Mein; Tinku; Aashiq Hoon Baharon Ka; 1978: Bhola Bhala; Prem Bandhan; Chakravyuha; Naukri; 1979: Amar Deep; Janata Havaldar, Muqabala; 1980: Bandish; Phir Wohi Raat; Red Rose; Thodisi Bewafayi; Aanchal; 1981: Dard; Dhanwan; Fifty-Fifty Kudrat; Dil-e-Nadaan; 1982: Ashanti; Dharam Kanta; Rajput; Suraag; Jaanwar, 1983: Agar Turn Na Hote, Avatar, Nishan; Souten; Babu; 1984: Aaj Ka MLA Ramavatar, Asha Jyoti; Awaaz; Maqsad; Naya Kadam; Paapi Pet Ka Sawaal Hai; Durga; Hum Dono; Dharam Aur Kanoon; 1985: Alag Alag; Aakhir Kyon; Awara Baap; Bewafai; Insaaf Main Karoonga; Masterji; Oonche Log; Zamana; 1986: Adhikar, Amrit; Angarey Anokha Rishta; Mohabbat Ki Kasam; Nasihat; Shatru; 1987: Gora; Awaam; Nazrana; Seetapur Ki Geeta; 1988: Vijay Woh Phir Aayegi; 1989: Paap Ka Ant; Mamata Ki Chhaon Mein; Main Tera Dushman; Ghar Ka Chirag; 1990: Ghar Parivar, Swarg; 1991: Rupaye Dus Karod.

KHAYYAM, MOHAMMED ZAHUR (B. 1927)

Hindi music director born in Jullundur. Studied for a while with Pandit Amarnath and with music directors Husnlal-Bhagatram. Went to Bombay to become a film actor, then worked in Lahore. Early films composed in association with Aziz Khan, Bulo C. Rani et al. Worked at Ranjit Studio. Sang a duet in Akhtar Hussein’s Romeo and Juliet (1947) and acted in S.D. Narang’s Yeh Hai Zindagi (1947). First independent composing assignment, Zia Sarhadi’s Footpath, including the hit Shyam-e-gam ki kasam sung by Talat Mahmood. Worked extensively in the traditional ghazal format. His collaboration with Sahir Ludhianvi on songs satirising Nehruite politics in Phir Subah Hogi (Chin-o-Arab hamara and Woh subah kabhi to aayegi) are definitive of 50s Hindi cinema’s engagement with existential realism. Made a comeback with the hit love songs of Yash Chopra’s Kabhi Kabhie and Muzaffar Ali’s Urdu period movie, Umrao Jaan. Also did music for Esmayeel Shroff’s love stories in the 80s. Credited as ‘Sharmaji’ on his first 4 films. Har Mandir Singh’s Geet Kosh suggests he also scored a film called Hum Hain Rahi Pyar Ke in the 60s.

FILMOGRAPHY: 1948: Heer Ranjha; 1949: Parda; 1950: Biwi; 1951: Pyar Ki Baatein; 1953: Footpath; 1954: Dhobi Doctor; Gul Bahar; 1955: Tatar Ka Chor; 1958: Lala Rukh; Phir Subah Hogi; 1960: Barood; Bambai Ki Bitti; 1961: Shola Aur Shabnam; 1964: Shagun; 1965: Mohabbat Lsko Kehte Hain; 1966: Aakhri Khat; 1967: Mera Bhai Mera Dushman; 1974: Pyaase Dil; Sankalp; 1975: Sandhya; Mutthi Bhar Chawal; 1976: Kabhi Kabhie; 1977: Shankar Hussain; 1978: Trishul; 1979: Meena Kumari Ki Amar Kahani; Noorie; Khandaan; Chambal Ki Kasam; 1980: Thodisi Bewafayi; 1981: Ahista Ahista; Dard; Nakhuda; Umrao Jaan; Dil-e-Nadaan; 1982: Bazaar; Banwri; Dil Aakhir Dil Hai; Saval(H); 1983: Mehndi; Razia Sultan; 1984: Lorie; 1985: Bepanah; Tere Shaher Mein; 1986: Anjuman; 1988: Parbat Ke Us Paar; Ek Naya Rishta; 1989: faan-e-Wafaa; 1990: Jawani Zindabad.

KHOSLA, RAJ (1925–91)

Hindi director born in Ludhiana, Punjab. Family moved to Bombay (1934). Studied music from an early age and learned singing under Pandit Jagannath Prasad. Graduated in history and economics from Elphinstone College; arts degree from Bombay University. Joined AIR as singer (1946). Dev Anand made him assistant to Guru Dutt who gave him first major directorial assignment, CID. Acted a small role in Dutt’s Jaal (1952). Worked for Navketan and Filmalaya. Production partnership with cameraman Jal Mistry, Naya Films (e.g. Bambai Ka Babu, about incest). Then solo with Raj Khosla Films (1967). His Do Raaste helped make Rajesh Khanna a superstar. Returned in late 70s to the themes of bravely borne suffering, mainly addressing female audiences, which is unusual in recent Hindi cinema (Main Tulsi Tere Aangan Ki; Teri Maang Sitaron Se Bhar Doon, etc.). Known for inventive song picturisations, a skill he learnt from Guru Dutt. Also producer (e.g. Do Chor, 1972).

FILMOGRAPHY: 1955: Milap; 1956: CID; 1958. Kala Pani; Solva Saal; 1960: Bambai Ka Babu; 1962: Ek Musafir Ek Hasina; 1964: Woh Kaun Thi; 1966: Do Badan; Mera Saaya; 1967: Anita; 1969: Chirag; Do Raaste; 1971: Mera Gaon Mera Desh; 1973: Kachche Dhaage; Shareef Badmash; 1975: Prem Kahani; 1976: Nehle Pe Dehla; 1978: Main Tulsi Tere Aangan Ki; 1980: Do Premi; Dostana; 1981: Daasi; 1982: Teri Maang Sitaron Se Bhar Doon; 1984: Mera Dost Mera Dushman; Sunny; Mati Mange Khoon; 1988: Naqab.

KHOTE, DURGA (1905–91)

The first Marathi star to catapult to All-India film popularity. Born into an élite Maharashtra family in Bombay; educated in Cathedral School and influenced by Avantikabai Gokhale who helped put feminist issues on to the nationalist agenda. Her class background, unusual for an actress, allowed her to assume different images from the conventional Sangeet Natak stereotypes. Acted in Bhavnani’s Farebi faal but effectively introduced in Prabhat’s first sound film, Ayodhyecha Raja/Ayodhya Ka Raja. She then shifted to New Theatres to work with Debaki Bose, being the only actress featuring simultaneously in the two leading studios. As the queen in Shantaram’s May a Machindra, with the Cheetah at her feet or in her most famous early role as the pirate in Amar Jyoti, she recalled the Talmadge sisters or Mary Pickford. Following her role in Atre’s Payachi Dasi, she settled down to a long career as character actress (e.g. as queen mother in Mughal-e-Azam) and did some theatre, being associated for a while with the IPTA (she acted in their production of Andolan to replenish the Gandhi Fund). Also acted in and directed some Marathi plays, starting with Bhaubandhaki. Started Durga Khote Prod, for advertising and short films, run by her daughter-in-law, Tina Khote. Wrote an autobiography, Mee Durga Khote (1982).

FILMOGRAPHY: 1931: Farebi faal; 1932: Ayodhyecha Raja/Ayodhya Ka Raja; Maya Machhindra; 1933: Patit Pawan; Rajrani Meera; 1934: Seeta; 1935: Jeevan Natak; Inquilab; 1936: Amar Jyoti; 1937: Pratibha; Kai Ki Baat; 1938: Nandakumar (Mar); Savangadi/Saathi; 1939: Adhuri Kahani; 1940: Narsi Bhagat; Geeta; Raigad; 1941: Payachi Dasi/Charnon Ki Dasi; 1942 Bharat Milap/Bharat Bhet; Vijay; 1943: Qurbani; Mahasati Ansuya; Prithvi Vallabh; Tasveer; Zameen; Mahatma Vidur; 1944: Dil Ki Baat; Maharathi Kama; Phool; 1945: Lakhrani; Pannadai; Veer Kunal; Village Girl; 1946: Rukmini Swayamvar; Daasi Ya Maa; Hum Ek Hain; Maharani Meenal Devi; 1948: Anjuman; Morucbi Mavsbi; Seeta Swayamvar; 1949: Maya Bazaar; Jeet; Singaar; 1950: Alakh Niranjan; Hamara Ghar; Magroor; Mi Daru Sodli; Sbri Krishna Darsban; Surajmukbi; Har Har Mahadev; Hindustan Hamara; Nishana; Veer Bhimsen; Beqasoor; Kalyan Kbajina; 1951: Jashaas Tase; Aaram; Hamari Sbaan; Humlog; Malati Madhau; Muraliwala; Nai Zindagi; Nand Kishore; Sagar; Sazaa; 1952: Aandhiyan; Hyderabad Ki Nazneen; Lai Kunwar; Indrasan; Mordhwaj; Sandesb; Narveer Tanaji; 1953: Anand Bbavan; Cbacba Choudhury; Dharmapatni; Mashuqa; Naulakha Haar; Shikast; Naag Panchami; Sbri Chaitanya Mahaprabhu; Malkin; 1954: Laila; Ramayan; Lakeeren; Mirza Ghalib; Khel Chalala Nashibacha; Jhanjavaat; 1955: Hasina; Adl-e-Jehangir; Madh Bhare Nain; Shri Ganesh Vivah; Jagadguru Shankaracharya; 1956: Dwarkadheesh; Insaaf; Parivar; Patrani; Haribar Bhakti; Rajdhani; 1957: Bade Sarkar; Bhabhi; Mera Salaam; Musafir; Ram Hanuman Yuddha; Talash; 1958: Gopichand; Raj Tilak; 1959: Ardhangini; Maine Jeena Seekh Liya; Ghar Ghar Ki Baat; 1960: Love in Simla; Mughal-e-Azam; Parakh; Usne Kaha Tha; Umaj Padel Tar; 1961: Bhabhi Ki Chudiyan; Do Bhai; Ek Ladki Saat Ladke; Senapati; Kismat Palat Ke Dekh; 1962: Main Shaadi Karne Chala; Manmauji; Rangoli; 1963: Mujhe Jeene Do; The Householder; 1964: Benazir; Door Ki Awaz; Kaise Kahun; Tere Dwar Khada Bhagwan; Masterji (also d); 1965: Do Dil; Raigadacha Rajbandi; Kajal; Purnima; Janam Janam Ke Saathi; 1966: Anupama; Dadi Maa; Devar; Pyar Mohabbat; Sagaai; 1967: Chandan Ka Palna; 1968: Jhuk Gaya Aasmaan; Sangharsh; Sapnon Ka Saudagar; 1969: Dharti Kahe Pukar Ke; Jeene Ki Raah; Mera Dost; Pyar Ka Sapna; Ek Phool Do Mali; 1970: Dhartichi Lekre; Gopi; Dev Manoos; Khilona; Umang; 1971: Banphool; Dharti Ki God Mein; Ek Nari Ek Brahmachari; 1972: Bawarchi; Mangetar; Mere Bhaiya; Shararat; Raja Jani; 1973: Abhimaan; Agni Rekha; Bobby; Door Nahin Manzil; Namak Haram; Sone Ke Haath; Paanch Dushman; 1974: Insaniyat; Bidaai; Dil Diwana; 1975. Biwi Kir aye Ki; Chaitali; Do Thug; Kala Sona; Khushboo; Vandana; 1976: Bajrang Bali; Jaaneman; Rangila Ratan; Shaque; 1977: Chacha Bhatija; Chor Sipahi; Darling Darling; Do Chehre; Naami Chor, Paheli; Paapi; Saheb Bahadur, 1980: Karz.

Durga Khote in Bharat Bhet (1942)

KOHINOOR FILM COMPANY

Est: 1919. India’s largest and most influential silent studio. Preceded by S.N. Patankar’s Patankar Friends & Co., where Kohinoor proprietor D.N. Sampat (1884–1958) entered film production, and followed by the Krishna, Sharda and Imperial Studios, it was until 1928 the place where Indian cinema turned professional. Launched in partnership with Maneklal Patel, then an Ahmedabad exhibitor, some of the studio’s first films were documentaries informed mainly by Sampat’s Gandhian adherences, e.g. the film of the Ali brothers’ arrival (1920) and Horniman’s return to Bombay after release from prison (1925). Also known in this period for topicals and newsreels, incl. e.g. Bodhgaya-Benares, Taj Mahal and St. Xavier’s Exposition. Early Kanjibhai Rathod films were restricted to Bombay and Western Indian exhibition outlets but the studio made a national impact in the wake of the notoriety generated by the banning of the nationalist Bhakta Vidur (1921), followed by the success of Gul-e-Bakavali and Kala Naag (both 1924), all aimed at a pan-Indian audience. The big breakthrough was the appointment of independent distribution agents, Bachubhai Bhagubhai, who bought rights to all their films. By 1925 the studio’s monthly booking revenue exceeded Rs 50,000. The idea of the Hollywood-style film factory with several simultaneous productions, of story sessions and the building of star careers, transformed the production practices of the till then Phalke-dominated notion of a studio as a family-based cottage industry. Early cameramen incl. V.B. Joshi and D.D. Dabke. Although Kohinoor’s surviving publicity pamphlets indicate only one overdetermining authorial presence, writer Mohanlal Dave (until Manilal Joshi shifted the practice by writing his own screenplays and giving a full list of credits, even the actors were rarely mentioned and almost never the director), it was nevertheless the place where the star system was born with Moti and Jamna and where the silent cinema’s most successful film-maker, Homi Master, did his best-known films. Tara, Khalil, Raja Sandow and Zubeida started there, as did Sulochana in Bhavnani’s Veer Bala (1925). Other major Kohinoor figures include Chimanlal Luhar, Harshadrai Mehta, cameraman Pandurang Naik, Gohar, V.M. Vyas, Haribhai Desai (later of Surya Film) and Ranjit proprietor Chandulal Shah. Virtually the entire Imperial stable of directors, including R.S. Choudhury, Bhavnani, Nandlal Jaswantlal and R.N. Vaidya came from Kohinoor. After a fire virtually destroyed the studio in 1923, Maneklal Patel pulled out to start Krishna, and after 1928 Devare was mostly responsible for the studio’s new incarnation as the employee-run co-operative venture Kohinoor United Artists. A key figure in the studio’s later years was cameraman-director N.G. Devare. It closed in 1932.

KOIRALA, MANISHA

Hindi actress of Nepali origin; grand-daughter of former Nepali Prime Minister G.P. Koirala. Debut in Subhash Ghai’s Saudagar made her a star, but she only consolidated her reputation as an actress following performances in 1942: A Love Story and Bombay. Has performed in several late 90s films with equal fluency in both the Hindi commercial mainstream as well as in challenging roles (e.g. in Akele Hum Akele Turn, adapting Robert Benton’s Kramer Versus Kramer, 1979).

FILMOGRAPHY: 1991 Saudagar; First Love Letter, 1992: Yalgaar, 1993: Dhanwan, Lnsaniyat Ka Devata; Anmol; 1994: Milan; 1942: A Love Story, Sangdil Sanam; Criminal; Manjdhar, 1995: Bombay; Anokha Andaz; Guddu; Ram Shastra; Akele Hum Akele Turn; Ramshastra.

KOLHAPUR CINETONE

A rare instance of a film studio funded directly by feudal royalty. Amid the popular cultural renaissance in the first decades of the 20th C. around the court of the Shahu Maharaj at Kolhapur, Baburao Painter’s Maharashtra Film was already a showpiece. When V. Shantaram, Damle-Fattelal and Baburao Pendharkar left to start Prabhat in 1929, and later when Painter himself resigned to seal the fate of Maharashtra Film, numerous efforts were made by the Shahu Maharaj himself to continue the tradition that had earned Kolhapur the title of the ‘Hollywood of Marathi film’. The family started the Shalini Cinetone exclusively to keep Painter employed. In 1933, when Prabhat moved to Pune, they launched Kolhapur Cinetone as its rival, enticing Baburao Pendharkar, Bhalji Pendharkar and Master Vinayak to quit Prabhat and to take over this new venture. Apart from Bhalji Pendharkar’s mythological, Akashwani (1934) and Vinayak’s début feature Vilasi Ishwar (1935), the other notable production before the studio closed is Dadasaheb Phalke’s only sound film, his intended magnum opus, Gangavataran (1937).

KOMALA, A. P. (B. 1934)

One of the most popular singers in Telugu, Tamil, Malayalam and Kannada film. Classically trained in the Carnatic style. Début with Chittor V. Nagaiah’s film, Thyagayya (1946).

KONDKE, DADA (1932–98)

Marathi and Hindi director-actor born in Bombay. Employed as a millworker. Started in Vidushaka roles (‘the fool’) in Marathi lok natya, a bawdy working-class adaptation of Tamasha, e.g. his classic performance in the most famous play of the genre, Vasant Sabnis’s Vichha Majhi Puri Kara (1965). The Tamasha was first adapted to film in 40s Marathi cinema (Lokshahir Ramjoshi, 1947; Sangtye Aika, 1959) but Kondke took it to extremes. His film titles and dialogues are famous for their vulgarity and inventiveness. Often cast Usha Chavan as his leading lady. Début with Bhalji Pendharkar in Tambdi Mati. Started producing films with Govind Kulkarni’s Songadya (1971). Turned director in 1975. Had censorship trouble during the Emergency with Ram Ram Gangaram (originally called Gangaram Veeskalmi), intended as a spoof of the Twenty-point Economic Programme. It was remade by Mehul Kumar in Gujarati as Ram Ram Amtharam, as was Pandu Havaldar, which became Chandu Jamadar. Currently a vocal supporter of the Hindu communalist party based in Bombay, Shiv Sena. Acted in his own directions.

FILMOGRAPHY (* act only). 1969: Tambdi Matt*; 1971: Songadya*; 1972: Ekta Jeev Sadasbiv*; 1973: Andhala Marto Dola*; 1975: Pandu Havaldar; 1976: Tumcha Amcha Jamla; 1977: Ram Ram Gangaram; Chandu Jamadar*; 1978: Bot Lavin Tithe Gudgudlya; 1980: Hyoch Navara Pahije, 1981: Ram Ram Amtharam*; Ganimi Kava*; 1982: Ali Angavar, 1984: Tere Mere Beech Mein; 1986: Andheri Raat Mein Diya Tere Haath Mein; 1987: Muka Ghya Muka; 1988: Mala Gheoon Chala; Aage Ki Soch; 1989: Khol De Meri Zabaan; 1990: Palva Palvi; 1992: Yevu Ka Gharat; 1994: Sasarcha Dhotar

KOSARAJU RAGHAVAIAH CHOUDHURY (1905–87)

Prolific Telugu lyricist born in Appikatla, Guntur Dist., AP. Influenced by Kondamudi Narasimham Panthulu, in whose play based on the Ramayana he acted when still in his teens. Worked as a journalist in the Raitu Patrika where he met the composer Samudrala Raghavacharya and the director Ramabrahmam. Published his first poetry anthology, Kadagandlu. Turned to film lyrics with Raitu Bidda (1939), including the song Nidramelkonara tammuda. Returned to films with humorous lyrics for K.V. Reddy’s Pedda Manushulu (1954), followed by one of his most famous songs, Jebulu bomma je jela bomma (in B.A. Subba Rao’s Raju Peda, 1954). Known for his earthy poetry, often referring to popular morality tales. Wrote lyrics for c.350 films.

KOTTARAKKARA, KUTTAN PILLAI (B. 1924)

Scenarist, dialogue writer and one of the most successful producers in 70s Malayalam cinema. Born in Kottarakkara, Kerala. Stage actor aged 8. Début in 1950 as film actor (Atmasakhi, 1950; Ponkathir, 1953; Avakashi, 1954). Dialogues for Ponkathir were followed with scripts for over 25 films, after which he débuted as producer with the Tamil film Parisu (1963), directed by Yoganand and starring MGR. Concentrated on producing films which he scripts himself, making c.50 films in three languages (Malayalam, Kannada and Tamil), mainly love stories and suspense dramas. Noted scripts include the Sivaji Ganesan hit Pasamalar (1961).

Kottarakkara Sridharan Nair see Nair, Kottarakkara Sridharan

KRISHEN, PRADIP (B. 1949)

Hindi and English director born in New Delhi. Educated at Mayo College and St. Stephen’s College (1966–9), then at Balliol, Oxford (1969–71). Taught history at Ramjas College, New Delhi (1971–6). Started his film career when he bought a Bell & Howell 16mm camera (1973); briefly apprenticed to Shyam Senegal (1973). Assisted Georges Luneau (Ballade de Babuji, 1975); then worked with the private Delhi-based TVNF company producing 81 popular sci-fi films of 15’ each, shooting and directing some of them himself. Freelance documentarist with Grapevine Media. Début feature in Hindi, Massey Sahib, which was four years in the making; next two films were in English, sponsored by TV and aimed at an international market. Edited a special issue of the India Lnternational Centre Quarterly (March 1980) on cinema. Electric Moon is a UK production, mainly for Channel 4 in London.

FILMOGRAPHY: 1977: The Social Life of the Honey Bee, Medicinal Drugs; Reinventing the Wheel; King Coal; Reading the Moon Rocks; 1978: The Birth of the Himalayas; The Silicone Chip, Lovesongs; Nestmates; 1979: Glass; Why Birds Sing; The Age of the Earth; 1981: By Word of Mouth (all Sh); 1985: Massey Sahib; 1988. In Which Annie Gives It Those Ones (TV); 1991: Electric Moon (TV).

KRISHNA FILM COMPANY

Silent studio; Est: 1924 as a diversification of the Krishna Film Laboratory in Bombay by Maneklal Patel, a former exhibitor in Ahmedabad, scenarist (usually under name of Krishna Kumar), film-maker and partner in the Kohinoor Studio. Among the most successful of Kohinoor’s offshoots, they made 44 films 1925–31, including works by Luhar’s partner Harshadrai Mehta, Kanjibhai Rathod, Mohanlal Shah, A.P. Kapur and Prafulla Ghosh, cameramen Gordhanbhai Patel and Ambalal Patel and actors such as Gulab, Ermeline, Nandram and Rampiary. Its most famous silent productions were Prafulla Ghosh’s mammoth 4-part serial, Hatimtai (1929), the much-discussed (e.g. by the 1928 Cinematograph Committee) Janjirne Jankare (1927) and the K.M. Munshi story Kono Vank? The studio made a major financial investment in sound as Krishnatone, making 5 talkies in 1931 (4 by Rathod), but it closed in 1935 following major litigation concerning their last film, Fashionable India (1935), with financiers Kapurchand & Co. and the agency supplying imported film stock. In the silent days, Krishna filmed the work of several noted Gujarati novelists, e.g. Narayanji Vassanji Thakker, Gopalji Delwadakar, Shaida, K.M. Munshi, Champshi Udeshi and Ramanlal Desai, and also hired some of them as scenarists.

KRISHNA, GHANTAMNENI SIVARAMA (B. 1943)

Telugu actor, producer and director born in Tenali taluk, Guntur, AP. Educated in Tenali; graduated from the Eluru C.R. Reddy College. Stage actor before joining films. First break in Adurthi Subba Rao’s all-new-faces film Thene Manasulu, playing the second lead. Achieved critical acclaim in Bapu’s Saakshi, working for the first time with his future wife, actress-film-maker Vijayanirmala. Became a top Telugu star with the influential hit, Goodachari 116 (remade in Hindi as Farz, 1967), a James Bond-type thriller. Known mainly for thrillers and police dramas, including remakes of Hollywood films. In the 70s he starred in over a dozen films annually. Established the Padmalaya Films prod. co. which grew into the famous Padmalaya Studio in Hyderabad, one of the largest and most elaborately equipped studios in the country. With Mosagalluku Mosagadu, he introduced aspects of the Italian western into Telugu cinema. Ventured successfully into Hindi with the Jeetendra and Sridevi film Himmatwala (1983), but could not repeat the success with Sinhasan/Simhasanam, a big-budget flop starring Jeetendra in the Hindi and himself in the Telugu versions. Elected MP in 1989 for the Congress (I), but lost his seat in 1991. Made Praja Pratinidhi and Sahasame Naa Upiri as campaign films, attacking his former colleague NTR’s rule in AP.

FILMOGRAPHY (* also d): 1965: Thene Manasulu; 1966: Kanne Manasulu; Goodachari 116; 1967: Iddaru Monagallu; Saakshi; Marupurani Katha; Stree Janma; Upayamlo Apayam; Private Master, Ave Kallu; 1968: Asadhyulu; Niluvu Dopidi; Manchi Kutumbam; Sircar Express; Amayukudu; Attagaru Kottakodalu; Lakshminivasam; Nenante Nene, Undamma Bottupeduta; Chellelikosam; Vintha Kapuram; 1969: Manchi Mithrulu; Love in Andhra; Bhale Abbayilu; Bommalu Cheppina Katha; Mahabaludu; Shabash Satyam; Astulu Antastulu; Takkaridonga Chakkanichukka; Vichitra Kutumbam; Muburtabalam; Jarigina Katha; Jagath Kiladilu; Anna Dammulu; Karpura Arathi; Bandhipotu Bhimanna; 1970: Akkachellelu; Maa Nanna Nirdoshi; Malli Pelli; Vidhi Vilasam; Amma Kosam; Talli Bottu; Pelli Sambandham; Pelli Koothuru; Maa Manchi Akkaiah; Pagasadhishta; Agni Pareeksha; Akhantudu; Pachani Samsaram; Rendu Kutumbala Katha; Alludu Menalludu; 1971: Andariki Monagadu; Prema Jeevalu; Master Kiladi; Attain Kodallu; Pattu Kunte Laksha; Nammaka Drohulu; Anuradha; Bangaru Kutumbam; Mosagalluku Mosagadu; Nenu Manishine, Chalaki Rani Kiladi Raja; James Bond 777; 1972: Monagadosthunnadu Jagratha; Raj Mahal; Anta Mana Manchike; Maavoori Monagallu; Goodu Putani; Hanthakulu Devanthakulu; Kodalu Pilla; Menakodalu; Bhale Mosagadu; Pandanti Kapuram; Nijam Nirupishta; Abbaigaru Ammaigaru; Kathula Rathaiah; Maa Inti Velugu; Prajanayakudu; Marapurani Talli; Illu Illalu; Manchivallaku Manchivadu; 1973: Malamma Katha; Talli Kodukulu; Nindu Kutumbam; Sreevaru Maavaru; Puttinillu Mettinillu; Snehabandham; Neramu Siksha; Devudu Chesina Manushulu; Mamatha; Mayadari Malligadu; Pasi Hridayalu; Vintha Katha; Ganga Manga; Meena; 1974: Gali Patalu; Peddalu Marali; Uttama Illalu; Alluri Seetaramaraju, Manushulu Matti Bommalu; Radhamma Pelli; Adambaralu Anubandhalu; Gauri; Deergha Sumangali; Intinti Katha; Dhanavanthulu Gunavanthulu; Satyaniki Sankellu; Devadasu; 1975: Raktha Sambandhalu; Santhanam Saubhagyam; Abhimanavathi; Kotha Kapuram; Saubhagyavati; Chikati Velugulu; Gajula Kishtayya; Devudulanti Manishi; Padi Pantalu; 1976: Shri Rajeshwari Vilas Coffee Club; Manavoori Katha; Rama Rajyamlo Raktha Pasam; Kolleti Kapuram; Bhale Dongalu; Devude Gelichadu; Manasakshi; 1977: Kurukshetramu; Savasagallu; Eenati Bandham Yenatido; fanma fanmala Bandham; Panchayathi; Dongalaku Donga; Manushulu Chesina Dongalu; Indra Dhanushu; 1978: Patnavasam; Allari Bullodu; Anna Dammula Saval; Agent Gopi; Dongala Dopidi; Mugguru Muggure, Chal Mohanaranga; Dongala Veta; Simha Garjana; Cheppindi Cheshta; Kumara Raja; Atanikante Ghanudu; Moodu Puvvulu Aaru Kayalu; 1979: Viyalavari Kayalu; Hema Hemeelu; Dongalaku Saval; Kotha Alludu; Evadabba Somu; Mande Gundelu; Mutthaiduva; Sankhu Teertham; Buripalem Bullodu; Captain Krishna; Samajaniki Saval; Hum Bhi Kuch Kam Nahin; 1980: Bhale Krishnudu; Devudichina Koduku; Kothapeda Rowdy, Gharana Donga; Mama Allula Saval; Adrushtavanthudu; Ram Robert Rahim; Sirimalle Navvindi; Chuttalunnaru Jagratha; Ragile Hrudayalu; Kiladi Krishnudu; Bandodu Gundamma; Hare Krishna Hello Radha; Maa Inti Devatha; Ammayi Mogudu Mamaku Yamadu; Allari Bhava; Bangaru Bhava; Raktha Sambandham; 1981: Urinki Monagadu; Todu Dongalu; Guru Shishyulu; Bhogimanthulu; Boga Bhagyalu; Gadasari Attaha Sogasari Kodalu; Jatagadu; Antham Kadidi Arambham; Mayadari Alludu; Nayadugarabbai; Rahasya Goodachari; 1982. Bangaru Bhoomi; Bangaru Koduku; Krishnarajunulu; Doctor Cineactor, Nivurigappina Nippu; Prema Nakshatram; Vayyari Bhamulu Vagalamari Bharthulu; Jagannatha Rathachakralu; Pagabattina Simham; Krishnavataram; Ekalavya; Shamsher Shankar, Kalavari Samsaram; Eenadu (Tel); Kannodu Kann*; 1983: Bezwada Bebbuli; Urantha Sankranthi; Mundadugu; Kirai Kotigadu; Chattaniki Veyi Kallu; Adavi Simhalu; Siripuram Monagadu; Amayakudu Kadhu Asadhyudu; Rama Rajyamlo Bheemaraju; Shakti; Praja Rajyam; Lanke Bindelu; Poratham; 1984: Iddaru Dongalu; Yuddham; Pulijudam; Mukhya Mantri; Nayakulaku Saval; Kirai Alludu; Bangaru Kapuram; Udanthudu; Kanchu Kagada; Dongalu Baboi Dongalu; 1985: Agni Parvatham; Maha Sangramam; Andarikante Monagadu; Palnati Simham; Vajrayudham; Pachani Kapuram; Surya Chandra; Krishnagaradi; Devalayam*; Mahamanishi; Vande Mataram*; 1986: Brahmastham; Sinhasan/Simhasanam*; Khaidi Rudraiah; Krishna Paramatma; Pratibhavanthudu; Jayam Manade, Parasuramudu; Naa Pilupe Prabhanjanam*; Shantinivasam; 1987: Sardar Krishnama Nayudu; Muddayi; Dongoduchhadu; Makutamleni Maharaju; Dongagaru Swagatham; Muddubidda; Maavoori Maagadu; Thene Manasulu; Vishwanatha Nayakudu; Savkharavam*; 1988: Dorakani Donga; Kaliyuga Karnudu*; Chuttalabbai; Rowdy No. 1; Jamadagni; Ashwathama; Agni Keratalu; Maharajashri Mayagadu; Praja Pratinidhi; Mugguru Kodukulu*; 1989: Prajala Manishi*; Rajakiya Chadarangam; Atta Mechina Alludu; Manchi Kutumbam; Goodachari 117; Sahasame Naa Upiri; Ajatashatru; Sarvabhowmudu; Rickshawala*; Goonda Rajyam; Parthudu; Koduku Diddina Kapuram*; Inspector Rudra*; 1990: Anna Thamudu*; 1991: Paramashivudu; Naa Ille Naa Swargam; Nagastharam*; Indra Bhavanam*; Alludu Diddina Kapuram*; 1992: Pachani Samsaram; 1993: Varasudu, 1994: Gharana Alludu; Doragariki Donga Pellam; Yes Nenante Nene, Hello Alludu; Police Alludu; 1995: Amma Donga; Super Mogudu; Dear Brother, Real Hero.

KRISHNAKANT (B. 1922)

Gujarati and Hindi actor and director born in Howrah, Bengal, as Krishnakant Maganlal Bukhanwala. Son of a textile engineer; educated in Surat and in Bombay. Obtained a diploma in radio and electrical engineering (1940); then joined the Rooptara Studio in Bombay, working in the sound department. Assisted Nitin Bose for five years, then worked with Aravind Sen on Muqaddar (also acting in it) and with Subodh Mukherjee (Paying Guest, 1957). First major acting role in Phani Majumdar’s dotaif; other notable roles are a paralytic in Amiya Chakravarty’s Patita and the villain in Shakti Samanta’s Detective. Left films in the late 50s to concentrate on Gujarati theatre work (e.g. Pravin Joshi’s Manas Name Karigar) mainly with Harkrishen Mehta’s group. Returned to cinema in the early 70s; turned to direction with Dakurani Ganga, adapting Mehta’s novel Pravaha Paltavyo. Directed a series of Gujarati films based on plays or films from other languages: e.g. Visamo based on Harkrishen Mehta’s play, in which he acted the role of an old teacher, recalling Paranjpe’s Oon Paoos (1954) and Panthulu’s School Master (1958). Also adapted Anant Mane’s Manini (1961) as Maa Dikri. With these films he introduced a novel style of urban entertainment to Gujarati cinema, although relying on conventional reformist melodrama plots about the joint family, the generation gap and the exploitation of women. Also noted actor on Hindi and Gujarati television.

FILMOGRAPHY (* also d): 1943: Paraya Dhan; 1950: Chor, Muqaddar, Mashaal; 1951: Andolan, 1952: Daag; Tamasha; Zalzala; 1953: Patita; 1954 Baadhaan; Dhobi Doctor, Naukri; 1955: Faraar, Subse Bada Rupaiya; Ghar Ghar Mein Diwali; Seema; 1956: Sailaab, Jagte Raho, Patrani; Sudarshan Chakra; Dhola Maru; 1957: Agra Road; Bandi, Begunah; Hum Panchhi Ek Dal Ke, Yahudi Ki Ladki; Bhabhi; 1958: Ghar Sansar, Detective, Howrah Bridge; Mehndi; Parvarish; Post Box 999; Delhi Ka Thug; 1959: Insaan Jaag Utha; Satta Bazaar, Madhu; Ghar Ghar Ki Baat; Jaalsaaz; 1960: Jaali Note; 1961: Tanhaai; 1963: Jivnojugari; Vanraj Chavdo; 1969: Do Raaste, Kanku, 1971: Duniya Kya Jaane, Hathi Mere Saathi; Pyar Ki Kahani; Sharmilee, Paraya Dhan; 1972: Mere Jeevan Saathi; Do Chor, Annadata; Gunsundari No Ghar Sansar, 1973: Gaai Aur Gori; Suraj Aur Chanda; Mr Romeo; Manchali; 1974: Parinay, Ajnabi; Trimurti; Vardan; Aarop; 1975: Anari; Kala Sona; Sant Surdas; 1976: Deewangee, Koijeeta Koi Haara; Sajjo Rani; Dakurani Ganga*; 1977: Jagriti; Kulavadhu*; 1978: Khoon Ki Pukar, Visamo*; Maa Dikri*; Ghar Sansar*; 1979: Sonba Ane Rupba*; 1980: Maniyaro*; Meru Mulande*;Jog Sanjog*; 1981: Hotel; 1982: Prem Lagna*; Dharmo*; Jawabdaar*; 1983: Main Awara Hoon; Poojana Phool; 1986: Teesra Kinara*; Chhota Admi*; 1988: Kharidar.