KRISHNAMURTHY, HUNSUR (B. 1914)

Born in Hunsur, Karnataka. Kannada and Telugu director of stage-inspired mythologicals, often starring Rajkumar. While writing Company Natak plays (e.g. Swarga Samrajyd) for Bangalore-based Bharat Natak, also worked as scenarist, esp. for Vijaya Studio, remaking L.V. Prasad’s hit Pelli Chesi Choodu (1952) in Kannada as Madhuve Madi Nodu. Began as bit actor at Bombay Talkies; briefly with Bal Gandharva’s theatre troupe, then with Veeranna and Mohammed Peer’s Chandrakala Natak where, with Panthulu, he assisted Simha on Sams ara Nauka (1936). Like Panthulu, from 1958 directed mid-budget morality plays. Claimed that mythological genre commanded better budgets, allowed greater emotional freedom and called for more directorial inventiveness than the socials. Helped redefine the Rajkumar persona from his earlier historicals into narratively freer near mythic fantasies ruled by destiny and the individual quest for eternal goodness. Script credits include. Hemareddy Malamma (1945; also act); Krishnaleele (1947); Jagan Mohini (1951); Nala Damayanti (1957); Bangarada Manushya (1972) and Boothayyana Maga Ayyu (1974). Also acted in Muttaide Bhagya (1956). His biography was written by Shyama Sundar Kulkarni (1988).

imagesFILMOGRAPHY: 1958: Shri Krishna Garudi; 1960: Ashasundari/Ramasundari; 1961: Mera Suhaag; 1962: Ratnamanjari; 1964: Veera Sankalpa; 1965: Satya Harishchandra; Madhuve Madi Nodu; 1966: Shri Kannika Parameshwari Kathe, 1967: Devuni Gelichina Manavudu/Devara Gedda Manava; 1968: Addadari; 1971: Vishakanya; 1972: Jaga Mechida Maga; 1974: Bhakta Kumbhara; 1975: Mantra Shakti; 1977: Babruvahana; Veera Sindhoora Lakshmana; 1979-Kurubara Lakkanu Elizabeth Raniau; 1980: Bhakta Siriyala; Guru Sarvabhowma Shri Raghavendra Karune, 1981: Edeyuru Siddh alingesh warn/Siddhalingesh warn Mahima; Shiva Mahima; 1982: Bhakta Dnyanadeva; 1984: Shivakanya/Shivakanye, 1985: Shiva Kotta Saubhagya.

KRISHNAN, NAGERKOYIL SUDALAIMUTHU (1905–57)

Legendary Tamil film comedian, stage actor and political activist. Born in Nagerkoyil, in former Travancore. Joined the TKS Brothers drama troupe aged 17, replacing the comedian and film star M.R. Swaminathan (seen in e.g. 1000 Thalaivangi Apoorva Chintamani, 1947). Was already a noted stage star when débuting in the TKS Brothers production of Raja Sandow’s Menaka. Early films with Sandow (Vasantsena, Chandrakanthd) where he met his wife and long-term comedy partner T.A. Mathuram (1918–1974). Played the lead role in Alibabavum 40 Thirudargalum, establishing his distinctive brand of comedy. Classic screen image developed Kattiyankaran folk theatre conventions with a separate sub-plot and spoken dialect as opposed to the high-flown Elangovan-type language (e.g. playing fishermen with T.S. Dorairaj in Shakuntalai; Mudhal Thedi). In this style, the comedian can address the audience directly and allude to topical events (e.g. his funny song in Paithiakaran, referring to his jail sentence; his lines in the costumed period movie Amarakavi referring to a recent visit to the USSR). The style is enhanced by the comic but politically strident lyrics of Udumalai Narayana Kavi, written specially for Krishnan (e.g. Nallathambi). Initially a Marxist sympathiser and a friend of Pa. Jeevanandan (whom he sheltered when the CP was banned), Krishnan became first a nationalist and then a DMK supporter, producing C.N. Annadurai’s DMK Film Nallathambi, directing Panam and acting in the Karunanidhi-scripted Raja Rani and Rangoon Radha. Together with M.K. Thyagaraja Bhagavathar, he was convicted of murdering the gossip columnist Lakshmikantan although he proclaimed his innocence all his life. His wife started the N.S.K. Nataka (aka Eneskay Nataka Sabha) staging plays mainly directed by and featuring the star S.V. Sahasranamam. Their best-known play is P. Neelakantan’s nationalistic Nam Iruvar, later filmed (1947) by the AVM Studio. The company débuted in film production with Paithiakaran; their best-known productions are Nallathambi and the Krishnan-directed Manamagal and Panam. Panam, a major DMK film, featured the Parasakthi (1952) combination of writer Karunanidhi and star Ganesan while Krishnan sang a pro-DMK song. It also featured documentary footage of a DMK Party conference. Biography by Narayanan (1992).

image FILMOGRAPHY (* also d). 1935: Menaka; 1936: Vasantsena; Chandrakantha; Sati Leelavathi; 1937’: Ambikapathy; Balamani; 1938: Dakshayagnam, 1939: Thiruneelakantar, Maya Machhindra; Manikavasagar, Ramalinga Swamigal; Rambayin Kadhal; Sirikathe, Ananda Ashramam; Prahlada; 1940: Bhakta Tulsidas; Naveena Tenali Raman; Parasuramar, Naveena Vikramadithan; Budhiman Balwan Ivan; Kalamegham; Mani Mekalai; Bhuloka Rambha; Shakuntalai; Uthama Puthran; 1941: Alibabavum 40 Thirudargalum; Ezhanda Kadal; Ashok Kumar, Vedavathi; Aryamala; Krishnapidaran; Chandrahari; 1942: Kannagi; Prithvirajan; Sivalinga Satchi; Manonmani; 1943: Arundhati; Sivakavi; Mangamma Sapatham; Bhagya Lakshmi, 1944: Burma Rani, Mahamaya; Bhartrahari (Tarn); Jagathala Prathapan; Prabhavati; Poompavai; Raja Rajeshwari; Haridas; Salivahanan; Kalikala Minor, Palli Natakam; Soora Puli; 1945: Paranjoti; Bhakta Kalathi; Srivalli; 1946: Pankajavalli; 1947: Paithiakaran; Kannika; 1948: Devadasi; Chandralekha, Krishna Bhakti; 1949: Nallathambi; Ratnakumar, Mangayar Karasi; Inbavalli; Pavalakkodi; 1950: Laila Majnu; Parijatham; 1951: Manamagal/Pelli Koothuru*; Vanasundari; 1952: Panam*; Amarakavi; 1954: Nallakalam; 1955: Mudhal Thedi; Kaveri; Nam Kuzhandai; Dr Savithri; Stree Ratna; 1956: Raja Rani; Nannambikkai; Asai; Madurai Veeran; Kannin Manigal; Kudumba Vilakku, Rangoon Radha, 1957: Chakravarthi Thirumagal; Pudhu Vazhvu; Yar Paiyan; Ambikapathy; 1959: Thangapathumai; 1960: Raja Desingu; Thozhan; 1961: Arasilankumari.

KRISHNAN-PANJU: R. KRISHNAN (B. 1909) AND S. PANJU (B. 1915)

Duo of Tamil melodrama directors and producers. Krishnan was born in Madras, Panju in Umayalapuram, Thanjavur. Krishnan began as a laboratory assistant in 1934 while Panju assisted Duncan on Sati Leelavathi (1936). Both left Duncan for Premier Cinetone in Coimbatore, where Panju also worked independently as an editor. They made their joint début in Coimbatore (Poompavai). Their third film was for N.S. Krishnan with S.V. Sahasranamam’s script (Paithiakaran), followed by Krishnan’s major DMK Film, Nallathambi; and the even more significant Parasakthi. Mainly associated with the AVM Studio, directing some of its main Hindi hits, e.g. Bhabhi, Barkha, Bindiya, Shadi etc. Also worked in Telugu.

imagesFILMOGRAPHY: 1944: Poompavai; 1946: Pankajavalli; 1947: Paithiakaran; 1949: Nallathambi; Ratnakumar, 1952: Parasakthi; 1953: Kangal; 1954: Ratha Kanneer, 1955: Sant Sakhu; 1956: Kuladaivam; 1957: Bhabhi; Pudhuvayal; 1959: Barkha; Mamiyar Meetriya Marumagal; 1960: Bindiya; Daiva Piravi; Thilakam; 1961: Suhaag Sindoor, 1962: Manmauji; Shadi; Annai/Penchina Prema; 1963: Kumkumam; 1964: Mera Kasoor Kya Hai; Server Sundaram; Vazhkai Vazhvadarke, 1965: Kuzhanthiyum Daviamum; 1966: Laadla; Letamanasulu; Petral Than Pillayya; 1968: Do Kaliyan; Uyarntha Manithan; 1969: Annaiyum Pithavum; 1970: Anadhai Anandan; Engal Thangam, 1971: Main Sundar Hoon; Ranga Rattinam; 1972: Akka Tammudu; Ldaya Veenai; Pillaiyo Pillai; 1973: Pookkari; 1974: Shandaar, Kaliyuga Kannan; Pathumatha Bandham; 1975: Kashmir Bullodu; Anaya Vilakku; Vazhanthu Kattukiran; 1976: Enna Thavam Saithen; Ilaya Thalaimurai; Vazhvu En Pakkam; 1917: Chakravarthi; Sonnathai Seivan; 1978: Annapoorni; Pare Solla Oru Pillai; 1979: Nadagame Ulagam; Neela Malargal; Velli Ratham; Nenjukku Needhi; 1980: Mangala Nayaki; 1985: Malarum Ninaivugal

KRISHNARAO, ARAKALAGUDU NARASINGA RAO (1908–71)

Aka A.Na.Kru; scenarist and prolific Kannada novelist, playwright and essayist with c.250 published titles. A major regional chauvinist ideologue in Karnataka. Initially associated with the professional Company Natak. After books like Udayaraga (1924), a thinly disguised fictional biography of Bengal School painter Nandalal Bose, and several others featuring anxiety-ridden artists as central protagonists, he tended more towards the ‘modern’ within the anglophile Amateur Dramatic Association and the literary Pragatisila movement derived from the PWA. Used influential cultural platforms such as the Madhol conference (1945) of the Kannada Ekikaran Parishat (the Kannada unification movement) to deflect most debates about progressivism and modernism towards discussions of Karnatakatva CKannada-ness’), usually by appealing to ‘the masses’ whose ‘point of view’ was said to be ignored by writers speaking about and addressing an urban middle class (Krishnarao, 1944). This equation of political regionalism with cultural populism was later developed most notably by the films of Rajkumar. Wrote a major Veeranna tilmjeevana Nataka (1942), the original book on which the Kannada film Sandbya Raga (1966) is based, and the script of B.R. Panthulu’s historical Shri Krishnadevaraya (1970). Wrote a novel about his experiences in the film industry, Cbitra Vichitra (1952) and a critical study of Ravi Varma (1932). Also scripted Stree Ratna for K. Subramanyam (1955).

KRISHNARAO PHULAMBRIKAR, MASTER (1891–1974)

Music composer and actor born in Alandi, Maharashtra. Trained by Bhaskarbua Bakhle in music school Bharat Gayan Samaj. Employed by Bal Gandharva’s Gandharva Natak Mandali as male lead and composer. With Govindrao Tembe, he helped shape Bal Gandharva’s enormously influential populist versions of North Indian classical music. Entered film at Prabhat Studio with Bal Gandharva in Shantaram’s Dharmatma and stayed on to do several films, developing a reputation as an orthodox Sangeet Natak classicist, distinguishing him from his Prabhat contemporary, Keshavrao Bhole. His songs for Manoos/Admi (esp. Hublikar’s seduction number, Ab kis liye kal ki baat) and the musical spoofs of Bombay Talkies and New Theatres were among the few original compositions when, particularly at Prabhat, most songs drew on the repertoire of traditional gharanas (notably the Jaipur gharana). His only success after the studio era was at Rajkamal in Mali, also playing the lead role.

image FILMOGRAPHY (* also act): 1935: Dharmatma, 1936: Amar Jyoti, 1937: Sadbvi Meerabai; Wahan, 1938: Gopal Krishna, 1939 Manoos/Admi, 1941: Shejari/Padosi, 1942: Vasantsena, 1944: Bhakticha Mala/Mali*; 1945: Lakhrani; 1947: Meri Amanat (act only); 1949: Sant Ramdas; 1953: Tai Teleen; 1959: Keechaka Vadba; 1962: Vithu Mazha Lekurvala.

Krishna Shastry, Devulapalli see Sastry, Devulapalli Krishna

KRISHNAVENI, C. (B. 1924)

Telugu/Tamil actress and producer born in Rajahmundhry, AP. Child actress in stage plays. Débuted in the title role of C. Pullaiah’s children’s film, Ansuya. Acted in Telugu and Tamil films, but it was again Pullaiah who cast her in Gollabhama. Actorial reputation based mainly on roles in Lakshmamma, Mana Desam and Perantalu. Married the Rajah of Mirzapur (1941), founder of the Jaya Films Studio (1940) in Teynampet, Madras. This later became the famous Shobhanachala Studio, launched with L.V. Prasad’s political melodrama Mana Desam. Turned producer with MRA Prod. Only Tamil film is Kamavalli. Introduced composers Ghantasala Venkateshwara Rao (Mana Desam) and Ramesh Naidu (Dampatyam, 1951). Sang classic songs in Gollabhama (Bhoopati jampitiyin, Ravoyi jeevanajyoti) and a hit duet with M.S. Rama Rao in Mana Desam (Emito ee anubandham). Sang playback in Keelugurram, 1949, directed by her husband. Produced several films, e.g. Lakshmamma, Perantalu, Dampatyam and Yamanukku Yaman (1980). Returned to the stage in the late 50s.

imagesFILMOGRAPHY: 1936 Ansuya; Dhruva; 1937 Mohini Rugmangada; 1938: Kacha Devayani; 1939: Mahananda; 1940: Jeevana Jyoti; 1941: Dakshayagnam; 1944: Bhisbma; 1947: Gollabhama; 1948: Madalasa; Kamavalli; 1949: Dharmangada; Mana Desam, 1950: Lakshmamma; 1951: Perantalu; 1952: Savasam.

Kulkarni, Datta Keshav see Datta Keshav Kulkarni

KUMAR, ANUP (B. 1932)

Bengali actor born in Calcutta; son of singer and stage composer Dhirendranath Das. Début as child actor in Dhiren Ganguly’s unreleased Halkatha. First major role in Kaliprasad Ghosh’s Dhatri Debata. A prolific genre performer, often as the hero’s comic counterpart. Belongs to the second generation of Bengali comedians with Bhanu Bannerjee, Robi Ghosh and Jahar Roy. Acted with Tapan Sinha (Tonsil, Kalamati, Ek Je Chhilo Desh) in early Mrinal Sen films (Abasheshe, Pratinidhi), and for Tarafdar (Agnisikha, Jiban Kahini). A regular member of the Tarun Majumdar and Dinen Gupta film units. Routine career occasionally enlivened by critically acclaimed roles, e.g. in Yatrik’s Palatak and Majumdar’s Balika Bodhu. Stage début at Star Theatres (1949) in Bejoynagar and Samudragupta. Acted with Sisir Bhaduri in the play Takht-e-Taus (1951). Later worked at the Bishwaroopa theatre. Also directed plays, e.g. Aghatan (1978). Not to be confused with the popular Hindi comedian Anoop Kumar, the brother of Ashok and Kishore Kumar.

imagesFILMOGRAPHY: 1934: Halkatha; 1946: Sangram; 1948: Dhatri Debata; Bankalekha; 1949: Sankalpa; Krishna Kaveri; Saksbigopal; 1950: Vidyasagar, Maryada; 1951: Bhakta Raghunath; Barjatri; 1952: Pasher Bari; Rani; 1953: Banser Kella; Sosur Bari; Rami Chandidas; Adrishya Manush; 1954: Aaj Sandbya; Mahila Mahal; Ae Satyi; Annapurnar Mandir, Agni Pareeksha; Nilshari; 1955: Rani Rashmoni; Bidhilipi; Joymakali Boarding; Kankabatir Ghat; Mejo Bou; Anupama; 1956: Sinthir Sindoor, Sagarika; Tonsil; Ekti Raat; Asamapta; Shyamali; Madan Mohan; Nagardola; 1957: Ulka; Ratri Sheshey Adarsha Hindu Hotel, Prithibi Amar Chai; Surer Parashey; Rastar Chhele, Kancha-Mithey Punar Milan; Ogo Sunchho; Garer Math; Pathe Holo Deri; Janmatithi; 1958: Priya (B); Kalamati; Daktar Babu; Leela Kanka; Marmabani; 1959: Nauka Bilash; Derso Khokhar Kando; Shashi Babur Sansar, Gali Theke Rajpath; 1960: Dui Becbara; Prabesh Nisbedh; Biyer Khata; Natun Fasal; Baishey Shravan, 1961: Mr & Mrs Choudhury, Bishkanya; Arghya; Kanchanmulya; Kathin Maya; Aaj Kal Parshu; Ahwan; Maa; Kanamachi; 1962: Agnisikha; Shesh Chinha; Abhisarika; Banarasi; Shubha Drishti; Abasheshe, 1963: Barnachora; Sat Bhai; High Heel; Palatak, Dui Nari; Kanchan Kanya; Shreyasi; 1964: Pratinidhi; Ta Holey, Jiban Kahini; Kashtipathar, Binsati Janani; 1965: Alor Pipasa; Mahalagna; Antaral; Jaya; Ek Tuku Basa; Dinanter Alo; Dolna; Mukhujey Paribar, Tapasi; 1966: Kalanki Raat; Nutan Jiban; Shesh Tin Din; Uttar Purush; Rajdrohi; Mayabini Lane, 1967: Hathat Dekha; Kheya; 1968: Baluchari; Boudi; Chhoto Jignasa; Garh Nasimpur, Jiban Sangeet; Teen Adhyay 1969: Bibaha Bibhrat; Dadu; Duranta Charai; Panna Hirey Chunni; Pita Putra; 1970: Samanaral; Aleyar Alo; Kalankita Nayak, Ae Korechho Bhalo; Nishipadma; Manjari Opera; 1971: Anya Mati Anya Rang; Nimantran; Pratham Basanta; Attatar Din Pare, 1972. Jiban Sangram; Basanta Bilap; Biraj Bou; Naya Michhil; Shesh Parba; Natun Diner Alo; Sabari; 1973: Pranta Rekha; Daabi; Ek Je Chhilo Bagh; 1974: Phuleshwari; Sangini; Thagini; Mouchak, Phulu Thakurrna; Swikarokti; 1975: Nishi Mrigaya; Raag Anuraag; Sei Chokh; Phool Sajya; Tin Pari Chhoy Premik; Harano Prapti Niruddesh; 1976: Chander Kachhakachhi; Ajasra Dhanyabad; Ek Je Chhilo Desh; Pratisruti; Ananda Mela; Mrigaya; 1977: Baba Taraknath; Babu Moshai; Bhola Moira; Ae Prithibi Pantha Niwas; Pratima; Sanai; Proxy, Golap Bou; 1978: Dak Diye Jai; Nadi Theke Sagare, Tusi; Niskriti; Tilottama; 1979: Devdas; Chirantan; Ghatkali; Pipasa; Shahar Theke Dooray 1980 Dadar Kirti; 1981: Pratishodh; Swami Stri; Sei Sur, Subarnalata; Meghmukti; Khelar Putul; Maa Bhawani Maa Amar, Rabibar, 1982: Sathe Satyam; Bodhan; Preyasi; Mayer Ashirbad; Amrita Kumbher Sandhaney Iman Kalyan; Sonar Bangla; Prafulla; 1983: Abhinay Nay, Ae Cbbilo Mone, Amar Geeti; Arpita; Indira; Jiban Maran; Jyotsna Ratri; Nishi Bhor, Prayashchitta; Samapti; Srinkhal; Sansarer Itikatha; Mobaney Dike, 1984: Harisbcbandra Shaibya; Lai Golap, Rashifal; Shatru; Shorgol; Agni Shuddhi; Abuti; Surya Trisbna; 1985: Amar Prithibi; Baikuntber Will; Bhalobasha Bbalobasha; Neelkantha; Putulgbar, Sandhya Pradeep; Till Theke Tal; 1986: Swarga Sukh; Anurager Cboa; Urbashe, Ashirwad; Daktar Bou; Abbisbap, Dui Adbyay, 1987: Bidrohi; Raj Purusb; Swarnamoir Tbikana; Radba Rani; Sargam; Abir, Dabar Chal; Arpan; Lalan Fakir, Mahamilan; Mouna Mukber, Ekanto Apon; Doloncbapa; 1988: Kalankini Nayika; Channachara; Boba Sanai; Kidnap; Antaranga; Tumi Koto Sundar, Debibaran; Agaman; Surer Akashe; Dena Paona; 1989: Shatarupa; Mangaldip, Aparanher Alo; Asha; Abbisar, Jankar, Amar Shapath; Aghaton Ajo Ghatey, Chhandaneer; Asha-o-Bbalobasha; Garmil; 1990: Anuraag; Apon Amar Apon; Raktorin; Debata; 1991: Abankar, Raj Nartaki; Nilimai Neel; Patb-o-Prasad; Bourani; Abhagini; Pati Param Guru; Sajani Go Sajani; Ek Pasbla Brisbti; 1992: Anutap; Rupaban Kanya; Pennam Calcutta; Priya; Indrajit; Mahashay; Satya Mithya; Nabarupa; 1993: Mon Mane Na; Maya Mamata; Krantikaal; Bbranta Patbik, Shraddhanjali; Prithibir Sbesb Station; Tapasya; 1994: Tobu Mone Rekho; Atikram; Geet Sangeet; Ami-o-Maa; Kotbacbilo; Lal Pan Bibi; 1995: Sangbarsba; Mashaal; Mejo Bou; Sansar Sangram.

KUMAR GANGULY, ASHOK (B. 1911)

Hindi star and producer; nicknamed Dadamoni. Born in Bhagalpur, Bihar; the son of a lawyer and deputy magistrate. Originally called Kumudlal Kunjilal Ganguly. Grew up in Khandwa. Briefly studied law in Calcutta, then joined his mentor and future brother-in-law, Shashadhar Mukherji, at Bombay Talkies, first as laboratory assistant. He was cast in the lead opposite Devika Rani in Jeevan Naiya and Achhut Kanya. Acted in several notable films with her and then with Leela Chitnis (the hits Bandhan, Kangan and Jhoola). After Himansu Rai’s death (1940), he enjoyed the protection of Mukherji, who co-managed the studio with Devika Rani. Broke through as the Bogartian journalist in the Abbas-scripted Naya Sansar. Other classic roles include the title role in Mehboob’s Humayun and the double role of magistrate and playboy in Afsana. His most famous role was in Kismet as the gracefully cigarette-smoking anti-hero, showing that Hindi cinema had quickly assimilated Hollywood’s film noir style. Set up Filmistan (1943) with S. Mukherji, Gyan Mukherjee and Rai Bahadur Chunilal. He later returned to Bombay Talkies as production chief. Directed some of their films (e.g. Eight Days) but never took the official credit. Joined with his brothers Kishore and Anup Kumar in the comedies Chalti Ka Naam Gaadi and Chalti Ka Naam Zindagi. In the 60s freelanced as character actor, often playing a sympathetic parent (e.g. Mill). According to Tapan Sinha, with whom he first acted in Hatey Bazarey, ‘he was the first to apply “normal” acting in our industry; until Ashok Kumar we had jatra-style acting or screen acting that followed theatrical trends. [H]e is the man who showed that film acting is something else. He began to speak and to behave normally.’ He excelled in Robin Hood-type roles with sparse dialogues and his way of holding a cigarette in Kismet became a trade-mark. He anchored the TV soap Humlog and appeared in many TV serials. His image is a generic icon virtually autonomous from the plot, at first representing Bombay Talkies’ version of Indian modernity and then underpinning Filmistan’s commitment to the mass entertainment formula.

images

Ashok Kumar in Isi Ka Naam Duniya Hai (1962)

imagesFILMOGRAPHY: 1936; Jeevan Naiya, Achhut Kanya, Janmabhoomi; 1937: Izzat; Prem Kabani; Savitri; 1938: Nirmala; Vachan; 1939: Kangan, 1940: Azad; Bandhan; 1941: Anjaan; Jhoola; Naya Sansar; 1943: Angoothi; Kismet; Najma, 1944: Chal Chal Re Naujawan; Kiran; 1945: Begum; Humayun; 1946: Eight Days; Sbikari; Uttara Abbimanyu; 1947: Saajan; Chandrasekhar, 1948: Padmini; 1949: Mahal; 1950: Adhi Raat; Khiladi; Mashaal; Nisbana; Samadhi; Sangram, 1951: Afsana; Deedar; 1952: Betaab; Bewafa; Jalpari; Kafila; Naubabar, Poonam; Raag Rang; Saloni; Tamasha; 1953: Nagama; Parineeta; Shamsheer; Sholay; 1954: Baadbaan; Lakeeren; Naaz; Samaj; 1955: Bandish; Sardar, 1956: Bbai Bbai; Ek Hi Raasta; Inspector, Shatranj; 1957: Bandi; Ek Saal; Jeevan Saathi; Mr X; Sberoo; Talaash; Ustad; 1958: Chalti Ka Naam Gaadi; Farisbta; Howrah Bridge; Karigar, Night Club, Ragini; Savera; Sitaron Se Aage; 1959: Baap Bete, Bedard Zamana Kya Jaane, Daaka; Dhool Ka Phool; Kangan; Naacb Ghar, Nai Raabein; 1960: Aanchal; Kala Admi; Kalpana; Kanoon; Masoom; Hospital; 1961: Dark Street; Flat No. 9, Warrant; 1962: Aarti; Bezubaan; Burma Road; Hong Kong; Isi Ka Naam Duniya Hai; Mebndi Lagi Mere Haath; Naqli Nawab; Private Secretary, Raakbi; Ummeed; 1963: Aaj Aur Kal; Bandini, Gribastbi; Gumrah; Mere Mehboob; Meri Soorat Teri Aankben; Ustadonke Ustad; Yeb Raaste Hain Pyar Ke, 1964: Benazir, Chitralekha, Dooj Ka Chand; Pboolon Ki Sej; Pooja Ke Phool; 1965: Shevatcha Malusara; Adhi Raat Ke Baad; Akashdeep, Bahu Beti; Bheegi Raat; Chand Aur Suraj; Naya Kanoon; Oonche Log, 1966: Afsana; Dadi Maa; Mamata; Yeb Zindagi Kitni Haseen Hai; Toofan Mein Pyar Kaban; 1967: Jewel Thief; Meharbaan; Bahu Begum; Nai Roshni; Hatey Bazarey; 1968: Aabroo; Ashirwad; Dil Aur Mohabbat; Ek Kali Muskayi; Sadhu Aur Shaitan; 1969; Aradhana; Aansoo Ban Gaye Phool; Bbai Bahen; Do Bbai; Tnteqam; Paisa Ya Pyar, Pyar Ka Sapna; Satyakam, 1970: Jawab; Maa Aur Mamta; Purab Aur Paschim; Safar, Sharafat; 1971: Adhikar, Door Ka Rahi; Naya Zamana; Ganga Tera Pani Amrit; Hum Tum Aur Woh; Kangan; Pakeezah, Guddi; 1972: Rani Mera Naam; Anuraag; Dil Daulat Duniya; Malik, Raakhi Aur Hath kadi; Sa Re Ga Ma Pa; Sazaa; Victoria No. 203; Zameen Aasmaan; Zindagi Zindagi; 1973: Bada Kabutar, Dhund; Do Phool; Hifazat; Taxi Driver, 1974: Do Aankben; Dulhan; Khoon Ki Keemat; Paise Ki Gudiya; Prem Nagar, Ujala Hi Ujala; Badhti Ka Naam Daadhi; 1975: Love in Bombay, Akraman; Chhotisi Baat; Chori Mera Kaam; Dafaa 302; Ek Mahal Ho Sapnon Ka; Mili; Uljhan; 1976: Aap Beeti; Arjun Pandit; Barood; Bhanwar, Ek Se Badkhar Ek, Harfan Maula; Mazdoor Zindabad; Rangila Ratan; Shankar Dada; Santan; 1977: Anand Ashram; Anurodh; Chala Murari Hero Banne, Dream Girl; Hira Aur Patthar, Jadu Tona; Khatta Meetha; Mastan Dada; Prayash chit; Safed Jhooth; Premi Gangaram; 1978: Anmol Tasveer, Anpadh; Apna Khoon; Chor Ke Ghar Chor, Dil Aur Deewar, Do Musafir, Mehfil; Phool Khile Hain Gulshan Gulshan; Tumhare Liye, 1979: Bagula Bhagat; Guru Ho Jaa Shuru; Janata Havaldar, Amar Deep; Salaam Memsaab; 1980: Khwab, Aakhri Insaaf; Aap Ke Diwane, Judaai; Khubsoorat; Nazrana Pyar Ka; Sau Din Saas Ke, Saajan Mere Main Saajan Ki; Takkar, Jyoti Bane Jwala; 1981: Chalti Ka Naam Zindagi; Jyoti; Jail Yatra; Maan Gaye Ustad; Yeh Kaisa Nasha Hai; Shaukeen; 1982: Sambandh; Anokha Bandhan; Chor Mandli; Dial 100, Dushmani; Heeron Ka Chor, Mehndi Rang Layegi; Patthar Ki Lakeer; Dard Ka Rishta; 1983: Haadsa; Bekaraar, Farishta; Raja Aur Rana; Love In Goa; Farz Ki Keemat; Mahaan; Chor Police; Prem Tapasya; Shilalipi; Kaya Palat; Pasand Apni Apni; 1984: Hum Rahe Na Hum; Akalmand; Duniya; Grihasthi; Durga; Humlog (TV); Ram Tera Desh; 1985: Bhago Bhoot Aaya; Ek Daku Shaber Mein; Tawaif Pbir Aayi Barsaat; 1986: Amma; Inteqam Ki Aag; Pyar Kiya Hai Pyar Karenge, Shatru; Qatl; Dada Dadi Ki Kabaniyan (TV); Pyar Ki Jeet; Wob Din Aayega; Bbim Bbawani (TV); 1987: Awaam; Hifazat; Mr India; Watan Ke Rakhwale, Jawab Hum Denge, 1988: Inteqam; 1989: Clerk; Sacbaai Ki Taaqat; Mamata Ki Cbhaon Mein; Maut Ki Sazaa; Dana Pani; Majboor, 1991: Hamla; 1994: Yuhi Kabhi; 1995: Jamla Ho Jamla.

KUMAR, DILIP (B. 1922)

Hindi-Urdu cinema’s top 50s and 60s star. Born in Peshawar (now Pakistan) as Yusuf Khan in a Pathan family of 12 children. They moved to Maharashtra as fruit merchants. Worked in a British army canteen in Bombay (1940). Devika Rani claimed to have recruited him for Bombay Talkies. A noted Hindi novelist, Bhagwati Charan Varma, renamed him Dilip Kumar. Attained stardom with Jugnu. Achieved an enduring reputation for naturalist acting although he claims to have followed in the footsteps of Motilal. Andaz brought him superstardom and he acted again with Nargis injogan. Presented, e.g. in Footpath, as an exponent of indigenous neo-realism. His style developed tragic dimensions, e.g. in the Oedipal drama Deedar, where he blinds himself, and in Devdas, as the lovesick aristocrat. Eventually decided to change to a more swashbuckling image with Aan, Azad, Insaniyat, Kobinoor, etc., apparently on advice of his psychoanalyst, although he kept his romantic image going as well. Like his contemporary Raj Kapoor, his filmic identity offered a complex cultural/psychological terrain displaying the anxieties of Independence and the nostalgias of a pre-Partition childhood. Unlike Kapoor, Dilip Kumar’s naturalist underplaying often presented him as an innocent loner caught in and destroyed by conflicting social pressures, as in the only film he did with Raj Kapoor, Andaz, a classic drama of male guilt paid for by the woman. His acting was used mainly to address issues of identity in the Hindi films of Bengali directors: Nitin Bose’s Deedar and Ganga Jumna, Bimal Roy’s Madhumati and Tapan Sinha’s Sagina Mahato, after which he stopped acting for 8 years. Married actress Saira Banu of Junglee (1961) fame. Made a comeback with Kranti and esp. with Shakti, starring opposite Bachchan in a larger-than-life role confirming his legendary star status. Recent films with Subhash Ghai (Karma, Saudagar). Although he virtually directed some of his films (e.g. Ganga Jumna, Dil Diya Dard Liya) his first official directorial credit is for Kalinga (in prod.).

imagesFILMOGRAPHY: 1944: Jwar Bhata, 1945: Pratima; 1946: Milan; 1947: Jugnu; 1948: Anokha Pyar, Ghar Ki Izzat; Nadiya Ke Paar, Mela, Shaheed, 1949: Andaz, Shabnam; 1950: Arzoo, Babul; Jogan, 1951: Hulchul; Tarana; Deedar, 1952. Aan, Daag, Sangdil; 1953: Footpath; Shikast; 1954: Amar; 1955: Azad; Devdas; Insaniyat; Udan Khatola; 1957: Musafir, Naya Daur, 1958 Madhumati; Yahudi; 1959: Paigham, 1960: Kobinoor, Mughal-e-Azam, 1961: Ganga Jumna; 1964: Leader, 1966: Dil Diya Dard Liya; Pari; 1967: Ram Aur Shyam; 1968: Sadhu Aur Shaitan; Admi, Sangharsh, 1970: Gopi, Sagina Mahato, 1972: Anokha Milan; Dastaan; 1974: Sagina; Phir Kab Milogi; 1976: Bairaag; 1981: Kranti; 1982: Shakti; Vidhata; 1983: Mazdoor, 1984: Duniya; Mashaal; 1986: Dharam Adhikari; Karma, 1989: Kanoon Apna Apna; 1990: Lzzatdar, 1991: Saudagar.

Kumar, Hemant see Mukherjee, Hemanta

KUMAR, KALYANA (B. 1936)

Kannada star; also acted in Telugu and Tamil films. Original name: Chokkanna. Born in Bangalore. Achieved stardom with his first film, Natashekhara. Hero in 60s Kannada-Telugu bilinguals by B. Vittalacharya, Nagendra Rao and Panthulu. Regular actor in early G.V. Iyer films (JShoodana, Thayi Karulu, Lawyara Magalu, Bangari). Most famous Kannada roles in Amar ashilpijakanachari and Bellimoda; best-known Tamil role: Nenjil Ore Alayam. Turned director in the late 60s; also produced and directed stage plays (e.g. Ramu Nanna Tbamma, Chikamma), often written by his wife, Revathi. Directed Love in Bangalore under the pseudonym Sampath Kumar.

image FILMOGRAPHY (* also d): 1954: Natashekhara; 1956: Bhagya Chakra; Muttaide Bhagya; Ohileshwara; Sadarame, 1957: Bettada Kalla; Premada Putri; Rayara Sose, 1958: Bhukailasa; 1959: Manegebanda Mahalakshmi; 1960: Kadavunin Kuzhandai; 1961: Thayilla Pillai, 1962: Nenjil Ore Alayam, Bhoodana; Daivaleele, Devasundari; Galigopura/Gali Medalu; Thayi Karulu/Thayin Karunai; Thendral Veesum; Shriman Petra Selvangal; Azhagu Nila; Pasam; 1963: Lawyara Magalu; Bangari; Kaduvulai Kandan; Mani Osai; Nenjam Marappathillai; Neenkada Ninaivu; Yarukku Sontham; 1964: Amarashilpi Jakanachari, Chinnada Gombe, Mane Aliya; 1965: Beretha Jeeva; Nanna Kartavya; Balarajana Kathe, Mavana Magalu; 1966: Endu Ninnavane*; Love in Bangalore*; Badukuva Daari; Subba Sastry, 1967: Bellimoda; Muddu Meena; Premakku Permitte, Kallu Sakkare*; 1968: Pravasi Mandira*; Arunodaya; Manku Dinne; Mysore Tonga; Mammatbe; Bedi Bandhavalu; Anandakanda; Anna Thamma; Nane Bbagyavati; Attegondukala Sosegondukala; 1969: Odabuttidavaru; Niraparadhi; Kannu Muchale, Mukunda Chandra; 1970: Arishina Kumkuma; Aparajithe, 1971: Papa Punya; Sedina Kidi; Amara Bharathi; 1974: Avalukku Nihar Avale; 1975: Katha Sangama; 1976: Collegeranga; Tulasi; 1977: Mugdha Manava; Banashankari; Subhashaya; Udugore; 1978: Anuragba Bandbana; 1979: Maralu Sarapani; 1980: Mother; 1983: Thayiya Nudi; Chinnadanta Maga; Simha Garajane; 1984: Nagabekamma Nagabeku; Shubha Muhurta; Guru Bhakti; Police Papanna; Avala Antaranga; Marali Goodige; 1985: Pudhu Yugam; Thayi Thande, Kiladi Aliya; Bangalooru Rathriyalli; Devarelliddane, Lakshmi Kataksha; 1986: Thavaru Mane, Usha; 1987: Thaliya Aane; 1988: Sarkarai Pandal; Oorigittakolli; 1989: Thaligagi; Shri Satyanarayana Poojaphala; 1990: Bannada Gejje; 1992: Mana Gedda Maga; 1994: Mahashakti Maye*; 1995: Ganayogi Panchakshara; Puttmalli; Hethavaru.

KUMAR, KISHORE (1929–87)

Actor, singer, director, music director and producer born in Khandwa, MP. Moved to Bombay and featured occasionally in Saraswati Devi’s chorus at Bombay Talkies where elder brother Ashok Kumar was the top star. Imitated his hero, K.L. Saigal, e.g. in the Khemchand Prakash song in Rimjhim (1949). Early reputation as an actor who sang his own songs mostly in slapstick comedies, often playing the unemployed youth (Musafir, Naukri). After New Delhi and Chalti Ka Naam Gaadi, gained recognition for off-beat humour and for providing a new musical sound. His career as India’s most famous male playback singer, certainly in the 70s, was effectively launched when he became Dev Anand’s singing voice with Ziddi (Marne ki duaayen) and Munimji (1955: Jeevan ke safar). Formally untrained, he assimilated jazzscat fragmented musical notes into a rhythmic sequence and, once its beat was established, departed from the pattern and combined notes and words/syllables into new kinds of musical harmony in the 50s (largely restricted to melody with the singer following the instrumentation). Composer Kalyanji, with whom Kishore Kumar pioneered the use of electronic music, said that his riyaz (practice) lay more in his skills as a mimic rather than in technique. His songs spanned many genres: Ina mina dika was the pinnacle of a US-derived popular song introduced by C. Ramchandra in the 50s; he sang several ‘sad’ numbers, esp. in films he directed and which, contrary to his image, were often tragedies (e.g. the song A chal ke tujhe in Door Gagan Ki Chhaon Mein); practised yodelling in the title song of Jhumroo and continued in later films; sang about his income-tax harassment during the Emergency and once, the legend goes, he set the Malthusian theory of population to music. Also evoked a tradition of Bengali comic songs of e.g. comedians Nabadwip Haldar and Tulsi Chakraborty, some of Kazi Nazrul Islam’s compositions, and later music of Ranjit Roy. The unpredictability of his musical sequencing was translated into his performances where the slapstick comedy of Baap Re Baap, Half Ticket, New Delhi and Chalti Ka Naam Gaadi have been seen as one of the Hindi cinema’s precedents of postmodernism: the apparently ‘tribal’ music of Jhumroo is a pastiche of Tequila; in Half Ticket, the classic chase sequence has hero and villain dancing in Nautanki garb and in a freewheeling Slavic harvest number. His approach echoes Danny Kaye’s style of comedy, but the performative idiom is largely original although he refused to claim auteur status. The songs, however, fall into two fairly distinct periods: one as Dev Anand’s singing voice, the other as Rajesh Khanna’s playback voice after Aradhana (1969), leading to classic Bachchan numbers including the Don (1978) song, Khaikepan banarasvala. In the 80s gave huge public concerts in India and abroad. His Madison Square Garden concert became a best seller on cassette. His son, Amit Kumar, is currently a top singer in Hindi films.

image FILMOGRAPHY (* also d & music d/** also music d): 1946: Shikari; 1947: Shehnai, 1948: Sati Vijaya; Ziddi; 1950: Muqaddar, 1951: Andolan; 1952: Cham Chama Cham; Tamasha; 1953: Faraib, Ladki; Lehren; 1954: Adhikar, Dhobi Doctor, Ilzaam; Miss Mala; Naukri, Pehli jhalak, 1955: Baap Re Baap; Char Raise; Madh Bhare Nain; Rukhsana; 1956: Aabroo; Bhagambhag; Bbai Bbai; Dhake Ki Malmal; Mem Sahib; Naya Andaz; New Delhi; Parivar, Paisa Hi Paisa; 1957: Miss Mary, Aasha; Bandi, Begunah; Musafir, 1958: Chalti Ka Naam Gaadi; Chandan; Delhi Ka Thug; Kabhi Andhera Kabhi Ujala; Ragini; Lookochuri; 1959: Chacha Zindabad; Jaalsaaz; Shararat; 1960: Apna Haath Jagannath; Bewaqoof; Girl Friend; Mehlon Ke Khwab, 1961: Jhumroo**; Karodpati; Madhya Rater Tara; 1962: Bambai Ka Chor, Half Ticket; Manmauji; Naughty Boy, Rangoli; 1963: Ek Raaz; 1964: Door Gagan Ki Chhaon Mein*; Baghi Shahzada; Mr XIn Bombay, Daal Mein Kala; Ganga Ki Lehren; 1965: Hum Sub Ustad Hain; Shriman Funtoosh; Ek Tuku Chhoya Lage, 1966: Akalmand; Ladka Ladki; Pyar Kiye Jaa; 1967: Hum Do Daku*; Dustu Prajapati; Albela Mastana; Duniya Nachegi; 1968: Do Dooni Char, Hai Mera Dil; Padosan; Sadhu Aur Shaitan; Shrimanji; Payal Ki Jhankaar, 1970: Aansoo Aur Muskaan; 1971: Door Ka Rahr*; Hangama; 1972: Pyar Diwana; Bombay To Goa; Zameen Aasmaan**; 1974: Badhti Ka Naam Daadbi*; 1978: Ek Baap Chhe Bete, Shabash Daddy*; 1981: Chalti Ka Naam Zindagi*; 1982: Door Wadiyon Mein Kahin*; 1989: Mamata Ki Chhaon Mein (d only, completed by Amit Kumar).

KUMAR, MANOJ (B. 1937)

Hindi actor, director and producer born in Abbotabad, North West Frontier Province (now Pakistan) as Hari Krishna Goswami. Went to India on Partition and lived in a refugee camp near Delhi. Début as actor in his cousin Lekhraj Bhakri’s films. Broke through with Kaanch Ki Gudiya and Hariyali Aur Raasta. Well-known hero in 60s commercial Hindi socials, e.g. as Bhagat Singh in the biopic Shaheed. Worked as a ghost director before his official début. Described his directorial début, Upkaar, as a ‘16000-foot-long celluloid flag of India’. Indulges in national chauvinism, contrasting son-of-the-soil goodness with Western evil, providing moral lessons together with the commercially attractive scenes of the abhorred debauchery (e.g. Purab Aur Paschim). Prominent campaigner for the fanatic Hindu communalist Bhartiya Janata Party in 1991 elections. Also acted in his productions.

image FILMOGRAPHY (* also d): 1957: Fashion; 1958: Panchayat; Sahara; 1959: Chand; 1960: Sunehri Raatein; 1961: Kaanch Ki Gudiya; Piya Milan Ki Aas; Reshmi Rumal; Suhaag Sindoor, 1962: Apna Banake Dekho; Banarasi Thug; Dr Vidya; Hariyali Aur Raasta; Maa Beta; Naqli Nawab; Shadi; 1963: Ghar Basake Dekho; Grihasthi; 1964: Apne Huye Paraye, Phoolon Ki Sej; Woh Kaun Thi; 1965: Bedaag; Gumnaam; Himalay Ki God Mein; Poonam Ki Raat; Shaheed; 1966: Picnic; Do Badan; Sawan Ki Ghata; Upkaar*, Anita; Patthar Ke Sanam; 1968: Admi; Neel Kamal; 1969: Saajan; 1970: Purab Aur Pascbim*; Mera Naam Joker, Pehchan; Yaadgaar, 1971: Balidan; 1972: Shor*; Beimaan; 1974: Roti Kapda Aur Makaan*; 1975: Sanyasi; Amanat; 1976: Das Numbri; 1977: Shirdi Ke Sai Baba; 1981: Kranti*; 1987: Kalyug Aur Ramayan; 1989: Clerk*; Santosh; Deshwasi; 1995: Maidan-e-Jung.

images

Mala Sinha and Rajendra Kumar in Dhool Ka Phool (1959)

KUMAR, MEHUL (B. 1949)

Gujarati and Hindi director, aka Mohammed Baloch. Born in Jamnagar; graduated from Bombay University and worked as a journalist, including film reviews in the magazine Chitarang. Involved in Gujarati theatre (1974–5), then assistant to Chandrakant Sangani (1975–6) and to Tahir Hussain. His début is a Gujarati remake of Dada Kondke’s spectacularly successful lowbrow Marathi comedy, Pandu Havaldar (1975). 80s work mainly in mid-budget Hindi masala films, introducing this formula into Gujarati and achieving a broader acceptance and larger budgets. Marte Dam Tak, featuring the senior star Raaj Kumar alongside Govinda, made him one of the best-known vendetta action directors. He then yoked this genre successfully to a highly rhetorical story about nationalism to make the biggest Hindi hit of 1992, Tiranga, getting Raaj Kumar to act with the younger character actor, Nana Patekar.

imagesFILMOGRAPHY: 1977: Chandu Jamadar; Janam Janamna Saathi/Phir Janam Lenge Hum; 1978: Kanchan Ane Ganga; 1979: Rajputani; 1981: Ranchandi; Garvi Naar Gujaratni; Gamdeni Gori; Kanchan Aur Ganga; 1982: Maa Vina Suno Sansar, Dholi; Anokha Bandhan; Naseeb No Khel; 1983: Dhola Maru; Maradno Mandvo; 1984: Hiranne Kanthe, Love Marriage, 1985: Meru Malan; Preet Na Karsho Koi; Bhauji Maay 1986: Sayba Mora; Ujali Meraman; 1987: Marte Dam Tak; 1989: Naa Insaafi; Nafrat Ki Aandhi; Jungbaaz; Aasmaan Se Ooncha; 1990: Paap Ki Aandhi; Mandano Mor; 1991: Meet Mere Man Ke, 1992: Tiranga, 1993: Aansoo Bane Angarey, 1994: Krantiveer.

KUMAR, RAJENDRA (B. 1929)

60s Hindi film star, esp. in musical romances. Born R.K. Tuli in Sialkot, West Punjab. Film début as assistant to director H.S. Rawail and played a small role in his Patanga. Introduced by Kidar Sharma in Jogan, followed by a leading part in Awaaz, first major starring role in the V. Shantaram production Too/an Aur Diya. Early films capitalised on his resemblance to Dilip Kumar. In his early films, he is remembered as the straight man who throws into relief the histrionics of the other actors: e.g. Mala Sinha as the betrayed woman in Dhool Ka Phool; the rebellious Sunil Dutt contesting familial authority along with feudal oppression in Mother India; Ashok Kumar as the court judge suspected of murder in Kanoon, the other man in the Raj Kapoor love triangle, Sangam; the doctor who treats the cancer-affected husband (Raaj Kumar) of his former lover Meena Kumari in Sridhar’s Dil Ek Mandir. However, his musicals in the 60s were more popular and he was often called ‘the Jubilee hero’ because his films would have a ‘jubilee’ run. In the 80s he launched his son Kumar Gaurav, effectively directing his début feature, Love Story (1981).

imagesFILMOGRAPHY: 1949: Patanga; 1950: Jogan, 1955: Vachan; 1956: Awaaz; Toofan Aur Diya; 1957: Duniya Rang Rangili; Mother India, Ek Jhalak; 1958: Devar Bhabhi; Ghar Sansar, Khazanchi; Talaaq; 1959: Chirag Kahan Roshni Kahan; Do Behnen; Dhool Ka Phool; Goonj Uthi Shehnai; Santan; 1960: Kanoon; Maa Baap; Patang; Mehndi Rang Lagyo, 1961: Aas Ka Panchhi; Amar Rahe Yeh Pyar, Gharana; Pyar Ka Sagar, Sasural; Zindagi Aur Khwab; 1963: Akeli Mat Jaiyo; Dil Ek Mandir, Gehra Daag; Hamrahi; Mere Mehboob; 1964: Aayi Milan Ki Bela; Sangam, Zindagi; 1965: Arzoo; 1966: Suraj; 1967: Aman; Palki; 1968: Jhuk Gaya Aasmaan; Saathi; 1969: Anjaana; Shatranj; Talash; 1970: Dharti; Ganwaar, Geet; Mera Naam Joker, 1971: Aap Aye Bahar Ayi; 1972: Aan Baan; Gaon Hamara Shaher Tumhara; Gora Aur Kala; Lalkaar, Tangewala; 1975: Do Jasoos; Rani Aur Lalpari; Sunehra Sansar, 1976: Mazdoor Zindabad; 1977: Shirdi Ke Sai Baba; Daku Aur Mahatma; Do Sholay, 1978: Ahuti; Saajan Bina Suhagan; Sone Ka Dil Lohe Ke Haath; 1979: Bin Phere Hum Tere, 1980: Badla Aur Balidan; Dhan Daulat; O Bewafa; Gunehgaar, Saajan Ki Saheli; 1981: Love Story, Yeh Rishta Na Toote; 1982: Rustom; 1983: Lovers; 1988: Main Tere Liye, 1989: Clerk, 1993: Phool.

Kumar, Sampath see Kumar, Kalyana

KUMAR, UDAYA (1930–86)

Kannada actor, originally named Suryanarayana, born in Palkad, Salem. Worked for several years in the Gandhian Bharat Seva Dal. Employed as a physical training teacher. Joined Gubbi Veeranna’s stage company. Early heroic roles in Kannada films later became more nuanced villainous characters, often counterpointing Rajkumar’s heroic persona in historicals and mythologicals. Produced Lde Mahasudina and scripted C.S. Rao’s Shri Renukadevi Mahatme. Also known as playwright (e.g. Bhakta Kanakadasa, Tapasvi Ravana, Lnspector Taranath, etc.), novelist and essayist with 8 prose anthologies (e.g. Akshara Brahma, Kavi Charithre). Started the Udaya Kala Niketan acting school (1983).

imagesFILMOGRAPHY: 1956: Bhagyodaya; Daiva Sankalpa; Panchrathna; 1957: Bettada Kalla; Premada Putri/Preme Daivam; Ratnagiri Rahasya; Varadakshine, 1958: Bhakta Prahlada; Mane Thumbida Hennu; School Master/Badi Pantalu, 1959: Mahishasura Mardini; Veer Bhaskaradu; 1960: Shivalinga Sakshi; Bhakta Kanakadasa; Dashavatara; Lvan Avanethan; Yanai Pagan; 1961: Raja Satya Vrata; Vijayanagarada Veeraputra; Mahout; 1962: Bhoodana; Ratnamanjari; Thayi Karulu; Vidhi Vilasa; 1963: Nanda Deepa; Malli Madhuve, Bevu Bella; Veer a Kesari/Bandhipotu, Mana Mechhida Madadi; Chandrakumara; Sant Tukaram; Shri Ramanjaneya Yuddha; 1964: Chandavalliya Tota; Kalavati; Amarashilpi Jakanachari, Nandi, 1965: Kavaleradu Kulavondu; Chandrahasa; Vatsalya; Satya Harishchandra, Veera Vikrama; Lde Mahasudina; Bettada Huli; Sati Savitri; Miss Leelavathi; Madhuve Madi Nodu; Pativrata; 1966: Mane Katti Nodu; Mantralaya Mahatme, Kathari Veera; Badukuva Daari; Deva Manava; Madhu Malathi; Mohini Bhasmasura (K); Sandhya Raga; 1967: Padavidhara;. Parvathi Kalyana; Sati Sukanya; Rajashekhara; Rajadurgada Rahasya; Bangarada Hoovu; Chakra Teertha; Lmmadi Pulakesi; 1968: Jedara Bale, Matheye Maha Mandira; Arunodaya; Mahasati Arundhati; Mysore Tonga; Anna Thamma; Namma Ooru; Nane Bhagyavati; Dhumketu; Simha Swapna; Hoovu Mullu; 1969: Odahuttidavaru; Madhura Milana; Shiva Bhakta; Bhagirathi; Makkale Manege Manikya; Madhuve! Madhuve!!Madhuve!!!; Kalpa Vruksha; Ade Hridaya Ade Mamathe, Mathru Bhoomi; Chaduranga; Mukunda Chandra; Bhale Basava; 1970: Mukti; Rangamahal Rahasya; Pratikara; Kallara Kala; Hasiru Thorana; Takka! Bitre Sikka!!; Mrityu Panjaradalli Goodachari 555; Modala Rathri; Sedige Sedu; Aaru Mooru Ombattu; 1971: Sidila Mari; Purnima; Signalman Siddappa; Samshayaphala; Jatakarathna Gunda Joisa; Kasidre Kailasa; Bhale Bhaskar, Mahadimane, Bhale Rani; 1972: Nari Munidare Mari; Kulla Agent 000, Kaanch Aur Heera; 1973: Triveni; Bharathada Rathna; Cowboy Kulla; Mannina Magalu; Premapasha; Bettada Bhairava; 1974: Chamundeshwari Mahime, Nanu Baalabeku; 1975: Jagruthi; Sarpa Kavalu; Mantra Shakti; Ashirwada; Bill Hendthi; 1976: Sutrada Bombe, Rajanarthakiya Rahasya; 1977: Shri Renukadevi Mahatme, Girikanye, Srimanthana Magalu; Hemavathi; Shani Prabhava; Banashankari; 1978: Devadasi; Matu Tappada Maga; Bhale Huduga; Madhura Sangama; Parasuraman; 1979: Putani Agents 1–2-3/Agent 1–2-3; Bhoolokadalli Yamaraja; 1980: Maria My Darling; Vajrada Jalapata; Mugana Sedu; 1981: Thayiya Madilalli; Kulaputra; Garjane, 1982: Kempu Hori; Sahasa Simha; Mava Sose Saval; Chellida Rakta; 1983: Devara Tirpu; Kalluveene Nudiyitu; Nodi Swamy Navirodu Hige, Maha Maharaju; Bhayankara Bhasmasura; 1984: Maryade Mahalu; Agni Gundam; Bharyamani; 1985: Pitamah; Vish Kanya; Lakshmi Kataksha.

KUMAR, UTTAM (1926–80)

Bengali superstar who at times was the Tollygunge-based Bengali film industry. Real name: Arun Kumar Chatterjee. Employed as a clerk in the port commissioner’s office, Calcutta, before joining films. Briefly stage actor at the Star Theatre (e.g. in Shyamali, 1953, filmed in 1956). Début as extra in uncompleted Mayadore. Broke with the prevailing theatrical acting styles and achieved stardom with Nirmal Dey’s Sharey Chuattar, which also initiated his famed co-starring films with Suchitra Sen: they featured in some of the most spectacular Bengali melodramas made by Naresh Mitra, Sushil Majumdar, Ajoy Kar and the Agradoot and Agragami units, epitomising the genre of the soft-focus musical romance (with Hemanta Mukherjee as his regular playback voice). Melodramas of suffering, betrayal and the struggle for truth (cf. Sagarika, Saptapadt) made an embattled literary tradition (with a bhadralok middle-class identity and an apolitical humanist philosophy) popular again after a long history of radical attacks on the Bengali novel. In e.g. Kartick Chattopadhyay’s Saheb Bibi Golam and in the Ajoy Kar and Tapan Sinha films, the Uttam Kumar persona abandoned many conservative tenets of this tradition while receiving an unprecedented degree of mass adulation. S. Ray presented his version of the phenomenon in Nayak, which many saw as the star’s autobiography. The two also worked together in Chidiakhana. His biographer Gourangaprasad Ghosh claimed that when his effort to go ‘national’ with the Hindi film Chotisi Mulaqat proved a failure, he finally turned into an actor of mass-produced romances. Except for Amanush, his Hindi films were mostly unsuccessful. His last film, Ogo Bodhu Sundari, a version of My Fair Lady, was completed with another actor. Wrote his autobiography (1979).

image FILMOGRAPHY (* also d/** also music d): 1948: Drishtidaan; 1949: Mayadore (incomplete); Kamana; 1950: Maryada; 1951: Ore Jatri; Sahajatri; Nastaneer, 1952: Sanjibani; Basu Parivar;, Kar Papey; 1953: Sharey Chuattar; Lakh Taka; Nabin Yatra; Bou Thakuranir Haat; 1954: Moner Mayur, Ora Thake Odhare, Champadangar Bou; Kalyani; Maraner Pare, Sadanander Mela; Annapurnar Mandir, Agni Pareeksha; Bokul; Grihapravesh; Mantra Shakti; 1955: Sanjher Pradeep; Anupama; Raikamal; Devatra; Shap Mochan; Bidhilipi; Hrad; Upahar, Kankabatir Ghat; Bratacharini; Sabar Uparey, 1956: Raat Bhore, Sagarika; Saheb Bibi Golam; Laksha-Hira; Chirakumar Sabha; Ekti Raat; Shankar Narayan Bank, Shyamali; Trijama; Putrabadhu; Shilpi; Nabajanma; 1957: Haar Jeet; Bardidi; Yatra Holo Suru; Prithibi Amar Chai; Taser Ghar, Surer Parashey, Punar Milan; Harano Sur, Abhoyer Biye, Chandranath; Pathe Holo Deri; Jiban Trishna; 1958: Rajalakshmi-o-Shrikanta; Bandhu; Manmoyee Girls’ School; Daktar Babu; Shikar, Lndrani; Joutuk, Surya Toran; 1959: Marutirtha Hinglaj; Chaowa-Pawa; Bicharak; Pushpadhanu; Gali Theke Rajpath; Khelaghar, Sonar Harin; Abak Prithvi; 1960: Maya Mriga; Raja-Saja; Kuhak; Uttar Megh; Haat Baraley Bandhu; Khokha Babur Pratyabartan; Sakher Chor, Saharer Itikatha; Suno Baro Nari; 1961: Sathi Hara; Agni Sanskar, Jhinder Bandi; Necklace, Saptapadi; Dui Bhai; 1962: Bipasha; Shiulibari; Kanna; 1963: Shesh-Anka; Nisithe, Uttarayan; Bhranti Bilas; Surya Sikha; Deya Neya; 1964: Bibhas; Jotugriha; Natun Tirtha; Momer Alo; Lai Patthar, 1965: Thana Theke Aschhi; Raj Kanya; Surya Tapa; Kal Tumi Aleya**; 1966: Sudhu Ekti Bach bar*; Nayak; Rajdrohi; Sankba Beta; 1967: Antony Firingee; Chidiakhana; Grihadah; Jiban Mrityu; Nayika Sangbad; Chhotisi Mulaqat; 1968: Chowringhee, Kokbono Megh; Teen Adbyay Garb Nasimpur, 1969: Aparichita; Chiradiner, Kamallata; Mon-Niye, Sabarmati; Sbuk Sari; 1970: Kalankita Nayak, Bilambita Lay Duti Mon; Nishipadma; Manjari Opera; Rajkumari; 1971: Chbadmabesbi; Dbanyi Meye, Ekbane Pinjar, Jay Jayanti; Jiban Jignasa; Nabaraag; 1972: Alo Amar Alo; Andba Atit; Biraj Bou; Chinnapatra; Haar Mana Haar, Memsabib, Stree, 1973: Kaya Hiner Kahini; Rater Rajanigandha; Roudra Cbbaya; Sonar Khancha; Bon Palashir Padabali*, Rodon Bhora Basanta; 1974: Alor Thikana; Amanush; Bikele Bborer Phool; Jadu Bansha; Jadi Jantem; Rakta Tilak, Mouchak, 1975: Ami Sey-o-Sekba; Agniswar, Bagh Bandi Khela; Kajal Lata; Nagar Darpane, Priya Bandhabi; Sanyasi Raja; Sei Chokb; Sabbyasacbi**; 1976: Banbi Sikba; Cbander Kachbakacbbi; Mom Batti; Nidhi Ram Sardar, Rajbansha; Hotel Snow Fox; Ananda Mela; Asadharan; 1977: Bhola Moira; Jaal Sanyasi; Sister, Anand Ashram; Kitaab; Brajabuli; 1978: Bandi; Dhanraj Tamang; Dui Purush; Nishan; 1979: Dooriyan; Devdas; Nabadiganta; Samadhan; Srikanter Will; Sunayani; 1980: Aro Ekjan; Darpachurna; Dui Prithibi; Pankhiraj; Raja Saheb; Raj Nandini; 1981: Plot No 5; Kalankini Kankabati*; Khana Baraha; Pratishodh; Ogo Bodhu Sundari; Surya Sakhi; 1982: Desh Premi; Lman Kalyan; 1987: Mera Karam Mera Dharam.

KUMARAN, K. P. (B. 1938)

Malayalam director born in Kathuparamba, North Kerala. Actively associated with the experimental theatre movements of the early 60s, staging and acting in C.J. Thomas’ plays; helped found the Chitralekha Film Society (1965). Film début with an experimental 100-second short, Rock, made for Asia 72. Coscripted Adoor Gopalakrishnan’s Swayamvaram (1972). Feature début Atithi adapted his own play. Also made several documentaries (Oru Chuvadu Munnottu, Kerala Thanimayude Thalam, Oru Thuli Velicham and the video film An Unmistakable Ldentity, aka India:Continuity and Change). and TV programmes for PTI-TV (New Delhi).

imagesFILMOGRAPHY: 1972: Rock (Sh); 1974: Atithi; 1976: Lakshmi Vijayam; 1979: Thenthulli; Adipapam; 1982: Kattile Pattu; 1985: Neram Pularumbol; 1988: Rukmini.

KUMARI, MEENA (1933–72)

Hindi-Urdu star born in Bombay; daughter of the Parsee theatre actor, singer and music teacher Ali Bux and the dancer Iqbal Begum. Having hit upon hard times and living near the Rooptara Studios, Ali Bux sought to get his three daughters into films. The middle daughter, Mahajabeen, was hired aged 6, re-named Baby Meena and cast by Vijay Bhatt in Leatherface. Later, for Bhatt’s big musical Baiju Bawra, she was named Meena Kumari. Acted in mythologicals by e.g. Homi Wadia and Nanabhai Bhatt. Best known in the 50s for comedies (Miss Mary) and socials (Parineeta), even appearing in Do Bigha Zameen. Her main persona was constructed via Kamal Amrohi’s Daera, Bimal Roy’s Yahudi and Guru Dutt’ Sahib Bibi Aur Ghulam; culminating in her most famous film, Pakeezah. Deploying the image of the ‘innocent’ courtesan first developed by Zubeida, her arched body, limpid eyes and tremulous voice combined with the lavish sets and costumes to create the classic image of the exotic Oriental, an icon achieved by mixing the Urdu stage historical with European neo-classical ornamentation (cf. Aga Hashr Kashmiri), e.g. in the mise en scene of the Na jao saiyan song in Sahib Bibi Aur Ghulam. Married Arnrohi, director of her best work, but then broke with him in 1964. The couple eventually completed the film they had jointly conceived, Pakeezah, in 1971 just before her death. Her off-screen life extended her image as the lovelorn woman who drowns her passion in drink. Wrote poems in Urdu using the pen-name Naaz, a collection of which, Tanha Chand [The Solitary Moon], compiled by Gulzar, was published after her death. In their Women Writing in India (vol. 2, 1993), which includes one of the star’s poems, Susie Tharu and K. Lalitha describe her as ‘an exceptionally beautiful and talented actress, always dressed in white’, and they quote Afeefa Banu’s comment that she is ‘an object of fantasy and a motif of melancholy’.

images FILMOGRAPHY: 1939 Leatherface; 1940: Ek Hi Bhool; Pooja, 1941: Kasauti; Bahen, Nai Roshni; 1942: Garib; 1943: Pratigya; 1944: Lal Haveli; 1946: Bachchon Ka Khel; Duniya Ek Sarai; 1947: Piya Ghar Aaja; 1948: Bichhade Balam; 1949: Veer Ghatotkach; 1950: Magroor, Shri Ganesh Mahima; Hamara Ghar, 1951: Hanuman Pataal Vijay, Lakshmi Narayan; Madhosh; Sanam; 1952: Alladdin And The Wonderful Lamp, Baiju Bawra, Tamasha; 1953: Daera; Dana Pani; Do Bigha Zameen;Footpath; Naulakha Haar, Parineeta; 1954: Baadbaan, Chandni Chowk, Llzaam; 1955: Adl-e-Jehangir; Azad; Bandish, Rukhsana; 1956: Bandhan; Ek Hi Raasta; Halaku; Mem Sahib; Naya Andaz; Shatranj; 1957: Miss Mary, Sharada; 1958: Farishta; Sahara; Savera; Yahudi; 1959: Ardhangini; Chand; Char Dil Char Raahein, Chirag Kahan Roshni Kahan; Jagir,. Madhu; Satta Bazaar, Shararat; 1960: Babana; Dil Apna Aur Preet Parayi; Kohinoor, 1961: Bhabhi Ki Chudiyan; Pyar Ka Sagar, Zindagi Aur Khwab; 1962: Aarti; Main Chup Rahungi; Sahib Bibi Aur Ghulam, 1963: Akeli Mat Jaiyo; Dil Ek Mandir, Kinare Kinare, 1964: Benazir, Chitralekha; Ghazal; Main Bhi Ladki Hoon; Sanjh Aur Savera; 1965: Bheegi Raat; Kajal; Purnima; 1966: Phool Aur Patthar, Pinjre Ke Panchhi; 1967: Bahu Begum; Chandan Ka Palna; Manjhli Didi; Noorjehan; 1968: Abhilasha; Baharon Ki Manzil; 1970: Jawab; Saat Phere; 1971: Dushman; Mere Apne; Pakeezah; 1972: Gomti Ke Kinare.

Kumari, Usha see Vijayanirmala

images

Master Aziz and Meena Kumari in Bhabhi Ki Chudiyan (1961)

KUNCHAKO (1912–76)

Malayalam director and major producer born in Alleppey. One of the founders of the Kerala film industry when he set up his Udaya Studio (1947) in Alleppey and made Vellinakshatram (1949). Scripted M.R.S. Mani’s Kidappadam (1954). Long-time partner K.V. Koshy (they ran K & K Prod.) claimed in his autobiography (1968) to have followed the Telugu film-maker B.N. Reddi’s example and brought respectability to Malayalam cinema mainly by distancing themselves from Tamil film’s dominant genre conventions. Collaborated closely with scenarists Muthukulam Raghavan Pillai and K.P. Kottarakkara. This period provided the first Malayalam film stars, including Augustine Joseph and Sebastian Kunju Kunju Bhagavar (actor-singers from the professional theatre), Thikkurissi Sukumaran Nair and Kottarakkara Sridharan Nair. In the 60s the earlier stage-inspired cinema was replaced by megastar Prem Nazir’s work. Films directed ranged across genres such as thrillers with barely concealed references to major scandals (Mainatharuvi Kola Case), political films (Pazhassi Raja, Jail, Punnapra Vyalar) and S.P. Pillai comedies (Neelisally et al., forerunners of the Adoor Bhasi style). Later films referred to literary melodrama tradition known in local parlance as the paingili novel. Also made and produced mythologicals.

imagesFILMOGRAPHY: 1960: Umma; Seeta; Neelisally, 1961: Unniyarcha; Krishna Kuchela; 1962: Palattukoman, Bharya; 1963: Kadalamma; Rebecca; 1964: Pazhassi Raja; Ayesha; 1965: Inapravugal; Shakuntala; 1966: Jail; Anarkali; Tilottama; 1967: Mainatharuvi Kola Case, Kasavuthattam; 1968: Thirichadi; Punnapra Vyalar, Kodungalluramma; 1969: Susie, 1970: Pearl View; Dattuputhran; Othenente Makan; 1971: Panchavan Kadal; 1972: Aromalunni; Postmane Kananilla; 1973: Ponnapuram Kotta; Thenaruvi; Pavangal Pennungal; 1974: Durga; Thumbolarcha; 1975: Neela Ponman; Cheenavala; Dharmakshetre Kurukshetre, Manishada; 1976: Chennai Valarthiya Kutty, Mallanum Mathevanum; 1977: Kannappanunni.

KURUP, O. N. V. (B. 1931)

Songwriter. With Vyalar Rama Varma and P. Bhaskaran, he formed the troika ruling Malayalam film song since the early 50s. Like the others, he was rooted in the Kerala Peoples Arts Club’s radical theatre, for which he wrote some of its most famous songs: Balikutterangale, Aa malarpoikayil (both scored by Devarajan) and Madala poopoloru (scored by Salil Choudhury). Although he shares the pervasive influence of post-Changampuzha ‘romantic’ poetry, his best-known early work in both his independent poetry (e.g. the anthologies Samarattinte Santatikal/Offspring of the Revolution, 1951; Mattuvin Chattangalel/Change the Laws, 1955) and in his film writing, is more militant than that of his 2 colleagues.

LAHIRI, BAPPI

Extremely prolific music composer sometimes referred to as the R.D. Burman of B movies. Early work in Bengali cinema. Had a major success with Mithun Chakraborty’s disco films directed by B. Subhash (Disco Dancer, Dance Dance). His scores, including for all the Ramsay horror films (Aur Kaun, Saboot) rely on electronic instrumentation and display an open rejection of originality. His work, often made on a shoestring for South Indian directors, is cited as the emblem of bad taste in mass culture. In some Bengali films, notably Anjan Choudhury’s Guru Dakshina, he caused a sensation with compositions based on classical Indian music.

imagesFILMOGRAPHY: 1969: Dadu; 1972: Janatar Adalat; 1973: Nannha Shikari; Charitra; 1974: Bazaar Band Karo; 1975: Zakhmi; 1976: Chalte Chalte, Sangram; 1977: Aap Ki Khatir, Haiwan; Paapi; Phir Janam Lenge Hum; Pratima Aur Payal; 1978: College Girl; Dil Se Mile Dil; Khoon Ki Pukar, Toote Khilone, Tere Pyar Mein; 1979: Shiksha; Aangan Ki Kali; Ahsaas; Aur Kaun, Do Hawaldar, Lqraar, Jaan-e-Bahar, Lahu Ke Do Rang; Suraksha; Manokamna; 1980: Apne Paraye, Agreement; Ek Baar Kaho; Humkadam; Kismet; Morcha; Patita; Pyara Dushman; Saboot; Taxi Chor, Bhula Na Dena; Guest House, 1981: Armaan; Dahshat; Jeene Ki Arzoo; Jyoti; Laparwah; Paanch Qaidi; Sahas; Wardat; Maa Bipat Tarini Chandi; Ogo Bodhu Sundari; Nai Lmarat; Josh; Hathkadi; Dulha Bikta Hai; 1982: Gumsum; Dial 100, Disco Dancer, Do Ustad; Namak Halal; Sambandh; Saugandh; Suraag; Taqdeer Ka Badshah; Farz Aur Kanoon; Pyaas; Justice Choudhury, Shiv Charan; 1983: Do Gulab; Doosri Dulhan; Faraib, Film Hi Film; Himmatwala, Humse Na Jeeta Koi; Jaani Dost; Jeet Hamari; Karate, Kisise Na Kehna; Lalach; Love in Goa; Mawaali; Naukar Biwi Ka; Pasand Apni Apni; Wanted; Raja Aur Rana; Ek Din Bahu Ka; Du-Janay; Protidan; Apoorva Sahodarigal; 1984: Tarkeeb, Aaj Ka MLA Ramavatar, Bhavna; Gangvaa; Haisiyat; Hum Rahe Na Hum; Kaamyaab, Kasam Paida Karne Wale Ki; Maqsad; Meri Adalat; Naya Kadam; Pet Pyar Aur Paap; Qaidi; Shapath; Sharabi; Tohfa; Yaadgaar, Waqt Ki Pukar, Kamla; Teri Baahon Mein; Shravan Kumar, Sheeshe Ka Ghar, 1985: Thavam; Uttarayan; Aaj Ka Daur, Aandhi Toofan; Aitbaar, Badal; Balidan; Bandhan Anjana; Bewafai; Bhawani Junction; Giraftaar, Haqeeqat; Haveli; Hoshiyar, Lnsaaf Main Karoonga; Karm Yudh; Lover Boy, Maa Kasam; Maha Shaktiman/Maharudra; Mahaguru; Masterji; Mera Saathi; Mohabbat; Pataal Bhairavi; Pyari Behna; Saamri; Saheb, Salma; Tarzan; Wafadaar, Antaraley, Shart; Locket; Kala Suraj; 1986: Urbashe, Jhoothi; Adhikar, Avinash; Dharam Adhikari; Dilwala; Ilzaam; Insaaf Ki Awaaz; Kirayedaar, Kismatwala; Main Balwan; Mera Dharam; Muddat; Sheesha; Sinhasan; Suhagan; 1987: Thene Manasulu; Savkharavam; Samrat; Pratikar, Amor Sangi; Guru Dakshina; Aag Hi Aag; Dak Bangla; Dance Dance, Diljala; Himmat Aur Mehnat; Majaal; Mera Yaar Mera Dushman; Param Dharam; Pyar Karke Dekho; Pyar Ke Kabil; Sadak Chhaap; Satyamev Jayate, Sheela; Muqaddar Ka Faisla; Collector Vijaya; 1988: Manmadha Samrajyam; Antaranga; Debibaran; Pratik, Aaj Ke Angarey, Ghar Ghar Ki Kahani; Hatya; Kab Tak Chup Rahungi; Kasam; Mulzim; Paap Ki Duniya; Tamacha; Veerana; Waqt Ki Awaaz; Commando; Kanwarlal; Halaal Ki Kamai; Mardangi; Sone Pe Suhaaga; Gunahon Ka Faisla; Sagar Sangam; Zakhmi Aurat; Mera Shikar, Farz Ki Jung; 1989: Sachche Ka Bol Bala; Guru (H); Gair Kanooni; Hum Lntezar Karenge; Kahan Hai Kanoon; Paanch Paapi; Prem Pratigya; Garibon Ka Daata; Hum Bhi Lnsaan Hain; Na-Lnsaafi; Aakhri Gulam; Mitti Aur Sona; Gentleman; Love Love Love, Mohabbat Ka Paigam; Sikka; Gola Barood; Khoj; Kasam Vardi Ki; Kanoon Apna Apna; Zakhm; Paap Ka Ant; Nafrat Ki Aandhi; Asha-o-Bhalobasha; Sansar, Amar Tumi; Agni Trishna; Mangaldip, Amor Prem; Pronami Tomai; Ghar Ka Chirag; Aag Ka Gola; Khooni Murda; Kali Ganga; Saaya; Tauheen; Chokher Aloye, Nayanmoni; 1990: Aandhiyan; Pyar Ke Naam Qurban; Shandaar, Shaitani Llaaka; Awaragardi; Ghar Ho To Aisa; Nakabandi; Awwal Number, Shera Shamshera; Ghayal, Haar Jeet; Aaj Ka Arjun; Sailaab; Roti Ki Keemat; Aaj Ka Shahenshah; Karishma Kali Ka; Thanedar, Din Dahade, Raktorin; Mandira; Badnaam; Patthar Ke Lnsaan; Raeeszada; Balidan; Dokyala Taap Nahiidlso act.); 1991: Dushman Devata; Hafta Bandh; Naachnewale Ganewale, Phool Bane Angarey, Pratikaar, Pratigyabadh; Farishte, Yodha; Numbri Admi; First Love Letter, Vishkanya; Kohraa; Hai Meri Jaan; Jungle Beauty, Rupaye Dus Karod; Swargjaisa Ghar, Sau Karod; Gang Leader, Ahankar, Antarer Bhalobasha; 1992: Lnsaaf Ki Devi; Shola Aur Shabnam; Sanam Tere Hain Hum; Naseebwala; Zindagi Ek Jua; Tyaagi; Police Aur Mujrim; Lsi Ka Naam Zindagi; Kisme Kitna Hai Dum; Geet; Raktalekha; Apon Ghar, Anutap; Surer Bhubane; Priya; 1993: Kundan; Aaj Ki Aurat; Aankhen, Aaj Ki Taaqat; Bomb Blast; Geetanjali (H); Lzzat Ki Roti; Policewala; Veerta; Aag Ka Toofan; Dalaal; Rakter Saad; Tomar Rakte Amar Sohag; 1994: Thanedarni; Aag Aur Chingari; Bali Umar Ko Salaam; Andaz; Parmatma; Pyar Ka Rog; Janata Ki Adalat; Brahma; Amanat; Mr Azad; Pratyaghat; Kothachilo; Raktanadir Dhara; Phiriye Dao; Dhusar Godhuli; Neelanjana; Lai Pan Bibi; 1995: Maidan-e-Jung; Policewala Gunda; Aatank Hi Aatank, Diya Aur Toofan; Hum Sub Chor Hain; Rock Dancer, Sangharsha; Prem Sanghat.

LAHIRI, NIRENDRANATH (1908–72)

Bengali and Hindi director born in Calcutta. Started as actor in P.C. Barua’s studio (Ekada, 1932); assisted Barua at New Theatres. Music director for Ashiana, Tarubala and Annapurnar Mandir Call 1936), and acted in Debaki Bose’s Abhinav (1940) before turning director. Best-known films based on writers associated with progressive Kallol literature (e.g. Bhabhi-Kaal by Premendra Mitra). Themes often invoke nationalist idealism (Garmil, Bhabi-Kaal). Also filmed Saratchandra Chatterjee’s novels (e.g. Palli Samaj, Subhadrd).

image FILMOGRAPHY (* also music d): 1940: Byabadhan; 1942: Mahakavi Kalidas; Garmil; 1943: Sahadharmini; Dampati; 1944: Anban; 1945: Bhabhi-Kaal; Banphool; 1946: Arabian Nights; 1948: Sadharan Meye, Jayjatra/Vijay Yatra; 1949: Niruddesh; Singhdwar, 1950: Garabini; 1952: Palli Samaj; Subhadra; 1953: Kajari*; Lakh Taka*; 1954: Shobha; Kalyani; Jadubhatta; 1955: Devimalini; 1956: Bhola Master, Shankar Narayan Bank, 1957: Madhu Malati; Bara Maa; Prithibi Amar Chai; 1958: Tansen; Indrani; 1959: Chhabi; 1966: Rajdrohi; 1983 Raat Dastay.

LAJMI, KALPANA (B. 1954)

Hindi director based in Bombay; niece of Guru Dutt. Assistant to Benegal (1974–82). Started assisting Bhupen Hazarika (1977) and has consistently collaborated with him since then, managing his career from 1982 onwards. Directorial début with a portrait of Dhiren Ganguly; made several documentaries and promotionals before her feature début with Ek Pal. Directed the 13-episode TV series Lohit Kinare, adapting Assamese short stories.

imagesFILMOGRAPHY: 1978: D.G. Movie Pioneer (Doc); 1979: A Work Study in Tea Plucking (Doc); 1981: Along the Brahmaputra (Doc); 1986 Ek Pal; 1988: Lohit Kinare (TV); 1992: Rudaali.

Lakshmikant-Pyarelal see Laxmikant-Pyarelal

LAKSHMINARAYAN, N. (?-1991)

Kannada director born in Srirangapatna, Karnataka. First explicitly experimental film-maker in Kannada with wordless short Bliss. Studied cinematography in Bangalore. Early career as apprentice to his uncle, B.R. Krishnamurthy; then to R. Nagendra Rao. Claimed influence of De Sica and Satyajit Ray in first attempts at art cinema in Kannada, prior to the Navya Movement-inspired notion of film as an extension of literature. His melodramatically inclined work claims roots in psychological realism. His Nandi was a big success and launched Kalpana as a star.

imagesFILMOGRAPHY: 1961: Bliss (Sh); 1964: Nandi; 1969: Vyyale; 1970. Mukti, 1973: Abachurina Post Office; 1979: Muyyi; 1985: Bettada Hoovu; 1987: Belaku.

Lakshminarayan, Sattiraju see Bapu

LAKSHMIRAJYAM (1922–87)

Telugu actress and producer born near Vijaywada, AP, into a family of stage performers. Joined the Ramatilakam-Pulipati stage company in Vijaywada. Studied music, including the folk Harikatha style, from composer Saluri Rajeswara Rao. First break in Calcutta in C. Pullaiah’s Shri Krishna Tulabharam. Acted in mythologicals, e.g. Radha in Shri Krishna Leelalu, Maya Bazaar, etc. After Lllalu, was associated prominently in melodramas by Ramabrahmam in e.g. Apavadu and Panthulamma, L.V. Prasad and K.V. Reddy. Turned producer with Rajyam Prod. (1952) and made films like Daasi, Nartanasala, Shakuntala and Rangeli Raja.

imagesFILMOGRAPHY: 1935: Shri Krishna Tulabharam; Shri Krishna Leelalu, 1936: Maya Bazaar, 1939: Amma; 1940: Lllalu; 1941: Apavadu; 1943: Panthulamma; 1946: Mangalsutram; Narada Naradi; 1948: Drohi, 1949: Gunsundari Katha, 1950: Paramanandayya Sishyulu Katha; Samsaram; 1951: Agni Pareeksha; Akasharaju; Mayalamari; Mayapilla; 1952. Daasi; Prajaseva; 1954: Raju Peda; 1956: Harishchandra; 1958: Ettuku Pat Ettu, 1960: Vimala; 1963: Nartanasala; Iruvar Ullam, 1966: Shakuntala; 1968: Govula Gopanna; 1971: Rangeli Raja.

LANKESH, P. (B. 1935)

Kannada director born in Shimoga Dist., Karnataka. Also major Kannada novelist, poet and playwright. His novel, Biruku (1967), ranks with Ananthamurthy’s Samskara (1966) as the pinnacle of the Navya Movement. Acted in film version of Samskara (1970). Other noted works: Kereya Niranu Kerege Chelli (short stories, 1964), Bitchhu (poems, 1967), Sankranthi (play, 1973). Films continue his literary enterprise. Co-scripted Kambhar’s Sangeetha (1981). Vociferous political commentator and owner-editor of the down-market weekly tabloid Lankesh Patrike (Est: 1980). Established his own political party to fight the general elections of 1989.

imagesFILMOGRAPHY (* also act). 1976: Pallavi*; 1977: Anurupa; 1979: Khandavideko Mamsavideko; 1980: Ellindalo Bandavaru.

LAXMIKANT-PYARELAL [LAXMIKANT SHANTARAM KUDALKAR (1937–98)] AND PYARELAL RAMPRASAD SHARMA (B. 1940)

Music composers at the top of their profession in the 70s and 80s. Composed the two biggest hit songs of the late 80s, Ek do teen (from Tezaab) and the Bachchan number Jumma chumma (from Hum). Both musicians started as performers in orchestras, becoming arrangers for Hindi film music, which often included ghosting for composers. Laxmikant learnt the violin with Husnlal while Pyarelal learnt music from the Goan music teacher, Anthony Gonsalves (a memory celebrated in his score fox Amar Akbar Anthony). Pyarelal assisted Bulo C. Rani at Ranjit; both assisted Naushad, C. Ramchandra and Kalyanji-Anandji. Their first film as music directors, Parasmani, yielded a major hit, Hansta hua nurani chehra. Broke through with Milan and the Lata Mangeshkar/Mukesh hit, Sawan ka mahina. Real success came in the 70s with their Rajesh Khanna films (Dushman, Hathi Mere Saathi, Do Raaste) and with Raj Kapoor’s Bobby. Since then they have worked on many Manmohan Desai films (Dharam Veer, Naseeb), Shekhar Kapur’s Mr India and the film that breathed new life into their career, Tezaab, followed by Hum. They tend to ascribe their success to their integration of classical Indian and folk rhythms with electronic synthesisers. The lyrics of their songs are frequently written by Anand Bakshi.

imagesFILMOGRAPHY: 1963 Parasmani; Harishchandra Taramati; 1964: Aaya Toofan; Dosti, Mr X in Bombay, Sant Dnyaneshwar, Sati Savitri; 1965: Boxer, Hum Sub Ustad Hain; Lutera; Shriman Funtoosh; 1966: Aasra; Aaye Din Bahar Ke; Chhota Bbai; Daku Mangal Singh; Dillagi; Laadla; Mere Lai; Naag Mandir, Pyar Kiye Jaa; Sau Saal Baad; 1967: Anita; Milan Ki Raat; Chhaila Babu; Duniya Nachegi; Farz; Jaal; Milan; Night in London; Patthar Ke Sanam; Shagird; Taqdeer, 1968: Baharon Ki Manzil; Lzzat; Mere Humdum Mere Dost; Raja Aur Runk, Sadhu Aur Shaitan; Spy in Rome, 1969: Aansoo Ban Gaye Phool; Anjaana; Aaya Sawan Jhoom Ke, Dharti Kahe Pukar Ke; Do Bhai; Do Raaste; Lnteqam; Jeene Ki Raah; Jigri Dost; Madhavi; Mera Dost; Meri Bhabhi; Pyaasi Shyam; Saajan; Satyakam; Shart; Wapas; 1970: Aan Milo Sajna; Abhinetri; Bachpan; Darpan; Devi; Himmat; Humjoli; Jawab; Jeevan Mrityu; Khilona; Maa Aur Mamta; Man Ki Aankben; Mastana; Pushpanjali; Sharafat; Suhana Safar, 1971: Aap Aye Bahar Ayi; Banphool; Bikhare Moti; Chahat; Dushman; Hathi Mere Saathi; Haseenon Ka Devta; Jal Bin Machhli Nritya Bin Bijli; Lagan; Man Mandir, Mehboob Ke Mehndi; Mera Gaon Mera Desh; Uphaar, Woh Din Yaad Karo; 1972: Buniyaad; Dastaan; Ek Bechara; Ek Nazar, Gaon Hamara Shaher Tumhara; Gora Aur Kala; Haar Jeet; Jeet; Mom Ki Gudiya; Piya Ka Ghar, Raaste Ka Patthar, Raja Jani; Shadi Ke Baad; Sbor, Subah-o-Shyam; Wafaa; Roop Tera Mastana; 1973: Anhonee, Anokhi Ada; Barkha Bahar, Bobby, Daag, Gaddar, Gaai Aur Gori; Gehri Chaal; Lnsaaf Jalte Badan; Jwar Bhata; Kachche Dhaage, Kahani Hum Sub Ki; Loajer, Manchali; Nirdosh; Keemat; Suraj Aur Chanda; Sweekar, 1974: Amir Garib, Badla; Bidaai; The Cheat; Dost; Dulhan; Duniya Ka Mela; Free Love, Geeta Mera Naam; Lmtehan; Jurm Aur Sazaa; Majboor, Naya Din Nayi Raat; Nirmaan; Pagli;Paise Ki Gudiya; Prem Shastra; Roti; Roti Kapda Aur Makaan; Sbandaar, Vaada Tera Vaada; Pocketmaar, Sauda; 1975: Aakhri Dao; Akraman; Anari; Apne Rang Hazaar, Chaitali; Dafaa 302; Lafange, Mere Sajna; Ponga Pandit; Pratigya; Prem Kahani; Sewak, Zinda Dil; Zindagi Aur Toofan; Natak, 1976: Aaj Ka Mahatma; Aap Beeti; Charas; Do Ladkiyan; Das Numbri; Jaaneman; Koijeeta Koi Haara; Maa; Nagin; Santan; Naach Utha Sansar, 1977: Adha Din Adhi Raat; Aashiq Hoon Baharon Ka; Amar Akbar Anthony, Anurodh; Apnapan; Chacha Bhatija; Chhaila Babu; Chhota Baap; Chor Sipahi; Dharam Veer; Dildaar, Dream Girl; Imaan Dharam; Jagriti; Kachcha Chor, Kali Raat; Mastan Dada; Ooparwala Jaane, Palkon Ki Chhaon Mein; Parvarish; Thief of Baghdad; Tinku; Prayashchit; 1978: Ahuti; Amar Shakti; Badalte Rishte, Daku Aur Jawan; Dil Aur Deewar, Kala Admi; Main Tulsi Tere Aangan Ki; Phansi; Phool Khile Hain Gulshan Gulshan; Prem Bandhan; Satyam Shivam Sundaram, Sawan Ke Geet; Chakravyuha; 1979: Amar Deep, Dil Ka Heera; Gautam Govinda; Jaani Dushman; Kartavya; Lok Parlok, Maan Apmaan; Magroor, Muqabala; Prem Vivah; Sargam; Suhaag; Yuvraaj; Zalim; Kali Ghata; Chunauti; 1980: Asha; Bandish; Berahem; Choron Ki Baraat; Do Premi; Dostana; Ganga Aur Suraj; Gehrayee, Judaai; Jyoti Bane Jwala; Kala Pani; Karz, Maang Bharo Sajana; Nisbana; Patthar Se Takkar, Ram Balram; Yari Dushmani; Hum Paanch; Waqt Ki Deewar, Aas Paas; 1981: Ek Aur Ek Gyarah; Ek Duuje Ke Liye, Ek Hi Bhool; Fifty-Fifty, Khoon Aur Pani; Khuda Kasam; Kranti; Krodhi; Ladies’ Tailor, Meri Awaaz Suno; Naseeb; Pyaasa Sawan; Sharada; Vakil Babu; Raaste Pyar Ke; 1982: Apna Bana Lo; Badle Ki Aag; Baghavat; Deedar-e-Yaar, Do Dishayen; Desh Premi; Ghazab, Lnsaan; Jeevan Dhara; Jiyo Aur Jeene Do; Main Lnteqam Loonga; Mehndi Rang Layegi; Prem Rog; Rajput; Samrat; Taaqat; Teesri Aankh; Teri Maang Sitaron Se Bhar Doon; Davedar, Farz Aur Kanoon; Jaanwar, 1983: Andha Kanoon; Arpan; Avatar, Bekaraar, Coolie, Hero, Mujhe Lnsaaf Chahiye, Prem Tapasya; Woh Saat Din; Yeh Lshq Nahin Asaan; Zara Si Zindagi; Agami Kal; 1984: Asha Jyoti; Akalmand; All Rounder, Baazi; Ek Nai Paheli; Ghar Ek Mandir, Lnquilab, Jeene Nahin Doonga; John Jani Janardhan; Bad Aur Badnaam; Do Dilon Ki Dastaan; Mera Faisla; Sharara; Zakhmi Sher, Utsav, Pyar Jhukta Nahin; Mera Dost Mera Dushman; Khazana; Pakhandi; Kahan Tak Aasmaan Hai; 1985: Dekha Pyar Tumhara; Ghulami; Jaanoo; Jawab, Kali Basti; Mera Ghar Mere Bachche, Mera Jawab; Meri Jung; Patthar Dil; Sanjog; Sarfarosh; Sur Sangam; Teri Meherbaniyan; Yaadon Ki Kasam; Triveni; Aakhri Raasta; 1986: Swati; Aag Aur Shola; Aap Ke Saath; Aisa Pyar Kahan; Amrit; Anjaam; Asli Naqli; Dosti Dushmani; Kala Dhandha Goray Log; Love 86; Mazloom; Naache Mayuri; Naam; Nagina; Naseeb Apna Apna; Pyar Kiya Hai Pyar Karenge, Qatl; Sada Suhagan; Swarg Se Sundar, Karma; Loha; 1987: Sansar, Aulad; Hukumat; Lnsaaf; Lnsaaf Kaun Karega; Lnsaaf Ki Pukar, Jaan Hatheli Pe, Jawab Hum Denge, Kudrat Ka Kanoon; Madadgaar, Mard Ki Zabaan; Mera Karam Mera Dharam; Mr India, Nazrana; Parivar, Sindoor, Uttar Dakshin; Watan Ke Rakhwale, 1988: Charnon Ki Saugandh; Khatron Ke Khiladi; Pyar Ka Mandir, Pyar Mohabbat; Ram Avatar, Shoorveer, Hamara Khandaan; Biwi Ho To Aisi; Dayavan; Ganga Tere Desh Mein; Tezaab, Janam Janam; Mar Mitenge; Agni; Do Waqt Ki Roti; Lnteqam; Qatil; Bees Saal Baad; Eeshwar, Yateem, 1989: Gharana; Oonch Neech Beech; Elaan-e-Jung; Nigahen; Santosh; Shehzade, Bhrashtachar, Chaalbaaz; Do Qaidi; Hathyar, Main Tera Dushman; Suryaa; Dost Garibon Ka; Ram Lakhan, Kasam Suhaag Ki; Pati Parmeshwar, Bade Ghar Ki Beti; Paraya Ghar, Sachaai Ki Taaqat; Batwara; Naag Nagin; Majboor, Sahebzade, Deshwasi; 1990: Paap Ki Aandhi; Krodh; Pyar Ka Devata; Pyar Ka Karz; Pyar Ka Toofan; Sanam Bewafa; Sher Dil; Shesh Naag; Azad Desh Ke Gulam; Hatimtai; Jeevan Ek Sangharsh; Lzzatdar, Krodh; Amiri Garibi; Atishbaaz; Agneepath; Pati Patni Aur Tawaif; Humse Na Takrana; Veeru Dada; Amba; Jamai Raja; Qayamat Ki Raat; Khilaaf Kanoon Ki Zanjeer, 1991: Ajooba; Benaam Badshah; Do Matwale, Pyar Hua Chori Chori; Qurban; Hum, Narasimha, Khoon Ka Karz; Mast Kalandar, Ranabhoomi; Shankara; Akela; Banjaran; Sapnon Ka Mandir, Lakshmanrekha; 1992: Prem Diwani; Humshakal; Heer Ranjha; Angar, Aparadhi; Tiranga; Kshatriya; Roop Ki Rani Choron Ka Raja, 1993: Dil Hi To Hai; Yugandhar, Aashiq Awara; Badi Bahen; Khalnayak, Dil Hai Betaab, Gumrah; Chahoonga Main Tujhe, Bedardi; 1994: Lnsaaf Apne Lahoo Se, Tejaswini; Chauraha; Mohabbat Ki Arzoo; 1995: Prem; Paapi Devata; Dilbar, Trimurti.

LEELA, P. (B. 1933)

Together with P. Susheela, Leela is one of the main South Indian singers, with many hits since the late 40s in Tamil, Malayalam, Telugu and Kannada. Born in Chittor, North Kerala. Film début in Kankanam (1947); broke through with songs in Gunsundari Katha (1949). Playback singer in more than 400 films. Has been on a long-term contract with Columbia Gramophone, releasing over 250 records for their label. Made numerous radio appearances in Madras.

LEELAVATHI (B. 1938)

Versatile Kannada actress born in Mangalore, Karnataka. Joined M.V. Subbaiah Naidu’s stage group aged 3. Was a well-known Kannada stage actress when she débuted in film as the comedienne in Bhakta Prahlada. Her first lead role was in Mangalya Yoga. Achieved stardom as Rani Honamma, her first film with Rajkumar, going on to do c.20 more films with him, dominating Kannada cinema for over a decade. Acted in melodramas for Kanagal (Gejje Pooje, Sharapanjara) and developed into a dramatically intense actress, often cast as a mother; also known for light comedy.

imagesFILMOGRAPHY: 1958: Bhakta Prahlada; Mangalya Yoga; 1959: Dharma Vijaya; Raja Malaya Simhan; Jagajyothi Basaveshwara; Abba! A Hudgi, 1960: Ranadheera Kanteerava; Dashavtara; Rani Honamma; 1961: Kaivara Mahatme, Kantheredu Nodu; Kittur Chanamma, 1962. Bhoodana, Galigopura; Karuneye Kutumbada Kannu; Ratnamanjari; Vidhi Vilasa; Valar Pirai; Sumaithangi; 1963: Nanda Deepa; Kanya Ratna; Jeevana Taranga; Malli Madhuve, Kulavadhu; Kalitharu Henne; Bevu Bella; Veera Kesari/Bandhipotu; Valmiki; Mana Mechhida Madadi; Sant Tukaram; 1964: Marmayogi; Shivarathri Mahatme, Tumbidakoda; 1965: Naga Pooja; Chandrahasa; Vatsalya; Veera Vikrama; Ide Mahasudina; Madhuve Madi Nodu; 1966: Thoogu Deepa; Prema Mayi; Paduka Pattabhishekham; Mohini Bhasmasura; 1967: Gange Gauri; 1968: Bhagya Devathe; Mammathe, Anna Tbamma; Attegondukala Sosegondukala; 1969: Kalpa Vruksha; Brindavana; 1970: Gejje Pooje; Aparajite, Boregowda Bangaloruge Banda; Sukha Samsara; Aaru Mooru Ombattu; 1971: Sharapanjara; Signalman Siddappa; Sothu Geddavalu; Sipayi Ramu; 1972: Naa Mechida Huduga; Nagara Haavu; Dharmapatni; 1973: Sahadharmini; Muruvare Vajragalu; Premapasha; 1974: Upasane; Maha Thyaga; Bhakta Kumbhara; Professor Huchuraya; Maga Mommaga; Naan Avanillai; Aval Oru Thodarkathai/Aval Oru Thodarkatha; Devara Gudi; Ldu Namma Desha; 1975: Koodi Balona; Kalla Kulla; Bhagya Jyothi; Bili Hendthi; Hennu Samsarada Kannu; Katha Sangama; Hosilu Mettida Hennu; 1976: Makkala Bhagya; Bangarada Gudi; Collegeranga; Na Ninna Mareyalare, Phalithamsha; 1977: Deepa; Dhanalakshmi; Mugdha Manava; Kumkuma Rakshe, Veera Sindhoora Lakshmana; Avargal; 1978: Devadasi; Kiladi Kittu; Matu Tappada Maga; Kiladi Jodi; Gammathu Goodacharulu; Vasanthalakshmi; 1979: Karthika Deepam; Ldi Kathakadu; Na Ninna Bidalare, Pakka Kalla; Vijaya Vikram; Savathiya Neralu; 1980: Nanna Rosha Nooru Varusha; Kulla Kulli; Auto Raja; Subbi Subakka Suvvalali; Namma Mane Sose, Simha Jodi; Vasantha Geethe, Nyaya Neethi Dharma; Jatara; Kappu Kola; Mr Rajanikant; 1981: Thayiya Madilalli; Kulaputra; Hana Balavo Jana Balavo; Edeyuru Siddhalingeshwara/Siddalingeshwara Mahima; Leader Vishwanath; Bhoomige Banda Bhagavanta; Devara Aata; Galimathu; Garjane, Mane Mane Kathe, Mareyada Haadu; Muniyana Madari; Prema Pallavi; Shikari; Snehitara Saval; Bhagyavanthedi; 1982: Chellida Rakta; Gunanodi Hennu Kodu; Then Sittukkal; 1983: Sididedda Sahodara; Mududida Tavare Aralitu; Samarpane, 1984: Shravana Banthu; Endina Ramayana; Chanakya; Olavu Moodidaga; 1985: Balondu Uyyale, Ajeya, Nanu Nanna Hendthi, Pudhir, Hosa Baalu; Savira Sullu; Balondu Uyyale, Giri Bale; Jwalamukhi; Lakshmi Kataksha; Sneha Sambandha; 1986: Bettada Thayi; Katha Nayaka; KD No 1; Mrigalaya; Seelu Nakshatra; 1987: Premaloka; Olavina Udugore, Huli Hebbuli; 1988: Varna Chakra; 1989: Yuga Purusha; Gagana; Abhimana; Doctor Krishna; 1990: Golmaal Radhakrishna; Tiger Gangu; Golmaal Bhaga LI; 1992: Nanjunda.

LUDHIANVI, SAHIR (1921–80)

Urdu lyricist and major poet born in Ludhiana. Originally called Abdul Hayee. Author of two anthologies (Talkhian, 1945, and Parchaiyan) and several books, including Ao Koi Khawab Banen and Gaata Jaye Banjara. Member of the PWA. Worked extensively as a journalist, editing the journal Adab-e-Latif and briefly Pritlari and Shahrab in Delhi. Moved to Bombay (1949) and débuted in films with Mahesh Raul’s Naujawan (1951). First major success was with Guru Dutt’s Baazi (1951). Worked with Navketan productions and formed a team with composer S.D. Burman (e.g. Taxi Driver, 1954). Transferred the progressive Urdu literature exemplified by poet Faiz Ahmed Faiz to the Hindi film lyric, e.g. the songs in Naya Daur (1957, esp. Saathi haath badhand), Phir Subah Hogi (1958, esp. Woh subah kabhi to aayegi) and all the classic songs of Pyaasa (1957). Also claimed the influence of Mayakovsky and Neruda. His songs continue to influence all forms of radical music (e.g. that of street theatre groups) while remaining popular favourites.

LUHAR, CHIMANLAL MULJIBHOY (1901–48)

Hindi director. Chemistry graduate from Bombay University. Noted author and critic in early 1920s, e.g. in journals like Vismi Sadi, Navchetan and Bombay Chronicle. Started career as laboratory assistant at Kohinoor Studio in the 20s. Became noted cameraman working e.g. for several documentaries with Bombay-based production unit K.D. Brothers, apparently under tutelage of an English cameraman affiliated to the Prince of Wales’s official entourage during his tour of India. Following a brief stint at Saurashtra Film in Rajkot (1925), and a longer one at Krishna Film, where he shot around 20 films, he joined Sharda with Dagabaaz Duniya (1926). His later films at Sharda included several Master Vithal stunt movies (e.g. Gul Badan, Kanak Kanta, both 1928). Wrote and shot Harshadrai Mehta’s costumed spectacle Janjirne Jankare (1927), praised by the ICC Report. Turned producer (193D with partner Harshadrai Mehta (Mehta-Luhar Prod.) continuing in the Master Vithal vein of stunt and adventure thrillers starring Navinchandra. Then a partner in Sharda (1933) and a director at Sagar (1934–40), where he began signing his name to his films and introduced the stunt genre. Later directed Prakash Pics (1941–6).

imagesFILMOGRAPHY: 1932: Sassi Punnu; 1935: Silver King; Talash-e-Haq; 1936: Do Diwane/Be Kharabjan, 1937. Captain Kirti Kumar, 1938: Dynamite, 1939: Kaun Kisika; Seva Samaj, 1940: Saubhagya; 1941: Darsban; 1942: Station Master•; 1943: School Master, 1944: Us Paar, 1946: Bindiya.

MADAN THEATRES

Giant distribution corporation and studio which dominated India’s silent cinema. Built by Jamshedji Framji Madan (1856–1923) into one of the country’s premier Parsee theatre companies. J.F. Madan came from a middle-class Bombay Parsee family of theatre enthusiasts: his brother Khurshedji was a partner in the Original Victoria Theatrical Club while Jamshedji and another brother, Pestonji, started as actors. Jamshedji acted in Nusserwanji Parekh’s Sulemani Shamsher (1873, produced by Elphinstone), while Pestonjee played lead roles in two famous plays, Eduljee Khori’s Gul-e-Bakavali and Jehangir, staged by Dadabhai Thunthi. In the 1890s, J.F. Madan bought two prominent theatre companies, the Elphinstone and the Khatau-Alfred, including their creative staff and the rights to their repertoire. Shifted his base to Calcutta in 1902, establishing J.F. Madan & Sons (maintaining his other interests like pharmaceuticals). By 1919, J.F. Madan & Sons had become the joint stock company Madan Theatres, running the Elphinstone Theatrical Co. (expanding from the Elphinstone Picture Palace and the ancestor of the Elphinstone Bioscope) and its flagship organisation, the Corinthian Theatre. They employed several of the leading Urdu-Hindi playwrights (Kashmiri, Betaab) and stars (Patience Cooper, Seeta Devi). Some historians claim that J.F. Madan started showing films in a tent bioscope in 1902 on the Calcutta maidan, but it is more likely that the Madans did not seriously get into film until 1905, financing some of Jyotish Sarkar’s documentaries (e.g. Great Bengal Partition Movement, 1905) which they presented at the Elphinstone. In 1907 the Elphinstone followed the Minerva and Star theatres (see Hiralal Sen) and went into exhibition and distribution, winning the agency rights for Pathe, who also represented First National. They expanded by buying or leasing theatres located in urban areas with European residents, commanding higher ticket prices and catering to the British armed forces before and during WW1. On J.F. Madan’s death, the third of his five sons, Jeejeebhoy Jamshedji Madan, took over and expanded the empire, continuing to direct some of the company’s films. By 1927 the Madan distribution chain controlled c.1/2 of India’s permanent cinemas. At their peak they owned 172 theatres and earned half the national box office. Up to WW1 they showed mainly British films supplied by the Rangoon-based London Film, but after the war they imported Metro and United Artists product, mostly bought ‘blind’ with rights for the entire subcontinent. Many of these they appear to have distributed as their own productions, e.g. Wages of Sin (1924) and Flame of Love (1926), which Virchand Dharamsey’s recent filmography of silent cinema (Light of Asia, 1994) identifies as imports, contrary to the claims made in their initial advertising. By the mid-20s they were the first of the five major importers of Hollywood films, followed by Pathe, Universal, Globe and Pancholi’s Empire distributors. In the silent era, their exhibition and distribution were more important than their production work, mainly making shorts for export until Satyavadi Raja Harishchandra (1917) and Dotiwala’s Bilwamangal (1919; the first Bengali feature) both proved successful. Their early features were mainly filmed plays, converting their playwrights into scenarists and their actors into stars. Many were directed by C. Legrand, formerly a Pathé man, and later by Jyotish Bannerjee. Claimed to have done international co-productions, although Savitri (1923) made by Giorgio Mannini for Cines in Rome and starring Rina De Liguoro opposite Angelo Ferrari, probably was not co-produced but only released by Madan. However, he did work with the Italian cineaste E.D. Liguoro and cameraman T. Marconi. In the early 20s, the Madans also acquired the rights to the major 19th C. Bengali novelist Bankimchandra Chattopadhyay’s writings, forming the basis of their ‘literary film’ genre which came to dominate Bengali cinema for several decades. By the end of the silent era the group had become too large for its managerial structure. It invested heavily into sound after it premiered Universal’s Melody of Love at the Elphinstone Bioscope (1928) and made the expensive Shirin Farhad (1931, narrowly beaten by Alam Ara as India’s first sound film), Amar Choudhury’s Jamai Sasthi (1931, the first Bengali sound feature) and Indrasabha (1932). Their closure in the late 30s is usually blamed on a failed deal with Columbia but this may only have put the final seal on a decline caused by crippling sound conversion costs, the stabilisation of film imports and the spread of the more efficient managing-agency system able to attract more speculative financing.

MADGULKAR, GAJANAN DIGAMBAR (1919–77)

Marathi scenarist, songwriter, actor and poet. First film as lyric writer: Bedekar’s Pahila Palna (1942), which was also his acting début. Achieved prominence in the 50s via his popular film songs on the radio and on discs which, following the spread of playback, evolved the bhava geet: orchestrated songs of about three minutes duration using simple emotive lyrics. His texts were mainly sung and orchestrated by Sudhir Phadke, their Geet Ramayan record series of 1957 remaining very popular with the Marathi middle class and a precursor of the 70s bhajan craze. Often wrote for Raja Paranjpe (Jivacha Sakha, 1948; Pudhcha Paool, 1950; Lakhachi Goshta and Pedgaonche Shahane, both 1952, Oon Paoos, 1954; Ganget Ghoda Nhala, 1955; Andhala Magto Ek Dola and Deoghar, both 1956; Pathlaag, 1964). This work dominated the Marathi cinema in the 50s and 60s and is associated with the shift, on the formation of the state of Maharashtra, to a concern with Marathi identity accompanied by the creation of industrial infrastructures (and audiences) based on regional capital. First script, Shantaram’s Lokshahir Ramjoshi/Matwala Shayar Ramjoshi (1947, also act), launched the gramin chitrapat genre of ‘rural’ film typically using dialect, located in a village and telling of a power struggle between a good peasant lad and an evil sarpanch (village elder). Also wrote scripts for Dinkar D. Patil, the best-known Marathi director in the genre (Baap Mazha Brahmachari and Prem Andhala Asta, both 1962). However, where Patil used the genre as an indigenous version of the western, Madgulkar’s scripts conveyed a sense of political awareness in line with e.g. Vyankatesh Madgulkar’s stories about rural characters. Wrote prose melodramas, e.g. for Dharmadhikari (e.g. Bala Jo Jo Re, 1951; Stree Janma Hi Tujhi Kahani, 1952). Also adapted mythologicals and historicals to the studios’ industrial requirements (e.g. Maya Bazaar, 1949; Shri Krishna Darshan, 1950; Narveer Tanaji, 1952). Acted in e.g. Pedgaonche Shahane, Jeet Kiski (both 1952), Banwasi, Adalat (both 1948).

MADHU

Malayalam actor and director introduced by Kariat and Bhaskaran in the early 1960s. Originally Madhavan Nair, born in Trivandrum, Kerala. Graduate of the Benares Hindu University, later diploma in acting from the National School of Drama. Together with Sathyan and Prem Nazir, he defined Malayali machismo in commercial productions, often playing the sad and suffering lover. After Chemmeen, which gave him a reputation as a character actor, acted regularly in independent productions (e.g. P.N. Menon’s Olavum Theeravum, Adoor Gopalakrishnan’s Swayamvaram). In recent films like Ottayadi Paathakal he became better known for his emphatic playing than for his more numerous conventional starring roles. His ‘offbeat’ reputation was enhanced by his first directorial effort, Priya, featuring Bengali actress Lili Chakraborty, which received much critical attention in Kerala. An admirer of Bengali culture, he chose to play the Bengali commando in Abbas’ national integration war movie Saat Hindustani. Founded the Uma Studio, Trivandrum. Known in the 90s for producing children’s films.

image FILMOGRAPHY (* also d): 1963: Moodupadam; Ninamaninja Kalpadukal; Ammeye Kantian; 1964: Thacholi Othenan; Kuttikkuppayam; Manavatti; Adya Kiranangal; Bhargavi Nilayam, 1965: Zubaida; Kaliyodam; Kalyanapboto; Ammu; Mayavi; Jeevitha Yatra; Kattupookal; Pattu Thoovala; Murappennu; Thommente Makkal; Sarpakadu; Chemmeen, 1966: Manikya Kottaram; Puthri; Archana; Karuna; Tilottama; 1967: Ramanan; Udyogastha; Lady Doctor, Karutbaratbrigal; Aval; Kadhija; Anveshichu Kandatiyilla; Ashwamedham, Nagarame Nandi; Chekuthante Kotta; Ollatbu Matbi; 1968: Viplavakarikal; Karutba Pournami; Manaswini; Vazhipizhacha Santbatbi; Kadal; Thulabbaram; Ragini; Adhyapika, 1969: Vila Kuranja Manusbyar, Veetu Mrugbam; Almaram; janmabhoomi; Kurutbikalam; Nadhi, Velliyazhcba; Virunnukari; Saat Hindustani; Olavum Theeravum, 1970: Ambalapravu; Palunku Patbram; Stree, Bbikara Nimishankal; Thurakatha Vathil, Abbayam; Nilakatba Chalanangal; Swapnangal; Kakathampurati; Priya*; 1971: Karakanakadal; Line Bus; Ummanchu; Sindooracheppu *; Vilakku Vangiya Veena; Kochaniyathi; Vitbukal; Moonnupukkal; Abhijathyam; Inquilab Zindabad; Sarasayya; 1972: Preetbi; Chemparatbi; Aradi Manninte Janmi; Panimudakku; Devi; Manushya Bandhangal; Nadan Premam; Pulliman; Ini Oru Janmam Tbaru; Gandharvakshetram; Azhimukham; Snebadeepame Mizhi Thurakku; Swayamvaram, Putrakameshti; Laksbyam; Teertbayatra; Satbi*; 1973: Enippadikal; Tbiruvabbaranam; Udayam; Cbenda; Manushya Puthran; Police Ariyaruthu; Swapnam; Soundarya Pooja; Kaadu (Mal); Nakhangal; Chukku; Yamini; Divya Darshanam; Thekkan Kattu; Madhavikutty, Swargaputhri; 1974: Oru Pidi Ari; Yauvanam; Bhoomidevi Pushpiniyayi; Swarna Malsiyam; Manyashri Vishwamithran*; Neela Kannukat*; Mazhakkaru; 1975: Sammanam; Sindhu; Akkaldama*; Kamam Krodham Moham*; Omana Kunju; 1976: Dheere Sameere Yamuna Theere*; Theekkanat*; Amma; Aparadhi; Hridayam Oru Kshetram; Kanyadanam; Manasa Veena; Muthu; Nurayum Pathayum; Samasya; Themmadi Velappan; Yakshaganam; 1977: A Nimisham; Akale Akasam, Itha Ivide Vare, Jalatarangam; Kaithapoova; Kavilamma; Nalumani Pookkal; Needhi Peedham; Poojakkedukatha Pookkal; Rowdy Rajamma; Santha Oru Devatha; Saritha; Vidarunna Mottugal; Yuddha Kandam; Aradhana*; 1978: Agni; Astbamayam; Avar Jeevikkunu; Beena; Ee Manohara Theeram; Jnan Jnan Mathram; Ithanende Vazbi; Itha Oru Manushyan; Kanyaka; Randu Penkuttikal; Rowdy Ramu; Simantini; Snehathinte Mukhangal; Snehikkan Samayamilla; Society Lady, Uthrada Rathri; Vadagaikku Oru Hridayam; Yeetta; 1979: Ward No. 7; Kaliyankattu Nili; Sudhikalasham; Edavazhiyile Pucha Mindappucha; Enikku Jnan Swantham; Hridayathinte Nirangal; Kayalum Kayarum; Krishna Parunthu; Simhachanam; Oru Ragam Pala Thalam; Jeevitham Oru Ganam; Pratiksha; Anubhavangale Nandi; Agni Parvatham; Iniyethra Sandhyakal; Kathirmandapam; Manusbiyan; Prabbata Sandhya; Pushyaragam; Venalil Oru Mazha; 1980: Pratishodh; Muthichippikal; Ambala Vilakku; Akalangalil Abbayam; Rajanigandbi; Ithile Vannavar, Meen; Swantham Enna Padam; Deepam; Theeram Thedunnavar, Vaiki Vanna Vasantbam; Enna Jnan Thedunnu; Theekadal; Yagam; 1981: Pinneyum Pookunna Kadu; Arikkari Ammu; Dhandha Gopuram; Thusharam; Archana Teacher, Orikkalkoodi; Akramanam; Grihalakshmi; Ira Thedunna Manushyan; Kolilakkam; Raktham; Sambhavam; Tharavu; 1982: Kartavyam, Jnan Ekananu; Arambbam; Ayudbam; Padayottam; 1983: Bandham, Ana; Adhipathyam; Angam; Arabikadal; Kodungattu; Mortuary, Nanayam; Paalam; Passport; Pinninvalu; Rathi Layam; Samrambham; Yuddham; 1984: Alakadalinakkare, Ariyatha Veethigal; Attuvanchi Ulanjappol; Chakkarauma; Edavellakku Sesham; Ithiri Poove Chuvannapoove, Jeevitham; Kurisuyuddham; Manase Ninakku Mangalam; Oru Painkillikatha; Thirakkil Alpa Samayam, Vellom; 1985: Ayanam; Chorakku Chora; Evide Ee Theerath; Guruji Oru Vakku; Janakeeya Kodathi; Kannaram Pothi Pothi; Katha Ithuvare, Orikkal Oridathu; Pachavelicham; 1986: Oru Yuga Sandhya*; Udayam Padinjaru*; 1988: Simon Peter Ninakku Vendi; Aparan; Oozham; Witness; Athirtbigal; Oru Sayahnathinte Swapnam; Unnikrishnante Adyathe Christmas; Ayarthi Thollayirathi Irupathonnu, 1989: Mudra; Devdas; Jathakam; Naduvazhigal; Adikkurippu*; 1990: Ottayadi Paathakal; Mounam Sammadham*; 1991: Kadalora Kattu; Abbayam; Gothram; 1992: Chambalkulam Thachan; 1993: Ekalaivan; Sabarimalayil Thanka Sooryodhayam; 1994: Malappuram Haji Mahanaya Joji; 1995: Simhavaalan Menon; Manikya Chempazhukka; Kattile Thadi Thevarude Aana.

MADHUBALA (1933–69)

Screen name of the Hindi-Urdu actress Begum Mumtaz Jehan. Born in Delhi, she started as Baby Mumtaz at Bombay Talkies (Basant). Her first major hit was in Kidar Sharma’s Neel Kamal, starring opposite Raj Kapoor, but her distinct persona was concretised in Lal Dupatta and in Kamal Amrohi’s ghost story, Mahal, playing the gardener’s daughter. Often acted with Dilip Kumar, e.g. Amar and her most famous performance as Anarkali, ‘the living creation of Mughal sculptors’, in Mughal-e-Azam. Her most durable reputation rested on musical comedies, esp. with her husband Kishore Kumar (Chalti Ka Naam Gaadi, Dhake Ki Malmal, Half Ticket, Jhumroo) and in Guru Dutt’s Mr and Mrs ‘55. Also played in Shakti Samanta (Howrah Bridge) and Dev Anand (Kala Pani) whodunits. Produced D.N. Madhok’s Naata through her own Madhubala Co. Often nostalgically considered the greatest and most glamorous star of the 50s Hindi musical, probably because she died before she was relegated to supporting roles like Nutan and Waheeda Rehman. Had started directing Farz Aur Ishq just before she died.

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Madhubala and Raj Kapoor in Do Ustad (1959)

imagesFILMOGRAPHY: 1942: Basant; 1944: Mumtaz Mahal; 1945: Dhanna Bhagat; 1946: Phulwari; Pujari; 1947: Kbubsoorat Duniya; Neel Kamal; Chittor Vijay, Dil Ki Rani; Mere Bhagwan; 1948: Amar Prem; Lal Dupatta; Parai Aag; 1949: Daulat; Dulari; Imtehan; Aparadhi; Mahal; Paras; Neki Aur Badi; Singaar, Sipahiya; 1950: Beqasoor, Hanste Aansoo; Madhubala; Nirala; Nishana; Pardes; 1951: Aaram; Badal; Khazana; Nadaan; Nazneen; Saiyan; Tarana; 1952: Sangdil; Saqi; 1953: Armaan; Rail Ka Dibba; 1954 Amar; Bahut Din Huye, 1955: Mr and Mrs ’55; Naata; Naqab; Tirandaz; 1956: Dhake Ki Malmal; Rajhaath; Shirin Farhad; 1957: Ek Saal; Yahudi Ki Ladki; Gateway of India; 1958: Bagbi Sipahi; Chalti Ka Naam Gaadi, Howrah Bridge; Kala Pani; Phagun; Police, 1959: Do Ustad; Insaan Jaag Utha; Kal Hamara Hai; 1960: Barsaat Ki Raat; jaali Note; Mehlon Ke Khwab; Mughal-e-Azam; 1961: Boy Friend; Jhumroo; Passport; 1962: Half Ticket; 1964: Sharabi; 1970: Jwala.

MAHAPATRA, MANMOHAN (B. 1951)

First Oriya art-house director; later made ruralist melodramas. Graduate from Utkal University, then from the FTII (1975). Début feature was a critical success, establishing the landscape of feudal Orissa as the setting for most of his films. His most acclaimed films are Neerab Jhada and Klanta Aparanha. Early films present a bleak and cynically tragic view which, according to the director, emanates from local conditions, although the cinematic idiom deployed is similar to that of the Assamese director Bhabendranath Saikia.

imagesFILMOGRAPHY: 1975: Anti-Memoirs (Sh); 1982: Seeta Raati; Voices of Silence (Sh); 1983: Konarak The Sun Temple (Sh); 1984: Neerab Jhada, 1985. Klanta Aparanha, 1986: Trisandhya; Kuhuri; 1987: Majhi Pahacha; 1988: Kichu Smriti Kichu Anubhooti; Nishitha Swapna; 1989: Tathapi; Andha Diganta, 1990: Agni Veena, 1992: Bhinna Samaya;

MAHAPATRA, NIRAD

Oriya director born in Bhadrak. Educated in Bhubaneshwar. Interrupted his studies in political science to attend the FTII. Graduated (1971) and returned to Orissa but found no opportunity to make films. Lectured at the FTII (1972–4). Writer and film society organiser in Pune, Bombay and Orissa. Editor of Oriya film journal, Mana Phasal Returned to live in Bhubaneshwar, where his first feature Maya Miriga was a major critical success.

imagesFILMOGRAPHY: 1971: Sunmica (Sh); Confrontation (Doc); 1975: Dhauligiri Shantistupa (Sh); 1978: The Story of Cement (Doc); 1983: Maya Miriga; 1986: Chhau Dances of Mayurbhanj (Doc); 1987: Pat Paintings of Orissa (Doc); 1988: The Vanishing Forests (Doc); 1990: New Horizon (Doc); 1991: Aparajita (Doc).

MAHARASHTRA FILM COMPANY

Set up in 1918 by Baburao Painter in Kolhapur with a home-made camera, initial capital of Rs 15,000 from Tanibai Kagalkar and a dedicated team of disciples. Their first successful production was Sairandhri (1920), eliciting praise from B.G. Tilak. Sardar Nesrikar persuaded the Shahu Maharaj to give him land, an electric generator and equipment. A contemporary of Phalke’s Hindustan Film, Maharashtra Film made a greater impact on the Marathi cinema with the first films of V. Shantaram (Netaji Palkar, 1927), Damle-Fattelal (Maharathi Kama, 1928) and Bhalji Pendharkar (Rani Rupmati, 1931). After 26 films, the studio lost Shantaram, Damle, Fattelal and Baburao Pendharkar who set up Prabhat in 1929. Painter left in 1930 and joined Shalini Cinetone, set up for him by the Kolhapur royal family. The company closed in 1932 after some expensive disasters: Moti Gidwani’s Nisha Sundari (1929) and Baburao Patel’s Kismet (1932)

MAHENDRA, BALU (B. 1946)

Tamil cameraman and director, born in Sri Lanka as Benjamin Mahendra. Son of a college professor. Voracious film viewer; developed an early interest in photography. Graduated from London University and from the FTII (1969) as cinematographer, going on to shoot Nellu (1974) for Kariat. Pioneered innovative camera style for colour in South India. Worked mainly in the Malayalam avant-garde shooting films for Sethumadhavan and P.N. Menon, Telugu directors Bapu and K. Vishwanath and Tamil director J. Mahendran. Made his first film in Kannada (Kokild); later work mainly in Malayalam and Tamil. Regards his Malayalam films, made with greater freedom in a less demanding economic system, as his personal work. Pioneered a new brand of Tamil art cinema with Veedu and Sandhya Ragam. Films have a strong literary base but rely on sharply defined visuals (often using natural light) sparse dialogue and few characters. The greater emphasis on cinematicism, making dialogue secondary to visual, cleared the way for Mani Rathnam’s films. Shot Rathnam’s début Pallavi Anupallavi. His moral tales are often concerned with the status of women (Kokild), the aged (Sandhya Ragam), sexual violence (his most famous film, Moondram Pirai) or bureaucracy (Veedu). Although he claims an affiliation with the realism of De Sica and Satyajit Ray, film-maker and critic K. Hariharan points to similarities with the French New Wave’s fascination with the American cinema from which Mahendra borrowed themes and stylistic devices: Moodupani was based on Psycho (1960); Olangal borrows from Dick Richards’ Man, Woman and Child (1982); Irattaival Kuruvi is based partly on Blake Edwards’s Micki and Maude (1984) and Azhiyada Kolangal borrows from Summer of ‘42(1971). The emphasis on psychological realism at times combines with popular elements such as calendar art and novelettes (e.g. the climactic scene of Moondram Pirai). Writes, edits and shoots own films as well as closely controlling make-up, costumes, etc.

imagesFILMOGRAPHY: 1977: Kokila; 1979: Azhiyada Kolangal; 1980: Moodupani; Manju Moodal Manju; 1982: Moondram Pirai; Nireekshana; Olangal; 1983: Sadma; Oomakuyil; 1984: Neengal Kettavai; 1985: Un Kannil Neer Vazhindal; Yathra, 1987: Rendu Thokala Titta; Irattaival Kuruvi; Veedu, 1989: Sandhya Ragam; 1991: Vanna Vanna Pookkal; Chakravyuham; 1993: Marupadiyam; 1995: Sati Leelavathi.

MAHENDRAN, J. (B. 1939)

Popular 80s Tamil playwright and director, originally J. Alexander; born in Madras. Graduated from Madras University. Assistant editor of Cho Ramaswamy’s political fortnightly Tughlaq; author of stage hits Thanga Padakkam and Rishimoolam (1978). His story Sivakamyin Selvan was filmed by C.V. Rajendran (1974). Script début adapting Thanga Padakkam, filmed by P. Madhavan (1974). Assisted director A. Kasilingam. First film: Mullum Malarum, shot by Balu Mahendra from a story by Umachandran in which hero Rajnikant exerts an infantile domination over his sister’s life. Early work, including adaptations from Tamil literature (e.g. Udhiri Pookal is based on Pudumaipithan’s story Sittranai), often portrayed women facing loveless marriages (cf. Puttadha Poothukkal, in which a married woman has an affair and gets pregnant, her child being accepted by her impotent husband).

imagesFILMOGRAPHY: 1978 Mullum Malarum, 1979: Udhiri Pookal; Puttadha Poothukkal; 1980: Nenjathai Killathey, Johnny, 1981: Nandu; 1982: Azhagiya Kanney, Metti; 1984. Kayi Kodukkum Kayi; 1986: Kannukku Mai Ezhuthu; 1992: Oor Panjayathu.

MAJID, ABDUL (B. 1932)

Assamese director. Started as playwright with Banchita, Dhuli Makoti, Char, Sihat Ahise, Choret al. Entered films as actor in Nip Barua’s Ranga Police (1958). Produced, wrote and directed his films, acting in c.25. Best-known film: Chameli Memsaab, deploying a staid narrative progression weaving romance into clearly defined themes.

imagesFILMOGRAPHY: 1968: Maram Trishna; 1975: Chameli Memsaab; 1977: Banahansa; 1978: Banjul; 1981: Ponakan; 1990: Uttarkaal.

MAJUMDAR, NAGENDRA (B. 1894)

Hindi director and actor born and educated in Baroda, Gujarat. Employed as a policeman in Baroda, he became involved in the amateur theatre (1923–5) and directed Gujarati plays. Made his debut at Laxmi, acting in R.S. Choudhury’s Asha (1926), then joined Royal Art Studio as director. Directed some Indulal Yagnik productions (Kalina Ekka, Rasili Rani), worked at Imperial directing Qatil Kathiyani, at the Kaiser-e-Hind production house and at Sharda studio. Made several love stories at Ranjit with the studio’s leading stars E. Bilimoria and Madhuri. His sound films are mainly in the stunt genre, adapting Arabian Nights-type adventures, but he also made some Marathi films such as the historical Shatakarta Shivaji. Set up Pratima Pics (1933) and Honey Talkies (1934). Scripted K.B. Athavale’s Sant Tukaram at Sharda Movietone (1932). Illness forced him to retire. His son Ninu Majumdar became a film composer.

imagesFILMOGRAPHY: 1926: Panima Aag; 1928: Pavagarh Nu Patan; Punarlagnani Patni; Qatil Kathiyani; Vasavadatta; Pandav Patrani; 1929: Jayant; 1930: Albelo Sawar, Jagmagti Jawani; Kalina Ekka; Khandana Khel; Rasili Rani; 1931: Diwano; Gwalan; Kashmir Nu Gulab; Premi Pankhida; Pardesi Ni Preet; 1932: Bahuroopi Bazaar, Khubsoorat Khawasan; Matrubhoomi; Ranghelo Rajput (all St); Raas Vilas; 1933: Mirza Sahiban; Patit Pawan; 1934: Kala Wagh; Mera Imaan; Shatakarta Shivaji; 1935: Alladdin-II; Rangila Nawab, 1936: Kimiagar, 1937: Laheri Lutera; 1946: Swadesh Seva; Talwarwala.

MAJUMDAR, PHANI (1911–94)

Hindi and Bengali director born in Faridpur (now Bangladesh). Also worked in other languages. Graduated from Carmichael College (1930); worked as a typist. Employed by P.C. Barua (1931–7) as stenographer and later as assistant director and scenarist for Mukti (1937). Also scripted Prafulla Roy’s Abhigyan (1938). First film: Street Singer, a big New Theatres hit which added a new dimension to the K.L. Saigal persona initially moulded by Barua. Kanan Devi is the female lead and Rai Chand Boral’s music included Saigal’s biggest hit song, Babul Mora. Doctor is based on a Sailajananda Mukherjee story and scored by Pankaj Mullick. Moved to Bombay (1941) and worked at Laxmi Prod, making musicals. Associated with New Maharashtra Film as producer; also made films at Bombay Talkies, at Ranjit and as a freelancer. Late 40s work became more ‘socially conscious’(Insaaf, Hum Bhi lnsaan Hain, Andolan). Baadbaan is the last film of Bombay Talkies, financed by the studio’s employees in an attempt to stave off bankruptcy. Like Balkrishna Narayan Rao, he made several features for Shaws Malay Film Prod. (1956–9) in Singapore, starring e.g. the singer P. Ramlee in Hang Tuab, one of the earliest Malay colour features, and in Kaseh Sayang, a successful war movie about the Japanese invasion; also made Long House/Rumah Panjang, an English-Malay bilingual about Borneo headhunters shot on location, and his last film before returning to India, Circus, a Chinese-Malay bilingual. The prominent Malaysian film-maker Jamil Sulong assisted Majumdar on 6 of the 8 films. Later wrote the travelogue Borneo Ke Naramund Shikari (1983). Also made films in less familiar Indian languages: Magadhi (Bhaiyd) and Maithili (Kanyadaan), having already made a Punjabi film (Chambe Di Kali) while still in Calcutta. Also made several documentaries and children’s shorts, such as Saral Biswas based on a Tagore poem, Veer Purush and TV series such as Bulbul and the 52-episode Our India (1993). Best-known films include Tamasha and Baadbaan, starring Ashok Kumar. Script credits include Sharan Agarwal’s Pratima Aur Payal (1977) and Raghunath Jhalani’s Badalte Rishte (1978).

imagesFILMOGRAPHY: 1938: Street Singer/Saathi; 1939: Kapal Kundala; 1940: Doctor, 1941: Chambe Di Kali; 1942: Aparadh; Tamanna; 1943: Mohabbat; 1944: Meena; 1945: Devadasi; 1946: Door Chalein; lnsaaf, 1948: Hum Bhi lnsaan Hain; 1951: Andolan, 1952: Goonj; Tamasha; 1954: Baadbaan; Dhobi Doctor, Two Worlds (Doc); 1955: Faraar, 1955: Hang Tuah; 1956: Anakku Sazali; 1957: Kaseh Sayang; Long House/Rumah Panjang; 1958: Masyarakat Pincang; Sri Menanti; Doctor, 1959: Circus; Saral Biswas; 1960: Veer Purush; 1961: Bhaiya; Savitri; 1962: Aarti; 1965: Birthday, Akashdeep; Oonche Log; Kanyadaan; Mamata; 1966: Toofan Mein Pyar Kahan; 1968: Apna Ghar Apni Kahani; 1969: Munna; 1975: Shri Aurobindo: Glimpses of His Life (Doc/3 parts); 1989: Babul; 1990: Fire (Sh); Common Accidents (Doc).

MAJUMDAR, SUSHIL (1906–88)

Bengali and Hindi director born in Komilla, Tripura (now Bangladesh). Educated at Shantiniketan (1911–21) and at Kashi Vidyapeeth, Benares, and studied engineering at Jadavpur. Participated in non-co-operation agitations (1922). Actor for the amateur University Institute theatre group, then in the Calcutta Theatres stage company Manmohan Theatres (1927). Manager of touring company in Chittagong. Joined Bengal Movie & Talkie Film (e.g. Jeevan Prabhat), and then P.C. Barua’s studio (1930). Directed Barua’s short comedy Ekada and Debaki Bose’s Aparadhi and Nishir Dak. Early work strongly influenced by Calcutta theatres’ stage conventions (e.g. Tarubald), but also moved into new directions, e.g. Muktisnan’s depiction of political corruption. Later work, esp. Tulsi Lahiri’s scripts, moved closer to IPTA-influenced film (Dukhir Iman). The only Bengali director from the 30s to retain his popularity for over 40 years, e.g. with the Ashok Kumar starrer, Hospital, and one of Uttam Kumar’s best-known performances in Lai Patthar. His Rikta was re-edited and reissued in 1960. Turned producer with Digbhranta.

image FILMOGRAPHY (* also act/** act only): 1931: Jeevan Prabhat**; Aparadhi**; 1932: Nishir Dak**; Ekada* (all St); Bengal 1983**; 1936: Tarubala; 1937: Muktisnan; Basanti Purnima; 1939: Rikta*; 1940: Tatinir Bichar, Abhinav**; 1941: Pratishodh; 1942: Avayer Biye, 1943: Jogajog/Hospital; 1944: Char Aankhen; 1945: Begum; 1947: Abhijog*; 1948: Soldier’s Dream; Sarbahara; 1950: Digbhranta*; 1952: Ratrir Tapasya; 1954: Moner Mayur, Dukhir Iman*; Bhangagara; 1955: Aparadhi; 1956: Shubharatri; Daner Maryada; 1957: Shesh Parichaya; 1958: Marmabani; 1959: Pushpadhanu; Agnisambhaba; 1960: Hospital*, 1961: Kathin Maya; 1962: Sancharini; 1964: Kaalsrote, Lai Patthar*; 1966: Dolgobinder Karcha**; 1969: Shuk Sari; 1971: Lai Patthar*; 1979: Samadhan**; 1980: Dux Prithibt**; 1982: Uttar Meleni**.

MAJUMDAR, TARUN (B. 1932)

Bengali director born in Bogra, now Bangladesh. Moved to Calcutta in 1946. Trained as a scientist. Assistant director at Rupasree Studio (1952–9), then made advertising films. Début with Kanan Devi’s film unit. Formed the Yatrik Film collective with Dilip Mukherjee and Sachin Mukherjee (1959–63, including his first four films). His Palatak, credited to Yatrik and produced by V. Shantaram, marked the comedian Anup Kumar’s change to a heroic image. The film was remade in Hindi as Rahgir. With his best-known film, the romantic musical Balika Bodhu, revitalised the genre of the rustic lyrical melodrama assisted by Hemanta Mukherjee’s music and one song hit originally from D.L. Roy. Made some 70s hits such as Nimantran, Phuleshwari and a Hindi remake of Balika Bodhu, causing a renewed 80s interest in the theme of the country-city divide as representing a conflict of morality, with Dadar Kirti. It has, however, proved unsuccessful with later films, e.g. Parasmoni, Agaman et al. Changed genre for the Rajen Tarafdar-scripted Sansar Simantey. One of the last commercial Bengali directors to trace his ancestry to Debaki Bose, P.C. Barua, Bimal Roy and 50s art-house cinema (cf. Tapan Sinha) rooted in popular Bengali literature: e.g. Ganadevata, based on a Tarashankar Bannerjee novel. Explicitly refers to this tradition in the opening song of Phuleshwari, contrasting his simpler populism with ‘Godard and Satyajit Ray’.

imagesFILMOGRAPHY: 1959: Chaowa-Pawa; 1960: Smriti Tuku Thak, 1962: Kancher Swarga; 1963: Palatak, 1965: Alor Pipasa; Ek Tuku Basa; 1967: Balika Bodhu; 1969: Rahgir, 1971: Nimantran; 1972: Shriman Prithviraj; 1974: Phuleshwari; Thagini; 1975: Sansar Simantey; 1976: Balika Badhu; 1978: Ganadevata; 1979: Shahar Theke Dooray, 1980: Dadar Kirti; 1981: Meghmukti; Khelar Putul; 1983: Amar Geeti; 1985: Bhalobasha Bhalobasha; Aranya Amar (Doc); 1986: Pathbhola; 1988: Parasmoni; Agaman; 1990: Apon Amar Apon; 1991: Path-o-Prasad; Sajani Go Sajani; 1994: Kothachilo; Akuha Katha.

MALAYIL, SIBI

Successful Malayalam director. Started as assistant in Appachan’s Navodaya Studio, later assisting Fazil and Priyadarshan. Worked mainly with sentimental dramas, within the context of the 80s Malayalam film industry. Bharatham, a musical, was one of his best known hits of this time.

imagesFILMOGRAPHY: 1986: Chekkaran Oru Chilla; Doore Doore Koodu Kottam; Rareeram; 1987: Ezhuthapurangal;

Thaniyavartanam; 1988: August 1; Mudra; Vicharana; 1989. Dasharatham; Kireedam; 1990: His Highness Abdullah; Radha Madhavan; Kshanakathu; Parampara; Adhipathi; 1991: Bharatham; Dhanam; Sadayam; 1992: Kamalathalam; Valayam; 1993: Maya Mayuram; Akshadhoodu; Manichithratharazu; Chenkol; 1994: Sagaram Sakshi; 1995: Aksharam; Sindoora Rekha.

MALINI, HEMA (B. 1948)

Hindi star born in Madras. After Vyjayanthimala, Hema Malini is only the second major South Indian actress to become successful in Hindi films. Like her predecessor, she was trained in Bharat Natyam dance. Starring début with Raj Kapoor in Sapnon Ka Saudagar. Received top billing for her double role in Ramesh Sippy’s Seeta Aur Geeta. Established herself mainly in Pramod Chakravarty films (e.g. Naya Zamana) which promoted her as a 70s ‘dream girl’ (cf. the title of Chakravarty’s 1977 film with her). Associated in this period mainly with crime thrillers and love stories starring opposite Dev Anand (e.g. the hit Johnny Mera Naam followed by Tere Mere Sapne, Chhupa Rustom, Amir Garib) and Dharmendra (Turn Haseen Main Jawan, the epic Sholay). Tried to change her glamorous image via Gulzar’s lyrically realist films (Kinara, Khushboo and in the title role of the saint film Meera) and then in Basu Chatterjee’s art-house movie which she produced, Swami. Cast opposite Bachchan in the late 70s (Naseeb, Satte Pe Satta). Then concentrated on ‘character’ roles, often with feminist undertones (e.g. Rihaee). The TV series Noopur, which she directed, was designed to re-establish her as a classical dancer, playing a female star who abandons her career to return to her guru in Tanjore. Also directed Dil Ashna Hai. Most recent direction, Mohini, sponsored by a cable channel, ran into legal problems when the original author, Malayattoor Ramakrishnan, on whose novel Yaksbi the film was based, alleged breach of contract. Married to Dharmendra.

imagesFILMOGRAPHY (* also d): 1968: Sapnon Ka Saudagar, 1969: Jahan Pyar Mile, Waris; 1970: Abhinetri; Aansoo Aur Muskaan; Johnny Mera Naam, Sharafat; Tum Haseen Main Jawan; 1971: Andaz; Lal Patthar, Naya Zamana; Paraya Dhan; Tere Mere Sapne, 1972: Babul Ki Galiyan; Bhai Ho To Aisa; Gora Aur Kala; Raja Jani; Seeta Aur Geeta; 1973: Chhupa Rustom; Gebri Chaal; Joshila; Jugnu; Shareef Badmash; 1974: Amir Garib; Dost; Dulhan; Haatb Ki Safai; Kasauti; Kunwara Baap; Pattbar Aur Payal; Prem Nagar, 1975: Dharmatma; Do Thug; Kebte Hain Mujbko Raja; Khushboo; Mrig Trisbna; Pratigya; Sanyasi; Sholay; Sunebra Sansar, 1976: Aap Beeti; Charas; Das Numbri; Ginny Aur Johnny, Jaaneman; Maa; Mehbooba; Naach Utha Sansar, Sbarafat Chhod Di Maine, 1977: Chacha Bhatija; Chala Murari Hero Banne, Dhoop Ghhaon; Dream Girl; Kinara; Palkon Ki Ghhaon Mein; Shirdi Ke Sai Baba; Swami; Tinku; 1978: Azad; Apna Khoon; Cinema Cinema; Dillagi; Trishul; 1979: Dil Ka Heera; Hum Tere Aashiq Hain; Janata Havaldar, Meera; Ratnadeep; 1980: Aas Paas; Alibaba Aur Chalis Chor, Bandish; Do Aur Do Paanch; The Burning Train; 1981: Dard;Jyoti; Kranti; Krodhi; Kudrat; Maan Gaye Ustad; Men Awaaz Suno; Naseeb; Satte Pe Satta; 1982: Baghavat; Desh Premi; Do Dishayen; Justice Choudbury, Farz Aur Kanoon; Meharbani; Rajput; Samrat; Suraag; 1983: Andha Kanoon; Babu; Ek Naya Itihaas; Nastik, Razia Sultan; Taqdeer, 1984: Durga; Ek Nai Paheli; Hum Dono; Phaansi Ke Baad; Qaidi; Raj Tilak, Ram Tera Desh; Sharara; 1985: Aandhi Toofan; Ramkali; Yudh; 1986: Anjaam; Ek Chadar Maili Si; 1987: Apne Apne, Hirasat; Jaan Hatheli Pe, Kudrat Ka Kanoon; Seetapur Ki Geeta; 1988: Mohabbat Ke Dushman; Mulzim; Rihaee; Tohfa Mohabbat Ka; Vijay 1989: Desh Ke Dushman; Deshwasi; Galiyon Ka Badshah; Paap Ka Ant; Sachche Ka Bol Bala; Santosh; 1990: Jamai Raja; Lekin…; Shadayantra; Noopur* (TV); 1991 Dil Ashna Hai*; Hai Meri jaan; Indira; 1992: Aman Ke Farishte, Marg; 1994: Param Veer Chakra; Mohini (only d.).

MALVANKAR, DAMUANNA (1893–1975)

Portly Marathi comedian with a squint. Started in Keshavrao Date’s ‘naturalist’ Maharashtra Natak Mandali. Worked with the Sangeet Natak group, Balwant Sangeet Mandali, and entered cinema when they moved into film with Bedekar. His major films were with Vinayak and Atre, playing the caricature of a Marathi gentleman (Brandichi Batli/Brandy Ki Botal, Brahmachari). His image became identified with the part of Chimanrao, the middle-aged householder of C.V. Joshi’s political satires, partnered by Vishnupant Jog’s Gundyabhau (Lagna Pahave Karun, Sarkari Pahune). They remained partners for many years. Other directors filmed Joshi stories with them (e.g. Raja Thakur’s Gharcha Jhala Thodd) but never with Vinayak’s incisiveness. Malvankar went on to play many stereotyped character parts, usually as the foil to the lead actor, and one major ‘serious’ role, the lead character of Gajabhau.

imagesFILMOGRAPHY: 1934: Krishnarjun Yuddha; 1935: Thakicba Lagna; Satteche Prayog; 1936: Pundalik, Andheri Duniya; 1938: Brahmachari; Lakshmiche Khel; 1939: Brandichi Batli/Brandy Ki Botal, Devata; Sukhacha Shodh/Mera Haq; 1940: Ardhangi/Ghar Ki Rani, Lagna Pahave Karun, 1941: Amrit; Gharjavai; Sangam; 1942: Tuzhach; Pahili Mangalagaur, Sarkari Pahune, 1943: Chimukla Sansar, Mazhe Bal; 1944: Gajabhau; 1945: Badi Maa, 1946: Jeevan Yatra, Subhadra; 1947: Chul Ani Mul; Main Tera Hoon; 1948: Moruchi Mavshi; 1949: Brahma Ghotala; Galyachi Shapath; Sakharpuda; 1950: Baiko Pahije, Chalitil Shejari; Dev Pavla, Ram Ram Pahuna; 1952: Devacha Kaul; 1954: Purshachi Jaat; Taraka; 1955: Varaat; Ye Re Majhya Maglya; 1956: Vakda Paool; 1957: Pahila Prem; Gharcha Jhala Thoda; Jhakli Mooth; 1958: Choravar Mor, Dhakti Jau; Don Ghadicha Dav, Guruchi Vidya Gurula?; Raja Gosavichi Goshta; 1959: Satajanmacha Sobti; Pativrata; Rajmanya Rajashri; Yala Jeevan Aise Nav; 1960: Avaghachi Sansar, Lagnala Jato Mi; Paishyacha Paoos; Sangat Jadli Tujhi An Majhi; Duniya Jhukti Hai; Vanakesari; 1961: Ek Dhaga Sukhacha; Matlabi Duniya; 1962: Baap Mazha Brahmachari; Bhagya Lakshmi; Char Divas Sasuche Char Divas Suneche, Drishtijagachi Aahe Nirali; Gariba Gharchi Lek, Nandadeep, Preeti Vivah; Saptapadi; Sonyachi Paoole, Varadakshina; 1963: Pahu Re Kiti Vaat!; Vaibhau, 1964: Vaat Chuklele Navre, 1965: Kama Purta Mama; Sudharlelya Baika; 1966: Chala Utha Lagna Kara; 1967: Chimukla Pahuna; Daiva Janile Kuni; Shrimant Mehuna Pahije, Sukhi Sansar, 1968: Bai Mothi Bhagyachi; Mangalsutra; 1970: Ti Mi Navhech; 1971: Bahaklela Brahmachari; Bhagyavati Mi Hya Sansari; Mihi Manoosach Aahe.

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Mammootty (2nd from right) in Ayarthi Thollayirathi Irupathonnu (1988)

MAMMOOTTY (B. 1953)

Malayalam star of the 80s. Born Mohammed Kutty in Chembu. Former lawyer practising in Manjiri. Discovered by the writer-director M.T. Vasudevan Nair, who cast him as the lead in the unfinished Devalokam. Formal début in Vilkannudu Swapnangal and Mela. Was associated in the early 80s mainly with low-budget art-house films, e.g. Akkare, Koodevide?, Lekhayude Maranam Oru Flashback. Together with a new generation of directors like I.V. Sasi (America America; Alkoottathil Thaniye; Angadikkapurathu; Ayarthi Thottayirathi Irupathonnu); Jesey (Akalathe Ambili), P.G. Vishwambaran (Sagaram Shantham) et al., he signalled a new era in Malayalam cinema after Sathyan and Prem Nazir’s work of the 70s. The 80s in Kerala are marked by the ‘Gulf money’ remitted by expatriate workers, spawning a ‘newly rich’ consumerist sector and fostering a lumpenised urban mass culture. Mammootty’s films, like those of the other main star in Kerala, Mohanlal, were often financed by ‘Gulf money’ and played to the new audience of Gulf migrants. His best-known films repeatedly feature the hero as victim in violent vendetta stories (often with explicit caste overtones), evoking political and economic corruption and condemning the good hero either to cultural exile or to a violent death while defending his and his kinfolk’s honour. Dislocations within Kerala’s culture give new, local meanings to vigilante figures modelled on e.g. Bronson or Eastwood. Unlike Bachchan’s vigilante roles of the early 70s, Mammooty’s films stress religion and caste and often have a tragic ending. Classic roles include the forest conservator in Yathra, the misunderstood Kalaripayattu martial-arts exponent in Oru Vadakkan Veeragatha, the Moplah freedom fighter in Ayarthi Thollayirathi Irupathonnu and his cop roles in Oru CBL Diary Kuruppu and Avanazhi. His reputation spread beyond Kerala with Adoor Gopalakrishnan’s Anantaram and Mathilukal (playing the Malayalam writer Vaikom Mohammed Basheer in the latter film). Although he has done several Tamil films (inc. Mani Rathnam’s Datapathi), has been established as a Tamil star only with the success of Makkal Aatchi. Published his autobiography: Chamayangalillathe.

imagesFILMOGRAPHY: 1980: Vilkannudu Swapnangal; Mela; 1981: Trishna; Ahimsa; Munnettam; Oothikachiya Ponnu; 1982: Eenadu; Thadagam; Pooviriyum Pulari; Yavanika, Balloon; ADivasam; Amritha Geetham; Champalakadu; Enthino Pookunna Pookal; Idiyum Minnalum; Innalenkil Nale, John Jaffer Janardhan; Kent; Komaram; Padayottam; Ponnu Poovum; Post Mortem; Saravarsham; Sindoora Sandhyakku Mounam; Thadagam; Veedu; Vidhichathum Kothichathum; 1983. Adaminte Variyellu; A Rathri; Akkare; America America; Asthram; Chakravalam Chuvannapol; Chengathem; Coolie (Mal); Eettillam; Ente Katha; Guru Dakshina; Himavahini; Iniyenkilum; Kattaruvi; Kodungattu; Koodevide?, Lehhayude Maranam Oru Flashback; Manasi Oru Mahasamudram; Maniyara; Nadhi Muthal Nadhi Vare, Nanayam; Onnu Chirikku; Oru Madaupravinte Katha; Oru Mugham Pala Mugham; Oru Swakariam; Pinninvalu; Pratigna; Rachana; Rukma; Sagaram Shantham, Sandhyakku Virinja Poovu; Sesham Kazhchayil; Theeram Thedunna Thira; Visa; 1984. Alkoottathil Thaniye, Ayiram Abhilashangal; Adiyozhukkukal; Aksharangal; Alakadalinakkare, Anthi Chuvappu; Ariyatha Veethigal; Arorumariyathe, Athirathram; Attuvanchi Ulanjappol; Chakkarauma; Edavellakku Sesham; Enganeundasane, Ente Upasana; Etha Ennumuthal; Ethirpukkal; Ithiri Poove Chuvannapoove, Kaanamarayathu, Kodathi; Koottinilangili; Lakshmana Rekha, Mangalam Nerunne; Manithali; Onnanu Nammal; Onnum Mindatha Bharya; Oru Kochu Katha Arum Parayatha Katha; Pavam Poornima; Sandhyakenthinu Sindhuram; Sannarbham; Thirakkil Alpa Samayam, Veendum Chalikunna Chakram; Vettah; Vikatakavi; 1985: A Neram Alpa Dooram; Akalathe Ambili; Angadikkapuratbu; Anubandham; Arappatta Kettiya Gramathil; Avidathepole Ivideyum; Ayanam; Ee Lokam Ivide Kure Manushyar, Eeran Sandhya; Ee Shabdam Ennathe Shabdam; Ee Thanalil Ithirineram; Ente Kannakuyil; Ida Nilangal; Iniyum Katha Thudarum; Kanathaya Pennkutty, Kandu Kandarinju; Karimbin Poovinakkare, Katha Ithuvare, Kathodu Kathoram; Kochuthemmadi; Makan Ente Makan; Manya Mahajanangale, Muhurtam At 11.30; Neram Pularumbol; Nirakkootte, Oduvil Kittiya Vartha; Onningu Vannengil; Oru Nokku Kannan; Oru Sandesha Koodi; Parayanumvayya Parayathirikkanumvayya; Puli Varunne Puli; Puzhayozhukum Vazhi; Thammil Thammil; Thinkalazhcha Nalla Oivasam, Upaharam; Vilichu Vilikettu; Yathra, 1986. Avanazhi, Oru Katha Oru Nunakkatha; Ithile Iniyum Varum; Pranamam; Shyama; Alorungi Arangorungi; Vartha; Kariyila Kattu Pole, Malarum Kiliyum; Padayani; Poovinnu Puthiya Poonthennal; Gandhinagar 2nd Street; Prathyekam Sradhikkuka; Shaminchu Ennoruvakku; Poomugappadiyil Ninneyum Kathu; Rakkuyilin Rajassadasil; Alorungi Arangorungi; 1987: Kathakku Pinnil; Nombarathi Poovu; Adimagal Udumagal; Athinumappuram; New Delhi; Thaniyavartanam; Manivathoorile Ayiram Sivarathrikal; Ankiliyude Tharattu; Anantaram; Nalkawala; 1988: Vicharana; Dinarathrangal; Oru CBI Diary Kuruppu, Manu Uncle, Abkari; Sangham; Mattoral; August 1; Ayarthi Thollayirathi Irupathonnu; Thanthram; Mukti; Shankhanadam; 1989: Charithram; Mudra; Adikkurippu; Uttaram; Oru Vadakkan Veeragatha; Jagratha; Artham; Carnival; Nair Saab; Mahay anam; Mathilukal; Mrigaya; Purappad; Mrigaya; Adharvam; 1990: Triyatri; Mounam Sammadham; Adhipathi; No. 20 Madras Mail, 1991: Azhagan; Swati Kiranam; Dalapathi; Amaran; Nayam Vethamakkunnu; Inspector Balram; Adhayalam; Kanal Katru; Anaswaram; Neelagiri; Swati Kiranam; 1992: Gauravar; Johnny Walker, Suryamanasam; Papayude Sontham Appoose; Kizhakkan Pathrose, Dhruvam; Ayirappara; 1993: Valsalyam; Jackpot; Sarovaram; Kilipetchu Ketkava; Dhartiputra; Padhayam; Golandhara Vartha; Vidheyan, Ponthan Mada, 1994: Vishnu; Sainyam; Sagaram Sakshi; Sukrutham, 1995-Makkal Aatchi; Ormakalundayirikkanam.

MANE, ANANT (1915–1995)

Marathi and Hindi director born in Kolhapur. Started as editor at Prabhat (1930–44) on films like Ramshastri (1944); left with Raja Nene, Datta Dharmadhikari, Bhole, etc. to work independently. Editor of Nene-Dharmadhikari films, including (uncredited) Daha Wajta (1942). In his autobiography, Ananf Athvani (1987), claims to have ghost-directed several Nene hits (e.g. Patthe Bapurao, 1950) and Dharmadhikari productions. Early work continues Dharmadhikari-style melodrama scripted by G.D. Madgulkar, occasionally abandoning literary sources for original screenplays (e.g. Paidali Padleli Phule). Helped graft All-India Film commercial formulas on to Marathi cinema. Set up Chetana Chitra (1956) for production. Pioneered the producer-director’s move into distribution with Chandravilas Films (1968). Best known for musical Tamasha films, e.g. the classic Sangtye Aika, one of Marathi cinema’s biggest successes. Introduced several new actors (Raja Gosavi, Nilu Phule, Sharad Talwalkar) and developed Loknatya-style ribald comedy genre. Among his script credits are Dharmadhikari’s Chimni Pakhare/Nannhe Munne (1952), Shantaram’s Pinjra (1972) and Kulkarni’s Tamasgeer (1981).

imagesFILMOGRAPHY: 1949: Jai Bhim; 1950. Ketakichya Banaat; 1953: Aboli; 1954: Kalakaar, Ovalani; Shubhamangal; Suhagan; 1955: Punavechi Raat; 1956: Paidali Padleli Phule, 1957: Jhakli Mooth; Preetisangam; 1958: Dhakti jau; Don Ghadicha Dav, 1959: Sangtye Aika; Satajanmacha Sobti; 1960: Avaghachi Sansar, Paishyacha Paoos; 1961: Manini; Rangapanchami; Shahir Parashuram; 1962. Bhagya lakshmi; Chimnyanchi Shala; Preeti Vivah; 1963: Mazha Hoshil Ka?; Naar Nirmite Nara; 1964: Kai Ho Chamatkar, Saval Mazha Aika; 1965: Kela Ishara Jata Jata; 1967: Sangu Kashi Mi; 1968: Ek Gao Bara Bhangadi; 1969: Dongarchi Maina; Gan Gaulan; 1971: Aai Ude Ga Ambabai; Ashich Ek Ratra Hoti; 1973: Mi Tuzha Pati Nahi; 1975: Paach Rangachi Paach Pakhare, 1976: Pahuni; 1977: Asia Navara Nako Ga Bai; 1978: Kalavanteen; Lakshmi; Sushila; 1979: Duniya Kari Salaam; Haldi Kunku; 1980: Savaf, 1981: Aai; Pori Jarajapoon; Totaya Amdaar, 1982: Don Baika Phajiti Aika; Galli Te Dilli; 1983: Sansar Pakharancha; 1984: Jagavegali Prem Kahani; Kulaswamini Ambabai; 1985: Gao Tasa Changla Pan Veshila Tangla; 1991: Bandhan; ZP; 1993: Lavanyavati.

MANGESHKAR, LATA (B. 1929)

Prolific megastar playback singer central to Hindi film music for the past four decades. Allegedly recorded over 25000 songs in 14 Indian languages, although Nerurkar’s compilation (1989) lists a total of 5066 Hindi songs between 1946 and 1989, which should be the bulk of her output. Born in Indore, MP. Daughter of noted Sangeet Natak actor-singer, Dinanath Mangeshkar, started as a child actress in Master Vinayak films. Sang her first song in Vasant Joglekar’s Marathi film Kiti Hasaal (1942), but the song was dropped, making her real début with Joglekar’s Aap Ki Sewa Mein (1947). Came to prominence with Ghulam Haider’s score in Majboor (1948). Worked with all leading music directors, including Anil Biswas, Naushad, Shankar-Jaikishen and C. Ramchandra. Occasionaly composed for Marathi films, starting with Dinkar D. Patil’s Ram Ram Pahuna (1950) and then, under the pseudonym Anandaghan, only for Bhalji Pendharkar (Mohityanchi Manjula, 1963; Mar at ha Tituka Melavava, 1964; Sadhi Manse, 1965; Tambdi Mati, 1969). Turned producer with the Marathi films Vadal and Jhanjhar (both 1953), Kanchan (1955) and Lekin … (1990). Since the 50s, possibly following Bhai Bhai (1956), she perfected her apparently effortless, high-pitched voice projection, usually in C sharp, a technique said to overcome the crude sound reproduction on rickety gramophones and in suburban and rural cinemas. Until the late 80s, recorded about 2 songs a day, featuring in almost every Hindi and most other language films. The major Khayal performer, Neela Bhagwat, commented that Mangeshkar’s performances regrettably became the norm for the Indian middle-class notion of feminine beauty in music. Kumar Shahani suggested that only she could have sung the difficult Ektaal-based song, Sangh sojavo in his Tarang (1984). She appeared as actress in Pahili Mangalagaur (1942), Mazhe Bal and Chimukla Sansar (1943), Gajabhau (1944), Badi Maa (1945), Jeevan Yatra and Subhadra (both 1946), Mandir (1948) and Chhatrapati Shivaji (1952).

Manirathnam see Rathnam, Mani

MANTO, SADAT HASAN (1912–55)

Major Urdu writer and scenarist whose work has defined the literary and the filmic iconography of Partition (e.g. in his most famous story, Toba Tek Singh, cf. Manto, 1987), of the urban dispossessed and of the post-Independence political and bureaucratic ruling class. Often wrote diary or travelogue-type fictions with himself as observer or in conversation with his protagonist. A journalist in Aligarh, he went to Bombay to edit the film weekly Muṣsawar (1936). Joined Imperial as storywriter; in 1943 joined Filmistan, injecting some contemporaiy consciousness into its largely apolitical productions (e.g. Dattaram Pais Eight Days, 1946). Later, with Ashok Kumar, rejoined Bombay Talkies and in 1948 migrated to Lahore to get away from the persecution of Muslims in Bombay. His published writings include 15 short-story anthologies, one novel (Baghair Unwan Ke, 1940), a play (Teen Auratein, 1942), essays (Manto Ke Mazamin, 1942) and a famous autobiographical account of his years in films, Meena Bazaar (1962/1984). His work was the basis of the British TV film Partition (1987), followed by the publication of his Kingdom’s End and Other Stories; acclaimed by Salman Rushdie as the ‘master of the modern Indian short story’. Among the main films he scripted are Gidwani’s Kisan Kanya (1937), Dada Gunjal’s Apni Nagariya (1940), Shaukat Hussain’s Naukar (1943), Gyan Mukherjee’s Chal Chal Re Naujawan (dial), Harshadrai Mehta’s Ghar Ki Shobha (both 1944), Eight Days, J.K. Nanda’s Jhumke (st), Savak Vacha’s Shikari (dial; all 1946) and Sohrab Modi’s Mirza Ghalib (st; 1954).

MARUDAKASI, AYYAMPERUMAL (1920–89)

Tamil film lyricist born in Melakudikadu, TN; farmer’s son. Influenced by musician Rajagopala Iyer, brother of composer Papanasam Sivan. Worked as a village official; left his government job to join the famous Tamil theatre troupe TKS Brothers. Also worked in Nawab Rajamanikkam’s theatre group and for Devi Drama, for which he wrote his first songs. Film début as songwriter in T.R. Sundaram’s Mayavathi (1949). First hit number is Varai … varai in Manthiri Kumari (1950). Wrote over 3000 songs in c.300 Tamil films, reaching the pinnacle of his career in the 50s and 60s. At this time, his lyrics were often sung by playback singer T.M. Soundararajan and composed by M.S. Vishwanathan. Known mainly for his use of rural and folk idioms. A compilation of his film songs was published in 1988.

MASTER, HOMI (?–1949)

Top Kohinoor director in the 20s, esp. 1924–6: Lanka Ni Laadi, Fankdo Fituri, The Telephone Girl were big silent hits. Joined leading Parsee theatre company Baliwala aged 13; became very popular stage actor, notably in Pakzaad Parveen. Employed briefly at Hindustan Film and was by some accounts sent abroad to market Phalke’s films in Europe. Joined Kohinoor as actor (he played Duryodhan in Bhakta Vidur, 1921; the lead in Kala Naag, 1924) and as assistant to Kanjibhai Rathod. As director created one of the most successful teams of 20s Indian film with scenarist Mohanlal Dave and cameraman D.D. Dabke. Described by silent star Gohar as perhaps the most ‘dramatic’ film-maker she worked with, contrasting with e.g. the ‘realism’ of Bhavnani and Chandulal Shah. Made several B films in Hindi and in Gujarati. Ended his career as production manager at Kardar’s Studio in Bombay.

image FILMOGRAPHY (* also act). 1924. Bismi Sadi; Kanya Vikraya; Manorama; Ra Mandlik; Sati Sone; Veer Ahir; 1925: Gharjamai; Kunj Vihari; Lanka Ni Laadi; Sansar Swapna; Fankdo Fituri*; Hirji Kamdar, Kulin Kanta, Mari Dhaniyani; Rajnagarni Rambha; 1926: The Telephone Girl; Briefless Barrister, Lakho Vanjaro; Mumtaz Mahal; Satijasma; Shirin Farhad; Delhi No Thug; 1927: Rangmahal Ni Ramani; Return Of Kala Naag*; The Mission Girl; Bhaneli Bhamini; Surat No Sahukar, 1928: Lekh Par Mekh; Gul Sanobar, Veerangana; Rajani Bala; Sarojini; 1929: Bilwamangal; Lanka Lakshmi; Punjab Kesari; Punya Prabhav, Sinh Ka Bachha Sink; Lutaru Lalna; 1930: Mast Fakir, Shoorveer Sharada; Ranchandi; Patan Ni Paniari; 1931: Rao Saheb; Shahi Firman; Dushman-e-Iman; Bulbul-e-Shiraz; 1932: Ranadevata; Mahiari; Hind Kesari; Jai Bajrang; Prabhu Na Chor (all St); Hoor-e-Misar, 1933: Jagat Mohini (St); Misar Nu Moti (St); Saubhagya Sundari; 1934: Samaj Ki Bhool, Gul Sanobar; Khwab-e-Hasti; 1935: Do Ghadi Ki Mauj; Ghar Jamai; Naya Zamana; 1936: Akkal Na Bardan; Zaat-e-Sharif 1937: Jagat Kesari; New Searchlight; Punjab Lancers; 1938: Chhote Sarkar, 1939: Fankdo Fituri; 1940: Neelamalai Kaidhi; 1946: Chamakti Bijli; 1948: Bhaneli Vahu; Gharwali; Jai Ranchhod; Lagan Na Umedvar, 1949: Shethno Salo.

MATHUR, VISHNU (B. 1944)

Hindi director born in Ahmedabad. Graduated from the FTII (1970). Assisted Mani Kaul and Mrinal Sen. Employed by Films Division (1975–8) but resigned over directorial freedom. Feature début, Pehla Adhyay, pioneered a complex and innovative approach to cinematic space and rhythm, also in evidence in his unconventional portrait of the Carnatic veena-player Savithri Rajan (Flying Bird). Works in collaboration with noted Tamil writer and feminist intellectual C.S. Lakshmi (aka Ambai).

imagesFILMOGRAPHY: 1969: Wardrobe (Sh); 1970: In Panchgani (Sh); Film Gaze (Doc); 1973: This Our Only Earth (Doc); Small-Scale Industries of India (Doc); Drought in Maharashtra (Doc); President Nyerere’s Visit to India (Doc); 1975: Discipline on the Road (Doc); 1976: Sharing Experience (Doc); Sixth Lnternational Film Festival of India (Doc); 1977: Communication Security/Sanchar. Suraksha (Doc); 1978: Surdas (Sh); 1981: Pehla Adhyay; 1983: Towards Zero Population Growth in Kerala (Doc); 1985: Through the Looking Glass (Doc); 1989: The Flying Bird (Doc); 1994: Mere Appa (Sh).

Mazumdar see Majumdar

MEHBOOB (1906–64)

Aka Mehboob Khan. Hindi-Urdu director regarded as one of the most important influences on post-50s cinema. Born as Ramjan Khan in Bilimoria, Gujarat. Ran away to Bombay to join film industry. Started as extra and factotum in Imperial Studio where he met director R.S. Choudhury (later scenarist for Roti and Aan) and cameraman Faredoon A. Irani. Acted as one of the thieves in Alibaba and the Forty Thieves. Directorial début at Sagar (1935). Worked in National Studios (1940–2) along with Kardar. Founded Mehboob Prod, in 1942 (established as studio in 1952) using a hammer and sickle emblem even though formally unassociated with the CR Acclaimed first as heir to Imperial’s historicals (Judgement of Allah, Humayun); he continued its trend of merging DeMille with the conventions of the Urdu stage but brought to the formula a greater self reflexiveness (Roti). His Mother India (a subcontinental equivalent of Gone with the Wind which has been declared India’s most successful film ever) also evoked Dovzhenko’s lyricised socialist-realist imagery. Immensely successful on an international scale, Mehboob’s films often derive from a clash between pre-capitalist ruralism (with its blood feuds, debts of honour, kinship laws etc.) and an increasingly modernised state with its commercial-industrial practices and values. His elaboration of political themes within popular generic conventions provides the bridge between the pre-Independence cinema of e.g. Bhavnani (Mazdoor, 1934) and the social critiques attempted by Raj Kapoor in the post-1947 industrial mainstream. With Andaz he made what was regarded as the first Indian film set in ‘modern times’ among an affluent middle class, exerting an enormous influence on later films (e.g. Awara, 1951).

image FILMOGRAPHY (* only act): 1927: Alibaba and the Forty Thieves*; Allah Ka Pyara*; 1929: Shirin Khushrau*; 1930: Mewad No Mawah*; 1931: Raj Tilak*; Dilawar* (all St); Merijaan*; Veer Abhimanyu*; 1932: Bulbul-e-Baghdad*; 1933: Ghandrahasa*; Pandav Kaurav*; Mirza Sahiban*; Premi Pagal*; 1934: Grihalakshmi*; Naachwah*; Sati Anjani*; 1935: Vengeance Is Mine*; Judgement of Allah, 1936: Deccan Queen, Manmohan; 1937: Jagirdar, 1938: Hum Turn Aur Woh; Watan, 1939 Ek Hi Raasta; 1940: Alibaba; Aurat; 1941 Bahen, 1942: Roti, 1943: Najma, Taqdeer, 1945: Humayun; 1946: Anmol Ghadi; 1947. Elaan, 1948. Anokhi Ada, 1949 Andaz, 1952 Aan, 1954 Amar, 1957 Mother India; 1962: Son of India.

MEHRA, KRISHNA DEV (1907–95)

Punjabi/Hindi filmmaker often considered the ‘father’ of the Punjabi cinema. Born in Sarsa (now Haryana). Early career in Punjab Film Corporation. Migrated to Calcutta (1933) where he was technical advisor and helped script Joymati (1935). Debut with Sheila (aka Pind Di Kudi), adapted from Tolstoy’s Resurrection, and the first major success in Punjabi. The film was supported by Madan Theatres, as was his second, Heer Syal, both featuring Nurjehan. Moved to Bombay after Partition, later working with B. R. Chopra’s B. R. Films.

imagesFILMOGRAPHY: 1935: Sheila; 1938: Heer Syal; 1939: Surdas (?); 1940: Mera Punjab, 1944: Bhai; 1950: Posti.

MEHRA, PRAKASH (B. 1939)

Hindi director and producer born in Bijnaur, UP. Assistant to Dhirubhai Desai at Vishnu Cinetone (1958–9). Worked as a lyricist in the 60s, then director. Made Bachchan’s first major hit, Zanjeer and launched the star’s image as a lumpen-vigilante hero, an orphaned (Zanjeer) or illegitimate (Muqaddar Ka Sikandar) outsider. Also made some of Bachchan’s best-known buddy films, usually co-starring Vinod Khanna (Muqaddar Ka Sikandar, Hera Pberi).

imagesFILMOGRAPHY: 1968: Hasina Maan Jayegi; 1971: Mela; 1972: Aan Baan; Samadhi; 1973: Ek Kunwari Ek Kunwara; Zanjeer; 1974: Haath Ki Safai; 1976: Hera Pheri; Khalifa; 1978: Aakhri Daku; Muqaddar Ka Sikandar, 1980. Desh Drohi; Jwalamukhi; 1981: Lawaris; 1982: Namak Halal; 1984: Sharabi; 1987: Muqaddar Ka Faisla; 1988: Mohabbat Ke Dushman; 1989: Jadugar, 1992: Zindagi Ekjua.

MEHTA, HARSHADRAI SAKERLAL

Pioneer Hindi and Tamil director born in Mota, Bardoli Dist., Gujarat. Started as a painter, editor and cameraman at Kohinoor (1919), but made his début for Krishna Film (Ver Ni Vasulat). At Krishna he began his association with long-time partner and cameraman Lunar (e.g. Be Din Ni Badshahi, Amar Asha) making melodramas often starring the Anglo-Indian star Ermeline. Best-known film of this period is Janjirne Jankare, the much-acclaimed Rajput romance scripted and shot by Luhar. Made his most influential films with the famous Mehta-Luhar Prod, set up in 1931 with Bapubhai Desai and the informal support of the Sharda Studio. Made several Sharda-type stunt movies featuring e.g. Navinchandra. Moved to Coimbatore’s Premier Cinetone (1937) and made a number of Tamil films.

imagesFILMOGRAPHY: 1925: Swapna Sundari; Ver Ni Vasulat; Chandrakant; Hothal Padmini; Jal Kumari; Krishna Kumar, 1926: Be Din Ni Badshahi; Amar Asha; Panna Ratna; Ram Bharose, Bhool No Bhog; Panch Kalyani; 1927: Janjirne Jankare; Keemti Ansoo; Roop Sundari; Sharad Purnima; Keshavkant BA; Vadia Dhor, 1928: Gul Badan; Karuna Kumari; Raj Tarang; Saundarya Sura; Sassi Punnu; 1929: Dilruba; Miss Dolly, Jai Somnath; Satta No Mad; Pataal Padmini; Ranagarjana; 1930: Talwar Ka Pani; Daku Ke Dilbar, Soneri Khanjar, 1931: Kola Wagh; Raj Bhakta; Priyatama; Ronak Mahal; Tirandaz; Solanki Shamsher, Dharti Kaamp, 1932: Kalo Sawar, Hoor-e-Hind; Vanraj Kesari; Bharat Veer, 1933: Jallad (all St); Sohni Mahiwal; Vikram Charitra; Rambha Rani; 1934: Veerangana Panna; 1935: Meethi Nazar, 1936: Pahadi Kanya; 1938: Eknath; Shri Kanda Leela; 1939: Shakti Maya; 1940: Parasuramar, 1942: Alli Vijaam; 1944: Ghar Ki Shobha.

MEHTA, KETAN (B. 1952)

Gujarati and Hindi director born in Navsari, Gujarat. Educated in New Delhi where he graduated in economics. Extensive theatre work: acted for Dishantar group, New Delhi, directed English plays Zoo Story and The Lesson for Motley, Bombay (1976–7), and staged Channas, a Gujarati adaptation of One Flew over the Cuckoo’s Nest, for Indian National Theatres, Bombay (1983); also did stage lighting for dancers Birju Maharaj and Kumudini Lakhia. Graduated from the FTII (1975). Worked in Space Application Centre, Ahmedabad (1975–6). Made controversial TV serial on Ahmedabad TV, Wat Tamari, on landless labourers and Untouchables in Gujarat. First feature Bhavni Bhavai, dedicated to Brecht, comic-strip authors Goscinny and Uderzo and to Asait Thakore, pioneer of the Bhavai form, is a rare successful filmic adaptation of folk theatre. Work thereafter has increasingly concentrated on adapting popular art conventions rather than folk, occasionally evoking the action and stunt genres of 50s Hindi film. Opposed to earlier notions of self-conscious art-cinema, he believes in the creative potential of explicitly lumpen cultures while also chronicling their power to destroy (Holi). Recent films include adaptation of Madame Bovary (Maya Memsaab) and a biographical on Sardar Vallabhbhai Patel (Sardar). Married to Maya Memsaabs lead actress Deepa Sahi.

imagesFILMOGRAPHY: 1975: Madhsurya (Sh); Coolies at Bombay Central (Doc); 1977–8: Wat Tamari (TV); 1977: Experience India (Doc); 1980: Bhavni Bhavai/Andher Nagari, 1982: Fair Folk at Tarnetar (Doc); 1983: Holi, 1985: Mirch Masala; Ba Ki Yaad Mein (Doc); Kisi Ek Phool Ka Naam Lo (TV); 1987: Bandhani (Doc); 1988: Hero Hiralal; Pehla Kadam (Sh); 1989: Mr Yogi (TV); 1992: All in the Family (Doc); Maya Memsaab; 1993: Sardar; 1995: Oh Darling Yeh Hai India.

MEHTA, VIJAYA (B. 1934)

Actress and director born in Baroda, Gujarat.. Graduated from Bombay University; studied theatre with E. Alkazi in Delhi and with Adi Marzban. Was Durga Khote’s daughter-in-law, then widowed at 27 and re-married Farrokh Mehta who was active on the English amateur stage. Became a major figure in 60s Marathi experimental theatre. Founder member of Rangayan (Est: 1960) with playwright Vijay Tendulkar, Arvind Deshpande and Shreeram Lagoo. Stage production of C.T. Khanolkar’s Ek Shoonya Bajirao (1966) is a landmark in contemporary Indian theatre. Claims to have introduced Brecht into Marathi theatre with adaptation of Caucasian Chalk Circle (Ajab Nyay Vartulachd), and Ionesco with Chairs (1962). Helped launch the 70s Chhabildas theatre movement with her Mahesh Elkunchwar plays Sultan, Yatanaghar and Holi (all 1970). Collaborated on Indo-German theatre projects with German director Fritz Bennewitz including a traditional performance of Bhasa’s Mudrarakshasa with German actors. Except Pestonjee, most of her work consists of film and TV adaptations of her stage plays: Haveli Bulund Thi adapted Mahesh Elkunchwar’s play Wada Chirebandi, and Rao Saheb is from Jaywant Dalvi’s play Barrister (1977).

imagesFILMOGRAPHY (* also d): 1980: Kalyug; 1983 Smritichitre* (TV); 1984: Party, 1986: Rao Saheb*; Shakuntala* (TV); 1987: Pestonjee (d only); Sher Shivaji; Hamidabai Ki Kothi* (TV); Haveli Bulund Thi* (TV); 1990: lifeline (TV).

Meiyappan Chettiar, A. V. see AVM Film Company.

MELODRAMA

Defined in the Indian context mainly as a ‘musical dramatic’ narrative in accordance with its original generic meaning. From c.1912, when the Indian cinema first attempted cinematic fiction as an indigenous economic enterprise, it relied on the melodramatic mode to narrativise the moving image and to give a sequential logic to the convention of frontal address central to India’s performative and visual art traditions. Melodrama drew from the same sources as e.g. the mythological but functioned as the aesthetic regime accompanying the socio-economic transition from feudal-artisanal practices to industrial ones, both formally and in its content matter (e.g. Painter’s Savkari Pash, 1925 & 1936). It recomposed traditional performative idioms and themes, drawing on Western narrative forms and similarly negotiating modernisation tensions. Often aligned with the reformism of the literary social reform movement, esp. in the inter-war period when it was mobilised to recast modernisation in nationalist terms by e.g. V. Shantaram and B.N. Reddi, continuing into the work of B.R. Panthulu and Puttanna Kanagal. The classic example of this development was the DMK Film which provided Indian cinema with some of its most spectacular melodramas. After Independence, the genre received a new, intense and conflict-ridden inflection in the work of Raj Kapoor and Guru Dutt in the 50s, generating a social-critical type of melodrama. In their work, the negative sides of capitalist modernisation propel a darkly romantic narrative isolating the tragic hero as an individual. Ravi Vasudevan (1989) noted that this period of Hindi melodrama was overdetermined by the Oedipal triangle of the fearsome father, the nurturing mother and the traumatised son who could deal with these tensions either through renunciation or lawlessness. After WW2, the reformist melodramatic current was deployed to elaborate a pan-Indian narrative regime (see All-India Film) culminating in Mehboob’s influential Mother India (1957), restating the priority of kinship relations and parental/state authority. This later yielded Amitabh Bachchan’s or Uttam Kumar’s hero-as-outlaw, upholding an imaginary past’s ‘traditional’ values in the face of a degenerated modernity. In Maharashtra, melodrama was used to legitimate a growing regional market (Bhalji Pendharkar, scenarist G.D. Madgulkar). In Bengal, where a cinema had developed which was economically strong but culturally subservient to the novel, melodrama acquired an oppositional force, e.g. in Barua’s work which subverted the literary, and in the Kallol film-makers where it later found new alignments with the IPTA’s formal emphasis on the folk theatre. Bengal also saw the only instance in Indian film where melodrama became the site where popular and classical idioms of performance merged with a Brechtian aesthetic, yielding a unique authorial practice: the work of Ritwik Ghatak, massively influential on the films of e.g. Kumar Shahani and the early Mani Kaul. Classic melodramas include: Savkari Pash (1925), Dei das (1935), Kunku/Duniya Na Mane (1937), Swargaseema (1945), Andaz (1949), Ezhai Padum Padu (1950), Awara (1951), Parasakthi (1952), Mother India and Pyaasa (both 1957), Kaagaz Ke Phool (1959), Meghe Dhaka Tara (1960), Nagara Haavu (1972), Muqaddar Ka Sikandar (1978), Tarang (1984). See also Social.

MENON, P. N. (B. 1928)

Malayalam director born in Malchad, Trichur. Studied at Trichur School of Art. Went to Madras (1957), worked at Vauhini Studio as painter of sets; later at Salem-based studios. Freelance visual artist in theatre (1960); made publicity posters and hand-outs for Tamil, Telugu and Malayalam cinema. First major film Olavum Theeravum launched the loose collective headed by the film’s producer Backer, breaking with Kerala cinema’s studio and stagebound conventions. This helped pave the way for e.g. Adoor Gopalakrishnan’s early films. Later cloaked his anti-feudal politics in existential mysticism (e.g. Malamukalile Daivam).

imagesFILMOGRAPHY: 1965 Rosy, 1969: Olavum Theeravum; 1971: Kuttiyedathi; Mappusakshi; 1972: Panimudakku; Chemparathi; Chhayam; 1973: Darshanam; Gayatri; 1974: Mazhakkaru; 1975: Odakkuzhal; 1976: Udhayam Kizhakku Thanne, 1977: Taxi Driver, 1979: Devathai; 1981: Archana Teacher, 1982: Anu; Kadamba; 1983: Asthram; Glimpses of Kerala (Doc); Malamukalile Daivam, 1988: Padippura; 1990: Money Order (TV).

MENON, S. BALACHANDRA (B. 1954)

Malayalam director and actor born in Ernakulam, Kerala. Journalist for the magazine Nana. Failing admission at the FTII, started as an independent low-budget film-maker. Début Uthradha Rathri was a dark comedy about a hypochondriac doctor who commits suicide after making love to a colleague dying of cancer. Acts in all his films, but started playing the lead following his successful April 18.

imagesFILMOGRAPHY: 1978: Uthradha Rathri; 1979: Radha Enna Pennkutti; 1980: Aniyatha Valakkal; Ishtamanu Pakshe, Kalika; Vaiki Vanna Vasantham; 1981: Maniyan Pillai Athava Maniyan Pillai; Prema Geethangal; Tharattu; 1982: Ghiriyo Chiri; Ithiri Neram Othiri Karyam; Kelkatha Shabdam; Kilukilukkam; 1983: Kariyam Nisaram; Prashnam Gurutharam; Sesham Kazhchayil; 1984: April 18; Arante Mulla Kochu Mulla; Oru Painkilli Katha; 1985: Ente Ammu Ninte Thulasi Avarude Chakki; Menechippu Thurannapol; Parvathi; 1986: Thaikku Oru Thalattu; Vivahitare Itihile, 1987: Achuvettante Veedu; Ruthubhedam (act only); Oru Maymasappularayil (act only); Vilambaram; 1988: Kandatham Kettatham; 1991: Nayam Vethamakkunnu; 1993: Ammayana Sathyam; 1994: Sukham Sukhakaram; Sandhanagopalam (act only); 1995: Avittam Thirunal Arogya Shriman (act only).

MINERVA MOVIETONE

Est: 1936 by Sohrab Modi and his brother Rustom. It emerged from Stage Films, set up in 1935 to film the stage repertoire of Rustom’s group, Arya Subodh Natak Mandali. Renowned for big-budget historicals, the studio benefited from the Modi family’s existing distribution interests in Gwalior, expanded by the third brother, Keki Modi, into Western India Theatres, owning a chain of 27 theatres in 10 cities. Set up the first Technicolor laboratory (1952) with Film Group and made Jhansi Ki Rani (1953).

MIR, EZRA (1903–93)

Hindi director born as Edwin Myers in Calcutta. Actor on the Madan stage (played Khusro in Noorjehan and later filmed the play) and in two silent Madan films (1922–3). Sailed to New York in 1924 and worked as extra in Rudolph Valentino’s A Sainted Devil (1924). Worked in editing and story departments of Universal (1925–7) and moved to United Artists (1927–9). Made short film, The Symbolesque. Returned in 1930 to Imperial and made Noorjehan (he had acted in a 1923 version). Moved to Sagar (1932–4) where he made e.g. the Zubeida film Zarina, adapting Niranjan Pal’s play, before returning to Madan (1935). Their Kajjan starrers helped delay the studio’s demise. After a European voyage, he went to Bombay to make the Kidar Sharma-scripted Rickshawala for Ranjit Studio. Set up Everest Pics in 1939 (Sitara). During the war, inspired by the March of Time series, turned to documentary: Road to Victory used newsreel material lent by Universal and 20th Century-Fox. Joined the Film Advisory Board (1940–1) and produced over 175 films for its successor Information Films of India 1942–6. Took over Films Division in 1956 and was chief producer until 1961, moulding that institution into its current shape. Also ran the CFS (1962–4).

imagesFILMOGRAPHY: 1929: The Symbolesque (Sh) (St); 1931: Noorjehan; 1932: Zarina; 1933: Premi Pagal; 1934: Farzande Hind; 1935: Mera Pyara; Rashida; 1936: Parivartan; Shaitan Ka Pash; Jeevan Sangram; Rajdulari; 1938: Rickshawala; 1939 Sitara; Road to Victory (Doc); 1941: Voice of Satan (Sh); 1942: Whispering Legend (Doc); 1947: Beete Din; 1954: Pamposh; 1958: Do You Know? (Doc); 1964: Raju Aur Gangaram.

MIRZA, SAEED AKHTAR (B. 1943)

Hindi-Urdu director born in Bombay. Son of noted scenarist Akhtar Mirza. Worked in advertising before joining the FTII (1973–6). Co-founder of Yukt Film Co-op with K. Hariharan, Mani Kaul, Kamal Swaroop et al., where he made Arvind Desai Ki Ajeeb Dastaan. Early films attempt a free-flowing narrative style claiming partial influence of Brazilian Cinema Novo, using vérité shots usually of Bombay’s working class. Started Iskra in collaboration with Kundan Shah, producing major TV series with each episode directed in turn by Mirza, Shah and colleagues like Raman Kumar and brother Aziz Mirza. Directed 17 of Nukkads 39 episodes, a drama series set on a Bombay street corner. Made 11 of Intezaafs 26 episodes, a drama series about life in Kamalpura, a very small town. The group faced censorship trouble when Kundan Shah’s serial Police Station was denied telecast permission by Doordarshan. Stated that his TV work was aimed at 14-year-olds ‘because the medium is geared to that age level.’

imagesFILMOGRAPHY: 1976: Corpses (Doc); An Actor Prepares (Doc); 1977: The Problem of Urban Housing (Doc); 1978: Slum Eviction (Doc); Arvind Desai Ki Ajeeb Dastaan; 1980: Albert Pinto Ko Gussa Kyon Aata Hai, 1982: Piparsod (Sh); 1983 Mohan Joshi Haazir Ho; 1984: Rickshaw Pullers of Jabalpur (Doc); 1986: Nukkad (TV); 1987: Is Anybody Listening (Doc); 1988: We Shall Overcome (Doc); Intezaar (TV); 1989: Salim Langde Pe Mat Ro; 1992: Ajanta and Ellora (Doc); 1995: Naseem.

MISHRA, BHAGWATI PRASAD (1896–1932)

Hindi director, actor and producer born and educated in Benares. Achieved some renown as photographer and painter; apprenticed to painter Hussain Bux (1916–21). Worked in theatre group Vyakul Bharat Natak Mandali in Meerut. Joined Star Film as poster designer (1921). Directorial début: Razia Begum, causing communal controversy in Hyderabad (see Dhiren Ganguly). Worked with Ardeshir Irani’s Star, Majestic, Royal and Imperial Studios as actor-director, making some of the latter’s big-budget sequels to Alam Ara (1931). Promoted independent companies Indian Pic. Corp. and Zarina Pics. Then worked in Sharda and Sagar Studios until his death. His films, with those of colleague R.S. Choudhury, are often cited among the first silent productions to stress the visual rather than the plot. Did several covers and illustrations for press books, including the striking designs for Naharsinh Daku.

imagesFILMOGRAPHY (* also act/** act only): 1924: Razia Begum; Veer Durgadas*; Paap No Fej**; Mumbai Ni Sethani**; Shahjehan**; Vijaya; 1925: Kangal Qaidi** Naharsinh Daku; Noor-e-Deccan; Devi Ahalyabai; Rana Pratap; Amarsinh Daggar, Paisa Ni Khumari; Kali Nagin; Ra Navghan; Ujaint Kumar, 1926: Indrajal; Slaves of Custom; Pahadi Pindharo; Sheesh Mahal; Pyari Mamta; Pagal Premi**; 1927: Alladdin and the Wonderful Lamp, Gutter Nu Gulab; Poonam No Chand; Alibaba and the Forty Thieves; 1928: Hoor-e-Baghdad; Ek Abla; Haiyan No Haar, Kamala Kumari; Rajrang; Samrat Ashok, 1929: Anarbala; Mirza Sahiban; Jai Bharati; Be Dhari Talwar, Mewad Nu Moti; Raj Ramani; Shashikala; 1930: Cinema Girl; Nai Roshni; Sher-e-Arab; Arunodaya; 1931: Golibar, Toofani Taruni; Toofan (all St); Draupadi, 1932: Zalim Jawani, Sati Madalasa.

MISHRA, SISIR (B. 1942)

Oriya and Hindi director; lecturer in physics at Bhadrak College, Orissa. Went to Bombay to make films (1965) and after a decade of assisting various directors, made his début with the melodrama Sindura Bindu, a. melancholic tale of childhood lovers who reunite only when the hero’s wife dies of cancer. Best-known Hindi film is Bheegi Palkein, an art-house film with Smita Patil and Raj Babbar. His Samay Ki Dhara is a remake of his own Samaya Bada Balabaan.

imagesFILMOGRAPHY: 1976: Sundura Bindu; 1978: Suna Sansar, 1982: Bheegi Palkein; Samaya Bada Balabaan; 1983: Subarna Seeta; 1986: Samay Ki Dhara; Ei Aama Sansar, 1989: Billoo Badshah; 1991: Bastra Haran.

MISTRI, BABUBHAI (B. 1919)

Hindi and Gujarati director and cameraman born in Surat, Gujarat; also worked in Telugu film. India’s first and most influential special-effects expert. Early career in Prakash Pics (1933–7) and Filmco (1938–45). Then went to Madras to work on Ellis Duncan’s Meera (1945). Returned to Bombay and, as director and art director, helped establish Homi Wadia’s Basant Studio (1942). Made a crucial contribution to the iconography of the postwar B-movie mythological, e.g. the miracle sequences of Nanabhai Bhatt and Wadia films (jungle Princess, 1942; Husn Ka Chor, 1953; Hatimtai, 1956). Pioneering special effects include the invisible man in Vijay Bhatt’s Khwab Ki Duniya (1937) and the travelling matte shots showing the genie lifting the palace and flying through the air in Nanubhai Vakil’s Alladdin (1945). These sequences were admired by Pudovkin when he visited the studio. Also worked as art director at CIRCO. Directed several mythologicals and the stunt classic King Kong. Later films often feature wrestler Dara Singh. Continued working as a special-effects consultant for many productions, including the mammoth TV serial Ramayan (1986–8).

imagesFILMOGRAPHY: 1942 Muqabala, 1943: Mauj; 1945: Ji Haan; 1953: Nav Durga; 1954: Tilottama; 1955: Shri Krishna Bhakti; 1956: Sati Naagkanya; 1957: Naag Lok; Pawan Putra Hanuman; 1958: Maya Bazaar; Samrat Chandragupta; 1959: Bedard Zamana Kya faane, Chandrasena; Madari; Veer Ghatotkajan; 1960: Hanuman Pathal Vijayan; Maya Machhindra; 1961: Sampoorna Ramayan; 1962: King Kong; Maya Jaal; 1963: Kan Kan Mein Bhagwan; Parasmani, Sunehri Nagin; 1964: Magic Carpet; 1965: Bharat Milap; Mahabharat; Sangram; 1967: Sardar, Shamsheer, 1968: Har Har Gauge; 1969: Anjaan Hai Koi; Sansar Leela; 1970: Bhagwan Parashuram; Naag Lok; 1971: Brahma Vishnu Mahesh; Saat Sawaal; Shri Krishna Arjun Yudh; Daku Mansingh; 1972: Naag Panchami; 1973: Ranakdevi; 1974: Hanuman Vijay; Harishchandra Taramati; 1975: Maya Machhindra/Alakh Niranjan; 1976: Veer Mangdavalo; 1978: Jai Mahakali; Amar Suhagin; 1979: Pati Parmeshwar, Har Har Gange, Amarsinh Rathod; 1980: Mahabali Hanuman; 1982: Sati Naagkanya; 1983: Sant Ravidas Ki Amar Kahani; Kurukshetra; Sampoorna Mahabharat; 1984: Maya Bazaar, Gangavatarana; 1987: Kalyug Aur Ramayan; 1990: Hatimtai; 1991: Mahamayi.

MITRA, KAMAL (1911–93)

Bengali actor born in Burdwan. Started in amateur theatre. Film début with Gunamoy Bannerjee and in Debaki Bose’s Hindi films. First major hit: Sat Number Bari, coinciding with his successes on the professional Calcutta stage (Seetaram, Tipu Sultan, etc). Acted with Minerva, Star and Srirangam theatres and in jatra groups. His tall stature and deep voice made him a natural for aristocratic patriarchal roles, e.g. already in his early career he continued the stereotype of the pipe-smoking father established by Chhabi Biswas. Later played several roles as screen villain but acted heroic roles in mythologicals (e.g. Kangsa, Mahishasur Badh). Retired in 1981. Autobiography: Flashback (1989).

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Kamal Mitra (centre) and Nirmal Kumar (right) in Louha-Kapat (1957)

imagesFILMOGRAPHY: 1943: Nilanguriya; Shri Ramanuja; 1945: Swarg Se Sundar Desh Hamara; Banphool; 1946: Sat Number Bari; Sangram; Dukhe Jader Jiban Gara; Nivedita; Tumi Aar Ami; 1947: Tapobhanga; Ratri; Abhiyatri; Roy Choudhury; Purbaraag; 1948: Samapika; Bankalekha; Sabhyasachi/Father Daabi; 1949: Samarpan; Pratirodh; Sankalpa; Krishna Kaveri; Abhijatya; Ananya; 1950: Lndira; Jagrata Bharat; Apabaad; Banprastha; Vidyasagar, Roopkatha; Maryada; Sahodar, Panchayat; 1951: Kulhara; Aparajito; Abhishapta; Sahajatri; Ananda Math; Minoti; Ratnadeep, 1952: Alladdin-o-Ashcharya Pradeep; Mahaprasthaner Pathey/Yatrik; Madhurati; Bhuler Sheshe, Mahishasur Badh; 1953: Rami Chandidas; Shri Shri Satyanarayan; 1954: Maa-o-Chhele, Atom Bomb, Satir Dehatyaag; Maa Annapurna; Nababidhan; Prafulla; Mani-Aar-Manik, Sati; Amar Prem; Agni Pareeksha; Shoroshi; 1955: Sajghar, Pratiksha; Shap Mochan, Bir Hambir, Bidhilipi; Kankabatir Ghat; Devimalini; Bhalobasha; Paresh; Drishti; Shribatsa Chinta; Sabar Uparey, Atmadarshan; Kalindi; 1956: Sagarika; Kirti Garb; Laksha-Hira; Ekti Raat; Asamapta; Trijama; Rajpath; Shilpi; Sinthir Sindoor, Amar Bou; Asha; 1957: Parash Pathar; Haar feet; Shesh Parichaya; Sindoor, Ulka; Tapasi; Panchatapa; Yatra Holo Suru; Punar Milan; Chandranath; Data-Kama; Louha-Kapat; 1958: Yamalaya Jibanta Manush; Nupur, Daily Passenger, Bhanu Pelo Lottery, Daktar Babu; Purir Mandir, Joutuk, Surya Toran; Shri Shri Tarakeshwar, Kangsa; 1959: Derso Khokhar Kando; Amrapali; Ae fahar Seyfahar Noy; 1960: Uttar Megh; Dui Bechara; Sakher Chor, Kono-Ek-Din; Hospital; Surer Pyasi; 1961: Lakshmi Narayan; Kanchanmulya; Mithun Lagna; Ashay Bandhinu Ghar, 1962: Bipasha; Bodhu; Khana; Mayar Sansar, Shesh Chinha; Rakta Palash; Dhoop Cbbaya; 1963: Shesh-Anka; High Heel; Deya Neya; Barnali; Shreyasi; 1964: Bibbas; Agni Banya; Kashtipatbar; Sandbya Deeper Sikha; 1965: Tbana Theke Ascbbi; O’Kay F; Raja Rammobun; Mukhujey Paribar, Tapasi; Kal Tumi Aleya; 1966. Angikar, Firey Chalo; Joradigbir Choudhury Paribar, Manihar, Rajdrobi; Ramdhakka; Susanta Sha; 1967 Asbite Asbio Na; Jiban Mrityu; 1968: Boudi; Chowringhee, Garb Nasimpur, 1969: Anhbar Surya; Chiradiner, Parineeta; Pita Putra; Sabarmati; Teen Bhubhaner Parey, 1970: Samanaral; Muktisnan; 1971: Trinayani Maa; 1972: Biraj Bou; Chinnapatra; 1973: Agni Bhramar; Roudra Cbbaya; Alo Andhare, Jiban Rahasya; 1974: Jadijantem; Phulu Thakurma; 1975: Amriter Swad; 1976: Yugo Manab Kabir, Asadharan; Shri Shri Maa Lakshmi; 1977: Din Amader, Jaal Sanyasi; 1979: Jata Mat Tata Path; 1980: Aro Ekjan; Bhagya Chakra; Daksha Yagna; Kalo Chokher Tara; 1981: Pahadi Phool; Khelar Putul; Surya Sakhi; 1982: Faisla; 1987: Khyapa Thakur

MITRA, NARESH CHANDRA (1888–1968)

Bengali actor and director born in Agartala, Tripura. Law graduate from Calcutta University but became a major stage star, starting at Minerva Theatre (1922) with Chandragupta; joined Star Theatre with Karnarjun (1923). Acted in several plays for different companies, mostly playing villains. Entered film to complete Andhare Alo, begun by Sisir Bhaduri. Then actor-director, first at the Taj Mahal company, later at East India Film and Priyanath Ganguly’s Kali Films. Style dominated by Calcutta Theatres conventions in themes commonly drawn from plays/novels based on Rabindranath Tagore (e.g. Nauka Dubiand Gora), Saratchandra Chattopadhyay (Devdas), Anuroopa Devi and on his own stage hits (e.g. Mahanisha, Banglar Meye, Father Sathi etc). Later films starring Uttam Kumar (e.g. Bou Thakuranir Haat, Annapurnar Mandir) provide rare examples of a 30s stage style continued into post-Independence Bengali film. Acted in several films, such as those by younger Kallol directors like Sailajananda Mukherjee (e.g. Shahar Theke Door ay, Roy Choudhury). Towards the end of his life, was most closely associated with the folk Jatra.

image FILMOGRAPHY (* also d): 1922 Andhare Alo*; 1923: Maanbhanjan*; 1924: Chandranath*; 1927: Durgesh Nandini; 1928: Devdas*; 1929: Kapal Kundala; 1930: Giribala; Kal Parinaya; 1931: Debt Choudhrani; Bibaha Bibhrat; 1932: Nauka Dubi* (all St); 1933: Sabitri*; 1935: Prafulla; 1936: Mahanisha*; Pather Sheshey, Chino Haar, 1938: Gora*; 1939: Sharmishtha*; Chanakya; 1941: Kavi Joydev; Pratishodh; Banglar Meye*; 1942: Pativrata; Bondi; Meenakshi; 1943: Swamir Ghar, Shahar Theke Dooray, 1944: Samaj; 1945: Bondita; 1946: Nivedita; Pather Satbi*; 1947: Swayamsiddha*; Roy Choudhury; Swapna-o-Sadhana; 1949: Bidushi Bharya*; 1950. Kankat*; 1951: Niyati*; Pandit Moshat*; 1953: Bou Thakuranir Haaf*; 1954. Annapurnar Mandir*; 1955: Kalindv*; 1957: Ulka*; 1960: Khudha; 1961: Maa; 1968. Parishodh.

MITRA, PREMENDRA (1904–88)

Bengali director and writer born in Benares, UP. Major short story writer, poet and novelist of Kallol era, associated with journal Kalikalam (Est: 1926). One of the main Bengali literary figures to move to film, first as scenarist, then as director (others were Sailajananda Mukherjee and Dinesh Ranjan Das). Studied briefly at Shantiniketan and later at Dhaka. Worked as journalist on Banglar Katha; later edited the children’s journal, Rangmashal (1933), and worked on Nabashakti (1936). First major novel, Pank (Mud, 1924), published by journal Kallol in 1926 and criticised by Rabindranath Tagore for obscenity, was an important event in articulating the journal’s anti-romantic stance. Wrote c.150 books, including novels, essay collections, short stories and poems. Entered film as scenarist, writing the dialogue for Charu Roy’s Graher Pher (1936). Best-known work for Dhiren Ganguly, Niren Lahiri and Sushil Majumdar. Considered his film scripts sentimental and not representative of his best writing, and later disowned his cinema entirely. His own films, introducing a sentimentalised socialist realism to the traditional social, combined aspects of pre-WW2 Bengali modernist fiction, IPTA influences (Moyla Kagaj) and the post-WW2 assimilation of melodramatic Italian neo-realism. Wrote all his own films; provided scripts and at times dialogues and lyrics for e.g. Ganguly’s Ahuti (1941) and Daabi (1943), Sushil Majumdar’s Rikta (1939), Pratishodh (1941), Avayer Biye (1942), Jogajog (1943) and Digbhranta (1950), Phani Burma’s Byabadhan (1940) and Debaki Bose’s Sagar Sangamey (1959). Also dialogues for Prafulla Roy’s Nari (1942) lyrics for Jyotish Bannerjee’s Milan (1942). Many of his stories have been filmed, e.g. Mrinal Sen’s Khandhar (1983). An English anthology of short stories was published in 1990.

imagesFILMOGRAPHY: 1943: Samadhan, 1944: Bideshini; 1945: Path Bendhe Dilo; Raj Lakshmi; 1947: Natun Khabar, 1948: Kalo Cbbaya; 1949: Kuasha; 1950: Kankantala Light Railway, 1951: Setu; 1952: Hanabari; 1953: Dui Beyai; 1954: Moyla Kagaj; 1955: Dakinir Char, 1960: Chhupi Chhupi Ashey.

MITRA, SOMBHU (1916–91

Bengali-Hindi actor and director born in Hooghly Dist., Bengal. One of the most significant figures of 20th C. Indian theatre. The first play he staged, Bijon Bhattacharya’s Nabanna (1943), based on the 1943 Calcutta famine, was seminal to realist political theatre and a reference-point for the IPTA. He made his film début in K.A. Abbas’s IPTA-sponsored film version of the play Dharti Ke Lal. Set up his own theatre group, Bohurupee (1948), pioneering indigenous variations of Ibsen’s naturalist idiom (Dashachakra, adapting An Enemy of the People, Putulkhela, adapting Doll’s House, Badal Sircar’s Evam Indrajit) in tandem with stylised performances of Rabindranath Tagore’s Dak Ghar, Raktakarabi and Raja. Later theatre work includes exploration of Greek tragedy (Oedipus) and Brecht (Galileo). Invited by Raj Kapoor to direct Jagte Raho. Considered the greatest Bengali actor after Sisir Bhaduri, along with contemporaries Ajitesh Bandyopadhyay and Utpal Dutt.

image FILMOGRAPHY (* only d/** also d): 1946: Dharti Ke Lai; 1947: Abhiyatri; 1949: Abarta; 1950: Hindustan Hamara; 1953: Maharaj Nandakumar, Pathik; Bou Thakuranir Haat; 1954: Maraner Pare; Shivashakti; 1955: Durlav Janma; 1956: Jagte Raho/Ek Din Raatre**; 1959: Shubha Bibaha*; 1961: Manik, 1962: Suryasnan; 1967: Panna; 1969: Natun Pata; 1971: Nishachar.

MODAK, SHAHU (1918–93)

Marathi-Hindi star born in Ahmednagar, Maharashtra, in Christian family. Introduced by Bhalji Pendharkar together with Shanta Apte, as child star (Shyam Sundar). Double role in second film Aut Ghatkecha Raja. Top Marathi star following his role as the upright policeman Ganpat in Shantaram’s Manoos/Admi. Earlier reputation in contemporary socials (e.g. Mazha Mulga) was later superseded by Sant Dnyaneshwar after which, for several decades, he played mainly Saint films and mythologicals by e.g. V.M. Vyas, Dhirubhai Desai and Vijay Bhatt. Apparently played Krishna in 29 mythologicals, in Marathi, Hindi and Bhojpuri films.

imagesFILMOGRAPHY: 1932: Shyam Sundar, 1933: Awara Shehzada/Aut Ghatkecha Raja; Bulbul-e-Punjab, 1934: Radha Mohan/Nand Ke Lala; Seva Sadan; 1936: Honhar, Hind Mahila; 1937: Begunah; 1938: Mazha Mulga/Mera Ladka, 1939: Manoos/Admi, 1940: Sant Dnyaneshwar; 1942: Bharat Milap/Bharat Bhet; Apna Paraya; Pahili Mangalagaur, Shobha; Vasantsena, 1943: Dulhan; Kanoon; Ladaai Ke Baad; Mahasati Ansuya; 1944: Geet; Maharathi Kama; 1945: Meghdoot; Shri Krishnarjun Yuddha; 1946: Daasi Ya Maa; Uttara Abhimanyu; 1947: Seedha Raasta; 1948: Mandir, 1949: Nara Narayan; Maya Bazaar, Veer Ghatotkach; Sant Namdev, 1950: Bhagwan Shri Krishna; Bhishma Pratigya; Sbri Ram Avatar, 1951: Jai Mahakali; Hi Majhi Lakshmi; Parijatak/Sbri Krishna Satyabhama; Vithal Rakhumai; 1952: Bhakta Puran; Draupadi Vastraharan; 1954: Durga Puja; Chakradhari; Ramayan; Amar Keertan; 1955: Mastani; Shiv Bhakta; Mi Tulas Tujhya Angani; Bal Ramayan; 1956: Aastik, Dassehra; Dwarkadheesh; Harihar Bhakti; Sudarshan Chakra; 1957: Uthavala Narad; Bhakta Dhruva; Lakshmi Puja; Mohini; Naag Lok, Narsi Bhagat; Raja Vikram; Ram Lakshman; Shyam Kijogan; Shesh Naag; 1958: Sudamyache Pohe, Gopichand; Harishchandra; Ram Bhakta Vibhishan; Gaja Gauri; 1959: Grihalakshmi; 1960: Bhakta Raaj; 1962: Rangalya Ratri Asha; Sunbai; Vitbu Mazha Lekurvala; 1963: Subhadra Haran; 1964: Bhakta Dhruvakumar, Sant Dnyaneshwar, Tere Dwar Khada Bhagwan; Veer Bhimsen; 1965: Mahasati Ansuya (H); Shankar Seeta Ansuya; Sant Tukaram; 1968: Balaram Shri Krishna; Jyot fale, Mata Mahakali; 1970: Sampoorna Teerth Yatra; Jhala Mahar Pandharinath; 1972: Sant Tulsidas; Hari Darshan; Narad Leela; 1973: Shri Krishna Bhakti; Vishnu Puran; 1974: Har Har Mahadev, 1975: Daku Aur Bhagwan; Mahapavan Teerth Yatra; Shri Satyanarayan Ki Mahapooja; 1976: Bajrang Bali; 1977: Jai Ambe Maa; 1978: Ashapura Matani Chundadi; 1979: Ashta Vinayak, Chhat Maiya Ki Mahima; Meera; 1980: Bhalu; 1981: Sampoorna Santoshi Maa Ki Mahima; 1983: Razia Sultan.

MODERN THEATRES

Angel Films, started in 1934 by T.R. Sundaram in partnership with S.S. Velayudham Pillai, became the Modern Theatres Studio in 1937, soon one of South India’s most influential and busiest studios before the WW2 period, at its peak making films in Tamil, Telugu, Kannada, Hindi, Sinhalese and Malayalam. Located in Salem, over 300km from Madras, it related to the vast Southern hinterland largely ignored by Madras and Bombay. It created a Malayalam film industry, producing its first sound film, Nottani’s Balan (1938) and Sundaram’s Kandam Becha Coat (1961), the first Malayalam colour film. The studio did the same for Telugu productions in the 40s, introducing megastars Anjali Devi and S.V. Ranga Rao (in B.V. Ramanandam’s Varudhini, 1946). Film-makers working in Tamil, the studio’s native language, include Ellis R. Duncan, C.V. Raman, K. Ramnoth, T.R. Raghunath etc., while among the Tamil stars introduced there was M.R. Radha (in Santhanathevam, 1939). Also sponsored the early DMK Films mainly because of their financial success. The poet and scenarist Bharatidasan was employed here, and the studio later produced the Karunanidhi-scripted Manthiri Kumari (1950). Nevertheless, the studio claimed ideological neutrality, unlike the major Madras studios led by e.g. K. Subramanyam and later S.S. Vasan. Its commitment to pure entertainment allowed for tighter budgets and the Modern formula was later replicated by several studios in Salem itself as well as in nearby Coimbatore, making these regions into Southern production centres rivalling Madras.

MODI, SOHRAB MERWANJI (1897–1984)

Hindi-Urdu director, actor and producer; born in Bombay. Son of a civil servant; after education in Rampur, UP, and in Bombay, started as a travelling exhibitor in Gwalior (1914) with brother K.M. Modi. Elder brother Rustom Modi, together with Ittefaq, set up Arya Subodh Natya Mandali theatre group (1923). Sohrab played Jehangir (Hamlet) opposite Naseem Banu (Ophelia) in Khoon Ka Khoon, one of the biggest Urdu stage hits of the 20s. Rustom Modi started Stage Films (1935) mainly to adapt their plays to the cinema. The film version of Khoon Ka Khoon was followed by Aga Hashr Kashmiri’s Shakespeare adaptation, Saeed-e-Havas. Broke away to found Minerva Movietone (1936). Although Modi went beyond the Parsee theatre for his choice of themes, his formal approach remained tied to it and evokes the way Parsee theatre looked and sounded, using frontal composition and staging the narrative in spatial layers. Also copious use of Urdu dialogues. Regarded as the man who brought Shakespeare to the Indian screen. Best-known for his spectacular costumed historicals (together with Asif and Amrohi), which, after Pukar, he alternated with contemporary psychodramas that often dealt with marital problems from a misogynist viewpoint (e.g. Jailor, Talaaq, Bharosa). Acted in all the films he directed and wrote most of them. Started acting for other directors after Bimal Roy’s Yahudi.

imagesFILMOGRAPHY (* only act): 1935. Khoon Ka Khoon; 1936: Saeed-e-Havas; 1937. Atma Tarang; Khan Bahadur, 1938: Jailor, Talaaq; Meetha Zaher, 1939: Pukar, 1940: Bharosa; 1941: Sikandar; 1942: Phir Milenge, 1943: Prithvi Vallahh; 1944: Parakh; 1945: Ek Din Ka Sultan; 1947: Manjdhar, 1949: Daulat; Narasinh Avatar, 1950: Sheesh Mahal, 1953: Jhansi Ki Rani, 1954: Mirza Ghalib; 1955: Kundan; 1956: Rajhaath; 1957: Nausherwan-e-Adil; 1958: Jailor; Farishta*; Yahudi*, 1959: Minister*; Pehli Raat*; 1960: Ghar Ki Laaf; Mera Ghar Mere Bachche, 1965: Bharat Milap*; 1967: Woh Koi Aur Hoga*; 1969: Samay Bada Balwan; 1970: Jwala*; 1971: Ek Nari Ek Brahmachari*; 1975: Tanariri*; 1979: Ghar Ki Laaj*; Meena Kumari Ki Amar Kahani; 1981: Ganga Maang Rahi Balidan*; 1982: Rustom*; 1983: Razia Sultan*.

MOHANAN, K. R. (B. 1947)

Malayalam director born in Trichur Dist., Kerala. Graduated in zoology; then diploma in direction at the FTII. Known mainly as director of shorts and documentaries, often for the Kerala State Film Development Corp. where he worked for several years. Feature début: Ashwathama, updating the Mahabharata legend into the present, is based on the lead player Madampu Kunjukuttan’s novel and was widely acclaimed. However, a decade elapsed before his second film.

imagesFILMOGRAPHY: 1978: Ashwathama; 1987: Purushartham; 1992: Swaroopam.

MOHAN KOHLI, MADAN (1924–75)

Hindi film composer born in Baghdad. Son of Rai Bahadur Chunilal, the production controller of Bombay Talkies and founder of Filmistan. Joined the army in WW2. Employed in the Lucknow station of AIR (1946) where he received his only musical education in the company of singers like Faiyaz Khan, Bade Ghulam Ali Khan and Begum Akhtar. First film: Devendra Goel’s Aankhen, where singer Lata Mangeshkar apparently refused to sing for him, considering him an untrained newcomer. However, they became close friends and his second film, J.B.H. Wadia’s Madhosh, features both Mangeshkar and Talat Mahmood, the latter singer being most closely associated with his compositions. Madhosh included the hit Talat song Meri yaad mein. Wrote some of Hindi cinema’s most famous compositions, such as Geeta Dutt’s Ai dil mujhe bata de in M.V. Raman’s Bhai Bhai, Mangeshkar’s Lag ja gale and Naina barase in Woh Kaun Thi and several ghazals, like Aapki nazaron ne samjha in Mohan Kumar’s Anpadh. Was Chetan Anand’s regular composer following the popularity achieved by the songs from Haqeeqat. In the 70s worked with Hrishikesh Mukherjee (Bawarchi) and Gulzar (Koshish, Mausam). Apparently also scored the following films which remained uncensored: Jahan Mile Dharti Akash, Jahan Tum Wahan Hum, Ummeed Pe Duniya Jeete Hain, Maine To Mohabbat Ki Hai, Naya Janam Phir Wohi Shyam, Rehnuma and Salma. See Raju Bharatan, ‘Those Madanutties’ (1995).

imagesFILMOGRAPHY: 1950: Aankhen; 1951: Ada; Madhosh; Shabistan; 1952: Anjaam; Ashiana; Khubsoorat; Nirmohi; 1953: Baghi; Chacha Choudhury, Dhun; Dana Pani; 1954: Ehsan; Ilzaam; Mastana; 1955. Railway Platform; Santosham/Naya Admi; 1956: Bhai Bhai; Fifty Fifty, Mem Sahib, Pocketmaar, 1957: Beti; Chhote Babu; Dekh Kahira Roy a, Gateway of India; Samundar, Sheroo; 1958: Aakhri Dao; Adalat; Chandan; Ek Shola; Jailor, Khazanchi; Khota Paisa; Night Club, 1959: Baap Bete, Bank Manager, Chacha Zindabad; Duniya Na Mane, fagir, Minister, Mohar, 1960: Bahana; 1961: Sanjog; Senapati; 1962: Anpadh; Manmauji; 1963: Akeli Mat Jaiyo; 1964: Aap Ki Parchhaiyan; Ghazal; Haqeeqat; Jahan Ara; Pooja Ke Phool; Sharabi; Woh Kaun Thi; Suhagan; 1965: Bombay Race Course, Naya Kanoon; Neela Akash; Rishte Naate, Dak Ghar, 1966: Dulhan Ek Raat Ki; Ladka Ladki; Mera Saaya; Neend Hamari Khwab Tumhare, 1967: Ghar Ka Chirag; fab Yaad Kisiki Aati Hai; Naunihal; Nawab Siraj-ud-Dowla; 1968: Ek Kali Muskayi; 1969: Chirag; 1970. Dastak; Heer Ranjha; Maa Ka Aanchal; Maharaja; 1971: Parwana; 1972: Bawarchi; Koshish; Sultana Daku; 1973: Dil Ki Raahein; Ek Mutthi Aasmaan; Hanste Zakhm; Hindustan Ki Kasam; Prabhat; 1974: Asliyat; Chowkidar, 1975: Mausam; 1976: Laila Majnu; Sharafat Chhod Di Maine, 1977: Saheb Bahadur, 1978: Jalan; Lnspector Eagle, 1980: Chaalbaaz.

MOHANLAL (B. 1962)

Malayalam star born in Trivandrum, Kerala. Unlike his contemporary Mammootty, with whom he dominated Kerala’s cinema in the 80s, his bulky physique makes for an unusual heroic figure. Moved to Madras where he acted in Thiranottam, an amateur production by actors and directors trying to get a break into films. Started professional acting career at Navodaya Studio. A villain in his early work (cf. his noted debut in the love story and stunt film Manjil Virinja Pookkal, and Attakkalasam starring Prem Nazir). Shifted to his best-known 80s genre, musical comedy, with Engane Nee Marakkum. Was later associated closely with the foremost director of this genre, Priyadarshan (cf. their hits Chithram and Kilukkam). His films privilege comic routines, a Trivandrum-Malayalam accent and dances where the star often shows amazing agility. Director Priyadarshan says that in a Mohanlal dance, ‘I do not go in for well-rehearsed and conducted steps of dancing, but instead make the camera move according to the music’ Mohanlal’s slightly spoofy, satirical musicals and romance dramas (which often end tragically) are sometimes contrasted with Mammootty’s grim, songless vendetta thrillers (New Delhi, 1987; Oru CBI Diary Kuruppu, 1988). Both stars often acted together, e.g. the hit Gandhinagar 2nd Street and I.V. Sasi’s political drama Vartha. Shifted his style to play an Eastwood-Leone figure in Bharathan’s Thazhvaram and a very unheroic officer in the rehabilitation ministry in Aravindan’s Vasthuhara.

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Mohanlal in Racbana (1983)

imagesFILMOGRAPHY: 1980: Manjil Virinja Pookkal; 1981: Abimsa; Attamari; Dhanya; Dhruva Sangamam; Oothikachiya Ponnu; Sancbari; Thakilukottampuram; 1982: Padayottam; A Divasam; Akrosham; Ente Mohanangal Poovaninju; Enikkum Oru Divasam; Enthino Pookunna Pookal; Football; Kaliyamardhanam; Kelkatha Shabdam; Gnan Oru Parayatte, Sindoora Sandhyakku Mounam; Sbri Ayyappanum Vavarum; 1983: Engane Nee Marakkum; Attakkalasam; Adhipathyam; Akkare; Arabikadal; Astbram; Bhukambam; Chakravalam Chuvannappol; Ente Katba; Ente Mamattukuttiamma; Guru Dakshina; Hello Madras Girl; Himavabini; Iniyenkilum; Kattathe Kilikoodu; Kola Komban; Kuyiline Thedi; Marakkailo Rikalum; Naseema; Nanayam; Oru Mugham Pala Mugham; Pinninvalu; Sesbam Kazhchayil; Visa; Yangana Nee Marakkum; 1984: Vanitba Police, Alkoottathil Thaniye, Adiyozbukkukal; Aduthaduthu; Appunni; Ariyatba Veetbigal; Atbiratbram; Etba Ennumutbal; Ivide Thodangannu; Kaliyil Alpam Karyam; Kilikonchal; Kurisuyuddham; Lakshmana Rekha, Manasariyathe, Nayakan; Nokketha Dhoorathu Kannum Nattu, Onnanu Nammal; Oru Kocbu Swapnam; Pavam Poornima; Poochakkoru Mookuthi; Saundamevide? Bandamevide?; Shri Krishnaparunthu; Thirakal; Unaroo; Uyyarangalil; Vettab; 1985: Adhiyayam Odhu Mudhal; Angadikkapurathu; Anubandham; Aram Aram = Kinnaram; Avidathepole Ivideyum; Azhiyatha Bandhangal; Boeing Boeing; Ezhamuthal Onpathuvare, Guruji Oru Vakku; Ida Nilangal; Jeevante Jeevan; Kandu Kandarinju; Karimbin Poovinakkare, Koodum Thedi; Mulammoottil Adima; Neram Pularumbol; Jnan Piranna Nattil; Omanikkan Ormavaikkan; Onnanam Kunnil Oradi Kunnil; Pathamudayam; Parayanumvayya Parayathirikkanumvayya; Rangam; Uyarum Jnan Naale, Vasantsena; 1986: Vartha; Pappan Priyapetta Pappan; Oppom Oppatbinoppam, Mazha Peyyunnu Maddalam Kottunnu; Panchagni, Abbayam Thedi; Desadanakkili Karayilla; Ninnishtam Ennisbtam; Kunjatta Kiligal; Revathikkoru Pavakkutty, Hello My Dear-Wrong Number, Iniyum Kuruksbetram; Kaveri; Gandhinagar 2nd Street; Doore Doore Koodu Kootam; Thalavattam, Sanmanassu Illavakkaru Samadhanam; Namukku Parkkan Munthiri Thoppukal, 1987: Abbimanyu; January Oru Orma; Amritam Gamaya; Adimagal Udumagal; Sarvakalasala; Unnikale Oru Katha Parayam; Tboovana Thumbigal; Vazhiyora Kazhchagal; Ivide Ellavarkkum Sukbam; Cheppu; Nadodikattu; Irupatham Noottandu; 1988: Kilukkam; Mukunthetta Sumitra Vilikkunnu; Ayitham; Orkapuratbu; Padamudra, Pattana Praveshanam; Anuragi; Aryan; Moonnam Mura; Chithram, Manu Uncle, 1989: Utsavapittennu; Lal Americayil; Dauthiyam; Season; Varavelpu; Naduvazhigal; Kireedam; Vandanam; Dasharatham, Adipan; Thazhvaram; 1990: Vasthuhara; Indrajalam; His Highness Abdullah; Akkareakkareakkare; Aye Auto; No. 20 Madras Mail; 1991: Dbanam; Vishnulokam; Ulladakkam; Kizhakkunarum Pakshi; Advaitham, Rajashilpi; Sadayam; Bharatham, Uncle Bun; 1992: Kamalathalam; Agam; Yoddha; Nadodi; Vietnam Colony, 1993: Midhunam; Devasuram; Butterflies; Maya Mayuram; Gandharvam, Chenkol; Kalippattam; Manichithratharazu, 1994: Pavithram; Thenmavin Kombath, Pingami; Pakshey, Minnaram, 1995 Nirnayam; Spatikam; Thacholi Vargbese Chevakar.

Mohapatra see Mahapatra

MOTILAL RAJVANSH (1910–65)

Hindi actor born in Simla; best known as the gentleman crook in Gemini’s Mr Sampat; based on R.K. Narayan’s famous novel, and as the tragic hero’s city friend in Bimal Roy’s 1955 version of Devdas. Played several roles as the urbane city-bred sophisticate, e.g. in Mehboob’s Taqdeer, and most notably in Hrishikesh Mukherjee’s Anari, where his suave performance as a business magnate counterpoints Raj Kapoor’s awkward Oedipal rebellion. Also played a spectacular antipathetic role in Kardar’s Holi. Together with Sabita Devi, he formed a top 30s screen couple in Sagar’s socials, e.g. Badami’s K.M. Munshi-scripted Dr Madhurika. Later worked at Ranjit in Chandulal Shah’s Achhut, in Jayant Desai’s Diwali and Shadi and in Chaturbhuj Doshi’s Pardesi and Sasural, usually with Madhuri. Elaborated a realistic acting style relying on casual dialogue delivery, often hailed as the first example of naturalistic film acting in India. His style marked the early work of Mehboob (Jagirdar, Hum Tum Aur Woh, Taqdeer) and Kidar Sharma (Armaan; Kaliyan) and was acknowledged by Dilip Kumar as a significant predecessor. Cousin of playback singer Mukesh.

imagesFILMOGRAPHY (* also d). 1934: Shaher Ka Jadoo; 1935: Silver King; Dr Madhurika, 1936: Jeevan Lata; Lagna Bandhan, Do Diwane, 1937: Captain Kirti Kumar, Jagirdar; Kokila; Kulavadhu; 1938: Three Hundred Days And After, Hum Tum Aur Woh; 1939: Aap Ki Marzi; Sach Hai, 1940: Achhut; Diwali; Holi; 1941: Pardesi; Sasural; Shadi; 1942: Armaan; Iqraar, 1943: Muskurahat; Prarthana; Pratigya; Taqdeer, Tasveer, Vijay Lakshmi; Aage Kadam; 1944: Dost; Kaliyan; Mujrim; Pagli Duniya; Raunaq; Umang; 1945: Biswi Sadi; Murti; Pehli Nazar, Piya Milan; Sawan; 1946: Phulwari; 1947: Beete Din; Do Dil; 1948: Aaj Ki Raat; Gajre, Mera Munna; 1949: Ek Thi Ladki; Lekh; Parivartan; 1950: Hanste Aansoo; Hamari Beti; Sartaj; 1952: Apni Lzzat; Betaab, Kafila; Mr Sampat; 1953: Dhuan; Ek Do Teen; Jhanjhar, Pehli Shaadi; 1954: Khushboo; Mastana; Savdhan; 1955. Devdas; Shri Naqad Narayan; 1956: Bandhan; Guru Ghantal; Jagte Raho, Lalten; 1957: Ab Dilli Door Nahin; 1958: Hathkadi; Do Mastane, 1959: Anari, Paigham, 1960: Mukti; Parakh; Zameen Ke Tare, 1963: Yeh Raaste Hain Pyar Ke, 1964: Leader Ji Chahta Hai; 1965: Chhoti Chhoti Baatein*; Waqt, 1966: Duniya Hai Dilwalon Ki; Yeh Zindagi Kitni Haseen Hai.

MUDALIAR, PAMMAL VIJAYARANGA SAMBANDHAM (1872–1964)

Influential Tamil director; former lawyer and dramatist. Founded the amateur theatre group Suguna Vilas Sabha (1904), staging e.g. Shakespeare and Sanskrit classics in the Victoria Public Hall, Madras. Wrote c.68 plays staged for the city’s political and cultural elite. Many of his plays were filmed, often directly from the stage: e.g. Sarvottani Badami’s Galava Rishi (1932), the second Tamil sound feature, and Mudaliar’s own directions Sati Sulochana and Manohara. Other films based on his plays, setting the norms for an elite, ‘apolitical’ entertainment, include Prafulla Ghosh’s Ratnavali (1935), M.L. Tandon’s Yayati (1938), T.R. Raghunatlti’s Ramalinga Swamigal (1939), K.S. Mani’s Chandrahari (1941), Murugadasa’s Urvashi Sahasam (1940), Duncan’s Daasi Penn (1943), A.V. Meiyappan’s Sabhapati (1941) and Vethala Ulagam (1948). Published two books on Tamil film in 1937.

image FILMOGRAPHY (* also act): 1934. Sati Sulochana; 1936: Manohara*.

MUDALIAR, R. NATARAJA (1885–1972)

Pioneer cineaste of South India born in Vellore. Initially in the cycle business (1906), then the car trade (1911). Apprenticed in 1912 to a Mr Stewart, the official cinematographer of Lord Curzon’s 1903 durbar. Set up India Film in Madras (1915) with a second-hand Williamson camera and finance from businessman S.M. Dharmalingam. The studio was set up in a makeshift space on Miller’s Road where he made Keechaka Vadham, intertitled in Tamil, Hindi and English. Reputed to have made an earlier film, Gopal Krishna. Draupadi Vastrapaharanam featured an Anglo-Indian actress, Violet Berry, as Draupadi. Made his other features, all mythologicals, around his home town of Vellore. In 1923, his studio burnt down and his son died, prompting him to retire.

imagesFILMOGRAPHY: 1915. Gopal Krishna; 1916: Keechaka Vadham; 1917: Draupadi Vastrapaharanam; 1918: Mayil Ravana; 1919: Lavakusa; 1920: Kalinga Mardanam; 1921: Rukmini Kalyanam; 1923: Markandeya.

MUKHERJEE, GYAN (1909–57)

Hindi director born in Benares. Graduated as a scientist; editor of journal Science and Culture. Joined Bombay Talkies as a supervising technician. Wrote script for Bandhan (1940) and collaborated with Abbas on script of Naya Sansar (1941). Directed Ashok Kumar at Bombay Talkies (Jhoola, Kismet) and Filmistan, creating a new image for him with a big impact on later Hindi film (e.g. on the image of Dilip Kumar). His Chal Chal Re Naujawan launched Filmistan. Style drawn largely from 30s Warner Bros with naturalist underplaying for greater psychological complexity (e.g. the seminal Kismet and Sangram). Guru Dutt dedicated Pyaasa (1957) to him.

imagesFILMOGRAPHY: 1941: Jhoola, 1943: Kismet, 1944: Chal Chal Re Naujawan; 1950: Sangram; 1953. Shamsheer, 1955: Sardar, 1956: Shatranj; 1959: Madhu.

MUKHERJEE, HEMANTA KUMAR (1920–89)

Aka Hemant Kumar. Bengali-Hindi composer and singer. Born in Varanasi. Left school to become a professional singer. Studied under Phani Bannerjee and Shailendraprasad Gupta. Early songs for radio. Released his first record in 1937, with the still-popular numbers Janite jadigo and Balogo more. One of the most popular Rabindra Sangeet singers of his time, starting under the tutelage of Anadi Dastidar, initially singing mainly in the tradition of Pankaj Mullick. Changed his style in context of a brief but fruitful collaboration with composer Salil Choudhury (1949–52) associated with the IPTA. Début as singer in Bengali film with Phani Burma’s Nimai Sanyasi (1940) and in Hindi with Lraada (1944). Early compositions for Hemen Gupta (Bhuli Naai, ‘42, Anandmath, Kashti). Established himself as a Bengali composer with Ajoy Kar’s Jighansa. Although he went on to become one of the most popular Bengali film composers, his main fame derives from playback singing for Uttam Kumar, his baritone becoming a key ingredient of the star’s romantic dramas: e.g. classic hits Jhor utteche in Sudhir Mukherjee’s Shap Mochan; Nir chhoto khati nei in Niren tahiri’s Lndrani (1958); Ei path jadi na shesh hoi in Ajoy Kar’s Saptapadi, etc. Often partnered Sandhya Mukherjee, female playback usually for Suchitra Sen. From the 50s onwards his voice incarnated Bengali middle-class romanticism, having an enduring influence on all male playback singers in the language ever since. Became a star singer in Hindi with the classic Yeh raat yeh chandni in Guru Dutt’s Jaal (1952), picturised on Dev Anand on the beach among the fishing nets. Collaborated extensively with Dutt, e.g. Jaane woh kaise log the in Pyaasa (1957) and scored the hauntingly beautiful numbers of Sahib Bibi Aur Ghulam. First Hindi hit as composer is Nagin, adapting a tune from Bijon Bhattacharya’s play Jiyankanya for the sinuous snake dance number Man dole, a landmark in the introduction of electronics into Hindi film music. Composed regularly for Tarun Majumdar and for the early Mrinal Sen, producing Sen’s Neel Akasher Neechey. As producer he often worked with set designer turned director Biren Nag, showing a penchant for thrillers like Bees Saal Baad (adapting The Hound of the Baskervilles), and Kohraa, borrowed from Daphne du Maurier’s (and Hitchcock’s) Rebecca. Also produced Pinaki Mukherjee’s Faraar, Hrishikesh Mukherjee’s Biwi Aur Makaan, Tarun Majumdar’s Rahgir and Asit Sen’s Rajesh Khanna psychodrama Khamoshi. Autobiography Amar Ganer Swaralipi (1988).

imagesFILMOGRAPHY (* also d): 1947: Purbaraag; Abhiyatri; 1948: Bhuli Naai; Padma Paramatti Nadi; Priyatama; 1949: Diner Par Din; ‘42; Sandipan Pathshala; Swami; 1951: jighansa; 1952: Anandmath; 1954: Daku Ki Ladki; Kashti; Jagriti; Nagin; Samrat; Shart; 1955: Bahu; Bandish; Bhagwat Mahima; Lagan, Shap Mochan; 1956: Suryamukhi; Anjaan; Arab Ka Saudagar, Bandhan; Durgesh Nandini; Ek Hi Raasta; Hamara Watan; Lnspector, Lalten; Taj; 1957: Bandi; Champakali; Ek Jhalak, Fashion; Hill Station; Kitna Badal Gaya Lnsaan; Miss Mary, Payal; Yahudi Ki Ladki; Shesh Parichaya; Taser Ghar, Harano Sur, Naikinichi Sajja; 1958: Lookochuri; Shikar, Joutuk, Surya Toran; Do Mastane, Police, Sahara; Neel Akasher Neechey; 1959: Chand; Hum Bhi Lnsaan Hain; Marutirtha Hinglaj; Deep Jweley Jai, Khelaghar, Sonar Harin; Kshaniker Atithi; 1960: Kuhak, Khokha Babur Pratyabartan; Baishey Shravan, Gariber Meye, Shesh Paryanta; Duniya Jhukti Hai; Girl Friend; 1961: Sathi Hara; Agni Sanskar, Swaralipi; Madhya Rater Tara; Saptapadi; Dui Bhai; 1962: Hansuli Banker Upakatha; Atal Jaler Ahwan; Agun; Dada Thakur, Nabadiganta; Bees Saal Baad, Maa Beta; Sahib Bibi Aur Ghulam; 1963: Bin Badal Barsaat; Ek Tukro Agun; Barnachora; Saat Pake Bandha, High Heel; Palatak, Shesh Prahar, Tridhara; Badshah; 1964: Kohraa; Pratinidhi; Bibhas; Swarga Hotey Biday, Sindoore Megh; Prabhater Rang; Natun Tirtha; Arohi; 1965: Alor Pipasa; Ek Tuku Basa; Surya Tapa; Ek Tuku Chhoya Lage, Do Dil; Faraar, 1966. Anupama; Biwi Aur Makaan; Sannata; Ranch Kata Hirey, Manihar, 1967: Balika Bodhu; Dustu Prajapati; Nayika Sangbad; Manjhli Didi; Ajana Shapath; 1968: Do Dooni Char, Adwitiya; Baghini; Hansamithun; Jiban Sangeet; Panchasar, Parishodh; 1969: Chena Achena; Mon-Niye, Parineeta; Shuk Sari; Khamoshi; Rahgir, 1970: Deshbandhu Chittaranjan; Us Raat Ke Baad; Duti Mon; 1971: Kuheli; Malyadaan; Nabaraag; Nimantran; Sansar, 1972: Bees Saal Pehle, Anindita*; Shriman Prithviraj; 1974: Bikele Bhorer Phool; Thagini; Phuleshwari; 1975: Agniswar, Nishi Mrigaya; Raag Anuraag; Sansar Simantey, Mohan Baganer Meye, 1976: Banhi Sikha; Datta; Sankhabish; Pratisruti; 1977: Rajani; Din Amader, Hatey Roilo Tin; Mantramugdha; Pratima; Sanai; Shesh Raksha; Swati; Proxy, 1978: Nadi Theke Sagare, Ganadevata; Pronoy Pasha, Do Ladke Dono Kadke, 1979: Love in Canada; Shahar Theke Dooray Nauka Dubi; 1980: Bandhan; Dadar Kirti, Paka Dekha; Pankhiraj; Shesh Bichar, 1981: Subarna Golak, Kapal Kundala; Meghmukti; Khelar Putul; 1982: Chhoto Maa; Chut; Pratiksha; Uttar Meleni; 1983: Amar Geeti; Rajeshwari; 1984: Agni Shuddhi; Ajantay Bishabriksha; Didi; Madhuban; Surya Trishna; 1985: Bhalobasha Bhalobasha; Tagori; 1986: Pathbhola; Ashirwad; 1987: Pratibha; Tunibou; 1988: Boba Sanai; Parasmoni; Surer Sathi; Agaman.

MUKHERJEE, HRISHIKESH (B. 1922)

Hindi director and editor born in Calcutta. Studied science at Calcutta University; then a teacher and a freelance artist at AIR. Joined New Theatres (1945) as laboratory assistant, then editor. First full editing assignment: Tathapi (1950). Worked as assistant director and editor for Bimal Roy; later also edited films by R. Kariat and R. Tarafdar. Renowned for introducing editing conventions basic to Hindi film: e.g. insertion of close-up as bridge between incompatible shots. Acquired reputation of being able to salvage films that went out of control during shooting (e.g. Kariat’s Chemmeen, 1965). First film as director in collaboration with Ritwik Ghatak and Salil Choudhury (Musafir). 60s films continue in the vein of Bimal Roy’s socials. Introduced ‘cancer films’ with Anand, a very popular type of melodrama with terminally ill characters, which featured the reigning 70s superstars Rajesh Khanna and Bachchan. Repeated the duo in Namak Haram. Later films often produced by N.C. Sippy are low-budget family melodramas. Chairman of Central Board of Film Cenrtification and of the NFDC

imagesFILMOGRAPHY: 1957: Musafir, 1959: Anari; 1960: Anuradha, 1961. Chhaya; Memdidi; 1962: Aashiq; Asli Naqli; 1964. Sanjh Aur Savera; 1965: Do Dil; 1966: Anupama; Biwi Aur Makaan; Gaban, 1967. Manjhli Didi; 1968: Ashirwad; 1969: Pyar Ka Sapna; Satyakam, 1970: Anand; 1971. Buddha Mil Gaya; Guddi; 1972: Bawarchi; Subse Bada Sukh; 1973: Abhimaan; Namak Haram, 1974: Phir Kab Milogi; 1975: Chaitali; Chupke Chupke, Mili; 1976: Arjun Pandit; 1977: Alaap, Kotwal Saab, 1978: Naukri; 1979: Jurmana; Golmaal; 1980: Khubsoorat; 1981: Naram Garam; 1982: Bemisal; 1983: Namumkin; Achha Burn; Kisise Na Kehna; Rang Birangi; 1986: Jhoothi; Hum Hindustani (TV); 1988: Lathi; 1992: Talash (TV).

MUKHERJEE, MADHABI (B. 1943)

Bengali actress, originally Madhuri Mukherjee. Worked on stage with e.g. Sisir Bhaduri, Ahindra Choudhury, Nirmalendu Lahiri and Chhabi Biswas. Acted in plays like Naa (at the Kashi Vishwanath Manch) and Kalarab (at the Netaji Manch) before débuting as child actress in films with Premendra Mitra’s Kankantala Light Railway. Achieved an exemplary Tagore characterisation in Satyajit Ray’s Charulata. When Ray later returned to Tagore with Ghare Baire (1984), his heroine, Swatilekha Chatterjee, bears a striking resemblance to Madhabi. Ritwik Ghatak also extensively alludes to her way of performing literary figures, e.g. in Subarnarekha: the way Seeta flicks her long hair dry or sits on the runway or by the river after eloping with Abhiram. Her first major film was Mrinal Sen’s Baishey Shravan. For Ray she played the housewife who becomes a saleswoman in Mahanagar. Also acted in Harisadhan Dasgupta’s first foray into fiction, Eki Ange Eto Rup. Later work includes Purendu Pattrea’s Swapnaniye and 70s Tagore adaptations Streer Patra and Malancha. Apart from Tagore, also played Saratchandra characters, e.g. in Ramer Sumati, Bindur Chheley, Biraj Bou et al. Wrote her autobiography, Ami Madhabi (1995).

images

Madhabi Mukherjee in Streer Patra (1972)

imagesFILMOGRAPHY: 1950: Kankantala Light Railway, 1952: Prarthana; 1956: Tonsil; 1960: Baishey Shravan; 1961: Aaj Kal Parshu; 1962: Subarnarekha; 1963: Mahanagar; 1964: Swarga Hotey Biday, Godhuli Belaye, Charulata; Sindoore Megh; Binsati Janani; 1965: Thana Theke Aschhi; Ghoom Bhangar Gaan; Kapurush; Eki Ange Eto Rup, Devatar Deep; 1966: Joradighir Choudhury Paribar, Sankha Bela; Swapnaniye, 1967: Ajana Shapath; Kheya; 1968: Adwitiya; Chhoto Jignasa; Garh Nasimpur, Parishodh; 1969: Agni Yuger Kahini; Duranta Charai; Teer Bhoomi; 1970: Swarna Sikhar Pranganey, Samanaral; Diba Ratrir Kabya; 1971: Chhadmabeshi; 1972: Biraj Bou; Calcutta ‘71; Chinnapatra; Archana; Chhayatir, Streer Patra; 1973: Andhar Periye, Bindur Chheley, Bon Palashir Padabali; Haraye Khunji; Jiban Rahasya; 1974: Chhutir Ghanta; Natun Surya; 1975: Agniswar, Phool Sajya; Amriter Swad; 1976: Yugo Manab Kabir, 1977: Avatar, Ramer Sumati; 1978: Ganadevata; 1979: Shuparna; Malancha; 1980: Moyna Tadanta; Bancharamer Bagan; 1981: Manikchand; Subarnalata; Saheb, 1982: Matir Swarga; Prafulla; Chhoto Maa; Bandini Kamala; Chokh, Durer Nadi; 1983: Kauke Bolo Na; Samapti; 1984: Jog Biyog; 1985: Bhalobasha Bhalobasha; Jiban Sathi; Antaraley, Dadu Nati-o-Hati; Putulghar, 1986: Anurager Choa; Artanad; Uttar Lipi; Madhumoy Jiban; 1987: Arpan; Bandookbaj; Rudrabina; Pratikar, 1988: Hirer Shikal; Maa Ek Mandir, Anjali; Dipshikha; Kalankini Nayika; Surer Sathi; 1989: Kari Diye Kinlam; Aghaton Ajo Ghatey Chhandaneer, Agni Trishna; Bandhobi; Shubha Kamana; 1990: Manasi; Ekti Jiban; 1991: Sadharan Meye, Antarer Bhalobasha; Antardhan; 1993: Mon Mane Na; Shrimati; Prithibir Shesh Station; Lshwar Parameshwar, 1994: Atikram; Bidrohini; 1995: Boumoni; Rangeen Basanta.

MUKHERJEE, SAILAJANANDA (1901–76)

Bengali director born in Andal, Burdwan District. Noted Bengali novelist and contemporary of Kallol Group. Closely associated in early youth with writer-musician Kazi Nazrul Islam. Worked in Raniganj collieries, the location of his first major literary work, Koila Kuthi, published in the journal Basumati (1922). The story later gave its name to a sub-genre of literary realism: a starkly realist manner, relying on personal experience and dialects (commonly those of the Dhanbad and Raniganj collieries and of Birbhum) violating the novelistic tradition that valued linguistic purity. Early writings include Atmaghatir Diary (Diary of a Suicide) published in Bansari journal, viewed as a violation of the prevailing norms of literary decency. Went to Calcutta where he met Premendra Mitra, Probodh Kumar Sanyal, Achintyakumar Sengupta and Kallol writer and film-maker Dinesh Ranjan Das. Briefly edited the Kalikalam journal. Later also edited the journals Shahana and Bioscope. Started in films as scenarist for Hemchandra Chunder (Anath Ashram; 1937). Also wrote scripts, in collaboration with Binoy Chatterjee, for New Theatres while assisting Nitin Bose (e.g. Dushman/Jiban Maran, 1938). Directed works are early instances of a commercially successful cinema set among peasantry and urban working class, mostly based on his own writings (e.g. Mane Na Mana). During shooting, he would often close his eyes, only listening to the dialogues in the long, static takes, permitting no deviation from the script. Published autobiography, Je Katha Bola Hoy Ni (1968). Scripted his own films as well as contributing stories or scripts to Ae To Jiban and Santi (1946), the Oriya film Lakhmi (1962), Rup Sanatan (1965) and Anand Ashram (1977).

imagesFILMOGRAPHY: 1941: Nandini; 1942: Bondi; 1943 Shahar Theke Dooray, 1945: Abhinay Nay, Mane Na Mana; Stree Durga; 1947: Roy Choudhury, 1948: Ghumiye Ache Gram; Rang Berang; 1950: Sandhya-Belar Rupkatha; Eki Gramer Chhele, 1953: Blind Lane, 1954: Banglar Nari; Mani-Aar-Manik, 1955: Katha Kao; 1957: Ami-Baro-Habo.

MUKHERJEE, SUBODH (B. 1921)

Hindi director and producer born in Jhansi, UP. Younger brother of Filmistan boss Shashadhar Mukherjee. Assistant to Gyan Mukherjee for Chal Chal Re Naujawan (1944). Début film Munimji is best illustration of Dev Anand’s use of the masquerade, continued in Paying Guest (one of Anand’s most spectacular hits of the 50s). Continued and sharpened the Gyan Mukherjee-Ashok Kumar strategy of making blatant (male) star performance vehicles (e.g. Junglee, starring Shammi Kapoor). Continued by Nasir Hussain’s films, they can be seen as precedents for Manmohan Desai’s films with Shammi Kapoor (Bluff Master, 1963) and Bachchan (Amar Akbar Anthony, 1977). Also wrote Vrajendra Gaud’s Kasturi (1954).

imagesFILMOGRAPHY: 1955 Munimji, 1957: Paying Guest; 1959: Love Marriage, 1961: Junglee; 1964: April Fool, 1966: Saaz Aur Awaz, 1970: Abhinetri; 1982: Teesri Aankh; 1984: Ulta Seedha.

MUKKAMALA, KRISHNAMURTHY (1920–87)

Telugu actor, producer and film-maker born in Guntur Dist., AP, where he was educated at Andhra Christian College. Worked with the theatre group run by NTR, K. Jaggaiah, etc., appearing in e.g. Shakespeare plays. Wrote plays while a student at the Law College, Madras. Joined films as assistant to C. Pullaiah in Maya Machhindra, in which he also played the role of Gorakhnath. Turned full-time actor thereafter. Started his own M.K.M. Prod. (1951), * and produced/directed Maradalu Pelli. In the 70s, often appeared in Bapu’s films, e.g. Shri Ramanjaneya Yuddham, Seeta Kalyanam, Sneham.

imagesFILMOGRAPHY (* also d): 1945: Maya Machhindra; 1949: Laila Majnu, 1950. Adrushta Deepudu; Swapna Sundari; 1951: Nirdoshi/Niraparadhi; Mayalamari/Mayakkari; Perantalu; 1952: Dharmadevata; Prema/Kathal; Maradalu Pelli*; 1953: Paropakaram; 1954: Aggiramudu; Rechukka; Palle Paduchu; 1956: Tenali Ramakrishna/Tenali Raman, 1957: Maya Bazaar; Nala Damayanti; 1958: Shobha; Shri Ramanjaneya Yuddham; Karthavarayan Katha; 1959: Jayavijaya; 1960: Jalsarayudu; Annapurna; 1961: Rushyashrunga/Rishyashringar*; Varalakshmi Vratamjagadeka Veeruni Katha/Jagathala Prathapan; 1962: Gul-e-Bakavali Katha; Mohini Rugmangada; Mahamantri Timmarasu, 1963: Guruvuniminchina Shishyudu; 1964: Navagraha Pooja Mahima; Aggipidugu; Babruvahana; Bobbili Yuddham; 1965: Jwaladeepa Rahasyam; Pandava Vanavasam, Satya Harishchandra, 1966: Shakuntala; Potti Pleader, Vijayasankalpam; Goodachari 116; Adugu Jadalu; 1967: Satyame Jayam; Bhama Vijayam/Bhale Kodalu; Shri Krishnavataram; 1968: Mana Samsaram; Umachandi Gauri Shankarula Katha; Chellelikosam; Nam Naadu; 1970: Janmabhoomi; Marina Manishi; Vijayam Mande, 1971: Katha Nayakuralu; 1972: Hanthakulu Devanthakulu; Kiladi Bullodu; Korada Rani; Maa Inti Kodalu; Anta Mana Manchike, Goodu Putani; Shri Krishnanjaneya Yuddham; Manavudu Daanavudu; Shanti Nilayam; Vintha Dampathulu; Neethi; 1974: Kode Naagu; Andaru Dongale, Vijaya Ramudu; Manchi Manushulu; Theerpu; Shri Ramanjaneya Yuddham; 1975: Jeevana Jyoti; Pandanti Samsaram; Amma Nana; Pichimaraju; Muthyala Muggu; 1976: Kolleti Kapuram; Neram Nadhikadu Akalidi; Seeta Kalyanam; 1977: Daana Veera Shura Karna; Edureetha; Jeevitha Nauka; Kurukshetramu; Maa Lddari Katha; Sneham (Tel); 1978: Jagan Mohini; Karunamayudu; 1979: Lakshmi Pooja; Shri Rama Bantu; 1982: Mantralaya Shri Raghavendra Vaibhavam; Radhamma Mogadu.

MULLICK, AMAR (1899–1972)

Bengali actor and director born in Calcutta. Actor and film-maker associated with New Theatres style. Civil engineer by profession, he started as actor at International Filmcraft, encouraged by B.N. Sircar. With Atorthy, Nitin Bose and I.A. Hafiz, was one of the first to join New Theatres (1932) where he acted in the Bengali versions of several classic bilinguals, usually playing the ‘lighter’ roles, as well as being production chief. Formed his own A.M. Prods. Known as director of literary adaptations from Saratchandra (Bardidi, Biraj Bou) and as character actor. Married the actress Bharati Devi.

imagesFILMOGRAPHY (* also d). 1931: Chorekanta; Chasher Meye (all St); Dena Paona; 1932: Sandigdha (St); Punarjanma, Chirakumar Sabha; Chandidas; 1933: Meerabai; Kapal Kundala; 1935: Devdas; Abasheshe, Bhagya Chakra; Bijoya; 1936: Karodpati; Grihadah; 1937: Didi; Mukti; Bidyapati, 1938: Desher Mati; Saathi; 1939: Bardidi/Badi Didi*; Parajay, 1940: Abhinetri/Haar Jeet*; Doctor, 1941: Doctor; 1943: Kashinath; 1944: Sandhya; Shesh Raksha; 1945: Bhabhi Kaal; Nandita; 1946: Biraj Bou*; 1947: Ratri; Mandir, Chandrasekhar, Natun Khabar, 1949: Swami/Swami Vivekananda*; Samapti*; 1951: Durgesh Nandini*; 1952: Bhuler Sheshe*; 1954: Sati*; Naad-o-Nadi; Chheley Kaar, 1955: Shap Mochan; Ardhangini; 1956: Mahanisha; 1957: Louha-Kapat; Parash Pathar, 1958: Sonar Kathi; Jogajog; Purir Mandir, Rajdhani Theke, 1959: Chaowa-Pawa; Shashi Babur Sansar, Pushpadhanu; Agnisambhaba; Rater Andhakare, Mriter Martye Agaman; Personal Assistant; 1960: Prabesh Nishedh; Ajana Kahini; Biyer Khata; Natun Fasal; 1961: Kathin Maya; 1962: Kancher Swarga; Abhisarika; 1963: Nirjan Saikate; 1966: Sudhu Ekti Bachhar, Susanta Sha; Uttar Purush; 1967: Seba; 1968: Pathe Holo Dekha; 1969: Chena Achena; Shuk Sari.

MULLICK, PANKAJ (1905–78)

Bengali composer, singer and actor born in Calcutta. Left college to concentrate on music; trained by Durgadas Bannerjee and then by Dinendranath Tagore. Released his first record for Vielophone (1926) and made his début on radio at the Indian Broadcasting Co. in its inaugural year (1927). Associated for several years with radio as producer, musician and educator e.g. in the popular programme Sangeet Shikshar Asar (from Sept. 1929) and the annual Mahishamardini broadcast. Film début conducting the live orchestra for International Filmcraft’s silents Chasher Meye and Chorekanta (both 1931). Joined New Theatres, composing Atorthy’s epic Yahudi Ki Ladki. Scored several films with R.C. Boral, e.g. Barua’s Devdas, Grihadah and Maya, Chunder’s Karodpati and Nitin Bose’s Didi/President. Achieved fame for Mukti, where he composed one Tagore song, Diner sheshe ghumer deshe, with the poet’s endorsement, and for popularising Rabindra Sangeet in Hindi. After Muktis success he concentrated for some years on playback singing (e.g. Anjangarh, 1948) and on acting. Returned to composition for Kartick Chattopadhyay’s films and Paul Zils’s Zalzala. Released a record singing the songs he composed for Saigal in Meri Bahen; e.g. Chupo na, Do naina matwale et al. Published his memoirs, Ganer Surer Asanakhani, in a special issue of Desh (1973) and his autobiography under the title Amar Jug Amar Gaan (1980).

imagesFILMOGRAPHY (* also act/** act only): 1933: Yahudi Ki Ladki, 1935: Bhagya Chakra, Devdas; 1936: Karodpati; Maya; Grihadah; 1937: Didi/President, Mukti*; 1938: Adhikar**, Abhigyan**, Desher Mati*/Dharti Mata;Dushman/Jiban Mar an, 1939 Bardidi/Badi Didi; Kapal Kundala*; 1940. Zindagi, Nartaki*; Alochhaya/Aandhi**; Doctor*; 1941: Doctor*; 1942: Meenakshi; 1943. Kashinath; Dikshul; 1944 Meri Bahen; 1945: Dui Purush; 1947: Nurse Sisi; Ramer Sumati/Chhota Bhai, 1948: Pratibad/Oonch Neech; 1949: Manzoor, 1950: Roopkatha/Roop Kahani; 1952: Mahaprasthaner Pathey/Yatrik; Chhoti Maa; Zalzala; 1953: Bana Hansi; Nabin Yatra/Naya Safar, 1954: Chitrangada; 1955: Amar Saigal; Raikamal; 1957: Louha-Kapat; 1961: Ahwan; 1972. Bighalita Karuna Janhabi Jamuna.

MUNSHI, KANHAIYALAL MANEKLAL (1887–1971)

Major Gujarati novelist, playwright, essayist and social reformer. Worked briefly at Sagar where his scripts were a seminal generic influence on its reformist socials, esp. Dr Madhurika and Vengeance is Mine (both 1935, the latter based on his story Ver Ni Vasulat), feeding into Mehboob’s historicals. Early writings were reformist socials following in the wake of the most significant novelist in modern Gujarati, Govardhanram Tripathi (1855–1907). Became popular with historicals and period fables often set in the Solanki period (AD 961–1242): e.g. Patanant Prabhuta (1916), Gujarat No Natha (1917), Rajadhi Raja (1922). Author of the spectacularly successful historical Prithvi Vallabh (1920), filmed in the silent era by Manilal Joshi (1924) and later by Sohrab Modi (1943). In later years better known as a lawyer and politician, co-founding the right-wing Swatantra Party and briefly as a cabinet minister in the Congress.

MURUGADASA (B. 1900)

Pioneering Tamil director and producer, originally A. Muthuswamy Iyer. Graduate from St Joseph’s College, Tiruchi; journalist for The Mail, Madras; edited the film journal Sound and Shadow, one of South India’s first English film journals. Assisted Baburao Pendharkar in Prabhat’s Tamil film Seeta Kalyanam (1933), making his début with cameraman Ramnoth and set designer A.K. Sekhar. The trio then started the influential Vel Pics in Adyar, Madras: e.g. Markandeya and later Paduka Pattabhishekham (co-d Ramnoth), which introduced the actor, musician and director S. Balachander who played a magician in the film. Started the Karthikeya Films Studio (1937) but returned to journalism when it burnt down. His best-known film is Nandanar, a reform drama addressing Untouchability and featuring the Carnatic musician Dandapani Desigar. Worked with the Cine Technicians’ Association, editing their journal, apparently living on Union premises.

imagesFILMOGRAPHY: 1935: Bhakta Ramadasa; Markandeya; 1936: Paduka Pattabhishekham; Pattinathar, 1937: Sundaramurthy Nayanar, 1940: Urvashi Sahasam; Bhakti; 1941: Venuganam, 1942: Nandanar; 1948. Gnanasoundari.

MUSIC SCHOOLS

In 1896, Vishnu Digambar Paluskar ran away from his teacher Pandit Balkrishnabua Ichalkaranjikar, a court musician at Miraj. Like his contemporary, Ravi Varma, in the visual arts, Paluskar wanted to move away from feudal patronage and address the market-places of growing urban centres. He started a music school, the Gandharva Mahavidyalaya, at Lahore in 1901. Over the next thirty years, dozens of similar schools spread throughout Northern and Western India, e.g. the Saraswati Sangeet Vidyalaya in Karachi (1916), the Gopal Gayan Samaj in Pune (1918), the Gandharva Mahavidyalaya in Kolhapur (1920) and the School of Indian Music in Bombay (1925). Paluskar’s action stemmed from a nationalistic disaffection from the feudal gharana system which was then sponsored and owned by the nobility who kept its repertory available only to the Guru’s kinsmen. His colleague, V.N. Bhatkhande, compiled and published all the available classical musical compositions in an accessible textbook, Hindustani Sangeet Paddhati (1921). Equally influential was the simultaneous effort to define a primitive notation system capable of recording the complex performance codes. Barring a few notable exceptions, the bulk of the students in the new system lacked the rigour of the traditional discipline, but they were also free from the conservatism of gharana ideology. They usually found their way into the recording industries of Lahore, Karachi and Calcutta, into the Sangeet Natak and Company Natak troupes and, after 1932, into film. Master Krishnarao was trained at the Bharat Gayan Samaj, actress Shanta Apte at the Maharashtra Sangeet Vidyalaya, Pandharpur. The parent school in Lahore also produced several musicians and composers central to the Lahore-based film industry: Rafiq Ghaznavi, an extremely popular ghazal singer with best-selling records in Karachi and an actor-music director in films like Prithviraj Sanyogita (1933), Bahen Ka Prem (1935) and later in some Mehboob and Sohrab Modi films. Prof. B.R. Deodhar, disciple of Paluskar and key ideologue for the music school aesthetic, stated in 1933 a position closely analogous to that prevalent in the art schools. In his opinion, the major issues facing classical Indian music were those of voice production and the antithetical relationship between Indian music and Western principles of notation, which made it difficult to arrive at indigenous systems of orchestration as well as to find equivalents for perceiving pure sound effects (like thunder or rain sounds). His polemical view was that these could only be solved through borrowing from Western classical musical systems (Deodhar, 1933).

Muthuswamy, A. see Murugadasa Muzumdar see Majumdar

MYTHOLOGICALS

The Malayalam cinema has a tradition of Biblical mythologicals traceable to P.J. Cherian’s stage work (e.g. Snapaka Yohannan, 1963; PA. Thomas’ Jesus, 1973; the biblical epic shot in 1991 for TV by Appachan), but the genre effectively refers to the Hindu mythological and is also known as the Pauranic genre. ‘Puranas’ or ‘ancient stories’ have become mere religious fables and cant, whatever historical content they once possessed having become encrusted with myth and diluted with semi-religious legends. The stories were collected and elaborated into the Mahabharata, a text going back to 400 BC and undergoing a series of mutations until C.AD400. This process, which saw the rise of a caste system in India, also evolved a textual hierarchy with the ‘official’ Sanskritised text repeatedly rewritten to justify the accumulation of agrarian surplus by the Brahmins (priest caste). There are several popular versions presented for the benefit of the lower classes but these also continued the oral and pictorial traditions of the ‘heroic lays of ancient war’ (Kosambi, 1962). Major historical interventions include the Buddhist revolution and the regional linguistic proliferation leading to the medieval Bhakti and Sufi movements. Industrial genres immediately preceding film are evidenced in the visual arts (see Pat Painting and Ravi Varma) and in the theatre (see Radheshyam Kathavachak and Betaab). An economically developed commercial stage in most urban centres often adapted modes of folk performance to the European proscenium, creating technical precedents for several of the earliest conventions of film shooting and editing (see Phalke). The most famous traditions are the Ramleela and Raasleela (later assimilated into Parsee theatre; cf. Indrasabha, 1932), the Yakshagana, Nautanki, Bhavai, Burrakatha and Jatra. The form has been and continues to be used for explicitly ideological ends. Among its first industrialised manifestations were Ravi Varma’s self-conscious appropriation of Brahmical ‘classicism’ for the benefit of his royal patron and the Mysore court (cf. G.V. Iyer). The stories were also used as encoded messages of nationalist patriotism (e.g. Phalke’s work, or Bhakta Vidur, 1921), as a way of conveying ‘Gandhian’ national chauvinism in Vijay Bhatt’s films, to bolster regionalist separatism in Rajkumar’s Kannada films or simply to shore up temple cults with a mass following (e.g. the films on the Guruvayoor and Sabarimalai icons in Kerala). Recently, mythologicals have been used to propagate Hindu chauvinism, e.g. in Ramanand Sagar’s TV Ramayan (1986–8). The genre can also be seen in terms of its performative traditions shading into the melodramatic idiom, condensing complex contemporary tensions and codes in its figures. Ritwik Ghatak mobilises this dimension as do Raj Kapoor and several others, e.g. in their references to the goddess Seeta when wives and mothers are at issue. In spite of the pervasive references to the myths in Indian cinema, mythologicals cannot be regarded as a matrix or a master text for Indian narrative art in general, but rather as a nationally familiar and flexible stock of figures and topoi which can be used as shorthand to register more immediate historical issues (cf. Bhakta Vidur, 1921). The invocation of myths is less important than the way the stories are treated as a genre, modified as narratives or formally deployed as allegorical relays within a conservatively constructed notion of the social as a cinematic genre.

NADIA (1908–1996)

Aka ‘Fearless’ Nadia. Indian cinema’s most famous stunt actress was born Mary Evans in Perth, Australia. She worked in Zacko’s Russian circus before touring the Asian subcontinent with Madame Astrova’s ballet group, doing live shows in between silent films for British and Indian troops. She joined Wadia Movietone as chorus girl for Lal-e-Yaman. Hunterwali, the first of her highly successful films usually directed by her husband Homi Wadia, launched her as ‘India’s Pearl White’ in action films set in an unspecified period or in Tarzanland (Jungle Princess) or in a fantasy version of Hollywood gangster movies. She was always accompanied by her horse, Punjab Ka Beta, except when swinging from one building to another or through high-domed halls via chandeliers (Hunterwali), fighting the villain atop a rolling carriage (Diamond Queen) and, most popular of all, jumping from roof to roof on a moving train. She made several ‘train’ films, esp. Miss Frontier Mail, to show off this talent. The villain was always the devious Sayani and her (usually masked) hero was initially Boman Shroff who started the Wadia stunt tradition in silent films playing Fairbanks roles. After Punjab Mail, John Cawas replaced him as her leading man. Riyad Vinci Wadia, J.B.H. Wadia’s grandson and the current owner of Wadia Movietone, made a documentary about the star, Fearless: The Hunterwali Story (1993).

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Habib and Fearless Nadia in Jungle Queen (1956)

imagesFILMOGRAPHY: 1933: Lal-e-Yaman, 1935: Desh Deepak; Noor-e-Yaman; Hunterwali; 1936: Miss Frontier Mail; Pahadi Kanya; 1937’: Hurricane Hansa; 1938: Lutaru Lalna; 1939: Punjab Mail; 1940: Diamond Queen; 1941: Bambaiwali; 1942: jungle Princess; Muqabala, 1943: Hunterwali Ki Beti; Mauj; 1946: Flying Prince, Lady Robin Hood; Sber-e-Baghdad; Toofan Queen; 1947: Himmatwali; Stunt Queen; Toofani Tirandaz; Chabuk Sawar, 1948: Eleven O’clock; Jungle Goddess; Tigress; 1949: Delhi Express; Dhoomketu; Maya Mahal; Billi; 1950: Circuswale, 1952: Jungle Ka Jawahar, 1953: Shamsheerbaaz; 1954: Sher Dil; 1955: Carnival Queen; 1956: Baghdad Ka Jadu; Fighting Queen; Jungle Queen; 1957: Diler Daku; 1959: Circus Queen; 1968: Khiladi; 1993: Fearless: The Hunterwali Story (Doc).

NADKARNI, SUNDARRAO

Tamil director; also worked in Telugu and Kannada. Drawn to cinema apparently by watching Eddie Polo silents in his native Shimoga, Karnataka. Started as actor with Sarpotdar at Deccan Pics, United Pics and Aryan. Début as director was left unfinished when United Pics was sold; the film was completed by Dhirubhai Desai. Became the top director of Surya Film (1930), set up in Bangalore to replicate the Sharda Studio’s Master Vithal stunt films with Ganpat Bakre and Zunzharrao Pawar. Turned to Tamil cinema with sound, mostly making mythologicals. Briefly worked as cameraman for Fazalbhoy’s Film City (1934); then went to the Sundaram Sound Studio where he made his first Tamil films (Raja Bhakti, Bhasmasur Mohini, Bhukailasa). Later worked at Jupiter Studio (Valmiki, Krishna Vijayam). Started his own Shri Ganesh Prasad Movies (1955) with Koteshwaran starring Sivaji Ganesan. Best known for his Telugu and Tamil film of R. Nagendra Rao’s hit play Bhukailasa. His last films were in Kannada.

imagesFILMOGRAPHY (* act only): 1924: Poona Raided*; 1925: Chandrarao More*; Chhatrapati Sambhaji*; 1928: Maya Na Rang; 1929: Julia Dalia*; Mard Ki Zabaan*; Kodandhari Ram*; Raktacha Sood*; 1930: Dhoomketu; Randhir, Kalika No Kop; 1931: Baaz Bahadur, Lshq No Anjam; Zindagi Nu Jugar, Qurbani; Taj Ke Talwar, Teer-e-Qatil; Aseer-e-Hirs (all St); 1934: Sakkubai; 1936: Raja Bhakti; 1937: Bhasmasur Mohini; 1938: Bhukailasa; 1939: Sant Sakkubai; 1940: Bhukailasa; 1942. En Manaivi; 1944: Haridas; 1946: Valmiki; 1949: Krishna Vijayam; 1951: Sudarshan; 1952: Krishna Kanhaiya; 1953: Azhagi; 1955: Koteshwaran; 1957: Mahadevi; 1963: Sant Tukaram; 1968: Gauri Ganda.

NAG, ANANT (B. 1948)

Actor born in Bombay as Anant Nagarkatti. One of the better-known New Indian Cinema actors committed to psychological characterisation. Bank employee while doing amateur theatre in Marathi and Kannada. Introduced by Shyam Benegal’s début feature, Ankur, in Hindi and by G.V. Iyer’s revivalist musical Hamsa Geethe in Kannada cinema. Became a major Kannada star although, unlike his younger brother Shankar Nag, he tended to restrict himself to ‘complex’ character roles. Acted regularly for Benegal in the 70s. Other roles include the legendary Kannada brigand Kanneshwara Rama and the 19th C. Travancore musician-king, Swathi Thirunal. Also acted in most films and TV serials directed by Shankar Nag. Member of the Karnataka Legislative Council for the Janata Dal; thereafter elected to the state Legislative Assembly (1993) and Minister for Urban Development.

imagesFILMOGRAPHY: 1972: Sankalpa; 1973: Ankur, 1975: Hamsa Geethe; Nishant; Devara Kannu; 1976: Bayalu Dari; Manthan; Bhumika, 1977: Kanneshwara Rama; Anurupa; Premalekhalu; Kondura/Anugraham; Kudre Mukha; 1978: Sandarbha; Matu Tappada Maga; Premayana; Madhura Sangama; 1979: Na Ninna Bidalare, Chandanada Gombe, Muttu Ondu Muttu; Dhairyalakshmi; 1980: Minchina Ota; Ondu Hennu Aaru Kannu; Narada Vijaya; Janma Janmada Anubandha; Premajwale, Gehrayee, Kalyug; Bara/Sookha, Anveshane, 1981: Mangalsutra (K/H); Anupama; Mareyada Haadu; Jivakke Jiva; Shriman; 1982: Anandada Aramane, Bhadada Hoo; Mullina Gulabi; Nanna Devaru; Hasyarathna Ramakrishna; Bettale Seve, Phaniyamma, 1983: Lalach; Simhasana; Benkiya Bale, Hosa Teerpu; Kamana Billu; Bhakta Prahlada; Ebbani Karagitu; Mududida Tavare Aralitu; Gayatri Madhuve, Makkale Devaru; Chelisada Sagara; Nodi Swamy Navirodu Hige, Premave Balina Belaku; 1984: Sukha Samsarakke Hanneradu Sutragalu; Premasakshi; Ramapurada Ravana; Olave Bedaku; Accident; Olavu Moodidaga; Makkaliralavva Mane Thumba; 1985: Bidugadeya Bedi; Haavu Eni Aata; Sedina Hakki; Koogu; Hosa Neeru; Parameshi Prema Prasanga; Shweta Gulabi; Shabdagalu; Hendthi Beku Hendthi; 1986: Nenapina Doni; Maneye Manthralaya; Premajala; Anuragha; 1987: Thayi; Agni Parva; Avasthe, Kurukshetra; Athiratha Maharatha; Divyashakti; Swathi Thirunal; Antima Ghatta; 1988: Ranadheera; Shanti Nivasa; Varna Chakra; Shri Venkateshwara Mahime, Balondu Bhavageethe, Muttaide, Dharmatma (K); Brahma Vishnu Maheshwara; Shri Venkateshwara Mahime, 1989: Amanusha; Hendthige Helabedi; Ldu Saadhya; Gagana; 1990: Jurm; Golmaal Radhakrishna; Ramrajyadalli Rakshasaru; Swarna Samsara; Challenge Gopalakrishna; Udbhava; Mathe Hadithu Kogile, Ganeshana Madhuve, Golmaal Bhaga II; Aata Bombata; Ivalentha Hendthi; Maneyalli Illi Beediyalli Huli; 1991: Rollcall Ramakrishna; Gauri Ganesha, Shanti Kranti; Ratri/Raat; Nagini; Undoohoda Kondoohoda; 1992: Undu Roda Konda Hoda; Vajrayudha; Ganesha Subramanya; Ondu Cinema Kathe, Shakti Yukti; Atanka; Mangalya Bandhana; Marana Mridanga; Jhenkara; Rajakiya; 1993: Kadambari; Nishkarsha; Thooguve Krishna; 1994: Yarigu Helbedi; Nilukada Nakshatra; 1995: Beladingala Bale.

NAG, SHANKAR (1954–90)

Kannada actor and director born in Udupi, Karnataka, as Shankar Nagarkatti. Educated in Bombay. Encouraged by his brother, Anant Nag, to work in Bombay on Marathi experimental stage where he directed e.g. Sartre’s No Exit and Vijay Tendulkar’s Ashi Pakhare Yeti. Also active on Hindi, English and Gujarati stage. Assistant of Sai Paranjpye (1976–7). Entered film as hero of Girish Karnad’s martial-arts film Ondanondu Kaladalli. Best known as actor in action thrillers and rogue cop films. Karnad provided the script for his début feature as director, Minchina Ota, produced by Sanket Films, which he helped set up (1980). Known for his TV adaptation of R.K. Narayan’s novels (e.g. Malgudi Days). Ran amateur theatre group Sanket. Starred with his brother in many Kannada films, often playing brothers in family dramas (e.g. Ramrajyadalli Rakshasaru). Died in a road accident.

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Shankar Nag and Sujatha in Akrosha (1983)

imagesFILMOGRAPHY (* also d/** only d). 1978. Ondanondu Kaladalli, Sarvasakshi, 1979: Seeta Ramudaithe, I Love You; Preeti Madu Tamashe Nodu; Madhuchandra; 1980: Auto Raja; Haddina Kannu; Mugana Sedu; Ondu Hennu Aaru Kannu; Arada Gaya; Rustom Jodi; Minchina Ota*; Janma Janmada Anubandha*; 1981: Geetha**; Karinaga; Thayiya Madilalli; Kulaputra; Hana Balavo Jana Balavo; Devara Aata; Bhari Bharjari Bete, Muniyana Madari; Jivakke Jiva; 1982: Arch ana; Benki Chendu; Karmika Kallanalla; Dharma Dari Tappitu; Nyaya Yellide?; 1983: Gedda Maga; Nyaya Gedditu; Chandi Chamundi (K); Keralida Hennu; Akrosha; Rakta Tilaka; Nagabekamma Nagabeku; Hosa Teerpu**; Nodi Swamy Navirodu Hige*; Lalach**; 1984: Accident*; Thaliya Bhagya; Ganda Bherunda; Benki Birugali; Kalinga Sarpa; Indina Bharatha; Bedaru Bombe, Shapatha; Pavitra Prema; Makkaliralavva Mane Thumba; Utsav, Asha Kirana; Apoorva Sangama; 1985: Thayi Kanasu; Manava Danava; Thayiye Nanna Devaru; Kiladi Aliya; Vajra Mushti; Parameshi Prema Prasanga; Mohan Murali; 1986: Bettada Thayi; Na Ninna Preetisuve, Paste Raja; Samsarada Guttu; Agni Pareekshe, 1987: Ondu Muthina Kathe*; Swami** (TV); Malgudi Days* (TV); Thayi; Ee Bandha Anubandha; Huli Hebbuli; Antima Ghatta; Digvijaya; Lorry Driver, 1988. Shakti; Navabharata; Sangliana; Thayi Karulu; Dharmatma (K); 1989: Tarka; Maha Yuddha; Antinta Gandu Naanalla; CBL Shankar, Rajasimha; Narasimha; Ldu Saadhya; Rajasimha; Jayabheri; Nakkala Rajkumari; 1990: Pundara Ganda; Maheshwara; Hosa Jeevana; Bhale Chatura; Aata Bombata; Nighooda Rahasya; Ramrajyadalli Rakshasaru; S.P. Sangliana; Trinetra; Avesha; Haliya Surasuraru; Ananta Prema; 1991: Punda Prachanda; Sundara Kanda; Nagini; Hridaya Hadithu; 1992. Prana Snehitha; 1993: Shivanna.

NAGABHARANA, T. S. (B. 1953)

Kannada director born in Bangalore. Started in theatre in 1969 as apprentice to noted Kannada playwright and director Adya Rangacharya. Directed several short plays for B.V. Karanth’s theatre group Benaka (1970–5) and participated in their major productions of Hayavadana, Oedipus and Jokumaraswamy Assisted Karanth and Karnad in their early films (cf. Kaadu, 1973). Début Grahana in the context of the 70s art film movement in Kannada adapted from literary and theatre movements (see Navya Movement). Was the only film-maker from the group to make a successful transition to the commercial mainstream. Continues as theatre director and actor with the Benaka and Rangasampada theatre groups. Made several documentaries and promotional shorts.

imagesFILMOGRAPHY: 1978: Grahana, 1980. Anveshane, Bangarada Jinke, 1982: Praya Praya Praya; 1983 Banker Margayya; Onti Dhwani; Prema Yuddha; 1984: Makkaliralavva Mane Thumba; Ahuti; Sedina Sanchu; Hoysala and Chalukyan Architecture of Karnataka (Doc); 1985: Netra Pallavi; 1986: Nenapina Doni; Nammana Mali (TV); 1986–1987: Shriman Shrimanya (TV); 1987: Ravana Rajya; 1988: Aasphota; 1989: Premagni; Sura Sundaranga; 1990: Santha Shishunala Shareefa; Tenali Raman (TV); 1991: Mysore Mallige, Stone Boy (TV); 1992: Thirugubana (TV); 1993: Akasmika; Chinnari Mutha; 1994: Sagara Deepa; 1995: Naviddive Etcharikke, Americadalli Gorur (TV); Sansmaran (TV); Naviddive Etcharikke, 1996: Janmadada Jodi; Nagamandala.

NAGABHUSHANAM, KADARU (B. 1902)

Telugu and Tamil director born in Krishna Dist., AR Prominent theatre personality with Rajarajeshwari Nataka Mandali. Married its lead star Kannamba. Together they expanded it into Rajarajeshwari Film (1941), initially filming their own stage hits. Produced and directed 35 films under this banner, mainly mythologicals. Probably starred in E. Nagabhushanam’s Sampoorna Ramayanam (1936).

imagesFILMOGRAPHY: 1942: Sumati; 1943: Harishchandra; 1945: Paduka Pattabhishekham; 1947: Tulasi Jalandhar, 1949: Navajeevanam; 1951: Saudamini; 1952: Pedaraitu; Enzhai Vazhavan; 1953: Lakshmi; 1954: Sati Sakkubai; 1955: Shri Krishna Tulabharam; 1956: Naga Panchami; 1957: Sati Savitri; Sati Ansuya; 1959: Veer Bhaskaradu; 1960: Dharmane Jayam; 1961: Usha Parinayam; 1962: Dakshayagnam; 1963: Apta Mithrulu; 1965: Chaduvukonna Bharya; 1966: Thali Bhagyam; Usha Kalyanam.

NAGAIAH, CHITTOR V. (1904–73)

Actor, singer and composer born in Repalle, Guntur, AP; later settled at Chittoor. One of the first major stars of the Telugu and, after Ashok Kumar, Tamil cinemas. Renowned stage actor and recording star in Telugu, launched as a youth in the Surabhi theatre group. Later associated with Bellari Raghava (playing Kabir in Ramadasu), the Madras-based Suguna Vilas Sabha and Chennapuri Andhra Mahasabha. Staged the mythological Shri Krishna Leelalu as an independent production. Early screen career mainly in B.N. Reddi films at Vauhini Studios where his ‘humanist’ performances - e.g. in Sumangali, partly based on the life of the reformer Kandakuri Veeresalingam Panthulu (1848–1919) - were central to the studio’s revivalist nationalist melodrama contrasting ‘ancient’ civilisation with decadent modernity. His later and most successful work was in the Saint film genre with Thyagayya and Bhakta Potana, two of the biggest South Indian hits in the 40s associating a revivalist Hindu ascetism with ‘Gandhian’ moralism as in Ramnoth’s mammoth Ezhai Padum Padu, an adaptation of Les Misérables. In early films at Vauhini he composed the music of Vande Mataram, Sumangali, Devatha and Bhakta Potana as well as acting in them. These compositions are still remarkable for their extreme simplicity and the ease with which they are integrated into the narrative. From the mid-50s on he appeared in smaller roles in Telugu and Tamil films, also directing one last Saint film, Ramadasu, Ran Renuka Films in Madras. Published his autobiography, Swiya Charitra in 1983.

imagesFILMOGRAPHY (* also d & music d/** also music d): 1938. Grihalakshmi; 1939: Vande Mataram**; 1940: Sumanga M**; Vishwamohini; 1941: Devatha**; Ashok Kumar; 1942: Bhakta Potana**; 1943: Bhagya Lakshmi; Chenchulakshmi; 1945: Swargaseema**; Meera, Hemareddy Mallamma (music d only); 1946: Thyagayya*; 1947: Yogi Vemana**; 1948: Bhakta J ana; Chakradhari; 1949: Mana Desam, Navajeevanam, 1950: Ezhai Padum Padu/ Beedala Patlu; 1951: Sarvadhikari; 1952: Thayi Ullam; 1953: Inspector, Jataka Phala/Jatakaphalaml Jatakam; Panakkari; Ulagam; En Veedu/Naa Lllu*, Gumasta, Penn/Ladki/Sangham; Prapancham; 1954: Maa Gopi; Thuli Visham; Ethirparadathu, Nanban; Viduthalai, Rihaee, 1955: Kanavane Kan Kanda Daivam; Nam Kuzhandai; Anarkali; Ardhangi/Pennin Perumai; 1956: Bhakta Markandeya; Muddubidda; Tenali Ramakrishna/Tenali Raman, Naga Krishnavataram, 1968: Sati Arundhati; Tikka Shankaraiah; Bharya; Thillana Mohanambal; Mana Samsaram; Nindu Samsaram; Undamma Bottupeduta; 1969: Ardha Rathri; Muhurtabalam; Bandhipotu Bhimanna; Jarigina Katha; Mooganomu; Prema Kanaka; Annaiyum Pithavum; Manasakshi; Ulagam Lvvalavuthan; Nam Naadu, 1970: Tapalkaran Thangai; Pattam Pazhali; Daiva Penn; Aada Janma; Amma Kosam; Kodalu Diddina Kapuram; Malli Pelli; 1971: Maa Llavelupu; Jeevitha Chakram; CLD Raju; Vintha Samsaram; Shri Krishna Satya; Anuradha; Lru Thuruvam; Mayakkum Mohini; Kulagaurava/Kulagauravam; 1972: Ganga; Mohammed-bin-Tughlaq; Raja (Ta/Te); Shri Krishnanjaneya Yuddham; Anta Mana Manchike, Maa Lnti Kodalu; Maa Lnti Velugu; Neethi Nijayathi; Nijam Nirupistha; Shabash Baby, Vichitra Bandham; Vintha Dampathulu; Vooriki Upakari; Goodu Putani; Jakkamma; Neethi; Amma Mata; Rocket Rani; Pedda Koduku; Monagadosthunnadu Jagratha; Beedala Patlu; Sampoorna Ramayanam; Shabash Papanna; Papam Pasivadu; Shakti Leela; 1973: Pattikatu Ponnaiah; Pennai Nambungal; Malamma Katha; Vishali; Panjaramlo Pasipapa; Jeevitham; Deshoddharakulu; Puttinillu Mettinillu; Jagame Maya; Mahishasura Mardini; 1974: Lnti Kodalu; Anaganaga Oka Thandri; 1976: Ennai Pol Oruvan; 1977 Evaru Devudu. Panchami(Tel); Amara Deepam; Asai; Marmaveeran; 1957: Vanagamudi/Tala Vanchani Veerudu; Ambikapathy; Nala Damayanti; Sati Savitri; Panduranga Mahatyam; 1958: Bommalapelli/Bommai Kalyanam; Ettuku Pai Ettu; Ganga Gauri Samvadam; Shri Ramanjaneya Yuddham; Parvati Kalyanam; Manamalai; Naan Valartha Thangai; Pati Bhakti; Sampoorna Ramayanam; Thirumanam; Piya Milan; 1959: Kalaivanan; Mala Oru Mangala Vilakku; Manaiviye Manithanin Manikkam; Nalla Theerpu; Sahodari; Jayabheri; Veerapandiya Kattaboman; Sipayi Kooturu; Bandaramudu; Mahishasura Mardini; Raja Makutam, 1960: Abhimanam; Bhakta Raghunath; Bhakta Shabari; Maa Babu; Samajam; Shantinivasam; Shri Ventakeswara Mahatyam, Thangarathinam; Ramayan; 1961: Anbu Magan; Ellam Unnakkaga; Manappandanal; Pavamanippu, Thirudathe, Bhakta Jayadeva; Lntiki Deepam Lllale, Seeta Rama Kalyanam; Vagdanam; Pelli Pilupu; Nagarjuna; 1962: Dakshayagnam; Aradhana; Swarnamanjari; Alayamani; Nagamalai Azhgai; Valar Pirai; Constable Koothuru; Siri Sampadalu, 1963: Mani Osai; Veera Kesari/Bandhipotu; Anuragam; Lavakusa; Ldu Sathiyam; Karpagam; Nanum Oru Penn; Naan Vanangum Daivam; Kubera Theevu; 1964: Atmabalam; Kaikodutha Daivam; Vengai Nattu Veeran(?); Pachai Vilakku; Ramadasu*; Aggipidugu; Vivahabandham; Amarashilpi Jakanna, Gudigantalu;

Nagalingam, P. K. see Sandow, P. K. Raja

NAGARAJAN, A. P.

Tamil director and scenarist. Considered one of the pioneering new generation of scenarists in the mid-50s in context of the anti-religious thrust of the DMK Film. Playwright and actor associated with the TKS Brothers; début in film adapting the play Nalvar into a script (1953; he also acted in the film). Like the DMK writers and directors, he tried to go beyond what film-maker and critic K. Hariharan calls the ‘Therukoothu vaudeville’. A crucial political shift, accompanying the forming of the Thamizharasu Party, which rejected the DMK’s emphasis on atheism, informs his revival of the discredited mythological genre with K. Somu’s hit Sampoorna Ramayanam (1958) which Nagarajan scripted. The film had a major impact on Sivaji Ganesan’s political career, helping the star to overcome his earlier association with the atheist DMK. Also edited the Thamizharasu journal Sattai. Started his own production company with actor V.K. Ramaswamy, scripting and producing Somu’s Nalla Idathu Sambandham (1958). His early films as director are melodramas often bewailing, like the DMK films, the loss of ‘tradition’ and the ‘decadence’ of modern times, e.g. in Navarathri, a woman runs away from home and meets nine different men on nine consecutive nights, apparently experiencing each of the nine rasas of Indian aesthetic theory in the process; in Vaa Raja Vaa, a boy ekes out a living as a tourist guide in Mahabalipuram; Thillana Mohanambal, one of his bigger hits, is set in Thanjavur and features a dancer and musician. Best known for a series of 60s mythologicals: Thiruvillaiyadal, Saraswathi Sabatham, Kandan Karunai, Thirumal Perumai, etc., reinvoking the stage-derived conventions he had earlier opposed, mobilising their kitschy inventiveness as in Saraswathi Sabatham where Shiva is dressed as a Greek general, and hiring retired stage actors from the 50s. His films often starred Ganesan.

imagesFILMOGRAPHY: 1962: Vadivukku Valai Kappu; 1963: Kulamagal Radhai; 1964: Navarathri; 1965: Thiruvillaiyadal; 1966: Saraswathi Sabatham; 1967: Kandan Karunai; Seeta; Thiruvarut Selvar, 1968: Thillana Mohanambal; Thirumal Perumai; 1969: Gurudakshinai; Vaa Raja Vaa, 1970: Thirumalai Thenkumari; Vilayattu Pillai; 1971: Kankatchi; 1972: Agathiar, Tirupati Kanyakumari Yatra; 1973 Karaikkal Ammaiyar, Raja Raja Chozhan; Thirumalai Daivam; 1974: Gumastavin Magal; 1975: Melnattu Marumagal; 1977: Navarathnam; Shri Krishna Leela.

NAGARJUNA, AKKINENI (B. 1959)

Telugu and Hindi star; son of Akkineni Nageshwara Rao (ANR). Abandoned management course in the USA to act in Vikram, a version of Subhash Ghai’s Hero (1983) made by his family’s Annapurna Prods, especially to launch him. Became a star mainly with Mani Rathnam’s Geetanjali, followed by Ram Gopal Varma’s Shiva. Initially played ‘the angry youth’, but shifted to comedy and dance musicals after Hello Brother. Produced Sisindri, starring his son Akhil. Married to actress Amala.

imagesFILMOGRAPHY: 1986: Vikram; Captain Nagarjuna; 1987: Aranyakanda; Collectorgari Abbayi; Majnu; Sankeerthana; Agni Putrudu; 1988: Aakhari Poratam; Chinababu; Murali Krishnudu; Janaki Ramudu; 1989: Geetanjali; Shiva; Vicky Dada; Vijay, Agni; 1990: Neti Siddhartha; Iddaru Iddare, 1991: Nirnayam; Chaitanya; Shanti Kranti; Jaitra Yatra; 1992: Antham/Drohi; Khuda Gawah; Presidentgari Pellam; Killer; 1993: Allari Alludu; Varasudu, Rakshana; 1994: Govinda Govinda; Criminal; Hello Brother, 1995: Gharana Bullodu; Sisindri; Vajram. Dagudu Moothulu; 1965: Prachanda Bhairavi; Chaduvukonna Bharya; Devatha; Shri Simhachala Kshetra Mahatmyam; Vishala Hridayalu; Satya Harishchandra, Pandava Vanavasam, Todu Needa; Shanti; Enga Veetu Penn, 1966: Motor Sundaram Pillai; Ramu; Sadhu Mirandal; Saraswathi Sabatham; Selvam; Parakkum Pavai; Astiparulu; Adugu Jadalu; Navarathri; Paramanandayya Sishyula Katha; Shakuntala; Shrimati; Kumari Penn, 1967: Private Master, Kanchukota; Punyavati; Maa Vadina; Stree Janma; Bhakta Prahlada; Thangai; Iru Malargal; Poolarangadu; Shri

Nagendra Rao, Pingali see Rao, Pingali Nagendra

Nagendra Rao, R. see Rao, Nagendra R.

Nageshwara Rao, Akkineni see Rao, Akkineni Nageshwara

Nageshwara Rao, Pendyala see Pendyala Nageshwara Rao

Nageshwara Rao, Rajanala see Rao, Rajanala Nageshwara

Naik, Prabhakar see Nayak, Prabhakar

NAIR, KOTTARAKKARA SRIDHARAN (1922–86)

Malayalam theatre star born in Kottarakkara, Kerala. Major actor over four decades in Malayalam cinema. His single most famous role was that of the father in Kariat’s Chemmeen. Tended to play a tradition-bound villain but his main impact was in shaping the iconography of the extreme right-wing Nair Service Society (NSS), the political voice of the formerly dominant Nair caste which later joined with Christian groups to create the militant Vimochana Samara to oppose the Communist government of Kerala by appealing to the military glories of this once-ruling warrior caste. Gave a high-flown, declamatory performance as Veluthampi Dalawa, the legendary Nair diwan who fought the British and later defied his own king. This figure became the subject of several stage and literary historicals (e.g. a play by Kainikkara Padmanabha Pillai) and was integrated into Kerala Congress rhetoric. This role and others like that of Kunjali Marakkar, a Muslim nationalist who joined the Zamorins in fighting the Portuguese in Malabar, defined the Rajapart, i.e. the image of the royal costumed hero on the Malayalam stage and later in film. Another famous Kottarakkara role is that of the old and lonely man who feels death to be ‘half an hour away’ in K.S. Sethumadhavan’s Aranazhikaneram.