RAMAIYADAS, THANJAI (1914–69)

Popular 50s Tamil lyricist. Former schoolteacher in Thanjavur, resigned when his pro-Congress affiliations prevented him from working, and joined the theatre. Music teacher with the Sudarshana Gana Sabha; later started his own stage company, the Jayalakshmi Gana Sabha (e.g. Macharekhai). Film début in T.R. Sundaram’s 1000 Thalaivangi Apoorva Chintamani (1947). Became known for his Tamil dialogues for the Vijaya Studio’s hit Patala Bhairavi (1951); went on to write songs (and sometimes dialogue) for several Vijaya productions (e.g. the song Varayo vennilave for Missiamma, 1955). Also wrote lyrics for R.M. Krishnaswamy’s Thooku Thooki (1954) and acted in Jambulingam’s Nam Naadu (1969).

Ramakrishna Rao, P. S. see Rao, P. S. Ramakrishna

RAMAN, MAHALINGAM VENKAT (B. 1913)

Tamil, Telugu and Hindi director born on Tiruchirapalli, TN. Graduated as an accountant but became cameraman, sound recorder and editor at Srinivas Studio in Madras (1936). Directorial début in 1945, breaking through with Vazhkai and his Hindi remake Bahar. These films established the AVM Studio, and also introduced the future Hindi star Vyjayanthimala. Founded his own Raman Prod, in the 50s, making e.g. the Kishore Kumar and Vyjayanthimala hit, Aasha, scored by C. Ramchandra and featuring Asha Bhosle’s hit song, Ina mina dika, a landmark in the introduction of Benny Goodman-style jazz into Indian music. Apparently directed two unreleased films Raja Beta (in Hindi) and Lankeshwaran (in Tamil) for his own production house in the 1950s.

FILMOGRAPHY: 1945: Parvati Kalyanam; 1949: Vazhkai/Jeevitham; 1951: Bahar; 1953: Penn/Ladki/Sangham; 1954: Pehli Jhalak; 1955: Vadina/Chellapillai; 1956: Bhai Bhai; 1957: Aasha; 1958: Chandan; 1959: Athisaya Penn; 1962: Konjum Salangai; 1967: Pattanathil Bhootham; 1968: Payal Ki Jhankaar; 1970: Jwala.

RAMA RAO, NANDAMURI TARAKA (1923–96)

Aka NTR. Telugu megastar, producer, director and politician. Born into farming family in Gudivada Dist., AP. Studied in Vijaywada, where he started acting in and directing college plays, often playing female roles. Attracted attention for his role as Prince Salim in Muddu Krishna’s Anarkali. Staged plays with K. Jaggaiah at the Andhra Christian College (e.g. Chesina Papam, 1946) and at the amateur National Art Theatre group, which he set up (1946). It was also an effective fund-raiser for drought and famine relief in AP in the early 50s. With Todu Dongalu (1954), it became N.A.T. Film run by Rama Rao’s brother, Trivikrama Rao. Worked briefly as a clerk in the Registrar’s office at Guntur (1947). Film début with L.V. Prasad (Mana Desam). First heroic lead in B.A. Subba Rao’s Palletoori Pilla. Broke through with Prasad’s Shavukaru and had a two-year contract with the Vijaya Studio (hits include Patala Bhairavi, Malleeswari and Pelli Chesi Choodu); making him the top star of Telugu cinema along with Akkineni Nageshwara Rao. First mythological is Vijaya’s Maya Bazaar; playing Krishna, a role he played in 17 films (typically in those by K. Kameshwara Rao) and often invoked in his political career. His ‘living god’ persona took off with P. Pullaiah’s hit, Shri Venkateswara Mahatyam, playing the deity of the Tirupati temple. He cultivated this identification, even publicly receiving devotees from Tirumala in front of his Madras house. Often directed himself in mythologicals playing multiple roles, e.g. Daana Veer a Shura Kama (triple role) and Shri Rama Pattabhisekham. Started in melodrama (e.g. Palletooru) and folk fantasies, later modulated, often via younger actresses like Sridevi, into vigilante characters facing a corrupt society, adapting e.g. the Prakash Mehra-type movie into Telugu (Yugandhar, Vetagadu, Bobbili Puli, etc.). Set up the populist regional Telugu Desam Party in 1982 which unseated Congress in AP for the first time since Independence. Chief minister of the state until 1989 when his party was defeated. His reign as chief minister has been extensively analysed by civil liberties activist K. Balagopal (1988), linking his films with his populist politics representing a Telugu regional bourgeoisie. Returned to film-making in 1990 to direct and act as Brahmarishi Vishwamitra, an unsuccessful campaign film for the 1991 General elections. Biography by S. Venkatnarayan (1983).

FILMOGRAPHY (* also d): 1949: Mana Desam; 1950: Palletoori Pilla, Shavukaru; Samsaram; Maya Rambha; 1951: Patala Bhairavi/Pataal Bhairavi; Malleeswari; 1952: Pelli Chesi Choodu/Kalyanam Panni Paar; Palletooru; Daasi; 1953: Pichhipullaiah; Chandirani; Ammalakalu/Marumagal; Chandraharam; 1954: Todu Dongalu; Aggiramudu; Vaddante Dabbu; Sangham; Rechukka; Raju Peda; Iddaru Pellalu; Parivarthana; 1955: Missamma; Jayasimha/Jaisingh; Santosham/Naya Admi; Vijayagauri; Cherapakura Chedevu; Kanyasulkam; 1956: Chintamani; Jayam Manade, Charanadasi; Umasundari; Chiranjeevulu; Shri Gauri Mahatyam; Sontavooru; Tenali Ramakrishna/Tenali Raman; Penki Pellam; 1957: Panduranga Mahatyam; Bhagya Rekha; Sarangadhara; Veera Kankanam; Kutumba Gauravam; Vinayaka Chaviti; Sati Ansuya; Sankalpam; Maya Bazaar; 1958: Anna Thamudu; Shobha; Bhukailasa; Raja Nandini; Karthavarayan Katha; Manchi Manasuku Manchi Rojulu; Intiguttu; Sampoorna Ramayanam; Appu Chesi Pappu Koodu; 1959: Rechukka Pragatichukka; Vachina Kodalu Nachindi; Shabash Ramudu; Daivabalam; Bandaramudu; Balanagamma; Kalasivunte Kaladu Sukham; Raja Sevai; Raja Makutam; 1960: Shri Venkateswara Mahatyam; Devanthakudu; Deepavali; Rani Ratnaprabha; Bhatti Vikramarka; Kadedullu Ekaram Nela; Vimala; Bhakta Raghunath; 1961: Seeta Rama Kalyanam*; Intiki Deepam Illale; Jagadeka Veeruni Katha; Shanta; Taxi Ramudu; Pelli Pilupu; Sati Sulochana; Raktha Sambandham; 1962: Gul-e-Bakavali Katha; Gali Medalu; Tiger Ramudu; Bhishma; Dakshayagnam; Gundamma Katha, Mahamantri Timmarasu; Swarnamanjari; Atmabandhuvu; Shri Krishnarjuna Yuddham; 1963: Irugu Porugu; Pempudu Koothuru; Valmiki; Savati Koduku; Lavakusa; Paruvu Pratishtha; Apta Mithrulu; Bandhipotu; Lakshadhikari; Tirupathamma Katha; Nartanasala; Manchi Chedu; Shri Somavara Vratha Mahatmyam; Nadi Aada Janme; 1964: Gudigantalu; Marmayogi; Kalavari Kodalu; Deshadrohulu; Ramudu Bheemudu; Satyanarayana Mahatyam; Aggipidugu; Dagudu Moothulu; Shabash Soori; Babruvahana; Vivahabandham; Manchi Manishi; Varasatwam; Bobbili Yuddham; Karna; 1965: Pandava Vanavasam; Dorikite Dongalu; Mangamma Sapatham; Satya Harishchandra; Todu Needa; Prameelarjuneyam; Devatha; Veer Abhimanyu; Vishala Hridayalu; CID; Aadabrathuku; 1966: Shri Krishna Pandaviyam*; Palnati Yuddham; Shakuntala; Srikakula Andhra Mahavishnu Katha; Paramanandayya Sishyula Katha; Mangalsutram; Aggibarata; Sangeetalakshmi; Piduguramudu; Adugu Jadalu; Dr Anand; Shri Krishna Tulabharam; Ramu; 1967: Gopaludu Bhoopaludu; Nirdoshi; Kanchukota; Bhuvana Sundari Katha; Ummadi Kutumbam; Bhama Vijayam; Nindu Manasulu; Stree Janma; Shri Krishnavataram; Punyavati; Aada Paduchu; Chikkadu Dorakudu; 1968: Umachandi Gauri Shankarula Katha; Niluvu Dopidi; Talliprema; Tikka Shankaraiah; Kalisochina Adrushtam; Ninne Pelladuta; Bhagya Chakram; Nene Monaganni; Baghdad Gajadonga; Nindu Samsaram; Varakatnam*; 1969: Katha Nayakudu; Bhale Mastaru; Gandikota Rahasyam; Vichitra Kutumbam; Kadaladu Vadaladu; Nindu Hridayalu; Bhale Tammudu; Aggiveerudu; Mathrudevata; Ekaveera; 1970: Talla Pellamma*; Lakshmi Kataksham; Alibaba 40 Dongalu; Pettandarulu; Vijayam Mande; Chitti Chellalu; Mayani Mamata; Marina Manishi; Kodalu Diddina Kapuram; Oke Kutumbam; Shri Krishna Vijayam; Kannan Varuvan; 1971: Nindu Dampatulu; Jeevitha Chakram; Rajakota Rahasyam; Raitu Bidda; Adrushta Jathakudu; Pavitra Hridayalu; Chinnanati Snehitulu; Shri Krishna Satya; Kulagauravam; 1972: Shri Krishnanjaneya Yuddham; Badi Pantalu; Shanti Nilayam; 1973: Dabbuku Lokam Dasoham; Deshoddharakulu; Dhanama? Daivama?; Devudu Chesina Manushulu; Vaade Veedu; Errakota Veerudu; Palletoori Chinnodu; 1974: Tatamma Kala*; Ammayi Pelli; Manushullo Devudu; Nippulanti Manishi; Deeksha; Shri Ramanjaneya Yuddham; Theerpu; 1975: Katha Nayakuni Katha; Maya Machhindra (Te); Samsaram; Ramuni Minchina Ramudu; Anna Dammula Anubandham; Eduruleni Manishi; Vemulavada Bhimakavi; 1976: Aradhana; Manushulanta Okkate; Magaadu; Neram Nadhikadu Akalidi; Bangaru Manishi; Maa Daivam; Manchiki Maro Peru; 1977: Adavi Ramudu; Edureetha; Sati Savitri; Evaru Devudu; Maa Iddari Katha; Yama Gola; Chanakya Chandragupta*; Daana Veera Shura Kama*; 1978: Akbar Saleem Anarkali*; Shri Rama Pattabhishekham*; Melukolupu; Ramakrishnulu; Yuga Purushudu; Rajaputra Rahasyam; Simha Baludu; Sahasavanthudu; Lawyer Vishwanath; K.D. No. 1; 1979: Shrimad Virata Parvam*; Shri Tirupati Venkateswara Kalyanam*; Driver Ramudu; Maavari Manchithanam; Vetagadu; Tiger; Shringara Ramudu; Yugandhar; 1980: Aatagadu; Gajadonga; Challenge Ramudu; Circus Ramudu; Superman; Rowdy Ramudu Konte Krishnudu; Sardar Paparayudu; Sharada Ramudu; 1981: Prema Simhasanam; Tiruguleni Manishi; Satyam Shivam; Vishwa Roopam; Aggirava; Kondaveeti Simham; Maha Purushudu; 1982: Kaliyuga Ramudu; Anuraga Devatha; Justice Choudhury; Bobbili Puli; Vayyari Bhamulu Vagalamari Bharthulu; Naa Desam; 1983: Simham Navindi; Chanda Sasanudu*; 1984: Shrimad Virat Veerabrahmendra Swami Charitra*; 1991: Brahmarishi Vishwamitra*; 1992: Samrat Ashok*; 1993: Major Chandrakant; Shrinatha Kavi Sarvabhowma.

RAMA RAO, TATINENI (B. 1938)

Telugu and Hindi director born in Kapileswaram, AP. Assisted his cousin T. Prakash Rao and later K. Pratyagatma at Prasad Art Prod. Début remade the Sivaji Ganesan hit Navarathri (1964) into Telugu with A. Nageshwara Rao, and Jayalalitha in a small role. Became a major Telugu director with his crude variations upon L.V. Prasad- Pratyagatma’s family drama theme, relying on dialogue, rapid cutting and spectacle. Introduced the genre into Hindi with his Jeetendra films. First Hindi feature Lok Parlok was a hit, and he repeated the formula with Judaai and Maang Bharo Sajana, along with violent Bachchan movies Andha Kanoon and Inquilab. A virtually uninterrupted run of success, establishing a distinct trend of the ‘Madras movie’ - replicating successful plots and cheaper shooting styles from South Indian films into Hindi - came to an end with the failure of the Dharmendra movie Sachaai Ki Taaqat, followed by Pratikar.

FILMOGRAPHY: 1966: Navarathri; 1968: Brahmachari; Challani Needa; Nadamantrapu Siri; 1969: Manchi Mithrulu; Bhale Rangadu; 1971: Suputhrudu; Bharya Biddalu; Raitu Kutumbam; 1973: Jeevana Tarangulu; Marapurani Manishi; 1974: Dora Babu; Devudu Chesina Pelli; 1976: Raju Vedale; 1977: Aalu Magalu; Athmiyudu; Yama Gola; 1978: Amara Prema; Shri Rama Raksha; 1979: Lok Parlok; 1980: Judaai; Maang Bharo Sajana; Aatagadu; 1981: Ek Hi Bhool; Illalu; 1982: Anuraga Devatha; Jeevan Dhara; Main Inteqam Loonga; Yeh To Kamaal Ho Gaya; 1983: Andha Kanoon; Mugguru Monagallu; Mujhe Insaaf Chahiye; 1984: Inquilab; John Jani Janardan; Yeh Desh; 1985: Pachani Kapuram; Haqeeqat; 1986: Dosti Dushmani; Naache Mayuri; Naseeb Apna Apna; Sada Suhagan; 1987: Presidentgari Abbayi; Insaaf Ki Pukar; Sansar; Watan Ke Rakhwale; 1988: Khatron Ke Khiladi; Nyayaniki Siksha; Agni Keratalu; 1989: Sachaai Ki Taaqat; Majboor; Laila; 1990: Muqaddar Ka Badshah; 1991: Pratikar; Talli Tandrulu; 1992: Golmaal Govindan; Muqabala; 1994: Mr Azad; 1995: Hathkadi; Ravan Raaj.

RAMCHANDRA, NARHAR CHITALKAR (1918–82)

Composer born in Punatambe, Maharashtra. Best known as C. Ramchandra but also signed his name as Annasaheb (Bahadur Pratap, Matwale, Madadgaar), Ram Chitalkar (Sukhi Jeevan, Badla, Mrjhatpat, Bahadur, Dosti), Shyamoo (Yeh Hai Duniya). Often sang and acted in Marathi films under the name R.N. Chitalkar. Music student under Vinayakbua Patwardhan at Gandharva Mahavidyalaya music school. Joined films playing the lead in Y.V. Rao’s flop, Naganand. Then bit roles at Minerva Movietone (Saeed-e-Havas, Atma Tarang). Became harmonium accompanyist for Minerva composers Bundu Khan and Habib Khan. Début as music director in Tamil films with Jayakkodi and Vanamohini. Broke through as composer in Master Bhagwan’s Sukhi Jeevan, establishing a long-term association that culminated with the musical megabit Albela. Influenced by Benny Goodman, he introduced e.g. the alto sax in combination with guitar and harmonica, also whistling in one of his most famous songs, Aana merijaan Sunday ke Sunday in Shehnai. Used a bongo, oboe, trumpet, clarinet and sax combination for Sholajo bhadke in Albela. Shin Shinaki Boobla Boo featured him singing the title song with Lata Mangeshkar assimilating some rock rhythms. Introduced scat singing for Ina mina dika in Aasha. Worked on Marathi, Telugu, Tamil and Bhojpuri films. Briefly turned producer with New Sai Prod, in 1953 (Jhanjhar, Lehren, Duniya Gol Hai). To overcome a fallow period in the late 60s, he relaunched himself as music director, producer and actor in successful Marathi films: Dhananjay, Gharkul. Autobiography published in 1977.

FILMOGRAPHY (* also act/** act only): 1935: Naganand**; 1936: Saeed-e-Havas**; 1937: Atma Tarang**; 1939: Jayakkodi; 1941: Vanamohini; Narad Naradi; 1942: Hanso Hanso Ai Duniyawalon; Sukhi Jeevan; 1943: Badla; Bhakta Raaj; Mr Jhatpat; Muskurahat; Zabaan; 1944: Bahadur; Dil Ki Baat; Lalkaar; Lai Haveli (with Mir Saheb); Manorama; Raunaq; 1945: Nagma-e-Sahra; Samrat Chandragupta; Sawan; 1946: Bachchon Ka Khel; Dosti; Safar; 1947: Ahimsa; Bahadur Pratap; Leela; Madadgaar; Matwale; Saajan; Shadi Se Pehle (with Pandit Ramakant Karnad); Shehnai; Chul Ani Mul*; 1948: Jalan; Khidki; Lalach; Matlabi; Mera Munna; Nadiya Ke Paar; Tumhari Kasam; Yeh Hai Duniya (with Payami); 1949: Bachke Rehna; Bhedi Bungla; Bhole Bhale; Duniya; Girls’ School (with Anil Biswas); Jigar; Namuna; Patanga; Roshni; Sanwaria; Sipahiya; 1950: Babuji; Baksheesh; Nirala; Rupaiya; Samadhi; Sangeeta; Sangram; Sargam; 1951: Albela; Khazana; Sagaai; Shabistan; Saudagar (with Anil Biswas); Ustad Pedro; Nadaan (uncredited); 1952: Chhatrapati Shivaji; Ghunghroo; Hangama; Parchain; Shin Shinaki Boobla Boo; Saqi; Rangili (uncredited); Zamindar; 1953: Anarkali (with Basant Prakash); Jhamela; Jhanjhar; Ladki (with Dhaniram/R. Sudarshan); Lehren; Shagufa; 1954: Kalakaar; Suhagan; Savdhan (all 3 with Vasant Desai); Kavi; Meenar; Nastih; Pehli Jhalak; Subah Ka Tara; 1955: Azad; Baap Re Baap (with O.P. Nayyar); Duniya Gol Hai; Insaniyat; Lutera; Tirandaz; Yasmin; 1956: Twenty-Sixth January; Devata; Shatranj; 1957: Aasha; Baarish; Nausherwan-e-Adil; Sharada; Talash; 1958: Raj Tilak; Amar Deep; Karigar; Talaaq; 1959: Navrang; Paigham; 1960: Aanchal; Sarhad; 1961: Amar Rahe Yeh Pyar; Stree; 1963: Bahurani; 1964: Sant Nivrutti Dnyandev; Daal Mein Kala; Veer Bhimsen; 1965: Hum Diwane; Sher Dil; Zindagi Aur Maut; 1966: Dhananjay*; Labela; Tasveer; Mitwa; 1967: Wahan Ke Log; 1968: Balaram Shri Krishna; Dharmapatm*; Payal Ki Jhankaar; 1970: Rootha Na Karo; Gharkul; 1971: Patondru Ketten; Tulasi Vivah; 1973: Nijam Cheppithe Nammaru; 1978: Akbar Saleem Anarkali; Toofani Takkar.

RAMNOTH, K. (1912–56)

Tamil director and cameraman born in Trivandrum. Key technician in pre-50s Tamil and Telugu film. Started as apprentice at Kodak (Madras) in 1930. Part of Sound and Shadow’s editorial team. First film as cameraman is Prabhat’s Tamil Seeta Kalyanam (1933), assisting cinematographer V. Avadhoot. Helped set up Vel Studio (1933) with Murugadasa, the co-director of his earliest films, and set designer A.K. Sekhar. Then joined the newly established Vauhini launched by B.N. Reddi, where he became a key scenarist and cameraman. Scripted and shot Reddi’s early films Vande Mataram (1939), Sumangali (1940) and Devatha (1941). Joined Gemini as production chief (1942–8). Believed to have worked closely with Uday Shankar on Kalpana (1948); shot the famed drum dance in Chandralekha (1948) inspired by Kalpands choreography. Apparently directed Gemini’s Mangamma Sapatham (1943) credited to Raghavacharya, Miss Malini (1947) credited to Kothamangalam Subbu, and Mohini (1948) at Jupiter Studio credited to Lanka Sathyam. Best-known films as director are the epic melodrama Ezhai Padum Padu at the Pakshiraja Studio, based on Victor Hugo’s Les Misérables, and the seminal MGR hit Marmayogi, a key DMK Film. Founded the Cine Technicians Association in Madras (1943). Made one film in Hindi, Rihaee, unreleased.

FILMOGRAPHY: 1935: Markandeya; 1936: Paduka Pattabhishekham; 1949: Kanniyin Kathali; 1950: Ezhai Padum Padu/Beedala Patlu; 1951: Marmayogi/Ek Tha Raja; 1952: Thayi Ullam; 1953: Manithan; 1954: Rihaee; Sugam Engay Viduthalai; 1955: Kathanayaki.

RAMSAY BROTHERS

Family of film-makers, until recently the only makers of horror films in India. After producing a Sindhi film, Nakuli Shaan, and Vishram Bedekar’s later, unremarkable genre films, Rustom Sohrab (1963) and Ek Nannhi Munni Ladki Thi (1970), the family hit gold with Do Gaz Zameen Ke Neeche, starting an extraordinary B film formula with minimal budgets, no stars and mixing conventional horror plots with mythological overtones and various other genres (e.g. adventure films, action thrillers and romances). Their films exude a sense of delight in cinema itself which, combined with the obsessive energies which animate the fantasy genre, lends a fascination to their work often missing from both commercial and ‘quality’ cinema. They have built up committed small-town and rural audiences. The family consists of father F.U. Ramsay (1917–1989), a radio manufacturer and producer, and his seven sons, of which Kumar, Shyam, Keshu, Tulsi and Gangu Ramsay are actively associated with film. Most of the films have been directed by. Tulsi (b. 1944) and Shyam (b. 1952) as a team, both having been Bedekar’s assistants. Keshu, who branched out as a solo director, does not make horror films. Kumar, the eldest, produced e.g. Raj Sippy’s Kali Ganga (1989). Kiran, the youngest, traditionally in charge of the crucial (for the genre) department of sound recording, débuted as director with Shaitani Ilaaka. The Tulsi/Shyam duo moved to TV with the best-selling late-night serial, the Zee Horror Show, on the Zee cable channel.

FILMOGRAPHY: 1971: Nakuli Shaan; 1972: Do Gaz Zameen Ke Neecbe (Tulsi); 1975: Andhera; 1978: Darwaza; 1979: Aur Kaun; 1980: Saboot; Guest House; 1981: Sannata; Dahshat; Hotel; Ghunghroo Ki Awaaz; 1984: Purana Mandir (Tulsi); 1985: Saamri; Haveli (Keshu); Telephone; Veerana; 1986: Tahkhana; 1987: Dak Bangla (Keshu); 1988: Mera Shikar (Keshu); 1989: Purani Haveli; Anokha Darr; Saaya (Keshu); Khoj (Keshu); Mahal (Keshu); 1990: Shaitani Ilaaka (Kiran); Bandh Darwaza; Aakhri Cheekh; 1991: Ajooba Kudrat Ka; Inspector Dhanush/Police Mattu Dada; 1993: Mahakaal; The Zee Horror Show (TV); Ashant (Keshu).

RANGA, B. S. (B. 1918)

Tamil, Telugu and Kannada director and cameraman born in Madras, TN. Started as assistant to Krishna Gopal (1937); then went to Gemini (1941) as cameraman and lab technician. Shortly after directing his first Tamil feature, Bhakta Tulsidas (which he remade a few years later), his first assignment as cinematographer was Soundararajan’s Tamil film, Bhakta Naradar (1942). Often worked with the Bombay-based Balkrishna Narayan Rao. Broke through with the bilingual Tenali Ramakrishna/Tenali Raman, following this with a trilingual. Set up the Vikram Studios in Madras and, later, the Vasanth Colour Laboratories in Bangalore, enabling him to make the first colour film in Kannada, the hit Amarashilpi Jakanachari.

FILMOGRAPHY: 1940: Bhakta Tulsidas; 1947: Bhakta Tulsidas; 1954: Maa Gopi; 1955: Jaya Gopi; 1956: Tenali Ramakrishna/Tenali Raman; Bhakta Markandeya; 1957: Kutumba Gauravam; 1959: Raja Malaya Simhan; Mahishasura Mardini/Durga Mata; 1960: Mohabbat Kijeet; Gunavathi; 1961: Pelli Thambulam/Nishchaya Thambulant; 1962: Ashajeevulu; Thendral Veesum; 1963: Pyar Kiya To Darna Kya; 1964: Amarshilpi Jakanachari/Amarshilpi Jakanna; Pratigne; 1965: Mahasati Ansuya; Chandrahasa; 1967: Parvathi Kalyanam; Vasantsena; 1969: Bhale Basava; 1970: Mr Rajkumar; 1971: Sidila Mari; 1973: Mannina Magalu; Pattikatu Ponnaiah; 1975: Ganga Ki Kasam; 1978: Suli; 1981: Bhagyavantha; 1982: Hasyarathna Ramakrishna; 1984: Huliyada Kala.

RANGA RAO, SAMARLA VENKATA (1918–74)

Telugu actor born in Nuzvid, AP. Educated in Madras, in Visakhapatnam and Kakinada. Acted in plays staged by the Kakinada Young Men’s Happy Club, often along with Anjali Devi (e.g. Nalgo Pelli, Lobhi, Veedhi Gayakalu). Was a fire inspector until he broke through in the role of Pravarakhya in Varudhini. After Shavukaru, where he played the villain, he regularly acted in Vijaya Studio productions, whose bilinguals introduced him to the Tamil film industry (Patala Bhairavi, which featured one of his best known roles as a sorcerer). Known for emotion-charged roles like Keechaka in Nartanasala and Koliah, the criminal who undergoes a spiritual transformation in Bangaru Papa.

FILMOGRAPHY (* also d): 1946: Varudhini; 1949: Mana Desam; 1950: Palletoori Pilla; Thirugubatu; Shavukaru; 1951: Patala Bhairavi/Pataal Bhairavi; 1952: Pelli Chesi Choodu/Kalyanam Panni Paar; Daasi; Palletooru; 1953: Bratuku Theruvu; Chandirani; Devadasu; Poongothai/Paradesi; Rohini; Jataka Phala/Jatakaphalam/Jatakam; Pempudu Koduku; Chandraharam; 1954: Annadata; Anta Manavalle; Raju Peda; Sangham; Raji En Kanmani/Raji Naa Pranam; Bangaru Papa; Thuli Visham; Rajaguruvu; 1955: Anarkali; Jayasimha/Jaisingh; Missamma/Missiamma; Santhanam; Gunsundari; Ardhangi/Pennin Perumai; Donga Ramudu; 1956: Harishchandra; Chintamani; Kanakatara; Naan Petra Selvam; Mathar Kula Manikam/Charanadasi; 1957: Saubhagyavati; Repu Neede; Sati Savitri; Pathni Daivam; Maya Bazaar; Sarangadhara; Thodi Kodallu; Allavudeenum Arputha Vilakkum/Allauddin Adbhuta Deepam/Alladdin Ka Chirag; 1958: Anbu Engay; Annaiyin Aanai; Shabash Meena; Thirumanam; Bhukailasa; Bommalapelli/Bommai Kalyanam; Chenchulakshmi; Pellinati Pramanalu; Appu Chesi Pappu Koodu/Kadan Vangi Kalyanam; 1959: Mangalya Balam/Manjal Magimai; Balanagamma; Bhakta Ambarish; Krishna leelalu; Rechukka Pragatichukka; Jayabheri; Kalasivunte Kaladu Sukham; Maa Inti Mahalakshmi/Enga Veetu Mahalakshmi; Vazhkai Oppantham; Kalaivanan; Aval Yar; Raja Sevai; 1960: Namminabantu/Pattayilin Vetri; Bhatti Vikramarka; Mamaku Tagga Alludu; Mahakavi Kalidasa; Deepavali; Devanthakudu; Irumputhirai; Padikkatha Methai; Parthiban Kanavu; Petra Manam; Naan Kanda Sorgam; Vidiveli; 1961: Velugu Needalu /Thooya Ullam; Krishna Prema; Sati Sulochana; Usha Parinayam; Ellam Unnakkaga; Kappalotiya Thamizhan; Pankalikal; Kumudam; 1962: Pelli Thambulam/Nishchaya Thambulam; Tiger Ramudu; Gali Medalu; Padandi Munduku; Atmabandhuvu; Manchi Manushulu/Penn Manam; Gundamma Katha/ Manithan Maravillai; Dakshayagnam; Kathirunda Kankal; Padithal Mattum Pothuma; Kavitha; Sharada; Muthu Mandapam; Annai/Penchina Prema; Daivathin Daivam; 1963: Thobuttuvulu; Nartanasala; Iruvar Ullam; Kalyanin Kanavan; Kumkumam; Needhikkupin Pasam; Annai Illam; Karpagam; 1964: Ramudu Bheemudu; Murali Krishna; Bobbili Yuddham; Kaikodutha Daivam; Pachai Vilakku; 1965: Paditha Manaivi; Naanum Oru Penn/Nadi Aada Janme; Pandava Vanavasam; 1966: Atabommalu; Monagalluku Monagadu; Srikakula Andhra Mahavishnu Katha; Bhakta Potana; Mohini Bhasmasura; Kumari Penn; Ramu; 1967: Thaikku Thalaimagan; Kan Kanda Daivam; Bhakta Prahlada; Maa Vadina; Chadarangam*; Vasantsena; Rahasyam; Madi Veetu Mappillai; Punyavati; Bhale Kodalu; 1968: Bandhavyalu*; Sukha Dukhalu; Chinnari Papalu; Lakshminivasam; Kumkumabharina; Veeranjaneya; Amayukudu; 1969: Nam Naadu; Mamaku Tagga Kodalu; Jagath Kiladilu; Bandhipotu Bhimanna; 1970: Desamante Manushuloi; Iddaru Ammayilu; Shri Krishna Vijayam; Basti Kiladilu; 1971: Kiladi Singanna; Vikramarka Vijayam; Rowdy Rangadu; Dasara Bullodu; Jagath Jentreelu; Bhale Papa; Debakku Thha Dongala Muttha; Shri Krishna Satya; Vidyarthikale Ithile Ithile; 1972: Mohammed-bin-Tughlaq; Bala Bharatam; Shri Krishnanjaneya Yuddham; Shanti Nilayam; Tata Manavadu; Kathula Rathaiah; Vamsodharakudu; Vazhai Yadi Vazhai; Vasantha Maligai; Sampoorna Ramayanam; Pandanti Kapuram; Bava Diddina Kapuram; Papam Pasivadu; Vichitra Bandham; Kalam Marindi; Bangaru Babu; Koduku Kodalu; 1973: Anbu Sahodarargal; Pillai Selvam; Devudu Chesina Manushulu; Marapurani Manishi; Samsaram Sagaram; Ramrajyam; Dabbuku Lokam Dasoham; Abhimanavanthulu; Dr Babu; Nija Roopalu; Palletoori Chinnodu; Ramude Devudu; Varasuralu; 1974: Jeevithasayam; Sivakamyin Selvan; Premalu Pellilu; Jeevitha Rangamu; Gali Patalu; Andaru Dongale; Bangaru Kalalu; Inti Kodalu; Chakravakam (Te); 1975: Bharati; Challani Talli; Mallela Manasulu; Yashoda Krishna; Kotha Kapuram; 1976: Vadhu Varulu.

RANI, BULO C. (1920–93)

Composer and singer in Hindi films called Bulo Chandiram Ramchandani, born in Hyderabad (Sind), now Pakistan. Joined Ranjit Studio (1939) as assistant to Khemchand Prakash, making his début as a singer in Prakash’s compositions for Chaturbhuj Doshi’s Mehmaan (1942) with the popular number Rootha pyar mein. Later assisted and sang for Gyan Dutt (Shankar Parvati, 1943). Composed a series of popular hits in the 40s, e.g. his second film Murti with Badaria baras gayi sung by Khursheed, Hamida Bano and Mukesh. Best-known and most successful film is Kidar Sharma’s Jogan, where he set several Meera bhajans to new scores, esp. Sundarata ke sabhi shikari adapting Pandit Indra’s lyric. Worked with Ranjit Studio throughout his career which lasted until the studio’s closure. Last films were often stunt B movies directed by e.g. Aakkoo. Occasionally participated in AIR programmes in the 70s.

FILMOGRAPHY: 1943: Paigbam (with Gyan Dutt); Tansen (with Khemchand Prakash); 1944: Pagli Duniya; Caravan; 1945: Chand Chakori; Murti; Prabhu Ka Ghar (with Khemchand Prakash); Preet; 1946: Dharti; Magadhraj; Rajputani; Salgirah; Shravan Kumar; 1947: Beta; Kaun Hamara; Lakhon Mein Ek (with Hansraj Behl); Pehli Pehchaan (with Hansraj Behl); Piya Ghar Aaja; Woh Zamana; 1948: Anjuman; Bichhade Balam; Gunsundari (with Hansraj Behl); Jai Hanuman; Mitti Ke Khilone (with Hansraj Behl); Nanand Bhojai; 1949: Bhool Bhulaiyan; Darogaji; Garibi; Narad Muni; Nazare; 1950: Jogan; Lavangi (with C.S. Ram aka C.R. Subburaman); Magroor (with Sajjad/Ram Punjwani); Wafaa (with Vinod); 1951: Pyar Ki Baatein (with Khayyam); 1952: Baghdad; Izzat; Nirmal; 1953: Gul Sanobar (with Sharmaji); Husn Ka Chor; 1954: Aurat Teri Yahi Kahani; Bilwamangal; 1955: Hasina; Madhur Milan; Shikar; Veer Rajputani; 1956: Aabroo; Badshah Salamat; Noor-e-Yaman (with J.B.H. Wadia); Ram Navami; 1957: Jahazi Lutera; Jeevan Saathi; 1958: Al Hilal; 1959: Tin Tin Tin; 1960: Abdullah; Black Tiger; Pedro; 1961: Anarbala; Room No. 17; 1962: Jadu Mahal; Madam Zorro; Shri Ganesh; 1963: Magic Box; 1964: Haqdaar; 1965: Chhupa Rustom; Shahi Lutera; Son of Hatimtai; 1966: Jadu; Sunehre Kadam.

RANI CHOUDHURY, DEVIKA (1907–94)

Star and later manager of Bombay Talkies, from where she dominated the first decade of the Indian sound film and set the standard for the post-1950 Hindi film heroine. Daughter of Col. Choudhury who later became surgeon-general of Madras. Grandniece of Tagore; studied at the Royal Academy of Dramatic Arts and at the Royal Academy of Music (London); degree in architecture and successful designer of Paisley textiles. Met Himansu Rai in London and married him in 1929. Her first film, produced by Rai and directed by Osten, was as costume designer (and probably as an extra) for Prapancha Pash (1929). In Germany, where the film was edited, Rani was able to see Fritz Lang, G.W. Pabst and Sternberg at work and assisted Marlene Dietrich on the set of Der blaue Engel (1930). Also worked briefly with Max Reinhardt. One of the early BBC broadcasts to India featured a Devika Rani recital (15 May 1933). When European co-production, especially with Germany, became difficult after 1933, the couple returned to India. Starred in Rai’s first sound film, Karma, made in English and sold as ‘the first Indian talkie with English dialogue’. The couple started Bombay Talkies in Bombay (1934). In Achhut Kanya, her arched eyebrows, beads and the vaguely Rajasthani-style, knee-length dress of the Untouchable, defined the ‘village belle’ for the Hindi cinema. She and Ashok Kumar remained the studio’s stars until Rai died (1940) and she took over its management until she retired in 1945 and married the Russian émigré painter Svetoslav Roerich.

FILMOGRAPHY: 1933: Karma/Nagan Ki Ragini; 1935: Jawani Ki Hawa; 1936: Achhut Kanya; Janmabhoomi; Jeevan Naiya; Mamata; Miya Bibi; 1937: Izzat; Jeevan Prabhat; Prem Kahani; Savitri; 1938: Nirmala; Vachan; 1939 Durga; 1941: Anjaan; 1943: Hamari Baat.

RANJIT MOVIETONE

Aka Ranjit Film Company. Long-running Bombay studio set up in 1929 and active until the late 60s. Started by Chandulal Shah and his leading star Gohar, with financial support from Vithaldas Master and from the Jamnagar royalty which supplied subsidised facilities in and around Jamnagar city. Best known in early years for mid-budget socials, satires and stunt-derived mythologicals reworked into an allegory of the family drama (e.g. in Raja Sandow films). Their story department included Gunwantrai Acharya, scenarist-film-maker Chaturbhuj Doshi and playwright Betaab. They also drew on Dayaram Shah, the author of Gunsundari (1927, remade 1934 and 1948). The studio flourished in the early sound era with an assembly-line approach to production and was India’s biggest producer until the 50s. Their early 30s films directed by Jayant Desai, by Shah himself, by Nandlal Jaswantlal and later by A.R. Kardar and Kidar Sharma, suggest the solid entrenchment of genres associated with the post-WW2 Hindi cinema, ranging from films around Nirupa Roy’s mythological mother figure to those with Prithviraj Kapoor, Motilal and K.L. Saigal (Tansen, 1943). Their subsidiary, Ajit Pics (1948), produced e.g. Ratibhai Punatar’s regionalised Gujarati remakes of early Ranjit hits.

Devika Rani in Karma (1933)

RAO, ADI NARAYANA (1915–91)

Telugu-Tamil music composer born in the Godavari Dist., AP. Studied music and dance as a child under Saluru Seetarama Sastry. Aged 13, joined the theatre group Jaganmohini Vilasa Sabha in Kakinada. Earliest compositions for plays like Only Daughter, Classmates, etc. Ran his own theatre group featuring S.V. Ranga Rao and introduced Telugu star Anjali Devi as a child actress. Started composing for films with B.V. Ramanandam’s Varudhini (1946) but his first fully realised assignment was C. Pullaiah’s Gollabhama, for which he wrote only lyrics and which was also Anjali Devi’s screen début. They later married and set up Anjali Pictures (Est: 1951). Wrote classic film scores, e.g. Palletoori Pilla, Tilottama, Mayalamari, Pardesi and Anarkali, sometimes revealing an unusual for AP influence of North Indian classical music. Was the regular composer for Vedantam Raghavaiah films.

FILMOGRAPHY: 1947: Gollabhama; 1950: Palletoori Pilla; 1951: Tilottama/Mayamalai; Mayalamari/Mayakkari; 1953: Poongothai/ Paradesi; 1954: Annadata; 1955: Anarkali; 1957: Suvarna Sundari/Manalane Mangayin Bhagyam; 1960: Runanubandham; Adutha Veetu Penn; 1962: Swarnamanjari/Mangayir Ullam Mangada Selvam; 1964: Phoolon Ki Sej; 1965: Sati Sakkubai; 1967: Sati Sumati; 1970: Amma Kosam; Agni Pareeksha; 1971: Kalyana Mandapam; 1972: Pedda Koduku; 1973: Bhakta Tukaram; 1974: Alluri Seetaramaraju; 1976: Mahakavi Kshetrayya; 1978: Kannavarillu.

RAO, AKKINENI NAGESHWARA (B. 1924)

Telugu megastar with NTR since 1950s. Born in Venkatraghavapuram, Krishna Dist., AP. Child stage actor playing e.g. the female lead in Harishchandra aged 12. Later played several female roles with Excelsior Dramatic Assoc. in Gudivada, establishing a substantial reputation. His second film, playing the male lead, Rama, in Balaramaiah’s Seeta Rama Jananam, launched his career in mythologicals, which required him to unlearn several of his (female) stage mannerisms. Top hero of 40s Telugu film fantasies, often playing folk heroes (e.g. Balaraju, Keelugurram). Following the success of Laila Majnu, was often paired with Bhanumati in Bharani Studio productions. Changed his persona with Samsaram followed by a series of melodramas, culminating in his highly successful rendition of Saratchandra’s Devdas (Devadasu). Acted in several Adurthi Subba Rao films, and set up Annapurna Pics (1957) where Subba Rao and later K. Vishwanath made some of their art-house socials. The company diversified, e.g. into agriculture and insecticide manufacture, and became a full-scale film studio in 1976. Continued the melodramatic style into the films of T. Rama Rao and Dasari Narayana Rao, notably the latter’s Megha Sandesam. His son, Nagarjuna, became a major Telugu star in the 80s (e.g. Shiva, 1989). Biography by Krishnakumari (1984/1992).

FILMOGRAPHY: 1940: Dharmapatni; 1942: Seeta Rama Jananam; 1945: Mayalokam; 1947: Palnati Yuddham; Ratnamala; 1948: Balaraju; 1949: Keelugurram/Maya Kudhirai; Laila Majnu; Raksharekha; 1950: Palletoori Pilla; Shri Lakshmamma Katha; Swapna Sundari; Samsaram; Paramanandayya Sishyula Katha; 1951: Mantradandam; Mayalamari/Mayakkari; Saudamini; Strisahasam; Tilottama/Mayamalai; Ore Iravu; 1952: Prema/Kathal; 1953: Bratuku Theruvu; Devadasu; Kanna Talli/Petrathai; Poongothai/Paradesi; Vayyari Bhama; 1954: Chakrapani; Annadata; Nirupedalu; Parivarthana; Vipranarayana; 1955: Anarkali; Ardhangi/Pennin Perumai; Missamma/Missiamma; Rojulu Marayi; Santhanam; Vadina; Donga Ramudu; 1956: Tenali Ramakrishna; Bhale Ramudu; Ilavelpu; Mathar Kula Manikam/Charanadasi; 1957: Thodi Kodallu; Sati Savitri; Maya Bazaar; Allavudeenum Arputha Vilakkum/Allauddin Adbhuta Deepam/Alladdin Ka Chirag; Suvarna Sundari; Dongalo Dora; 1958: Bhukailasa; Chenchulakshmi; Shri Krishnamaya; Aadapettanam; Pellinati Pramanalu; 1959: Mangalya Balam/Manjal Magimai; Pelli Sandadi/Kalyana Penn; Athisaya Penn; Jayabheri; Kalyana Parisu; Illarikam; Kalaivanan; Vazhkai Oppantham; Daivame Thunai; Naradhar Kalyanam; Kanniraindha Kanavan; Enga Veetu Mahalakshmi; 1960: Shantinivasam; Namminabantu/Pattayilin Vetri; Mahakavi Kalidasa; Pelli Kanuka; Engal Selvi; Abhimanam; Runanubandham; Maa Babu; 1961: Velugu Needalu/Thooya Ullam; Anbu Magan; Bharya Bartulu; Bhakta Jayadeva; Batasari/Kanal Neer; Vagdanam; Shabash Raja; Iddaru Mithralu; 1962: Aradhana; Manchi Manushulu/Penn Manam; Gundamma Katha/ Manithan Maravillai; Kalimilemulu; Kulagothralu; Siri Sampadalu; Shri Krishnarjuna Yuddham; 1963: Chaduvukonna Ammayilu; Punarjanma; Moogamanasulu; 1964: Poojaphalam; Atmabalam; Murali Krishna; Amarashilpi Jakanna; Dr Chakravarthi; 1965: Sumangali; Antastulu; Preminchi Choodu; Manasulu Mamathalu; 1966: Zamindar; Atmagauravam; Navarathri; Manase Mandiram; Astiparulu; 1967: Grihalakshmi; Pranamithrulu; Vasantsena; Rahasyam; Poolarangadu; Sudigundalu; 1968: Brahmachari; Manchi Kutumbam; Govula Gopanna; Bandhipotu Dongalu; Bangaru Gajulu; 1969: Adrushtavanthalu; Mooganomu; Adarsha Kutumbam; Atmiyulu; Bhale Rangadu; Buddhimanthudu; Sepoy Chinnaiah; 1970: Akkachellelu; Jaijawan; Maro Prapancham; Dharmadatha; Manasu Mangalyam; Iddaru Ammayilu; 1971: Dasara Bullodu; Pavitra Bandham; Rangeli Raja; Suputhrudu; Amayakuralu; Shrimanthudu; Prem Nagar; Bharya Biddalu; Raitu Kutumbam; 1972: Beedala Patlu; Manchi Roju Lostai; Dattaputhrudu; Vichitra Bandham; Koduku Kodalu; Bangaru Babu; 1973: Kanna Koduku; Bhakta Tukaram; Palletoori Bhava; Andala Ramudu; Marapurani Manishi; Manchi Vadu; 1974: Premalu Pellilu; Bangaru Kalalu; Dora Babu; 1976: Mahakavi Kshetrayya; Secretary; Mahatmudu; 1977: Chakradhari; Aalu Magalu; Bangaru Bommalu; Raja Ramesh; Chanakya Chandragupta; Athmiyudu; 1978: Chilipi Krishnudu; Devadasu Malli Puttadu; Vichitra Jeevitham; Ramakrishnulu; Shri Rama Raksha; 1979: Ravanude Ramudaithe; Hema Hemeelu; Muddula Koduku; Andaman Ammayi; 1980: Edantastulameda; Nayakudu Vinayakudu; Buchi Babu; Pilla Zamindar; Prema Kanuka; Pratibimbalu; Sreevari Muchatlu; Premabhishekham; Manavude Mahaniyudu; 1981: Guru Shishyulu; Satyam Shivam; Prema Mandiram; Prema Simhasanam; 1982: Raga Deepam; Bangaru Kanuka; Gopala Krishnudu; Megha Sandesam; Yuvaraju; 1983: Muddula Mogudu; Urantha Sankranthi; Ramudu Kadu Krishnudu; Bahudoorapu Batasari; Amarajeevi; Shri Ranganeethulu; Koteeshwarudu; 1984: Tandava Krishnudu; Anubandham; S.P. Bhayankar; Vasantha Geetam; Justice Chakravarthy; Sangeetha Samrat; 1985: Bharya Bharthala Bandham; Dampatyam; Illale; Devatha; 1986: Aadi Dampathulu; Brahma Rudrulu; Captain Nagarjuna; Guru Brahma; 1987: Collectorgari Abbayi; Agni Putrudu; Atma Bandhavulu; 1988: Ravugarillu; 1989: Rajakiya Chadarangam; Bhale Dampathulu; Sutradharulu; Adarshavanthudu; 1990: Iddaru Iddare; 1991: Ragulatunna Bharatamu; Seeta Ramaigari Manavarulu; Pranadata; 1992: College Bullodu; Rajeshwari Kalyanam; 1993: Radhasarathi; Mechanic Alludu; 1994: Bangaru Kutumbam; Theerpu; Godfather; 1995: Maya Bazaar.

Rao, A. Subba see Subba Rao, A.

RAO, BALKRISHNA NARAYAN (B. 1909)

Tamil director and actor born in Tellicherry, Kerala. Also worked in Hindi and in Telugu. Started acting at Imperial (1926); assisted R.S. Choudhury and the cameramen Adi and Rustom Irani. Went to East India Co. (1933) and later to Madan in Calcutta, where he débuted as director with Hindi films. In 1937, moved to the Central Studios in Coimbatore; then to Gemini in Madras (1940) where he directed what is taken to be the studio’s début feature, Madanakamarajan. Established himself as a successful director in the late 40s; then left to work for Shaws Malay Film Prod. (1953–6) making films starring P. Ramlee, and for Cathay Keris Film Studio (1957–64) in Singapore, directing e.g. Maria Menado, Nordin Ahmad and Latifah Omar. Returned to India for one more feature and retired in Madras.

FILMOGRAPHY: 1935: Veer Kumari; Keemti Qurbani; 1938: Tukaram; 1939: Rambayin Kahbal; Prahlada; 1940: Bhuloka Rambha; Sati Murali; 1941: Madanakamarajan; 1944: Daasi Aparanji; Salivahanan; 1947: Ekambavanan; 1948: Bilhana; 1949: Natya Rani; 1953: Putus Harapan; Hujan Panas; Siapa Salah; 1954: Gelora Hidup; Perjodohan; Merana; 1955: Abu Hassan Pencuri; Roh Membela; 1956: Adikku; 1957: Pontianak; Dendam Pontianak; 1958: Sumpah Pontianak; Mahsuri; 1959: Jula Juli Bintang Tiga; 1960: Yatim Mustafa; 1961: Siti Zubaidah; 1962: Laila Majnun; 1963: Gul Bakawali; Putri Cempaka Biru; 1964: Pontianak Gua Musang; 1974: Nitya Sumangali.

RAO, BHIMAVARAPU NARASIMHA (?–1957)

Composer in Telugu cinema. Regarded as the first composer in the current sense (previous ones were mostly conductors of orchestrations of popular stage and folk music). He used the independently composed lyrics of Basavaraju Apparao for Malapilla, achieving an unprecedented success in Telugu film. Some of the songs (Nallavade gollapilivade, Aa Mabbu eemabbu) have remained popular hits. Also did music for Ramabrahmam’s Raitu Bidda and for P. Pullaiah’s 50s films.

FILMOGRAPHY (* also d): 1936: Sati Tulasi; Draupadi Vastrapaharanam; 1937: Mohini Rugmangada Kanakatara; 1938: Malapilla; 1939: Raitu Bidda (also act); 1940: Meerabai*; 1941: Apavadu; 1943: Bhagya Lakshmi; Bhakta Tulsidas; 1950: Thirugubatu; 1946: Ardhangi/Pennin Perumai; 1958: Dongalunnaru 1955: Jagratha/Thirudargal Jagirathai*.

RAO, BONGU NARASINGA (B. 1946)

Telugu director, writer, painter and musician born in Pragnapur, Medak Dist., AP. Arts graduate studies in Hyderabad. Photographer and theatre activist associated with cultural front of Naxalite peasant agitations in North Andhra in mid-70s. Produced Gautam Ghose’s début Maabhoomi (1979), one of the first full-length fiction films in India made and shown in the Solanas-Getino sense of Third Cinema. First film was a fictionalised autobiography chronicling the politicisation of a young painter (played by himself) racked by moral doubt: Rangula Kala. All his features and documentaries are contextualised by the radical political traditions of Andhra: e.g. Daasi is located within the oppressive feudal conditions opposed by the historic Telangana movement of 1946–51. Mostly scripts and composes the music for his films. Published four volumes of poetry and researcher in Andhra folk art and music.

FILMOGRAPHY: 1983: Rangula Kala (also act); 1984: The Carnival (Doc); 1985: The City (Doc); 1987: Maa Ooru (Doc); 1988: Daasi (TV); 1990 Matti Manushulu.

RAO, CHITRAPU NARASIMHA (B. 1911)

Telugu director born in Masulipatnam, AP. Owner of a family printing press in Masulipatnam printing a.o. cheap calendar art and film publicity leaflets. Pioneer director of mythologicals codifying the genre at Vel Pics. Assisted H.M. Reddy on Telugu film’s first talkie, Bhakta Prahlada (1931), and then Baburao Pendharkar in Prabhat Studio’s first foray into Tamil cinema, Seeta Kalyanam (1933), remaking it the following year in Telugu. His version was Vel’s inaugural production. After working with Prabhat’s technical units, he stressed the importance of sound technology, influencing Vel Studio’s pioneering shift to sound production. Younger brother Chitrapu Narayanaimurthy also became a film director.

FILMOGRAPHY: 1934: Seeta Kalyanam; 1935: Shri Krishna Leelalu; 1936: Sati Tulasi; 1937: Mohini Rugmangada; 1938: Jarasandha; 1939: Jayapradha.

RAO, CHITTAJALU SRINIVASA (B. 1924)

Born in Kakinada, AP. Mainstream Telugu film-maker of sentimental dramas, mythologicals and contemporary socials. Also worked in Kannada. Son of C. Pullaiah, in whose children’s films Dhruva and Ansuya (both 1936) he acted. Sponsored commercial Telugu theatre group Navagraha Kootam. Joined Gemini as assistant director (1946) and worked with Pullaiah, Ramnoth, A.K. Sekhar and on Uday Shankar’s Kalpana (1948). A major figure in perpetuating the cultural orthodoxy of e.g. Vel Pics and the early Gemini in combining values of entertainment with sentimental moralism, a trend continued by his assistants A. Sheshgiri Rao, Ramchandra Rao, etc. Married actress Rajasulochana, a consistent presence in his work since the late 50s.

FILMOGRAPHY: 1953: Ponni; 1954: Pona Machan Thirumbi Vandhan; 1955: Shri Krishna Tulabharam; 1958: Anna Thamudu; Manchi Manasuku Manchi Rojulu; Shri Krishna Maya; 1959: Shabash Ramudu/Shabash Ramu; Naradhar Kalyanam; 1960: Abhimanam; Shantinivasam; 1961: Pellikani Pillalu; 1962: Tiger Ramudu; 1963: Lavakusa; Valmiki; 1965: Keelu Bommalu; Prachanda Bhairavi; Pratignapalana; 1967: Kanchukota/Pallava Sevangal; 1968: Niluvu Dopidi; Govula Gopanna; Mana Samsaram; Bangaru Gajulu; Nindu Samsaram; Gramadevathulu; 1969: Mamaku Tagga Kodalu; Ekaveera; 1970: Desamante Manushuloi; Malli Pelli; Pettandarulu; Marina Manishi; Rendu Kutumbala Katha; 1971: Rangeli Raja; Jeevitha Chakram; Bhagyavanthudu; 1972: Shri Krishnanjaneya Yuddham; 1973: Deshoddharakulu; Dhanama? Daivama?; 1974: Bandhulu Anubandhulu; Anaganaga Oka Thandri; Adambaralu Anubandhalu; 1975: Yashoda Krishna; Devudulanti Manishi; 1976: Mahakavi Kshetrayya; Manchiki Maro Peru; Punardatta; 1977: Shri Renukadevi Mahatme; 1978: Allari Pillalu; Parasuraman; 1982: Radhamma Mogudu; 1983: Maro Maya Bazaar; Bhayankara Bhasmasura; 1984: Satya Harishchandra/Raja Harishchandra; 1985: Grihalakshmi; 1988: Yogi Vemana.

RAO, DASARI NARAYANA (B. 1947)

Telugu and Hindi director, writer and actor; born in Palakollu, AP. Started as a child actor on the stage. Graduated from Andhra University, then theatre director, playwright and actor. Went to Madras and joined the film industry as assistant to Bhavanarayana and Padmarajan in the 60s. Assisted scenarist Palagummi Padmaraju in Madras in late 60s; then became a successful freelance scenarist writing for e.g. K. Raghava and Bhavnarayana. Directorial début in 1972. Best known for late 80s Hindi Jeetendra potboilers. Early films (e.g. Tata Manavadu) were notoriously sentimental weepies, later extended (Devadasu Malli Puttadu, Premabhishekham) into a Devdas-like love-triangle formula. Comedies often feature himself (e.g. Peddillu Chinnillu) and are also presented as political satires; mid-budget quickies often star Krishnamraju and Mohan Babu. Filmed his autobiography in Addala Meda (1981), playing himself. One-time owner of the mainstream 3-edition Telugu newspaper, Udayam (1984). In 1988, directed Congress(I) supporter G. Krishna in Praja Pratinidhi, explicitly critiquing the political rule of NTR.

FILMOGRAPHY (* also act/** act only): 1972: Tata Manavadu; 1973: Samsaram Sagaram; 1974: Banthrotu Bharya; Radhamma Pelli; Tirapathi; Evariki Vare Yamuna Theere; 1975: Balipeetam; Devude Digivaste; Bharatamlo Oka Ammayi; Swargam Narakam*; 1976: Yavanam Katesindi; Manushulanta Okkate; Muddabanthi Puvvu; Padavoyi Bharatheeyuda; Thoorpu Padamara; O Manishi Thirigi Chudu; 1977: Chilakamma Cheppindi**; Kanya Kuman*; Bangarakka; Idekaddi Nyayam; Chillarakottu Chittamma; Jeevithame Oka Natakam; 1978: Sivaranjani; Katakatala Rudraiah; Swarg Narak; Devadasu Malli Puttadu; 1979: Korikile Gurralaite; Ravanude Ramudaithe; Peddillu Chinnillu*; Kalyani; Needa; Rangoon Rowdy; Gorintaku; 1980: Natchatiram; Edantastulameda; Circus Ramudu; Buchi Babu; Seeta Ramulu; Ketugadu; Bandodu Gundamma; Sardar Paparayudu; Swapna; Premabhishekham; Deeparadhana; Paalu Neelu*; Jyoti Bane Jwala; Yeh Kaisa Insaaf; Sreevari Muchathu; Bhola Shankarudu*; 1981: Pyaasa Sawan; Prema Mandiram; Addala Meda; Vishwa Roopam; Adavallu Meeku Joharlu; Prema Simhasanam; 1982: Yuvaraju; Jagannatha Rathachakralu; Krishnarajunulu; Bobbili Puli; Golkonda Abbulu; Swayamvaram; Jayasudha**; Raga Deepam; Mehndi Rang Layegi; Sivamettina Satyam; Megha Sandesam; O Adadi O Magadu; 1983: Prem Tapasya; Bahudoorapu Batasan*; MLA Yedukondalu*; Urantha Sankranthi*; Police Venkataswamy*; Ramudu Kadu Krishnudu; Rudrakali; 1984: Abhimanyudu; Justice Chakravarthy; Aaj Ka MLA Ramavatar; Asha Jyoti; Haisiyat; Yaadgaar; Zakhmi Sher; Police Papanna; Jagan; Yuddham; 1985: Lanchavatharam*; Pelli Meeku Akshintalu Naaku*; Brahma Mudi; Thirugubatu; Edadugula Bandham; Sarfarosh; Wafadaar; Paari Poyina Kaidilu**; 1986: Aadi Dampathulu; Dharma Peetam Daddarillindi; Ugranarasimham; Tandra Paparayudu; 1987: Majnu; Nene Raju Nene Manthri; Brahma Nayudu; Vishwanatha Nayakudu; Atma Bandhavulu*; Rotation Chakravarthi**; 1988: Kanchana Seeta; Praja Pratinidhi; Brahma Puthrudu; Intinti Bhagavatham; 1989: Naa Mogudu Nanke Sontham; Black Tiger; Lankeshwarudu; Two Town Rowdy; 1990: Mama Alludu; 1991: Ramudu Kadu Rakshasudu; Mamagaru**; Niyantha; Amma Rajinama; Seetharamaiahgari Manavaralu**; 1992: Ahankari; Venkanna Babu*; Soori Gadu; Parvathalu Panakalu**; Pellam Chattu Mogudu**; Subbarayudu Pelli; 1993: Santan; Mama Kodalu*; Akka Pettanam Chelleli Kapuram; Kunti Puthrudu; 1994: Nannagaru*; Bangaru Kutumbam; 1995: Vishwamitra (TV); Kondapalli Rathaiah; Maya Bazaar; Ore Rickshaw.

Rao, Ghantasala Venkateshwara see Ghantasala Venkateshwara Rao

RAO, KAMALAKARA KAMESHWARA (B. 1911)

Telugu director born in Masulipatnam, AP. Former film critic, writing under pseudonym Cine Fan for journal Krishna Patrika. Possibly assisted on the writing of H.M. Reddy’s Grihalakshmi (1938); later assistant director to B.N. Reddi (Devatha, 1941) and K.V. Reddy (Bhakta Potana, 1942). Worked on scripts for Vauhini films, influencing their verbose reformist dramas. Director at the Vijaya Studio. Début film, Chandraharam, designed as big-budget successor to Vasan’s Chandralekha (1948), defined Vijaya’s 50s economic ambitions. Best known as maker of mythologicals (only four films in other genres) emphasising the heroic, often derived from folk legends. Responsible for introducing many of the genre’s political references later used by his main star NTR.

FILMOGRAPHY: 1953: Chandraharam; 1955: Gunsundari; 1956: Penki Pellam; 1957: Panduranga Mahatyam; 1958: Shobha; 1959: Rechukka Pragatichukka; Pachai Malai Kurathi; Raja Sevai; 1960: Mahakavi Kalidasa; 1962: Mahamantri Timmarasu; Gundamma Katha/Manithan Maravillai; 1963: Nartanasala; 1965: Pandava Vanavasam; 1966: Shakuntala; Shri Krishna Tulabharam; 1967: Shri Krishnavataram; Kambojaraju Katha; 1968: Veeranjaneya; Kalasina Manushulu; 1969: Shri Seeta Rama Hanuman; 1970: Shri Krishna Vijayam; Mayani Mamata; 1972: Bala Bharatam; 1974: Jeevithasayam; 1977: Kurukshetramu; Seeta Rama Vanavasam; 1979: Gnana Kuzhandhai; 1980: Shri Vinayaka Vijayam; Shri Vasavi Kannika Parameshwari Mahatyam; 1981: Daiva Thimmanangal; 1982: Ekalavya; 1983: Santoshi Mata Vratha Mahatyam; 1985: Shri Datta Darshanam; Badarinatha Darshanam; 1986: Devi Navagraha Nayaki; Ashtalakshmi Vaibhavamu; 1991: Edu Kondalaswamy.

Rao, Pendyala Nageshwara see Pendyala Nageshwara Rao

RAO, PINGALI NAGENDRA (1901–71)

Telugu scenarist-lyricist, born in Razole, AP. Educated and railway clerk in Bunder; also active in a trade union. Influenced as writer by the poets Tirupati Venkatakavulu. Congress Party worker during freedom struggle and wrote several nationalist poems, e.g. Janmabhoomi (1940), which got him imprisoned by the British. Worked on Kauta Shrirama Sastry’s journal, Sharada, while translating Hindi plays into Telugu. Following the success of his play Vindhyarani (filmed by C. Pullaiah in 1948), turned scenarist with Bhale Pelli (1941). Employed by Vauhini and Vijaya Studio where he scripted several K.V. Reddy films (Gunsundari Katha, 1949; Patala Bhairavi, 1951; Maya Bazaar, 1957, etc). Also wrote popular lyrics for classic L.V. Prasad films e.g. Pelli Chesi Choodu (1952), Missamma (1955). Considered a major stylist in his use of popular Telugu speech forms.

Rao, Prakash see Prakash Rao, K. S. Rao, Raghavendra see Raghavendra Rao, K.

RAO, R. NAGENDRA (1896–1977)

Born in Holalkere, Karnataka. Kannada actor, singer, playwright and director. Worked in Kannada Company Natak, first with A.V. Varadacharya’s Ratnavali Nataka Mandali and later with Mysore-based Chamundeshwari Company. Worked briefly in Bombay making Tamil and Telugu films at Imperial, then went back to the stage to start the Shri Sahitya Samrajya Nataka Mandali with M.V. Subbaiah Naidu, which had a major impact on Kannada cinema: its first talkie, Y.V. Rao’s Sati Sulochana, was drawn from their stage repertoire and Nagendra Rao acted in and scored the film. His mythological play Bhukailasa, a perennial hit on the Kannada stage, was filmed repeatedly, by Sundarrao Nadkarni (1938, 1940) and as a trilingual by K. Shankar (1958). His play Yachhamanayika also became a film hit. Joined Gemini (1947) as actor and director. Left to form his own company R.N.R. Prod. (1951–64). Then continued as character actor playing roles of the good but confused father facing moral dilemmas posed by unconventional offspring (Shri Kannika Parameshwari Kathe, Karulina Kare, etc.). Has three sons in the film business: the actor-singer R. Sudarshanam, the lyricist, director and actor R.N. Jayagopal, and cameraman R.N.K. Prasad. Published his autobiography as told to C. Sitharam, Idu Nanna Kathe (1974). Acted in films he directed.

FILMOGRAPHY (* also d): 1932: Ramadasu; Parijata Pushpaharanam; 1933: Kovalan; 1934: Sati Sulochana (also music d); 1935: Naveena Sadarame; 1940: Bhukailasa; 1941: Vasantsena; 1943: Satya Harishchandra*; 1947: Mahatma Kabir*; 1949 Apoorva Sahodarargal/Nishan; 1950: Apoorva Sahodarulu; 1952: Moonru Pillaigal/Mugguru Kodukulu*; 1953: Chandirani; Jataka Phala/Jatakaphalaml Jatakam*; 1955: Santosham/Naya Admi; 1956: Nagula Chaviti/Adarshasati; Renuka Mabatme; Bhakta Markandeya; 1957: Bettada Kalla; Mahiravana; Premada Putri/Preme Daivam/Anbe Daivam*; 1959: Amudhavalli; 1960: Ranadheera Kanteerava; 1961: Vijayanagarada Veeraputra*; 1962: Galigopura/Gali Medalu; 1963: Veera Kesari/Bandhipotu; Ananda Bashpa*; 1964: Pathiye Daiva*; 1965: Nanna Kartavya; Balarajana Kathe; Madhuve Madi Nodu; 1966: Thoogu Deepa; 1967: Shri Kannika Parameshwari Kathe; Premakku Permitte*; Nakkare Ade Swarga; Shri Purandaradasaru; Janara Jana; 1968: Hannele Chiguridaga; Attegondukala Sosegondukala; 1969: Kannu Muchale; Grihalakshmi; Namma Makkalu*; Makkale Manege Manikya; 1970: Nadina Bhagya*; Shri Krishnadevaraya; Lakshmi Saraswathi; Karulina Kare; 1971: Aliya Geleya; Sakshatkara; Kulagaurava; 1972: Kalavari Kutumbam; Na Mechida Huduga; 1973: Mannina Magalu; Premapasha; 1974: Professor Huchuraya.

(From left) Baby Uma Rani, Sriranjani, R. Nagendra Rao and Sandhya in Premada Putri (1957)

RAO, RAJANALA NAGESHWARA (1926–59)

Telugu actor, known mainly for villain roles in 50s films. Born in coastal AP. Graduate of the Aligarh Muslim University. Joined films as employee of distribution co. Premium Distr. Centre and later worked as manager of Paramount theatre, Secunderabad. Début with P. Pullaiah. Established reputation in B.A. Subba Rao’s Raju Peda in the role of Vikram. Often acted alongside A. Nageshwara Rao in the 50s. Known mainly as R. Nageshwara Rao, he is not to be confused with the well known screen villain Rajanala.

FILMOGRAPHY: 1952: Sankranti; 1953: Kanna Talli; Paropakaram; Devadasu; 1954: Raju Peda; Aggiramudu; 1955: Cherapakura Chedevu; Donga Ramudu; Santosham/Naya Admi; 1957: Maya Bazaar; Sankalpam; Dongalo Dora; Vinayaka Chaviti; 1958: Pellinati Pramanalu; Anna Thamudu; Raja Nandini; Mundadugu; Intiguttu; Shri Ramanjaneya Yuddham; Bhuloka Rambha; Appu Chest Pappu Koodu; 1959: Shabash Ramudu; 1960: Jagannatakam; Bhakta Shabari; Anna Chellelu; Pillalu Techina Challani Rajyam; Shri Venkateswara Mahatyam.

Rao, Rama see Rama Rao, N.T. or Rama Rao, T.

RAO, P.S. RAMAKRISHNA (1918–86)

Telugu and Tamil director and producer born in Kurnool, AP. Entered films as assistant editor at Vel Pics (1936); later worked with H.V. Babu at Star Combines. Married actress and director Bhanumathi (1943). They set up Bharani Pics to produce their own films, later expanding the enterprise into Bharani Studios (1952–7) where he produced her trilingual film Chandirani (1953). Co-directed her hit Grihalakshmi (1967) and is often assumed to have co-directed the films which he produced and she directed.

FILMOGRAPHY: 1947: Ratnamala; 1949: Laila Majnu; 1952: Prema/Kathal; 1953: Bratuku Theruvu; 1954: Chakrapani; Vipranarayana; 1956: Chintamani; 1957: Varudukavali/Manamagal Thevai; 1961: Batasari/Kanal Neer; Shabash Raja; 1962: Atma Bandhuvu; 1963: Anubandhalu; 1964: Vivahabandham; 1967: Grihalakshmi.

Rao, Ranga see Ranga Rao, S. V.

RAO, SALURI RAJESWARA (B. 1922)

Composer; son of Sanyasiraju, a music teacher at the maharaja’s court in Vijayanagaram. Achieved some success as a child performer of the folk Harikatha at festivals and was recorded by the Hutchins Gramophone company. Introduced into Telugu films as child actor in Vel Pics’ Shri Krishna Leelalu for his ability to sing and play harmonium and tabla. First composed music for Jayapradha and, according to music historian V.A.K. Ranga Rao, was the first Telugu composer to use a Western conception of orchestral harmony. His second film, Ramabrahmam’s Illalu, aimed for a sense of modernity, e.g. assimilating styles associated with R.C. Boral and Timir Baran. However the music was not a commercial success. Ranga Rao described their compositions for R. Balasaraswathi, released on disc in the 40s, as ‘more sophisticated music [which didn’t] find its way into films but established [h]ow the Telugu lyric could be coupled with Western craft’. This approach made a big impact, including the epochal Chandralekha, helping the studio’s aim to conquer the All-India film market. His song Koyalokasarochi koosipoyindi (in Apavadu), with Basavaraju Apparao’s lyrics, is considered especially significant in this context. Scored the music for B.S. Ranga’s Kannada and Telugu films in the 60s, and was associated with Adurthi Subba Rao and K. Vishwanath’s art-house musicals. His brother Saluri Hanumantha Rao is a noted Telugu film composer. His son Koti also scored Telugu films from the 80s in collaboration with Raj, son of the composer T.V. Raju

FILMOGRAPHY (* also act/** act only): 1935: Shri Krishna Leelalu**; 1936: Maya Bazaar**; 1939: Jayapradha*; 1940: Illalu*; 1941: Apavadu; 1942: Balanagamma; Jeevanmukti; Nandanar; 1943: Mangamma Sapatham; 1944: Daasi Aparanji; 1945: Kannamma En Kadhali; Paduka Pattabhishekham; 1948: Chandralekha; 1949: Apoorva Sahodarargal/Nishan; 1950: Vali Sugriva; 1951: Malleeswari; 1952: Priyuralu; 1953: Vayyari Bbama; Pempudu Koduku; 1954: Raju Peda; Vipranarayana; 1955: Missamma/Missiamma; 1956: Bhale Ramudu; 1957: Allavudeenum Arputha Vilakkum/Allauddin Adbhuta Deepam/Alladdin Ka Chirag; Bhale Ammayilu/Iru Sahodarigal; Sati Savitri; 1958: Chenchulakshmi; Aadapettanam; Appu Chesi Pappu Koodu/Kadan Vangi Kalyanam; 1959: Rechukka Pragatichukka; 1960: Rani Ratnaprabha; 1961: Iddaru Mithralu; Bhakta Jayadeva; 1962: Kulagothralu; Aradhana; Manchi Manushulu/Penn Manam; 1963: Chaduvukonna Ammayilu; 1964: Amarashilpijakanachari/Amarashilpi Jakanna; Dr Chakravarthi; Bobbili Yuddham; Mahiravana; Poojaphalam; 1965: Dorikite Dongalu; Bangaru Panjaram; 1966: Palnati Yuddham; Chilaka-Gorinka; Sangeetalakshmi; Bhakta Potana; Mohini Bhasmasura; Rangula Ratnam; 1967: Bhakta Prahlada; Raktha Sindooram; Poolarangadu; Vasantasena; 1968: Veeranjaneya; 1969: Mamaku Tagga Kodalu; Adarsha Kutumbam; Atmiyulu; Dbarmapatni; 1970: Desamante Manushuloi; Jaijawan; Chitti Chellalu; Mr Rajkumar; 1971: Amayukuralu; Bangaru Talli; Pavitra Bandham; Shri Venkateswara Vaibhavam; 1972: Bala Bharatam; Kalam Marindi; Neethi Nijayathi; 1973: Deshoddharakulu; Mannina Magalu; Neramu Siksha; Nindu Kutumbam; 1974: Ram Rahim; Jeevithasayam; Jeevitha Rangamu; Bangaru Kalalu; Tatamma Kala; Palle Paduchu; Nitya Sumangali; 1975: Challani Talli; Anna Dammula Katha; Bharatamlo Oka Ammayi; Yashoda Krishna; 1976: Manchiki Maro Peru; Manushulanta Okkate; Dashavataram; 1977: Idekaddi Nyayam; Eenati Bandham Yenatido; Kurukshetramu; 1978: Prema Paga; Devadasu Malli Puttadu; Lambadolla Ramadasu; Radha Krishna; Sneha Sedu; 1980: Ondu Hennu Aaru Kannu; Manavude Mahaniyudu; Bommala Koluvu; Shri Vasavi Kannika Parameshwari Mahatyam; 1982: Katha Marindi; 1983: Muddula Mogudu.

RAO, SINGEETHAM SRINIVASA

Successful Telugu director; born in Nellore Dist., AP. Worked extensively in Tamil, Kannada, Malayalam and Hindi. Studied physics in Madras. Amateur playwright and theatre director. Started as unpaid assistant to K.V. Reddy (1955–7). Early work in Telugu assistint in Pattabhi Rama Reddy and K.V. Reddy’s Jayanthi Pics. Following the critical success of Samskara (1970), made his own art-house film Dikkatra Parvathi, based on a novelette by former TN Chief Minister C. Rajagopalachari addressing the evils of alcoholism. Best-known films, following Raja Parvai, extend the work of Tamil megastar Kamalahasan: in Pushpak, he plays an unemployed man dreaming of wealth. The film has no dialogue and opened up a new dimension in art-house entertainment, consolidated later by Apoorva Sahodarargal (released in a Hindi dubbed version as Appu Raja). Made most of his Kannada films with Rajkumar (notably Halu Jenu, Eradu Nakshatragalu and Bhagyada Lakshmi Barammd). Has a characteristic shooting style of rapid and rough-edged pans, extensive use of zoom lenses, and extremely brief shots that eliminate virtually everything except the plot from his films. Also composer for K.N. Chandrasekhar Sharma’s Samyukta (1988). Biography by Satyamurthy Anandur (1988).

FILMOGRAPHY: 1972: Neethi Nijayathi; 1973: Dikkatra Parvathi; 1975: Zamindarugari Ammayi; 1976: America Ammayi; Oka Deepam Veligindhi; 1977: Niraparayum Nilavilakkum; Andame Anandam; Panthulamma; Tharam Marindi; 1978: Gammathu Goodacharulu; Ramachilaka; Sommokadidhi Sokokadidhi; 1979: Mangala Toranalu; 1980: Triloka Sundari/Trilok Sundari; Pilla Zamindar; Gandhara Golam; 1981: Jai Gantalu; Raja Parvai; 1982: Halu Jenu; Chelisuva Modagalu; 1983: Eradu Nakshatragalu; Raju Rani Jackie; 1984: Shravana Banthu; Sangeetha Samrat; Vasantha Geetam; 1985: Bhagyada Lakshmi Baramma; Jwalamukhi; Mayuri; 1986: Ananda; 1987: Pushpak/Pushpaka Vimana/Pesum Padum; America Abbayi; 1988: Chiranjeevi Sudhakara; Devatha Manushya; 1989: Apoorva Sahodarargal/Appu Raja; 1990: Michael Madana Kamarajan; 1991: Aditya 369; 1992: Brindavanamu; Ksheera Sagara; 1993: Phool; 1994: Bhairava Dweepam; Madam; Magalir Mattum; 1995: Chinna Vathiyar.

Rao, T. Prakash see Prakash Rao, Tatineni

RAO, YARAGUDIPATI VARADA (903–73)

Tamil and Telugu director born in Nellore, AP. Medical student at Madras University. Went to Bombay and acted in Manilal Joshi’s Laxmi Pics (1925) and Ardeshir Irani’s Royal Art Studio before joining General Pics (Madras) as art director and actor, notably in R.S. Prakash’s silents. Directorial début in 1929 and started his own Chintamani Pics (1939) and Shri Varuna Films (early 50s). The only film-maker to work in all major West and South Indian film centres (Bombay, Kolhapur, Madras and Mysore) and to make films in seven languages including Marathi, Kannada and Konkani (one film, Jeevit Amche Ashe). Best-known films were a major influence upon filmic conversion of stage Company Natak traditions, e.g. Hari Maya (for Gubbi Veeranna), Sati Sulochana (first Kannada talkie starring M.V. Subbaiah Naidu and R. Nagendra Rao) and Chintamani (made in Calcutta but based on Kallakuri Narayana Rao’s noted Telugu saint biographical play). His multilingual talkies pioneered a cultural hybrid, e.g. in cross-breeding regional conventions of language, gesture and costume, crucial to the economic amalgamation of a unified South Indian film industry. His wife, Rukmini, was a noted star, as is their daughter Laxmi in Tamil and Telugu films, and their granddaughter Aishwarya.

FILMOGRAPHY (* also act/** act only): 1929: Garuda Garvabhangam**; 1930: Gajendra Moksham**; Gandhariyin Pulambat**; Pandava Agyathavas; Sarangadhara; King Bhoj**; 1931: Rose of Rajasthan**; Nara Narayana**; 1932: Hari Maya (all St); 1934: Sati Sulochana*; 1935: Naganand; 1936: Bhama Parinayam; 1937: Chintamani*; 1938: Bhakta Meera*; Swarnalatha*; 1939: Malli Pelli*; 1940: Vishwamohini*; 1941: Savithri*; 1942: Satyabhama*; 1944: Tehsildar*; 1946: Lavangi*; 1948: Ramadas*; 1950: Lavangi*; Jeevit Amche Ashe; 1952: Manavati; 1953: Manjari; 1956: Bhagya Chakra; 1958: S&n Krishna Garudi; 1961: Nagarjuna; 1963: Hennina Balu Kanneru*.

RASKAPUR, MANHAR (1922–80)

Major Gujarati director; born in Surat. Insisted on using the language in the late 40s during the post-WW2 boom in Hindi films. For several years, Raskapur and producer Champsibhai Nagda were the only team consistently making Gujarati films with their Roop Chhaya company (1947). Following the success of his début feature, Jogidas Khuman, he remade the film twice and was planning a third remake when he died. Best-known film: Mehndi Rang Lagyo, a perennial hit. Introduced Shanta Apte in Gujarati with Mulu Manek. Made the Rajput war sagas into anti-imperialist fables (Kadu Makrani, Mulu Manek), and fantasies of Gujarat’s history and traditions (Mehndi Rang Lagyo). Filmed major novels (e.g. Pannalal Patel’s Malela Jiv) and made a biopic of the popular early 20th C. Gujarati poet Kalapi. A strongly committed genre cineaste, he made socials (Santu Rangili), dacoit and children’s films (Miya Fuski 007).

FILMOGRAPHY: 1948: Jogidas Khuman; 1950: Kahyagaro Kanth; 1951: Kanyadaan; 1955: Mulu Manek; 1956: Malela Jeev; 1960: Kadu Makrani; Mehndi Rang Lagyo; 1962: Jogidas Khuman; 1963: Akhand Saubbagyavati; 1966: Kalapi; 1971: Upar Gagan Vishal; 1973: Vala Taro Deshma Danko; 1975: Jai Ranchhod; Jogidas Khuman; 1976: Santu Rangili; 1977: Bhrashtachar Murdabad; Mari Hel Utaro Raj; 1978: Miya Fuski 007; Nari Tu Narayani; 1980: Saurashtrano Sinh-Chhelbhai.

RATHNAM, MANI (B. 1956)

Major commercial Tamil director; born in Madras, the son of the producer ‘Venus’ Gopalarathnam. Studied at Madras University and then received a management degree at the Bajaj Institute, Bombay. Worked as a management consultant. Started his career with a Kannada film (Pallavi Anupallavi), then a Malayalam one (Unaroo). His initial, heavily melodramatic style (cf. Mouna Ragam) together with an unusual awareness of Hollywood’s generic conventions culminated in his breakthrough film, Nayakan, relocating The Godfather (1972) in Bombay’s Tamil underclass. Went on to make India’s first music video-inspired feature, Agni Nakshatram, using extensive soft focus, flare filters, back-lighting, seductive camera movement and extensive dissolves. The music TV style also marks his Telugu film Geetanjali, mostly shot in the misty landscape of Ooty, and Anjali, in which a group of children perform several elaborately choreographed breakdance numbers. Works with major stars (e.g. Kamalahasan in Nayakan; the Tamil star Rajnikant and his Malayalam counterpart Mammootty in Dalapathi), but transforms their images with a style involving, according to critic and director K. Hariharan, ‘a strong violation of tonal, focal and colour continuity … intercutting between sharply focused and soft images and a total denial (in the later musicals) of any image which could remotely call itself “natural”’. Received a nationwide release for Roja unprecedented in recent Tamil cinema, and also sparked off a major political controversy. This was then overshadowed by the nationwide debate over his next film Bombay, addressing the 1992–3 riots, and his first authorised multilingual production. Represented by G.V. Films, a public limited company owned by his brother G. Venkateswaran, the films are apparently sold against sealed tenders invited from distributors. With Bombay, he launched his own company, Aalayam, which has also produced Indira directed by his wife and Tamil star Suhasini, and Asai (both 1995). In addition to MTV and Coppola, with whom he shares a tendency to celebrate the machinic aspects of cinema, the director acknowledges the influence of Ramesh Sippy.

FILMOGRAPHY: 1983: Pallavi Anupallavi; 1984: Unaroo; 1985: Idaya Koyil; Pagal Nilavu; 1986: Mouna Ragam; 1987: Nayakan; 1988: Agni Nakshatram; 1989: Geetanjali; 1990: Anjali; 1991: Dalapathi; 1992: Roja; 1993: Thiruda Thiruda; 1995: Bombay.

RATHOD, KANJIBHAI J.

Often considered the first professional director in Bombay cinema. Former still photographer, he joined Suchet Singh as an actor (1919), appearing in Mrichhakatik and playing the lead in Narasinh Mehta; probably completed the unfinished films of Singh’s Oriental Film with G.S. Devare. Joined Kohinoor (1920) and remained top director with the 20s hit Gul-e-Bakavali and the celebrated Bhakta Vidur, banned for political reasons. Then worked in Saurashtra Film in Rajkot (1924–5). Returned to Bombay and became the force behind Krishna Studio after 1925 (barring a brief stint at the Kohinoor United Artists), making five sound-films for Krishna Movietone in 1931. His Kono Vak?, from a story by Munshi, was a radical social for its time and confirmed his authorial signature. Briefly worked in talkies at Sagar, then made a few inexpensive films in Hindi and Gujarati as freelancer. Towards the end of his career was employed as production manager in Dhirubhai Desai’s Chandrakala Pics, even as the latter remade several Rathod silents, including Bolti Bulbul (1942), Devkanya and Bhakta Prahlad (both 1946).

FILMOGRAPHY (* act only): 1920: Mrichhakatik*; Narasinh Mehta*; Vikram Urvashi; Shakuntala*; 1921: Meerabai; Pundalik; Mahasati Ansuya; Subhadra Haran; Bhakta Vidur; Krishna Maya; Rukmini Haran; Chandrahasa; 1922: Bhakta Ambarish; Malati Madhav; Sati Toral; Shri Satyanarayan; Ajamil; Devi Todi; Parashuram; Sukanya Savitri; Surya Kumari; 1923: Sati Narmada (also act.); Karmadevi; Minal Devi; Vratasur Vadha; Veer Bhimsen; Goswami Tulsidas; Shri Balkrishna; Shuk Deo; 1924: Gul-e-Bakavali; Kala Naag; Sadguni Sushila; Shareef Badmash; Sati Seeta; 1925: Baap Kamai; Kamallata; Anath Abala; Swapna Sundari; 1926: Raja Ne Garni Te Rani; Khubsoorat Bala; Veer Kesari; Burkhawali; Bolti Bulbul; 1927: Kuldeepak; Mardna Gha; Mahasati Ansuya; 1928: Chandrahasa; Neelam Manek; Devkanya; Bodku Mathu; Kunj Kishori; Kal Ratrinu Khuni Khanjar; 1929: Veer Rathod; Raj Hansa; Kono Vak?; Rukmini Haran; 1930: Math No Sadhu; Nirbhagi Nirmala; Rajkumari Ni Ranagarjana; Tati Talwar (all St); 1931: Chintamani; Ghar Ki Lakshmi; Harishchandra; Laila Majnu; Pak Daman; 1932: Bhakta Prahlad; Bhasmasur Mphini; 1933: Lanka Daban; 1934: Hothal Padmini; Jan Nissar; Sati Anjani; Thief Of Iraq; 1936: Punjab Ka Sinh; 1937: Gul Badan; 1938: Ghunghatwali; 1939: Sairandhri; 1940: Anjaam; 1949: Shethno Salo.

RATHOD, KANTILAL (1925–88)

Gujarati and Hindi director and animator born in Raipur. Trained as a painter in Calcutta and at the Art Institute of Chicago, where he made a short film about a child’s paintings, Cloven Horizon, distributed by the Encyclopaedia Britannica. Worked with Norman MacLaren at the National Film Board of Canada. Set up animation unit for Hunnar Films and authored celebrated animated films like Adventures of a Sugar Doll and Business is People. His Kanku inaugurated a Gujarati art cinema although he went on to make films in Hindi. Made shorts and features for his own Akar Films, also making films on commission from Films Division, the CFS and the US Information Agency.

FILMOGRAPHY: 1956: Mr and Mrs Peacock (Sh); 1959: Buddha Aur DCM (Doc); 1960: Withering Flowers (Sh); 1965: Cloven Horizon (Doc); Adventures of a Sugar Doll (Animation); 1966: The Parts that Build the Auto (Doc); 1967: Peace-Time Armada (Sh); 1968: Pinjra (Sh); 1969: Strife to Stability (Doc); Kanku; 1971: Freedom Freedom (Doc); 1973: Tested Berries (Sh); Short Cut (Sh); 1974: Parinay; 1975: Business is People (Sh); 1976: Sardar Vallabhbhai Patel (Doc); 1977: Zangbo and the Zing Zing Bar; 1982: Ramnagari; The Choice is Yours (Doc); 1985: Doongar Ro Bhed; 1989: Save Energy through Efficient Motors (Doc).

RAWAIL, HARNAM SINGH (B. 1921)

Hindi-Urdu director born in Lyallpur (now Pakistan). Went to Bombay in his teens to join films. Slept on the streets and in the Madhav Baug temple precincts. These experiences were later retold in quasi-autobiographical Pocketmaar. Left for Calcutta where he became assistant to Kidar Sharma. His first script is Banke Sipahi (1937), a version of The Three Musketeers. Wrote several scripts, usually in stunt genre, at Indrapuri Studios where he also received his first break as director. Turned producer in Calcutta (1948), then returned to Bombay (1949) and later established Roshni Pics (1955) and Rahul Theatres (1960). Made comedies (best known is Kishore Kumar’s slapstick Shararat) and love stories. Sangharsh was based on major Bengali novelist Mahashweta Devi’s Laila Aasmaner Aaina. After Mere Mehboob, made period romances and love legends. Last film Deedar-e-Yaar, written by his son Rahul Rawail, was one of the biggest financial disasters of 80s Hindi film. Since then has produced films for his son.

FILMOGRAPHY: 1940: Dorangia Daku; 1944: Shukriya; 1945: Zid; 1948: Jhoothi Kasmein; 1949: Do Baatein; Patanga; 1951: Sagaai; Jawani Ki Aag; 1952: Saqi; 1953: Lehren; Shagufa; 1954: Mastana; 1955: Tirandaz; 1956: Pocketmaar; 1959: Shararat; 1961: Kaanch Ki Gudiya; Roop Ki Rani Choron Ka Raja; 1963: Mere Mehboob; 1968: Sangharsh; 1971: Mehboob Ki Mehndi; 1976: Laila Majnu; 1982: Deedar-e-Yaar.

RAWAIL, RAHUL (B. 1951)

Hindi director born in Bombay. Son of H.S. Rawail, who also produced some of his films. Classmate of Rishi Kapoor, which allowed him to become assistant to Raj Kapoor for seven years. Directorial début with the hit Love Story (1981), produced by Rajendra Kumar to launch his son Kumar Gaurav, but the film was delayed and he eventually refused the directorial credit. Known for launching new faces, incl. Dharmendra’s son and 80s star Sunny Deol in Betaab and Kajol in Bekhudi. Wrote his father’s megaflop Deedar-e-Yaar (1982). Involved in the video serial, Dharamyudh; also did TV series, Honee Anhonee.

FILMOGRAPHY: 1980: Gunehgaar; 1981: Love Story (uncredited); Biwi-o-Biwi; 1983: Betaab; 1985: Arjun; 1986: Samundar; 1987: Dacait; 1988: Honee Anhonee (TV); Dharam Yuddh (TV); 1990: Jeevan Ek Sangharsh; 1991: Yodha; Mast Kalandar; 1992: Bekhudi; 1994: Anjaam.

Satyajit Ray directing Goopy Gyne Bagha Byne (1968)

RAY, SATYAJIT (1921–92)

Bengali director born in Calcutta. Grandson of Upendra Kishore Ray-Choudhury, publisher, musician, author and creator of children’s fiction characters Goopy and Bagha (see Goopy Gyne Bagha Byne and Hirak Rajar Deshe). Son of noted satirist and writer of limericks and nonsense rhymes, Sukumar Ray, about whom he made a documentary. Family counted prominent members of the secular reformist Sadharan Brahmo Samaj. Student at Kala Bhavan, Shantiniketan (1940–2) under the painter Nandalal Bose. Left without completing the course but maintained long-standing loyalties to its notions of Oriental discourse, later invoked in e.g. his appreciation of Kurosawa and Japanese film. Started the Calcutta Film Society (1947) with Chidananda Das Gupta et al., which introduced him to European and Soviet cinemas. Met Jean Renoir when the latter made The River, 1951. First film: Pather Panchali, receiving major acclaim on the Euro-American festival and art-house circuits making him India’s first internationally recognised film-maker. Films mostly seen as relating to the ideological liberalism of Nehru and, particularly, to Ray’s artistic and intellectual mentor, Rabindranath Tagore, whose writings he filmed (Teen Kanya, Charulata, Ghare Baire) and about whom he also made a documentary. Early films often associated with the chronicling of India’s transition from feudal decadence and agrarian economic systems to capitalist modernity. Their slow rhythm and finely tuned evocation of emotional mid-ranges also derives substantially from cameraman Subrata Mitra’s expertise (he shot the films up to Devi, then also Kanchanjungha and Charulata). Likewise, his celebrated attention to realist detail, notably in his period films situated in 19th C. Bengal and in Wajid Ali Shah’s court at Avadh (Shatranj Ke Khiladi) draws from set designer Bansi Chandragupta’s explorations into the habits and customs of Colonial India through 19th C. academic and popular painting. Late 60s films invoke a sharper critique of urban culture (Nayak) and acknowledge an increasingly irreconcilable split between the rootless urban and the economically oppressed rural conditions (Aranyer Din Ratri, Ashani Sanket) and prefigure his major 70s shift towards contemporary Calcutta (Pratidwandi, Seemabaddha, Jana Aranya). After Shatranj Ke Khiladi, his only non-Bengali feature, Ray focused exclusively on his native state, sometimes revisiting his earlier genres of the children’s movie and Tagore adaptations, but also attempting new directions in chronicling Bengal’s history through original screenplays. Published numerous short stories (some of which were filmed by his son Sandeep Ray in two TV series called Satyajit Ray Presents) for annual Puja numbers of Bengali literary journals and for the children’s journal he used to edit, Sandesh. Extensively chronicled biography: Seton (1971), Das Gupta (1980) and Robinson (1989; including bibliography). Wrote autobiography encompassing his childhood years, Jakhan Choto Chilam (When I Was Small, 1982) and essays on film: Our Films, Their Films (1976), Bisoy Chalachchitra (On Cinema) (1976), Ekei Bole Shooting (We Call it Shooting) (1979). Most of Ray’s novels and stories have been published as books by Ananda Publishing, Calcutta. English translations of his fiction include Phatikchand (1983), The Adventures of Feluda (1985), Bravo! Professor Shonku (1986), Stories (1987). Most of the screenplays are published in Bengali in the Eksan journal. Also worked, mainly as composer or writer, on H. Dasgupta’s The Story of Steel (1956) and Quest for Health (1967); Bansi Chandragupta’s Darjeeling-Himalayan Fantasy, Glimpses of West Bengal and Ganga Sagar Mela; Tony Mayer’s House that Never Dies and John Thiele’s Max Mueller. Also did music for Shakespeare Wallah (1965), Nityananda Dutta’s Baksha Badal (1965) and worked on all his son’s films (Phatikchand, 1983, Goopy Bagha Phere Elo, 1991). Received an Oscar for his ‘lifetime achievement’ in 1992. Also the subject of a number of documentaries, e.g. by Benegal and K. Bikram Singh’s Satyajit Ray: An Introspection (1990).

FILMOGRAPHY: 1955: Pather Panchali; 1956: Aparajito; 1957: Parash Pathar; 1958: Jalsaghar; 1959: Apur Sansar; 1960: Devi; 1961: Teen Kanya; Rabindranath Tagore (Doc); 1962: Kanchanjungha; Abhijaan; 1963: Mahanagar; 1964: Charulata; Two (Sh); Mahapurush; 1965: Kapurush; 1966: Nayak; 1967: Chidiakhana; 1968: Goopy Gyne Bagha Byne; 1969: Aranyer Din Ratri; 1970: Pratidwandi; 1971: Seemabaddha; Sikkim (Doc); 1972: The Inner Eye (Doc); 1973: Ashani Sanket; 1974: Sonar Kella; 1975: Jana Aranya; 1976: Bala; 1977: Shatranj Ke Khiladi; 1978: Joi Baba Felunath; 1980: Hirak Rajar Deshe; Pikoo (TV); 1981: Sadgati (TV); 1984: Ghare Baire; 1987: Sukumar Ray (Doc); 1989: Ganashatru; 1990: Shakha Proshakha; 1991 Agantuk.

REDDI, BOMMIREDDI NARASIMHA (1908–77)

Telugu director and producer born in Kothapalli, Cuddappah Dist., AP. Professional accountant and amateur theatre actor with Madras-based group Chennapuri Andhra Mahasabha, where he also worked with Bellari Raghava. Set up the BNK Printing Press (1936). Entered films as associate financier of H.M. Reddy’s Rohini Pics and as scenarist for Grihalakshmi (1938). At Rohini he met K. Ramnoth, Chittor V. Nagaiah, K.V. Reddy and art director A.K. Sekhar, the nucleus of what was to be one of the largest studios of South India, Vauhini (prod. co. 1939; studio 1946). Best-known Vauhini films in 40s are among the most elaborate melodramas ever made in Telugu (possibly in India). Set in a rural family situation, they usually contrast a nostalgic past with contemporary big city values, industrialism, unemployment and ‘loose women’. The form itself was politically legitimated through Ramabrahmam’s claim that it was in line with Gandhian progressivism. The genre was continued in the early Vijaya films, made by disciples K.V. Reddy, K. Kameshwara Rao and most notably by the L.V. Prasad school of film-makers. Monograph on Reddi by Randor Guy (1985).

FILMOGRAPHY: 1939: Vande Mataram; 1940: Sumangali; 1941: Devatha; 1945; Swargaseema; 1951: Malleeswari; 1954: Bhagya Rekha; 1957: Bangaru Papa; 1959: Raja Makutam; 1964: Poojaphalam; 1959: Bangaru Panjaram; 1966: Rangula Ratnam.

REDDY, HANUMAPPA MUNIAPPA (1882–1960)

Pioneering Telugu and Tamil director born and educated in Bangalore, Karnataka. Made the first talkies in Tamil (Kalidas) and Telugu (Bhakta Prahlada). Policeman in Bangalore; resigned and followed his brother-in-law, H.V. Babu, to Bombay. Assistant to B.P. Mishra (1927) before turning film-maker at Imperial with Prithviraj Kapoor adventure fantasies, Vijaykumar and Bar Ke Pobar/A Wager in Love. Also directed L.V. Prasad in many features, including Bhakta Prahlada and Kalidas. Bhakta Prahlada was made for Krishna studio’s subsidiary Bharat Movietone, and Kanjibhai Rathod did the Hindi version. Both were strongly influenced by the Surabhi Theatres tradition of the stage mythological and featured extensive musical sequences with members of the group. Enjoyed the reputation of being an actors’ director, usually for Anjali Devi’s early lead performance in Nirdoshi and for the hit Grihalakshmi which provided the breakthrough for Chittor V. Nagaiah (making his début), Kannamba and Kanchanmala. Freelance work 1932–7 including Hindi, Tamil and Telugu films in Bombay, Madras and Kolhapur. Launched Rohini Pics (1937) with finance from M/s. Reddi & Co. representing B.N. Reddi’s first association with film production, making it the origins of the Vauhini Studio monolith. The Rohini unit also introduced K.V. Reddy and Y.R. Swamy to film-making. Wrote Swamy’s Pratigna (1953). Associated with launching of the Navajyothi Studio in Mysore (1944).

FILMOGRAPHY: 1930: Vijaykumar; 1931: Bar Ke Pobar (all St); Bhakta Prahlada; Kalidas; 1932: Jazz of Life (St); 1933: Seeta Swayamvar; Savitri; 1938: Grihalakshmi; 1939: Mathru Bhoomi; 1940: Barrister Parvatisham; Bondam Pelli; Chaduvukonna Bharya; 1941: Tenali Ramakrishna; 1942: Gharana Donga; 1946: Sati Seeta; 1951: Nirdoshi/Niraparadhi.

REDDY, KADRI VENKATA (1912–72)

Telugu director born in Tadipatri, AP. Degree in science. Former assistant to H.M. Reddy. Production executive at Vauhini (1938) and key participant in all of B.N. Reddi’s 40s melodramas. First two films, Bhakta Potana and Yogi Vemana, contributed to Chittor V. Nagaiah’s image as South Indian cinema’s most famous actor in the Saint film genre. Continued his spectacular success with Patala Bhairavi, whose 100-day run in 28 cinemas in 1951 effectively established Vauhini’s successor, Vijaya Pics He attributed his success in the early 50s to his ability to get the sequence of ‘introduction, commentarial exposition, conflicts, resolution, sub-climax, climax and message’ in the correct order. Telugu cinema’s best-known exponent of its most successful 50s genre: the action fantasy locally dubbed the ‘folklore’ film. Other famous films include Gunsundari Katha, an apparent assimilation of King Lear, and Pedda Manushulu, which borrowed the story of Ibsen’s Pillars of Society.

FILMOGRAPHY: 1942: Bhakta Potana; 1947: Yogi Vemana; 1949: Gunsundari Katha; 1951: Patala Bhairavi/Pataal Bhairavi; 1954: Pedda Manushulu; 1955: Donga Ramudu; 1957: Maya Bazaar; 1958: Pellinati Pramanadu; 1959: Vazhkai Oppantham; 1961: Jagadeka Veeruni Katha/Jagathala Prathapan; 1962: Shri Krishnarjuna Yuddham; 1965: Satya Harishchandra; 1968: Umachandi Gauri Shankarula Katha; Bhagyachakram; 1971: Shri Krishna Satya.

REDDY, PATTABHI RAMA (B. 1919)

Kannada director born in Nellore, AP. One of the first free-verse poets in Telugu. Studied English at Calcutta University and mathematics at Columbia, New York (1940–3). Joined the Madras Players amateur theatre. Participant in the opposition to Indira Gandhi’s 1975–7 regime with his wife Snehlata Reddy, who died in police custody (1977) for want of medical assistance. Founded Jayanti Pics with K.V. Reddy, where future box-office director Singeetham Srinivasa Rao also worked. Made Samskara, a milestone of South Indian film (see Navya Movement).

FILMOGRAPHY: 1970: Samskara; 1977: Chanda Marutha; 1984: Sringara Masa; 1993: Devara Kaadu.

REDDY, S. V. KRISHNA

Successful 90s Telugu director, mainly of low-budget, ‘family entertainment’ melodramas often with fantasy plots (a genre refurbished by TV). Former bit-actor in Telugu, later turned producer and composer (e.g. Raviteja’s Kobbari Bondam, 1991). Rajendrudu Gajendrudu, Mayalodu and Yamaleela were among the biggest Telugu hits of their time given their relatively low budget and predominantly urban distribution outlets. Usually casts the popular comedy actor Rajendra Prasad, although he also introduced Ali, who became a star with Yamaleela. Number One, with Krishna in the lead, was a major success and his first effort to shift into a bigger-budget genre. His later efforts to work with major stars were not successful (e.g. Top Hero with Balakrishna and Vajram with Nagarjuna).

FILMOGRAPHY: 1993: Rajendrudu Gajendrudu; 1993: Mayalodu; 1994: Number One; Shubhalagnam; Top Hero; Yamaleela; 1995: Ghatotkachudu; Vajram.

REHMAN, ALLAH RAKHA (B. 1966)

Innovative and phenomenally successful 90s Tamil and Hindi composer. Scholarship from Trinity College; former member of the Madras-based rock group Nemesis Avenue. Became a major star with his music in Mani Rathnam’s Roja (1992), followed by hit scores in Gentleman, Thiruda Thiruda, Kadhalan and Bombay. The music in all these films proved equally successful in dubbed Hindi versions, as did his formal debut in Hindi, in Rangeela which included the songs ‘Ayi re’ and ‘Tanha tanha’. His electronics-derived music, often scored on computer, is seen as belonging to the tradition of e.g. R. D. Burman.

FILMOGRAPHY: 1992: Roja; 1993: Gentleman; Puthiya Mukham; Kizhakku Seemayile; Thiruda Thiruda; 1994: Kadhalan; Pavithra; Karuthamma; Duet; May Maadham; 1995: Indira; Muthu; Rangeela; Bombay; Anthimantharai; 1996: Kadhal Desam.

REHMAN, WAHEEDA (B. 1938)

Hindi-Urdu star of the 50s and 60s who came to prominence after an extraordinary performance as the prostitute in Guru Dutt’s Pyaasa. Born into a traditional Muslim family in Hyderabad, AP. A student of Bharat Natyam, she débuted in Yoganand’s Telugu film Jayasimha; her second film, Chanakya’s Rojulu Mar ayi, was a massive hit. Guru Dutt cast her in Raj Khosla’s CID with Dev Anand. Classic scenes in CID like the song Kahin pe nigahen (sung by Shamshad Begum), where she tries to seduce the villain and allow the hero to escape, reveal her extraordinary facial mobility and dancer’s grace, both repeatedly used in Dutt’s song sequences (as in Jaane kya tune kahi in Pyaasa as she leads Vijay through alleys and beneath bridges or in Bhawra bada nadaan in Sahib Bibi Aur Ghulam). Her physical presence was used by Dutt to convey an intense sense of life, often counterposed to another female role associated with death (e.g. Meena Kumari in Sahib Bibi). Aspects of this image continued into Vijay Anand’s Guide and Asit Sen’s Khamoshi, where she is a nurse in an institution for the mentally deranged replacing sick hero Rajesh Khanna as victim. Also acted in Satyajit Ray’s Abhijaan. Currently plays white-haired mothers, including Amitabh Bachchan’s violated mother in Trishul.

FILMOGRAPHY: 1955: Jayasimha/Jaisingh; Rojulu Marayi/Kalam Maripochu; Alibabavum Narpatha Thirudargalum; 1956: CID; 1957: Pyaasa; 1958: Solva Saal; Twelve O’clock; 1959: Kaagaz Ke Phool; 1960: Chaudhvin Ka Chand; Ek Phool Char Kaante; Girl Friend; Kala Bazaar; 1961: Roop Ki Rani Choron Ka Raja; 1962: Baat Ek Raat Ki; Bees Saal Baad; Raakhi; Sahib Bibi Aur Ghulam; Abhijaan; 1963: Ek Dil Sau Afsane; Kaun Apna Kaun Paraya; Mujhe Jeene Do; 1964: Kohraa; Majboor; Shagun; 1965: Guide; 1966: Dil Diya Dard Liya; Teesri Kasam; 1967: Palki; Patthar Ke Sanam; Ram Aur Shyam; Ghar Ka Chirag; 1968: Admi; Baazi; Neel Kamal; 1969: Khamoshi; Meri Bhabhi; Shatranj; 1970: Dharti; Man Ki Aankhen; Prem Pujari; Darpan; 1971: Man Mandir; Reshma Aur Shera; 1972: Dil Ka Raja; Subah-o-Shyam; Zindagi Zindagi; Trisandhya; 1973: Insaaf; Phagun; 1975: Love in Bombay; 1976: Adalat; Kabhi Kabhie; 1977: Aaj Ki Dhara; 1978: Trishul; 1979: Jiban Je Rakam; 1980: Jwalamukhi; Jyoti Bane Jwala; 1981: Naseeb; 1982: Dharam Kanta; Namak Halal; Namkeen; Saval (H); 1983: Coolie; Ghunghroo; Himmatwala; Mahaan; Pyaasi Aankhen; 1984: Maqsad; Mashaal; Sunny; 1986: Allah Rakha; Sinhasan; 1989: Chandni; 1991: Lamhe; 1994: Ulfat Ki Nayi Manzilen.

Waheeda Rehman in Bees Saal Baad (1962)

REKHA (B. 1954)

Originally Bhanurekha. One of the few contemporary Indian film stars with a legendary status far outstripping her screen roles. The daughter of Tamil-Telugu stars Gemini Ganesh and Pushpavalli. Début as Baby Bhanurekha in B.N. Reddi’s Rangula Ratnam. Eventually became a star via Mohan Segal’s hit, Sawan Bhadon. Overweight and gawky in her initial years, she made a spectacular physical change which was later marketed through e.g. tips for body beautification and Jane Fonda-style aerobics. Her image, often as a rural belle, became that of a vulnerable yet sexually driven woman following the role of the prostitute Zohra in Muqaddar Ka Sikandar. She made a bid for actorial respectability by appearing in New Indian Cinema-type films: Muzaffar Ali’s Umrao Jaan, Benegal’s Kalyug and Girish Karnad’s Utsav. Her personal life as reflected in gossip magazines and in the media was the subject of Silsila in which she is said to have played herself. Married the industrialist Mukesh Aggarwal who committed suicide shortly afterwards, triggering a new wave of public gossip invoking her femme fatale image.

FILMOGRAPHY: 1966: Rangula Ratnam; 1970: Amma Kosam; Sawan Bhadon; 1971: Dost Aur Dushman; Elaan; Haseenon Ka Devta; Saaz Aur Sanam; 1972: Rampur Ka Lakshman; Ek Bechara; Sazaa; Zameen Aasmaan; Gaon Hamara Shaher Tumhara; Do Yaar; Gora Aur Kala; Double-Cross; 1973: Namak Haram; Kashmakash; Pran Jaye Par Vachan Na Jaye; Anokhi Ada; Dharma; Barkha Bahar; Keemat; Khoon Khoon; Mehmaan; Kahani Kismat Ki; 1974: Do Aankhen; Duniya Ka Mela; Woh Main Nahin; Hawas; 1975: Dafaa 302; Dharam Karam; Dharmatma; Kehte Hain Mujhko Raja; Zorro; Akraman; 1976: Aaj Ka Mahatma; Do Anjaane; Kabeela; Nagin; Santan; Khalifa; 1977: Aap Ki Khatir; Alaap; Chakkar Pe Chakkar; Dildaar; Farishta Ya Qatil; Imaan Dharam; Kachcha Chor; Khoon Pasina; Palkon Ki Chhaon Mein; Ram Bharose; 1978: Bhola Bhala; Ganga Ki Saugandh; Ghar; Karmayogi; Muqaddar; Muqaddar Ka Sikandar; Parmatma; Prem Bandhan; Rahu Ketu; Ram Kasam; Sawan Ke Geet; Aakhri Daku; Do Musafir; Kasme Vade; Do Shikari; 1979: Gautam Govinda; Muqabala; Ahimsa; Jaani Dushman; Kartavya; Mr Natwarlal; Suhaag; Kali Ghata; Naya Bakra; 1980: Aanchal; Agreement; Chehre Pe Chehra; Jal Mahal; Judaai; Khubsoorat; Maang Bharo Sajana; Ram Balram; Neeyat; Jyoti Bane Jwala; Kalyug; Saajan Ki Saheli; 1981: Basera; Chashme Buddoor; Khoon Aur Pani; Daasi; Ek Hi Bhool; Ghunghroo Ki Awaaz; Mangalsutra; Silsila; Umrao Jaan; Raaste Pyar Ke; 1982: Mehndi Rang Layegi; Apna Bana Lo; Deedar-e-Yaar; Ghazab; Jeevan Dhara; Vijeta; 1983: Agar Turn Na Hote; Mujhe Insaaf Chahiye; Nishan; Prem Tapasya; Bindiya Chamkegi; 1984: Utsav; Asha Jyoti; Baazi; Jhootha Sach; Kaamyaab; Mati Maange Khoon; Khazana; Zameen Aasmaan; Musafir; 1985: Ram Tere Kitne Naam; Faasle; Locket; 1986: Insaaf Ki Awaaz; Jaal; Jaanbaaz; Sada Suhagan; Jhoothi; Pyar Ki Jeet; 1987: Apne Apne; Jaan Hatheli Pe; Sansar; Ijaazat; 1988: Soorma Bhopali; Biwi Ho To Aisi; Khoon Bhari Maang; Ek Naya Rishta; Akarshan; Jism Ka Rishta; 1989: Kasam Suhaag Ki; Clerk; Ladaai; Bhrashtachar; Souten Ki Beti; Bahurani; 1990: Amiri Garibi; Azad Desh Ke Gulam; Mera Pati Sirf Mera Hai; Shesh Naag; 1991: Phool Bane Angarey; Yeh Aag Kab Bujhegi; 1992: Insaaf Ki Devi; 1993: Geetanjali (H); Madam X; 1995: Ab Insaaf Hoga; Nishana.

ROY, BIMAL (1909–66)

Director regarded as one of Hindi cinema’s top cineastes in the 50s. Born in Dhaka (now Bangladesh) into a landholding family. Studied in Calcutta. Hired as camera assistant by Nitin Bose for New Theatres. Shot many films, such as P.C. Barua’s Devdas (1935), Grihadah, Maya (both 1936) and Mukti (1937) and Amar Mullick’s Bardidi (1939) and Abhinetri (1940). Remade Barua’s Devdas and Mullick’s Biraj Bou (as Biraj Bahu). Directorial début at New Theatres with Udayer Pathey, introducing a new era of post-WW2 romantic-realist melodrama that was to pioneer the integration of the Bengal School style with that of De Sica. Made the classic of the radical-popular IPTA-supported cinema: Do Bigha Zameen. Wrote Manoj Bhattacharya’s Tathapi (1950). Left New Theatres (1950), worked briefly at Bombay Talkies and set up Bimal Roy Prod, in Bombay (1952) making 13 films in 11 years, including some of his best-known socials in Hindi (esp. Sujata and Bandini). Madhumati (with story, script and apparently directorial input by Ritwik Ghatak) was one of the biggest Hindi hits of 50s, with a popular soundtrack by Salil Choudhury. Supported younger Bengali film-makers who followed him to Bombay, producing films by Hemen Gupta (Kabuliwala, 1961) and Asit Sen (Parivar, 1956; Aparadhi Kaun, 1957). Roy’s film-making team contained many talents who went on to become major film-makers themselves, e.g. Hrishikesh Mukherjee, Gulzar and Bimal Dutt. Monograph on him by his daughter Rinki Bhattacharya (1989).

FILMOGRAPHY: 1943: Bengal Famine (Doc); 1944: Udayer Pathey/Hamrahi; 1948: Anjangarh; 1949: Mantramugdha; 1950: Pehla Admi; 1952: Maa; 1953 Do Bigha Zameen; Parineeta; 1954: Naukri; Biraj Bahu; Baap Beti; 1955: Devdas; 1958: Madhumati; Yahudi; 1959: Sujata; 1960: Parakh; 1961: Immortal Stupa (Doc); 1962: Prem Patra; 1963: Bandini; 1964: Life and Message of Swami Vivekananda (Doc); 1967: Gautama the Buddha (Doc).

ROY, CHARU (1890–1971)

Bengali painter and director born in Behrampore, West Bengal. Graduated in geology from Presidency College, Calcutta (1918). As a painter, he considered the Bengal School’s Abanindranath Tagore to be his teacher. Associated with Indian Society for Oriental Art; paintings reproduced in journals Bharat Varsha and Prabashi (1913). Cartoonist for daily Ananda Bazar Patrika and other journals like Prabashi, Modern Review, etc. (1922–7). Worked on the first Bengali film journal, Bioscope (1930); later edited Rangmahal journal. Became a renowned set designer, e.g. for Sisir Bhaduri’s Seeta, where he pioneered naturalist, three-dimensional stage design and perspectival lighting. Entered film as art director for Himansu Rai (e.g. Prem Sanyas, 1925). Also acted in some of the Osten films (e.g. Shiraz, 1928; Prapancha Pash, 1929). First film as director was a megabudget Great Eastern production in Orientalist spectacular genre, Loves of a Mughal Prince, but was upstaged by R.S. Choudhury’s quickly made Anarkali (1928). Also continued as art director, e.g. for Modhu Bose’s Michael Madhusudhan (1950) and Prafulla Roy’s Malancha (1953). His Bangalee was praised by Satyajit Ray for its avoidance of Hollywood influences and for its accurate depiction of the Bengali middle-class lifestyle. Roy acknowledged his debt to Osten (in particular to cinematographer Wirsching) for his use of source lighting and for overcoming theatrical acting styles.

FILMOGRAPHY: 1928: The Loves of a Mughal Prince (also act.); 1930: Bigraha; 1931: Chorekanta; Swami (all St); 1934: Rajnati Basantsena; 1935: Daku Ka Ladka; Diljani; 1936: Kuhu-o-Keka (Sh); Bangalee; Sarala; Graher Pher; 1939: Pathik.

ROY, JAHAR (1929–77)

Some sources give 1919 as his birth year. Born in Barisal, now Bangladesh, the son of the early film comedian Satu Roy. Became one of the top comedians of the Bengali cinema, remembered as a fat actor prone to boisterous performances and for his trade-mark giggle. Broke through with Bimal Roy’s Anjangarh. Teamed up with Bhanu Bannerjee, several of their films featuring the names of either or both stars in the title: e.g. Ae Jahar Sey Jahar Noy, Bhanu Goenda Jahar Assistant. Remembered as the foreman in Ghatak’s Subarnarekha and the villainous prime minister in Ray’s Goopy Gyne Bagha Byne. A major stage actor and director, from 1953 (when he first appeared as Nakul in Durabhashi) he was the driving force of the main Calcutta Theatres company, Rungmahal, until 1977, when he played Bhujanga Roy in Aparichita.

FILMOGRAPHY: 1947: Purbaraag; 1948: Anjangarh; 1950: Pehla Admi; Roopkatha/Roop Kahini; Vidyasagar; 1952: Chhoti Maa; Basu Parivar; 1953: Adrishya Manush; Jog Biyog; Sharey Chuattar; 1954: Dhuli; Nababidhan; Chitrangada; Agni Pareeksha; Bhakta Bilwamangal; Moner Mayur; Ankush; Naramedh Yagna; Sada-Kalo; Kalyani; Ladies’ Seat; Jagrihi; Sadanander Mela; Sati; Barbela; Chheley Kaar; 1955: Nishiddha Phal; Chatujye-Banrujye; Dakinir Char; Anupama; Devatra; Chhoto Bou; Aparadhi; Jharer Parey; Dashyumohan; Mejo Bou; Bhalobasha(?); Upahar; Shribatsa Chinta; Hrad; Paresh; 1956: Asabarna; Savdhan; Chirakumar Sabha; Ekti Raat; Chalachal; Rajpath; Govindadas; Nagardola; Chore; Amar Bou; Chhaya Sangini(?); 1957: Bara Maa(?); Tapasi(?); Chhaya Path; Ulka; Adarsha Hindu Hotel; Kancha-Mithey; Punar Milan; Mamata; Ogo Sunchho; Tamasha; Parash Pathar; Gharer Math; 1958: Yamalaya Jibanta Manush; Rajalakshmi-o-Shrikanta; Manmoyee Girls’ School; Dak Harkara; Nupur; Bhanu Pelo Lottery; Jonakir Alo; Nagini Kanyar Kahini; Shri Shri Tarakeshwar; Rajdhani Theke; Kalamati; Surya Toran; 1959: Shri Shri Nityananda Prabhu; Sagar Sangamey Derso Khokhar Kando; Jal-Jangal; Abhishap; Mahut Bandhu Re; Gali Theke Rajpath; Bari Theke Paliye; Ae Jahar Sey Jahar Noy; Rater Andhakare; Mriter Martye Agaman; 1960: Maya Mriga; Debarshi Narader Sansar; Akash-Patal; Haat Baraley Bandhu; Prabesh Nishedh; Kono-Ek-Din; Shaharer Itikatha; Nader Nimai; Biyer Khata; Suno Baro Nari; Dui Bechara; Gariber Meye; 1961: Raibahadur; Sathi Hara; Mr and Mrs Choudhury; Bishkanya; Megh; Pankatilak; Dilli Theke Kolkata; Aaj Kal Parshu; Madhureno; Kanamachi; 1962: Mon Dilona Bandhu; Sorry Madam; Atal Jaler Ahwan; Bandhan; Kajal; Abhisarika; Subarnarekha; 1963: Dui Bari; Barnachora; Sat Bhai; High Heel; Palatak; Dui Nari; Hashi Sudhu Hashi Noy; Surya Sikha; Shreyasi; 1964: Pratinidhi; Swarga Hotey Biday; Kinu Goyalar Gali; Kashtipathar; Kanta Taar; Binsati Janani; Ketumi; Marutrisha; 1965: Roop Sanatan; Alor Pipasa; Mahalagna; Ek Tuku Basa; Ghoom Bhangar Gaan; Pati Sansodhini Samiti; Devatar Deep; Dinanter Alo; Abhoya-o-Srikanta; Dolna; Mukhujey Paribar; Kal Tumi Aleya; 1966: Firey Chalo; Kanch Kata Hirey; Nutan Jiban; Ramdhakka; Shesh Tin Din; Mamata; Ashru Diye Lekha; 1967: Abhishapta Chambal; Balika Bodhu; Wohi Ladki; Ajana Shapath; Antony Firingee; Ashite Ashio Na; Bodhu Baran; Hathat Dekha; Miss Priyambada; Mahashweta; Nayika Sangbad; Prastar Swakshar; 1968: Adyashakti Mahamaya; Baghini; Baluchari; Boudi; Chowringhee; Kokhono Megh; Panchasar; Parishodh; Pathe Holo Dekha; Rakta Rekha; Hansamithun; Goopy Gyne Bagha Byne; 1969: Agni Yuger Kahini; Chena Achena; Dadu; Duranta Charai; Kamallata; Natun Pata; Pita Putra; Shuk Sari; Rahgir; 1970: Muktisnan; Ae Korechho Bhalo; Nala Damayanti; Rajkumari; Nishipadma; Rupasi; 1971: Anya Mati Anya Rang; Bhanu Goenda Jahar Assistant; Chhadmabeshi; Dhanyi Meye; Ekhane Pinjar; Nabaraag; Nimantran; Pratham Pratisruti; Sacbimar Sansar; 1972: Biraj Bou; Chhayatir; Chinnapatra; Memsahib; Haar Mana Haar; Nayikar Bhumikay Padi Pishir Barmi Baksha; Shesh Parba; Stree; Chitthi; Chhandapatan; Duranta Jay; Jiban Sangram; Marjina Abdallah; 1973: Ek Je Chhilo Bagh; Bon Palashir Padabali; Nakal Sona; Shesh Pristhay Dekhun; Daabi; Pranta Rekha; Shravan Sandhya; 1974: Debt Choudhrani; Sangini; Sujata; Chhutir Phande; Umno-o-Jhumno; Phulu Thakurma; Biley Naren; 1975: Chhoto Nayak; Mohan Baganer Meye; Agniswar; Kajal Lata; Hansaraj; Sei Chokh; Amriter Swad; Tin Pari Chhoy Premik; Arjun; Bandi Bidhata; 1976: Asadharan; Ek Je Chhilo Desh; Nana Ranger Dinguli; Balak Saratchandra; Ananda Mela; Laila Majnu (B); 1977: Babu Moshai; Din Amader; Hatey Roilo Tin; Ami Ratan; Brajabuli; 1979: Jata Mat Tata Path; Sonay Suhaga; 1988: Bile Naren.

ROY, NIRUPA (B. 1931)

Hindi and Gujarati actress, originally called Kokila Kishorechandra Balsara. Born in Valsad, Gujarat. She is the most famous screen mother in Indian cinema. Début in V.M. Vyas’s successful Gujarati feature, Ranakdevi. Broke through with Gunsundari. Best-known for roles as a mother goddess, e.g. Seeta thrice, Parvati thrice and Lakshmi, Taramati, Draupadi and Damayanti once. Also played Rani Rupmati, elaborating this persona in other period movies like Amarsinh Rathod, Veer Durgadas and Jai Cbittor. Worked extensively at Ranjit following the success of Har Har Mahadev, often in mythologicals opposite male lead Trilok Kapoor. First played the mother in Dev Anand’s Munimji. Also acted in realist tragedies, often with Balraj Sahni (Do Bigha Zameen, Garam Coat). Developed a new dimension to her image playing Bachchan’s mother in Manmohan Desai’s Amar Akbar Anthony and in Yash Chopra films. She is the pivot of Deewar and triggered the line addressed by the ‘good’ brother, Shashi Kapoor, to the bad one, Bachchan: ‘Mere paas maa hai’ (I have mother on my side). She plays to perfection the role of the mother as victim, so that Bachchan or Dharmendra may engage in vendettas to restore the family honour.

Nirupa Roy in Navratri (1955)

FILMOGRAPHY: 1946: Amar Raj; Ranakdevi; 1947: Bhanwar; Lakh on Mein Ek; Meerabai; 1948: Jeevan Palto; Gunsundari; Hip Hip Hurray; Jai Hanuman; Mitti Ke Khilone; Satyavan Savitri; Nanand Bhojai; 1949: Garibi; Hamari Manzil; Udhaar; Mangalfera; Sati Sukanya; 1950: Jawabdari; Alakh Niranjan; Bhai Bahen; Har Har Mahadev; Veer Bhimsen; Gadano Bel; Man Ka Meet; 1951: Bade Bhaiya; Dashavtar; Ishwar Bhakti; Jai Mahakali; Kashmir; Lav Kush; Maya Machhindra/Gorakhnath; Nai Zindagi; Ram Janma; Shri Ganesh Janma; Shri Vishnu Bhagwan; Parnetar; 1952: Bhakta Puran; Lzzat; Rajrani Damayanti; Shivashakti; Sinbad the Sailor; Veer Arjun; 1953: Bhagyavaan; Dharmapatni; Do Bigha Zameen; Madmust; Manchala; Naag Panchami; Naulakha Haar; Naya Raasta; Raj Ratan; Shuk Rambha; Teen Batti Char Raasta; 1954: Aulad; Aurat Teri Yahi Kahani; Bilwamangal; Chakradhari; Durga Puja; Hukumat; Pehli Tareekh; Shiv Kanya; Shiv Ratri; Watan; 1955: Garam Coat; Mahasati Savitri; Munimji; Navratri; Oonchi Haveli; Sati Madalasa; Shri Ganesh Vivah; Tangewali; Teen Bhai; Vaman Avatar; Raj Durbar; 1956: Bajrang Bali; Basant Panchami; Bhai Bhai; Dassehra; Gauri Puja; Lalkaar; Ram Navami; Sati Naagkanya; Taksaal; Amarsinh Rathod; 1957: Chandi Puja; Do Roti; Ek Gaon Ki Kahani; Janam Janam Ke Phere; Krishna Sudama; Lakshmi Pooja; Mohini; Musafir; Naag Lok; Naag Mani; Narsi Bhagat; Ram Hanuman Yuddha; Sant Raghu; Shesh Naag; Blackmailer; 1958: Chaalbaaz; Dulhan; Karigar; Naag Champa; Pati Parmeshwar; Raj Pratigya; Ram Bhakta Vibhishan; Samrat Chandragupta; 1959: Bazigar; Bedard Zamana Kya Jaane; Charnon Ki Dasi; Daaka; Dr Z; Heera Moti; Kangan; Kavi Kalidas; Pakshiraj; Rani Rupmati; 1960: Aanchal; Ghar Ki Laaj; Lai Qila; Maya Machhindra; Superman; Veer Durgadas; 1961: Apsara; Batwara; Chhaya; Dharmaputra; Jai Chittor; Razia Sultana; Chundadi Chokha; 1962: Aalha Udal; Bezubaan; Bijli Chamke Jamna Paar; Maa Beta; 1963: Chandrasekhar Azad; Grihasthi; Gumrah; Kaun Apna Kaun Paraya; Mujhe Jeene Do; 1964: Benazir; Bhakta Dhruvakumar; Hameer Hath; Phoolon Ki Sej; Shehnai; 1965: Chand Aur Suraj; Shaheed; Shankar Seeta Ansuya; Shri Ram Bharat Milap; 1966: Aasra; Laadla; Neend Hamari Khwab Tumhare; 1967: Badrinath Yatra; Jaal; Ram Aur Shyam; 1968: Ek Kali Muskayi; Jyot Jale; Raja Aur Runk; Aabroo; Sadhu Aur Shaitan; 1969: Surya Devata; Anjaana; Aansoo Ban Gaye Phool; Aaya Sawan Jhoom Ke; Hum Ek Hain; Jigri Dost; Pyar Ka Mausam; Rahgir; 1970: Maharaja; Aan Milo Sajna; Abhinetri; Ghar Ghar Ki Kahani; Gopi; Maa Aur Mamta; My Love; Purab Aur Paschim; 1971: Chhoti Bahu; Ganga Tera Pani Amrit; Jawan Mohabbat; Nadaan; Sansar (H); 1972: Anokhi Pehchan; Ek Hasina Do Diwane; Jaanwar Aur Lnsaan; Jawani Diwani; 1973: Kachche Dhaage; Manchali; Pyar Ka Rishta; Taxi Driver; 1974: Aaina; Badla; Roti; The Cheat; Zehreela Lnsaan; 1975 Deewar; Mounto; Ponga Pandit; 1976: Aap Beeti; Maa; Santan; Dharti Mata; 1977: Saubhagya Sindoor; Aakhri Goli; Aankh Ka Tara; Amar Akbar Anthony; Anurodh; Hatyara; Kasam Khoon Ki; Khoon Pasina; 1978: Anjane Mein; Besharam; Dil Aur Deewar; Ram Kasam; Nalayak; Muqaddar Ka Sikandar; 1979: Ahimsa; Jaandaar; Kartavya; Khandaan; Suhaag; Chambal Ki Kasam; Zalim; Aatish; Gautam Govinda; 1980: Lootmaar; Aas Paas; 1981: Jail Yatra; Qatilon Ke Qatil; Khoon Aur Pani; Kranti; Professor Pyarelal; Chalti Ka Naam Zindagi; Kahani Ek Chor Ki; Shaaka; 1982: Ganga Meri Maa; Chalti Ka Naam Zindagi; Kahani Ek Chor Ki; Shaaka; 1983: Betaab; Mawaali; Aan Aur Shaan; Chor Police; 1984: Pavitra Ganga; Mera Faisla; Ram Tera Desh; 1985: Aaj Ka Daur; Giraftaar; Mard; Pataal Bhairavi; Ramkali; Maanu Mangalsutra; Locket; Dharam Shatru; Mahaguru; Sarfarosh; 1986: Angarey 1987: Naam-o-Nishan; Pyar Karke Dekho; 1988: Pyar Ka Mandir; Charnon Ki Saugandh; Sone Pe Suhaaga; Aurat Teri Yahi Kahani; Ganga Tere Desh Mein; Lnteqam; Ganga Jamuna Saraswati; 1989: Dana Pani; Santosh; 1990: Karnama; Pyar Ka Devata; 1991: Pratikar; Hai Meri Jaan; Lakhpati; 1992: Mere Sajna Saath Nibhana; Humshakal; Jai Shiv Shankar.

Rupkonwar see Agarwala, Jyotiprasad

Sabhyasachi see Kar, Ajoy

SADANANDAN, S.L. PURAM (B. 1927)

Prolific Malayalam scenarist and major playwright. Film début adapting his best-known play, Oralkoodi Kalanayi, on the theme of unemployment, for the film by P.A. Thomas (1964). Scenarist mainly with M. Krishnan Nair (e.g. Kavya Mela, 1965; Pinchu Hridayam and Kalyana Rathriyil, 1966; Agniputhri and Collector Malathi, 1967). Also wrote for Sethumadhavan (e.g. Sthanarthi Saramma, 1966; Kottayam Kola Case, 1967). Adapted Thakazhy Shivashankar Pillai’s landmark novel for the equally epochal film Chemmeen (1965) and P. Vatsala’s story for Nellu (1974), both films by Kariat. Wrote the dialogues for George’s Lekhayude Maranam Oru Flashback (1983). Provided script and/or dialogues for c.150 Malayalam films since 1964.

SAGAR, RAMANAND (B. 1917)

Hindi director, producer and writer born in Lahore as Ramanand Shankardas Chopra. Journalist for the Daily Milap and the Daily Pratap (1936–42). Assisted e.g. H.S. Thakur (Raiders of the Railroad, 1936) and obtained a degree in Sanskrit (1942). Migrated to Bombay on Partition, recording the communal holocaust in his classic Hindi novel, Aur Lnsaan Mar Gaya (1948). Using the names Ramanand Chopra and Ramanand Bedi, published prose stories (Diary of a TB Patient, 1942; Jawar Bhata, 1943; Aine, 1944; Jab Pahle Roz Barf Giri, 1944; Mera Hamdam Mere Dost, 1945; Phool Aur Kaante, 1949) and plays (e.g. Gaura, part of which was staged by Prithviraj Kapoor’s Prithvi Theatres as Kalakaar, 1951). Broke through in cinema writing Raj Kapoor’s epochal Barsaat (1949). Wrote scripts and dialogues for S.S. Vasan’s Hindi films (Insaniyat, 1955; Raj Tilak, 1958; Paigham, 1959) and directed two films (Ghunghat, Zindagi) for Vasan’s Gemini Studio. Produced most of his own films via his Sagar Art (1953). Notable recent work includes the 91-episode TV serial Ramayan, Doordarshan’s first major success with peak Sunday morning viewing of c.78% of the audience. Continued with a sequel derived from the Mahabharata (released on video). Addressing communally charged ideals of Hindu glory, with a tacit glorification of sati, the serial claims to be founded on Tulsidas’s 16th C. Ramcharitamanas, but formally it remains within the ambit of e.g. Radheshyam Kathavachak’s popular playwrighting style.

FILMOGRAPHY: 1953: Mehmaan; 1954: Bazooband; 1960: Ghunghat; 1964: Zindagi; 1965: Arzoo; 1968: Aankhen; 1970: Geet; 1972: Lalkaar; 1973: Jalte Badan; 1976: Charas; 1978: Prem Bandhan; 1982: Baghavat; 1983: Romance; 1985: Salma; 1986–8: Ramayan (TV); 1989: Krishna (TV).

SAGAR FILM COMPANY

Bombay studio started in 1930 by Chimanlal Desai and Ambalal Patel, Southern distributors of Select Pics, Imperial and Ardeshir Irani (who withdrew in 1931). Its major early film-maker was Sarvottam Badami (e.g. Dr Madhurika, 1935); Ezra Mir contributed some seminal Parsee theatre-derived films and novelist K.M. Munshi helped formulate the codes that were to shape Mehboob’s early work. Others who started their careers in the studio, and in the same genre, were Zia Sarhadi and Ramchandra Thakur. When Chimanlal Luhar joined, they made some stunt movies, including Mehboob’s Deccan Queen (1936). The studio also made nationalist documentaries, on Nehru and Subhash Bose, with the active collaboration of their subjects. In 1936 Ambalal Patel withdrew to start Sudama Pics. In 1939 Sagar merged with Fazalbhoy’s Film City and General Films to become National Film. One of their earliest films was Mehboob’s classic Aurat (1940), made at Sagar but released by National.

SAHNI, BALRAJ (1913–73)

Born in Rawalpindi (now Pakistan), and the best-known film actor to emerge from the post-WW2 Left cultural movements. Studied at the Government College of Lahore, graduating in literature. Started writing poetry in English and involved in ‘realist’ theatre, absorbing the then prevalent desire for both nationalism and Westernisation. Married Damayanti who was a noted theatre actress. Taught Hindi and English at Shantiniketan. Wrote his first compilation of Hindi fiction, Shahzadonka Drink (1936). Worked as a journalist and briefly as radio announcer for the BBC’s Hindi service. Started the Monday Morning journal in Delhi. Went to Bombay (1947) and became a key figure in IPTA plays; also director and lead actor in Zubeida (by Abbas) and The Inspector General (both 1944). Ran the Juhu Art Theatre group in the 1960s. After a walk-on part in Phani Majumdar’s Insaaf, starred in Abbas’s first film, Dharti Ke Lai. Damayanti died in the late 40s and Sahni later married Santosh. Made his reputation as the displaced rickshaw-puller in Bimal Roy’s Do Bigha Zameen, continuing the neo-realist style he had adopted for Dharti Ke Lai In Garam Coat he gave the classic performance of the displaced person as represented in the writings of Rajinder Singh Bedi and Krishan Chander. He embodied the tragedy of the people of Punjab (partitioned during Independence) and the ethnic groups of the North West Frontier (e.g. the Pathans) so effectively that his very presence came to signify a host of historical connotations, as in Kabuliwala, in Sone Ki Chidiya where he plays a radical poet and defender of the rights of film extras, or in the war movie Haqeeqat where his acting inflected the film’s nationalist chauvinism, and in the Agra-based story Garam Hawa. Wrote the story and dialogues of Guru Dutt’s Baazi (1951). Wrote extensively on many issues, including novels and an autobiography (1971). Remained a Left activist throughout his life and was part of cultural delegations to the Soviet Union and to China. Communist leader P.C. Joshi compiled the book Balraj Sahni: An Intimate Portrait (1974) with Sahni’s writings and speeches in addition to Joshi’s own recollections of the radical theatre movement.

FILMOGRAPHY (* also d): 1946: Dharti Ke Lal; Insaaf; 1947: Gudiya; 1948: Gunjan; 1951: Humlog; Maldar; 1952: Badnaam; Rahi; 1953: Akash; Do Bigha Zameen; 1954: Aulad; Bazooband; Chalis Baba Ek Chor; Majboori; 1955: Garam Coat; Jawab; Joru Ka Bhai; Seema; Tangewali; Vachan; Era Bator Sur; 1956: Taksaal; 1957: Lai Batti*; Pardesi; Bhabhi; Do Roti; Kathputli; Krishna Sudama; Mai Baap; Mamata; 1958: Devar Bhabhi; Ghar Grihasthi; Ghar Sansar; Khazanchi; Lajwanti; Naya Kadam; Sone Ki Chidiya; 1959: Black Cat; Chand; Chhoti Bahen; CID Girl; Heera Moti; Satta Bazaar; 1960: Anuradha; Bindiya; Dil Bhi Tera Hum Bhi Tere; Nai Maa; 1961: Bhabhi Ki Chudiyan; Kabuliwala; Sapan Suhane; Suhaag Sindoor; 1962: Anpadh; Shadi; 1963: Akela; 1964: Punar Milan; Haqeeqat; Main Bhi Ladki Hoon; 1965: Faraar; Waqt; Dak Ghar; 1966: Aaye Din Bahar Ke; Aasra; laadla; Neend Hamari 1967: Khwab Tumhare; Pinjre Ke Panchhi; Aman; Hamraaz; Naunihal; 1968: Aabroo; Duniya; Izzat; Neel Kamal; Sangharsh; 1969: Do Raaste; Ek Phool Do Mali; Hum Ek Hain; Nannha Farishta; Talash; 1970: Dharti; Ghar Ghar Ki Kahani; Holi Aayee Re; Mere Humsafar; Naya Raasta; Pavitra Papi; Pehchan; 1971: Jawan Mohabbat; Paraya Dhan; 1972: Jungle Mein Mangal; Jawani Diwani; Shayar-e-Kashmir Mahjoor; 1973: Chimni Ka Dhuan; Daman Aur Aag; Garam Hawa; Hanste Zakhm; Hindustan Ki Kasam; Pyar Ka Rishta; 1975: Amanat.

SAHU, KISHORE (1915–80)

Hindi actor, writer, director and producer born in Durg, MP. Son of the Raja of Raigarh’s chief minister. Degree in literature from the University of Nagpur (1937). Wrote many short stories. Started as actor in Bombay Talkies playing a Barua-like ineffectual lover opposite Devika Rani in Jeevan Prabhat. Prominent early instance of a total author: an actor-director of mid-budget socials usually scripted by and starring himself. Films often claimed classic European sources (e.g. Olivier’s Hamlet, 1948). Started Kishore Sahu Prod. (1940) and Hindustan Chitra (1944). Part of late 40s Filmistan stable. Wrote Insaan (1944) and Apnapan (1977); wrote dialogues for Vasan’s Aurat (1967) and Teen Bahuraniyan (1968). Villainous figure in several Dev Anand films e.g. Kala Pani, Guide, Hare Rama Hare Krishna.

FILMOGRAPHY (* also d/** only d): 1937: Jeevan Prabhat; 1940: Bahurani; Punar Milan; 1942: Kunwara Baap*; 1943: Raja**; 1944: Shararat*; Insaan; 1945: Veer Kunal*; 1947: Saajan**; Sindoor*; 1948: Nadiya Ke Paar**; 1949: Sawan Aya Re*; Namuna; Rimjhim; 1951: Buzdil; Kali Ghata*; 1952: Zalzala; Hamari Duniya; Sapna; 1954: Hamlet*; Mayurpankh *; 1956: Kismet Ka Khel**; 1957: Bade Sarkar*; 1958: Kala Pani; 1960: Kala Bazaar; love in Simla; Dil Apna Aur Preet Parayt**; 1963: Grihasthi**; Ghar Basake Dekho**; 1965: Poonam Ki Raat**; Guide; 1967: Hare Kaanch Ki Chudiyan**; 1969: Beti; 1970: Pushpanjali*; 1971: Gambler; Hare Rama Hare Krishna; 1974: Dhuen Ki Lakeer**.

Kishore Sahu in his film Hamlet (1954)

SAIGAL, KUNDAN LAL (1904–46)

Legendary actor and singer whose performance in the lead role of Barua’s Devdas set the standard for musical melodrama acting.. Born in Jammu. As a child, he occasionally played Seeta in the Ramlila of Jammu. His only formal training apparently came from a little-known Sufi peer, Salman Yussuf. The singing tradition he assimilated, sometimes described as the Kotha (where the courtesans performed), had little classical rigour, but emphasised the poetic ‘bending’ of syllables into musical curves in forms like the thumri and the ghazal. His renditions of Mirza Ghalib’s poetry and his identification with its tragic iconography formed the famous Saigal persona. Worked as a typewriter salesman when B.N. Sircar recruited him for his singing ability. His style was substantially shaped at New Theatres by Rai Chand Boral who, with Timir Baran and Pankaj Mullick, composed most of the songs which remain among the most popular hits in Indian film history. Acted in a Bengali film for the first time when he did a small role, including two songs, in the Bengali version of Devdas (having first had to satisfy Saratchandra Chatterjee that he could do it). He also sang two songs in P.V. Rao’s 1936 Tamil version of Barua’s film. Later proved very popular in Bengali films, e.g. Didi, Desher Mati. At New Theatres, the films of Nitin Bose (President, Jiban Maran) and Phani Majumdar (Street Singer) allowed his music to develop its own autonomy. Inspired a whole generation of singers such as Mukesh, Talat Mahmood, Kishore Kumar and Kozhikode Abdul Qadir. Worked at Ranjit in the 40s (e.g. the classic Tansen). Biography by Menon (1989).

FILMOGRAPHY: 1932: Mohabbat Ke Aansoo; Zinda Lash; Subah Ka Sitara; 1933: Puran Bhakt; Rajrani Meera; Yahudi Ki Ladki; Dulari Bibi; 1934: Chandidas; Daku Mansoor; Mohabbat Ki Kasauti; 1935: Karwan-e-Hayat; Devdas; Bijoya; 1936: Karodpati; Pujarin; 1937: Didi/President; 1938: Desher Mati/Dharti Mata; Street Singer/Saathi; Dushman/Jiban Maran; 1940: Zindagi; 1941: Parichay/Lagan; 1942: Bhakta Surdas; 1943: Tansen; 1944: Bhanwara; Meri Bahen; 1945: Kurukshetra; Tadbir; 1946: Omar Khayyam; Shahjehan; 1947: Parwana.

SAIKIA, BHABENDRANATH (B. 1932)

Assamese director born in Nowgong. Physicist with doctorate from Imperial College of Science and Technology, London (1960). Lecturer at Gauhati University (1962–81). Major Assamese short-story writer (e.g. the anthologies Sindoor, 1973; Shrinkhal, 1976). Prolific radio playwright. Currently edits fortnightly Prantik and children’s monthly Safura. Writes his own films, which he believes to be the most important of his creative output, occasionally based on his fiction: e.g. Kolahal, his best-known film, based on his radio play, and Agnisnan, based on his own novel. Directorial début in 1977. Makes art-house films with a strongly melodramatic literary tendency combined with an ethnographic realism (e.g. the truck scenes of Kolahat).

FILMOGRAPHY: 1977: Sandhya Raag; 1981: Anirban; 1985 Aginsnan; 1988: Kolahal; 1991: Sarothi; 1993: Abartan; 1995 Itihas.

SAINT FILMS

Genre of film biographicals of the medieval Saint-poets. This Bhakti tradition emerged from the proliferation of regional and lower-caste cultures after the 7th C. when the Pauranic texts and portions of the Mahabharata were rendered in the Prakrit or demotic languages spoken by the lowest castes of Shudra or Atishudra. Starting with Shankara (8th C.) and Ramanuja (12th C), the movement expanded into several sects: e.g. the Jaina, the Shaiva, the Natha, the Lingayata, the Mahanubhav. It was strongest in the South and the West, creating the first major literatures in Tamil, Telugu, Kannada and Marathi. Directly addressing the peasantry and the artisans, the Bhakti tradition was revived in several currents of 19th C. nationalist and egalitarian reformism, e.g. by Mahadev Govind Ranade (1842–1901) who opposed a Vedantic revivalism by modelling his own sermons on the verses of the 17th C. Marathi poet, Sant Tukaram. In Telugu and Kannada the movement is traced to the spread of the Veerasaiva cult, pioneered by Mallikarjuna Pandit and Basvanna respectively, leading to the earliest reform movements which, as e.g. with the educational activities of the Lingayat Viratka monks in 19th C. Karnataka, fed into the social reform movement under British occupation (see Social). Used for the first time to create a political language in the banned film Bhakta Vidur (1921), a tradition continued by e.g. Prabhat’s famous Saint films: Dharmatma (1935) drew parallels between Gandhi and the 16th C. poet Eknath; Sant Dnyaneshwar (1940) made a call for peace in the context of WW2. The theatrical version of the genre emphasised miracle sequences in narratives culminating in intense devotional emotions. This approach found a natural extension into filmic spectacle beyond the means of the conventional mythological, best exemplified by S.S. Vasan’s big budget Avvaiyyar (1953). In Telugu the form is uniquely associated with the star Chittor V. Nagaiah (Bhakta Potana, 1942; Thyagayya, 1946; Yogi Vemana, 1947 et al.). Other classic Saint films are Chandidas (Bengali, 1934), Sant Tukaram (Marathi, 1936), Bhakta Cheta (Tamil, 1940), Bhakta Kabir (Hindi, 1942), Meera (Hindi/Tamil 1945), Bhakta Gora Kumbhara (Kannada, 1949), etc. The last major film in the genre is the Punjabi classic Nanak Naam Jahaz Hai (1969) although this is not strictly a biographical.

SALIM-JAVED (SALIM KHAN, JAVED AKHTAR)

The most successful scenarists of 70s Indian cinema. Javed Akhtar, son of songwriter Jan Nissar Akhtar and born in 1945 in Gwalior, started his career in the late 60s writing the dialogues of e.g. S.M. Sagar’s Sarhadi Lutera (1966). Salim Khan established himself as a scenarist with 70s megastar Rajesh Khanna’s hit Hathi Mere Saathi (1971). The two teamed up to write e.g. dialogues for Ramesh Sippy’s Seeta Aur Geeta (1972) and the script for Nasir Hussain’s hit teen-picture, Yaadon Ki Baraat (1973). They broke through as a team in 1973 mainly with the rise of Amitabh Bachchan, writing his first vigilante movie, Prakash Mehra’s Zanjeer (1973). Established themselves in the wake of Bachchan’s success, with Deewar and Sholay (both 1975), followed by Don and Trishul (both 1978), later claiming the authorship of the star’s screen persona. Became independent attractions with equal billing as the stars while inaugurating a new era in professional screenplay writing. They separated shortly after Aakhro Dao (1975), after which Akhtar wrote several hit films such as Mr India (1989) and the massively successful song Ek do teen of N. Chandra’s Tezaab (1988). Salim Khan returned to top-billing status with Shashilal Nair’s Falak (1988) although he remained less successful than his former partner. Together with his wife Shabana Azmi, Akhtar participates in civil rights and communal harmony campaigns. Khan’s son Salman Khan became a star with Maine Pyar Kiya (1989).

SAMANTA, SHAKTI (B. 1925)

Hindi director and producer born in Burdwan District. Science student; then assistant director on Raj Kapoor’s Sunehre Din (1949). Assisted and wrote scripts for Phani Majumdar (Baadbaan, Dhobi Doctor, both 1954). Early films include successful crime thrillers (1953–63) in the Filmistan mould (Howrah Bridge, Detective, Jaali Note) and classic Shammi Kapoor hits (China Town, Singapore), switching abruptly to love stories (1964–74) when he started working in colour (Kashmir Ki Kali). Best-known film: Aradhana, launching 70s superstar Rajesh Khanna and initiating a new version of the tragic love story formula, continued with Amar Prem and Anuraag. Has made Hindi-Bengali bilinguals (roughly 1975–85), starring Bengali star Uttam Kumar. Amanush introduced the Hindi melodrama genre into 80s Bengali cinema, and its success led to a series of Bengali hits, e.g. Kanak Mukherjee’s Lai Kothi (1977), some made by non-Bengali directors, e.g. Batra Mohinder’s Prahari (1982) and Pramod Chakravarty’s Teen Murti (1984). Bhimsingh’s Ragam (1975) adapted his Anuraag. Currently produces films made by son Ashim Samanta (Main Awara Hoon, 1983; Palay Khan, 1986). Appointed chairman of the Central Board of Film Certification (1990).

FILMOGRAPHY: 1955: Bahu; 1956: Inspector; 1957: Hill Station; Sheroo; 1958: Howrah Bridge; Detective; 1959: Insaan Jaag Utha; 1960: Jaali Note; Singapore; 1962: China Town; Lsi Ka Naam Duniya Hai; Naughty Boy; 1963: Ek Raaz; 1964: Kashmir Ki Kali; 1966: Sawan Ki Ghata; 1967: An Evening in Paris; 1969: Aradhana; 1970: Kati Patang; Pagla Kahin Ka; 1971: Amar Prem; Jaane Anjane; 1972: Anuraag; 1974: Ajnabi; Charitraheen; Amanush; 1976: Mehbooba; 1977: Anand Ashram; Anurodh; 1979: The Great Gambler; 1980: Khwab; 1981: Barsaat Ki Ek Raat/Anusandhan; 1982: Ayaash; 1984: Awaaz; 1985: Aar Paar/Anyay Abichar; Alag Alag; 1990: Dushman; 1993: Geetanjali.

Samarth, Nutan see Nutan Samarth

SAMARTH, SHOBHANA (B. 1916)

Hindi film actress born in Bombay. Started with Master Vinayak at Kolhapur Cinetone. Acted in Sagar films (1936–41), often with Motilal. Established her definitive screen image in her first Vijay Bhatt film, Bharat Milap/Bharat Bhet, playing Seeta, repeating the role in Ramrajya, one of the most successful mythologicals in Indian cinema. She repeated the role several more times (Rambaan, Ram Vivah) opposite Prem Adib as Ram. This duo’s image fundamentally shaped the contemporary iconography of the Ramayana legend in comic books, calendar paintings and, recently, in TV as well as in Vishwa Hindu Parishad posters in the context of the Hindu Ram Janmabhoomi movement. Although associated almost solely with the Seeta figure, she also appeared in other mythologicals: esp. Nala Damayanti (with Prithviraj Kapoor) and Kishore Sahu’s Veer Kunal, as well as in melodramas like Shaukat Hussein Rizvi’s Naukar. Turned producer and director with Hamari Beti, launching her daughter Nutan. Also launched her other daughter Tanuja in Chhabili.

FILMOGRAPHY (* also d): 1935: Vilasi Ishwar/Nigah-e-Nafrat; 1936: Do Diwane/Be Kharab Jan; 1937: Kokila; 1938: Nirala Hindustan; 1939: Kaun Kisika; Pati Patni; Sadhana; 1940: Apni Nagariya; Saubhagya; 1941: Darpan; Holiday in Bombay Gharjavai; 1942: Baraat; Bharat Milap/Bharat Bhet; Mata; Nai Duniya; Savera; Shobha; Swaminath; 1943: Mahasati Ansuya; Naukar; Ramrajya; Vijay Lakshmi; 1944: Anban; Lnsaan; 1945: Taramati; Nala Damayanti; Veer Kunal; Shri Krishnarjun Yuddha; 1946: Urvashi; 1947: Mallika; Sati Toral; Shahkar; Veerangana; 1948: Rambaan; 1949: Narasinh Avatar; Ram Vivah; 1950: Hamari Beti*; Janmashthami; 1951: Jai Mahalakshmi; Ram Janma; 1954: Prisoner of Golconda; 1955: Insaniyat; 1959: Keechaka Vadha; 1960: Chhabili*; Chhalia; 1965: Nai Umar Ki Nai Fasal; 1972: Do Chor; Ek Baar Muskurado.

SAMI, ARUL SUSAI ANTHONY (B. 1915)

Tamil director born and educated in Colombo, Sri Lanka; son of a theatre contractor. Quit his job as university lecturer in Colombo to move to Madras, where his play Bilhana, originally written for the radio and later performed with great success by M.K. Thyagaraja Bhagavathar and by the TKS Brothers, went on to become a major film hit produced by TKS (1948). Sami, who scripted the film, got a job at Jupiter Studio, Coimbatore, where he wrote e.g. Sundarrao Nadkarni’s Valmiki (1946), A. Kasilingam’s Abhimanyu (1948, with Karunanidhi) and the story of Lanka Sathyam’s Mohini (1948). His début as director, Rajakumari, an Arabian Nights movie he also scripted, is MGR’s first hit in a lead role and put Sami in the front-line of Tamil directors. His second film, Velaikkari, is a DMK Film propaganda classic written by Annadurai. His sole Hindi film, Maya Sundari, is largely dubbed from the Tamil hit Karpurakarasi, but includes a new dance number sung by Geeta Dutt with music by Bulo C. Rani (uncredited). Later worked as Head of the Direction department of the Tamil Nadu Film & TV Institute, Madras.

FILMOGRAPHY: 1947: Rajakumari; 1949: Velaikkari; 1950: Vijayakumari; 1951: Sudarshan; 1953: Ponni; 1954: Thuli Visham; 1955: Neethipathi; 1957: Karpurakarasi; 1959: Kalyanikku Kalyanam; Thangapathumai; 1960: Kaidhi Kanniyiram; 1961: Arasilankumari; 1962: Meri Bahen; Muthu Mandapam; 1963: Ananda Jyoti; Asai Alaigal; Kaduvulai Kandan; 1964: Vazhi Piranthadu; 1967: Maya Sundari; 1971: Thirumagal.

SANDOW, P. K. RAJA (1894–1942)

Aka P.K. Nagalingam. Silent star, Hindi actor and Tamil director born in Pudukottai, TN. A passionate gymnast, he started his career as a stunt actor in S.N. Patankar’s National Film (1922). Top star at Kohinoor and its associate Laxmi Pics. (1922–8) under Manilal Joshi (Mojili Mumbai), R.S. Choudhury and Homi Master. Achieved fame when he formed a trio with director Chandulal Shah and heroine Gohar, starting Jagdish Film with them (1928) and its successor, Ranjit Film (1929–36). Sandow’s star image in reformist melodramas, playing complex psychological characters opposite Gohar, was launched with Gunsundari and extended in several classic ‘negative’ roles in Shah-Gohar sound films, e.g. Desh Dasi, Prabhu Ka Pyara and Barrister’s Wife. Other noted roles include Indira MA where he plays Kishore. Directed his first film with R. Padmanabhan’s Madras-based Associated Films (Anadhai Penn), embarking on a series of reformist socials. Anadhai Penn, Nandanar (the story of an Untouchable Hindu saint, subtitled The Elevation of the Downtrodden), Peyum Pennum and Taranhaar were followed by sound films Vasantsena and Chandrakantha. These films are all considered influential predecessors to Dambachari (1935), usually seen as the first ‘social’ in Tamil sound film. Menaka, produced by the TKS Brothers, introduced the star N.S. Krishnan. Continued a freelance career as actor with Jaswantlal’s Kashmeera, Homi Wadia’s Dhoomketu, and Babubhai Mistri. Some films with footage of Sandow were released after his death. Early memoirs excerpted in the Movie Mirror in 1928.

FILMOGRAPHY (* also d/** only d): 1922: Bhakta Bodana; Surya Kumari; 1923: Vratrasur Vadha; Veer Bhimsen; 1924: Ra Mandlik; Bismi Sadi; Razia Begum; Sati Sone; Sadguni Sushila; 1925: Indrasabha; Suvarna; Kala Chor; Devadasi; Panchdanda; Desh Na Dushman; Mojili Mumbai; Veer Kunal; Vimala; Khandani Khavis; Matri Prem; 1926: Madhav Kam Kundala; Mena Kumari; Mumtaz Mahal; Neera; Bhasmasur Vadha; Ra Kawat; Samrat Shiladitya; Typist Girl; Telephone Ni Taruni; 1927: Bhaneli Bhamini; Gunsundari; Sati Madri; Sindh Ni Sumari; The Mission Girl; 1928: Grihalakshmi; Naag Padmini; Vishwamohini; Sneh Jyoti*; 1929: Chandramukhi; Pati Patni; 1930: Anadhai Penn*; Raj Lakshmi; Sati Usha Sundari*; Rajeshwari*; Peyum Pennum*; Nandanar*; Sadaram*; 1931: Bhaktavatsala; Taranhaar*; Signet Ring* (all St); 1932: Parijata Pushpaharanam**; 1933: Noor-e-Imaan; Pardesi Preetam; 1934: Indira MA; Kashmeera; Toofani Taruni; Devaki; 1935: College Girl; Desh Dasi; Ratan Manjari; Raat Ki Rani*; Menaka**; Barrister’s Wife; 1936: Dil Ka Daku; Matlabi Duniya; Prabhu Ka Pyara; Chandrakantha**; Chalak Chor*; Vasantsena*; 1937: Minor Rajamani**; 1938: Vishnu Leela*; 1939: Thiruneelakantar**; 1941: Choodamani**; 1942: Araichi Mani**; 1949: Dhoomketu; 1952: Alladdin and the Wonderful Lamp; 1953: Nav Durga; Husn Ka Chor.

Sulochana and Raja Sandow in Indira MA (1934)

SANGANI, CHANDRAKANT (B. 1927)

Gujarati director, writer and actor, born in Saurashtra, Gujarat. Started as a radio performer. Journalist for the Gujarati paper Prajatantra (1957–63). Active playwright, stage actor and director as well as author of five novels in the 50s and 60s. Turned to cinema in 1968 and directs mostly Gujarati films.

FILMOGRAPHY: 1968: Mare Javun Pele Paar; n1970: Jigar Ane Ami; 1975: Tanariri; 1976: Sati Jasma Odan; 1977: Vanjari Vav; Saubhagya Sindoor; 1978: Tamere Champone Ame Kel; 1979: Garvo Garasiyo; 1980: Parayana To Pyara Ladi; 1981: Vansdi Vagi Valamni; 1982: Prem Diwani; 1983: Raakhna Ramakada; 1985: Sorathno Savaj; 1988: Gunahon Ke Shatranj; Ghar Ek Mandir (TV); 1992: Mayavi Jaal (TV); 1993: Geetanjali.

SANGEET NATAK

Marathi musical theatre tradition believed to have been launched by Vishnudas Bhave’s Seeta Swayamvar (1853). The play adapted the coastal folk form of Dashavtara to the proscenium, merging it with visual art and theatrical forms from Tanjore while retaining elements like the use of a mobile curtain to signify spaces and to frame actors. It emerged as a popular urban art form alongside the art schools (practising the academic visual art style on the elaborate stage backdrops) and the music schools of the late 19th/early 20th C. The best-known initial groups were Annasaheb Kirloskar’s Kirloskar Natak Mandali (Est: 1880), Keshavrao Bhosle’s Lalitkaladarsh (1908), Bal Gandharva’s Gandharva Natak Mandali (1913) and Govindrao Tembe’s Shivraj Natak Mandali (1915). Their initial theatrical repertoire adapted Sanskrit classics and Shakespeare: e.g. the famous playwright G.B. Deval wrote five major plays, three adapting Kalidasa and one Shakespeare (Othello, as Zunzharrao, 1890) with only one original (Sangeet Sharada, 1898). The music usually created popular vernacular versions of classical North Indian music, adapted by singers like Ramakrishnabua Vaze and Bhaskarbua Bakhle (who taught Master Krishnarao). The form increasingly came under the influence of the operatic Parsee theatre, creating an influential local version of classical art, contemporaneous with (and sometimes formally similar to) Ravi Varma’s paintings. The first feature film in India, Pundalik (1912), is based on a Sangeet Natak play by the Shripad Sangeet Mandali, Nasik. Later, Baburao Painter – a noted painter of stage backdrops – translated its conventions into cinematic mise en scene. The form greatly influenced the early Prabhat Studio via e.g. the noted composers Tembe and Krishnarao and the stage stars Bal Gandharva and Vishnupant Pagnis, as well as many other theatre actors who turned to the cinema. Sangeet Natak troupes, travelling through Maharashtra, Gujarat, Karnataka and Madhya Pradesh, also set in place much of the distribution infrastructure of the early Kolhapur and Pune-based Marathi cinema.

SANYAL, PAHADI (1906–74)

Aka Narendranath Sanyal born in Darjeeling. Joined New Theatres (1931) and became one of its main stars. A trained musician with a diploma from Morris College, Lucknow. Worked as private secretary of the Raja of Avadh. Started mainly as a singing star in early Atorthy, Barua and Debaki Bose films, often accompanying K.L. Saigal (e.g. Devdas). His most famous music of this period was in Adhikar: the song Suhag ki raat set to Baran’s music. Featured in several romantic hero roles, but later found his métier in classic biographicals (e.g. Modhu Bose’s Mahakavi Girishchandra) drawn from literary melodrama and creating a new, more lasting ‘character’ image in Bengali films for 40 years. The crucial transition took place in Bombay, where he moved in 1942, in films like Jaswantlal’s Kadambari and Nitin Bose’s Milan. Acted in Satyajit Ray’s Kanchanjungha as Jagdish, the man interested more in watching birds than in the material machinations of the family, and in Aranyer Din Ratri, where he sang a haunting Atulprasad Sen lyric as the old retired singer Sadasib Tripathi.

FILMOGRAPHY: 1933: Meerabai/Rajrani Meera; Yahudi Ki Ladki; 1934: Chandidas; Rooplekha/Mohabbat Ki Kasauti; Daku Mansoor; 1935: Karwan-e-Hayat; Devdas; Dhoop Cbhaon/Bbagya Chakra; Bijoya; 1936: Karodpati; Pujarin; Maya; 1937: Mukti; Bidyapati/Vidyapati; 1938: Adhikar; 1939: Bardidi/Badi Didi; Sapurey/Sapera; Rajat Jayanti; 1940: Abhinetri/Haar Jeet; Zindagi; 1941: Pratisruti; 1942: Kisise Na Kehna; Saheli; Saugandh; 1943: Inkaar; Mazaaq; Mohabbat; Mauj; Sharafat; 1944: Anban; Bade Nawab Saheb; Insaan; Mahakavi Kalidas; Paristan; Kadambari; 1945: Main Kya Karun; Preet; Ramayani; 1946: Shravan Kumar; Nauka Dubil Milan; 1948: Priyatama; Rang Berang; Sadharan Meye; 1949: Bamuner Meye; Jar Jetha Ghar; Ultorath; Bishnupriya; Swami; 1950: Pehla Admi; Kashmir Hamara Hai; Maryada; Indrajal; Panchayat; Sandhya Belar Rupkatha; Vidyasagar; 1951: Rupantar; Aparajito; Ratnadeep/Ratnadeepam; Darpachurna; Pratyabartan; Setu; Babla; 1952: Rani Bhabani; Chhoti Maa; Basu Parivar; 1953: Malancha; Raja Krishna Chandra; Blind Lane; Bou Thakuranir Haat; 1954: Maa-o-Chhele; Sada-Kalo; Dhuli; Sadanander Mela; Shivashakti; Grihapravesh; Kavi; Joydev; Balay Gras; 1955: Amar Saigal; Sajghar; Parishodh; Shap Mochan; Bir Hambir; Prashna; Kalo Bou; Devimalini; Mejo Bou; Sabar Uparey; Paresh; Du-Janay; Drishti; Ardhangini; Teen Bhai; 1956: Mahanisha; Sagarika; Bhaduri Mashai; Sadhana; Ekti Raat; Mahakavi Girishchandra; Asamapta; Chalachal; Manraksha; Jagte Raho/Ek Din Raatre; Rajpath; Suryamukhi; Govindadas; Madan Mohan; Shilpi; Sinthir Sindoor; Dhular Dharani; 1957: Haar Jeet; Shesh Parichaya; Bardidi; Sindoor; Ratri Sheshey; Tapasi; Panchatapa; Yatra Holo Sum; Prithibi Amar Chai; Raat Ekta; Natun Prabhat; Surer Parashey; Basanta Bahar; Harano Sur; Mathur; Kari-o-Komal; Tamasha; Pathe Holo Deri; Janmatithi; Jiban Trishna; Parash Pathar; 1958: O Amar Desher Mati; Yamalaya Jibanta Manush; Megh Malhar; Shri Shri Maa; Tansen; Jonakir Alo; Lndrani; Leela Kanka; Dhoomketu; 1959: Janmantar; Marutirtha Hinglaj; Bicharak; Shri Shri Nityananda Prabhu; Deep Jweley Jai; Shashi Babur Sansar; Bhranti; Ae Jahar Sey Jahar Noy; Nrityer Tale Tale; Shubha Bibaha; Personal Assistant; 1960: Akash-Patal; Haat Baraley Bandhu; Sakher Chor; Hospital; Shaharer Ltikatha; Ajana Kahini; 1961: Manik; Carey Shaheber Munshi; Lakshmi Narayan; Agni Sanskar; Swayambara; Necklace; Kathin Maya; Mithun Lagna; Punashcha; Kanamachi; 1962: Bipasha; Kancher Swarga; Suryasnan; Sancharini; Kanchanjungha; Agnisikha; Agun; Kajal; Abhisarika; Nabadiganta; Abasheshe; 1963: Ek Tukro Agun; Shesh-Anka; Dui Bari; Saat Pake Bandha; Uttarayan; Nirjan Saikate; Dui Nari; Akash Pradeep; Shesh Prahar; Chhaya Surya; Uttar Falguni; Deya Neya; Kanchan Kanya; Barnali; Shreyasi; The Householder; 1964: Kaalsrote; Ta Holey; Bibhas; Swarga Hotey Biday; Kinu Goyalar Gali; Deep Nebhey Noy; Ketumi; 1965: Alor Pipasa; Mahalagna; Antaral; Jay a; Ek Tuku Basa; Dolna; Surya Tapa; Tapasi; 1966: Manihar; Mayabini Lane; Nutan Jiban; Sankha Bela; Mamata; 1967: Ajana Shapath; Grihadah; Hath at Dekha; Kedar Raja; Nayika Sangbad; Nai Roshni; 1968: Baluchari; Boudi; Saathi; 1969: Rahgir; Kamallata; Mon-Niye; Aradhana; Sabarmati; Aranyer Din Ratri; 1970; Dharti; Muktisnan; Rajkumari; 1971: Bhanu Goenda Jahar Assistant; Nimantran; Pratham Basanta; 1972: Haar Mana Haar; Shesh Parba; 1973: Agni Bhramar; Ami Sirajer Begum; Kaya Hiner Kahini; Rater Rajanigandha; Rodon Bhora Basanta; Sajarur Kanta; 1975: Kajal Lata; Chhoto Nayak.

SARAIYA, GOVIND (B. 1929)

Gujarati and Hindi director born in Nadiad, Gujarat. Graduated from Bombay University. Studied animation on UNESCO fellowship at Walt Disney Studios and at the National Film Board of Canada where he was briefly apprenticed to Norman MacLaren. Employed at Films Division, where he set up the animation lab before becoming independent film-maker. Feature films noted for their literary sources in Gujarati classics. Best-known film is his feature début Saraswatichandra which, along with its sequel Gunsundari No Ghar Sansar, is based on the epic novel of Govardhanram Tripathi. Saraswatichandra became a commercial hit helped by Kalyanji-Anandji’s music. Mansai Na Diva, written by Zaverchand Meghani, is a biographical based on a cult figure in Gujarat, Ravishankar Maharaj, who worked among the ‘criminal’ tribes of Patanwadia and Baraiya, and later participated in Gandhi’s Bardoli Satyagraha.

FILMOGRAPHY: 1956: Electricity in the Service Of Man (Doc); Growing Wings (Doc); 1957: All About Teeth (Doc); Freedom on Wheels (Doc); Operation Sky (Doc); 1958: The Metric System (Doc); You and the Railways: Footboard Travel (Doc); 1959: Banyan Deer (Doc); Notes that Matter (Doc); On Stamps and Stamping (Doc); 1960: A Great Problem (Doc); When Dreams Come True (Doc); 1961: Portrait of a Postman (Doc); Romance of the Indian Coin (Doc); 1962: Dust the Killer (Doc); Metric Measures (Doc); 1963: A Man of Valour (Doc); Quickfire Plan (Doc); 1964: Lt Happened on a Saturday (Doc); Sterilisation of The Female (Doc); 1965: My Wise Daddy (Doc); 1967: The Dreams of Mouji Ram (Doc); 1968: Saraswatichandra; 1969: Leela (Doc); 1970: Priya; 1971: Chain Reaction (Doc); The Cheats (Doc); 1972: Gunsundari No Ghar Sansar; 1975: Angarey 1976: Sajjo Rani; 1977: Mansai Na Diva; 1980: Karo Kankuna; Four Faces (Doc); 1982: Tran Treniya Chha Chhabila Baharvatiya/Bachche Teen Aur Daku Chhe; 1984: Waqt Se Pehle; 1991: Saiyan Ke Gaon Mein (Doc).

Sardar Begum see Akhtar, Sardar

SARHADI, ZIA (B. 1914)

Hindi-Urdu director and scenarist born in Peshawar (now Pakistan). Entered film in 1933 at East India Film, Calcutta; then joined Sagar (1934) where he met Mehboob, who later produced his Awaaz. Played the lead in Mehboob’s Manmohan as well as writing the script and the lyrics. Also scripted Mehboob’s Bahen (1941) and was also a noted scenarist and writer at Ranjit. Sarhadi’s cinema drew inspiration from and gave sustenance to the IPTA style of film-making. Although himself an unaffiliated Marxist, Humlog, Footpath and Awaaz were very influential when the IPTA’s film efforts were at their peak between the end of WW2 and Independence. Migrated to Pakistan after Independence, remaining there except for a brief period in the mid-70s. Apart from his own films, other writing credits include Jagirdar, Kal Ki Baat (both 1937), Jeevan Saathi (1939), Sajani (1940), Garih (1942), Badi Maa (1945), Elaan (1947), Anokha Pyar (1948), Dil Ki Duniya (1949) and Khel (1950); also wrote the dialogue for Baiju Bawra (1952).

FILMOGRAPHY (* act only): 1936: Manmohan*; 1937: Jagirdar*’; 1938: Abhilasha; Afsana; 1939: Bhole Bhale; Seva Samaj*; 1942: Swapna; 1943: Nadaan; 1945: Yateem; 1951: Humlog; 1953: Footpath; 1956: Awaaz.

SARMA, PHANI (1910–70)

Assamese actor and director. One of the most enigmatic figures in Assamese film. Stage enthusiast, footballer, bohemian, actor, playwright and film-maker. Worked initially as a trader with his comrade-in-arms Bishnu Rabha; then became a stage actor and achieved a major reputation in the 30s. Became a key member of Jyotiprasad Agarwala’s Tezpur-based film unit in the 30s, playing the cruel Gaathi in Agarwala’s Joymati, and also acted in his second film, Indramalati. Continued working in the touring theatre groups of Assam, including an adaptation of Gogol’s The Government Inspector, and in the original plays Kiya, Kolabazar. etc. Together with Agarwala and Bhupen Hazarika, he was a key figure in the provincial committees of the Assamese IPTA (1946). Adapted Siraj, a plea for Hindu-Muslim unity, from a story by Lakhidar Sarma, filming it in 1948 (apparently co-directed by Bishnu Rabha and with Hazarika débuting as composer) and staging it in 1962. After 1963, known mainly as film actor following a tremendously successful comic performance in Brojen Barua’s Ito Sito Bohuto.

FILMOGRAPHY (* also d): 1935: Joymati; 1939: Indramalati; 1948: Siraj*; 1955: Pioli Phukan*; Sarapat; Era Bator Sur; 1957: Dhumuha*; 1958: Bhakta Prahlad; 1959: Amar Ghar; Kecha Sone*; Puwati Nishar Sapon*; 1960: Lachit Barphukan; 1961: Shakuntala; Narakasur; 1963: Ito Sito Bohuto; Maniram Dewan; 1964: Pratidhwani/Ka Swariti.

SARPOTDAR, NARAYANRAO DAMODAR (1896–1940)

Marathi and Hindi director, scenarist and producer; born in Ratnagiri Dist., Maharashtra. Short-story writer and playwright (Unad Pendya, Chandrarao More, which later turned into his first film). One of the first and most significant studio producer-directors in the Pune-based Marathi cinema outside Prabhat. Early career in Maharashtra Film, Kolhapur (1919). Acted in Baburao Painter’s Bhagwata Bhakta Damaji (1922). First film started for Deccan Pics (1924) which he bought and ran, with Pandurang Talegiri, as United Pics Syndicate (1925–7) in Pune. Started Aryan Film (1927–32) and, in addition to his own films, wrote the scripts for Raja Harishchandra (1928), Shri Balaji, Dasharathi Ram (both 1929), Suhrahmanyam and Shamsher Bahadur (both 1930, some directed by Y.D. Sarpotdar). Worked briefly at Imperial (1932–6) before joining Master Prod. Wrote film criticism under the name Charudatta and published a poetry volume, Mudrikar. Also managed a hotel in Pune. Films continue the historical mode introduced by Baburao Painter, conventionally based on Maratha history, chiefly the rule of Shivaji and the subsequent Peshwai. In specifically addressing a Maharashtrian audience, they also initiated a strand later taken up by Bhalji Pendharkar (who remade Thoratanchi Kamala in 1941).

FILMOGRAPHY: 1925: Chandrarao More; Maharachi Por; Chhatrapati Sambhaji; Prabhavati; 1926: Totayache Bund; Dha Cha Ma; Tai Teleen; Umaji Naik; Babanchi Bayko; 1927: Thoratanchi Kamala; Krishna Sambhav; 1928: Ganimi Kava; Arya Mahila; Namak Haram; Patitoddhar; Udantappu; 1929: Subhadra Haran; Parijatak; Prithviraj Sanyogita; 1930: Jai Vijay; Bhimsen the Mighty; Chatur Sundari; 1931: Nakoga Bai Lagna; Chandbibi; 1932: Bhawani Talwar (all St); 1933: Prithviraj Sanyogita; Rukmini Haran (Mar); 1934: Devaki; 1935: Chalta Putla; 1938: Sant Janabai; Nandakumar; 1939: Bhagwa Jhenda.

SASI, I. V. (B. 1948)

Prolific trendsetting Malayalam director; born in Calicut, Kerala. Also worked in Hindi, Tamil and Telugu. Received diploma at the Madras School of Fine Art. Joined films as art-director for A.B. Raj’s Kaliyalla Kalyanam (1968); worked as cameraman in the early 70s. Associated mainly with the expansion of the Malayalam film industry in the 70s in the wake of the ‘Gulf boom’ produced by remittances from émigré labour. Working in the context of the infamous ‘Blade companies’ (investing in Malayalam films often at usurious interest rates), he dealt with issues of Malayalam identity, often featuring Mammootty. Makes 7 or 8 films annually, often drawing on the work of the Marxist writer Damodaran, in which the hero fights an oppressive contemporary reality by turning vigilante. Broke through with Avalude Ravukal, originally a poignant if sexually explicit love story featuring an orphan brother and sister, notorious in a dubbed version titled Her Nights. His fantasies about the nexus between crime, politics and the law-enforcement machinery grew in the 70s to grandiose dramas e.g. America America (largely set in Florida) or Iniyenkilum, which contrasts Kerala’s economic and cultural conditions to those in Japan. Typical hits are e.g. Avanazhi, apparently based on a notorious Emergency scandal in which a student was tortured and killed in jail (also the subject of Shaji Karun’s Piravi, 1988), featuring mainly a violent policeman (Mammootty) who uses illegal means to capture people otherwise beyond the law; or Vartha in which a newspaper editor hires his own men to bring political criminals to book. Shifted his style for the big-budget historical Ayarthi Thollayirathi Irupathonnu aka 1921, recreating the famous Moplah (aka Mapilla) rebellion in the former Malabar. Directed several Tamil films, often starring Rajnikant (Guru, Kali, Allavudeenum Arputha Vilakkum).

FILMOGRAPHY: 1975: Ulsavam; 1976: Abhinandanam; Alinganam; Anubhavam; Ashirvadam; Ayalakkari; 1977: A Nimisham; Abhinivesam; Akale Akasam; Anandam Paramanandam; Angikaram; Anjali; Antardhanam; Hridayame Sakshi; Innale Innu; Itha Ivide Vare; Oonjal; 1978: Amarsham; Anumodhanam; Avalude Ravukal; Ee Manohara Theeram; Jnan Jnan Mathram; Iniyum Puzha Ozhukum; Itha Oru Manushyan; Vadagaikku Oru Hridayam; Yeetta; 1979: Allavudeenum Albutha Velakkum/Allavudeenum Arputha Vilakkum/Alladdin And The Wonderful Lamp; Anubhavangale Nandi; Arattu; Ezham Kadalinakkare; Man Ka Aangan; Manasa Vacha Karmana; Ore Vanam Ore Bhoomi; Pagalil Oru Iravu; 1980: Angadi; Ashwaratham; Evar; Guru; Kali; Kanthavalayam; Karimbana; Meen; Patita; Pratishodh; 1981: Ahimsa; Orikkalkoodi; Trishna; Hamsa Geetham; 1982: Eenadu; Ina; Innalenkil Nale; John Jaffer Janardhan; Sindoora Sandhyakku Mounam; Thadagam; 1983: Ahankaram; America America; Aroodam; Iniyenkilum; Kaikeyi; Nanayam; 1984: Adiyozhukkukal; Aksharangal; Alkoottathil Thaniye; Athirathram; Kaanamarayathu; Karishma; Lakshmana Rekha; Uyyarangalil; Disco Disco; 1985: Angadikkapurathu; Anubandham; Ida Nilangal; Karimbin Poovinakkare; Rangam; 1986: Abhayam Thedi; Anokha Rishta; Avanazhi; Vartha; Koodanayum Kattu; 1987: Adimagal Udumagal; Nalkawala; Vrutham; Ithrayum Kalam; Nadodikattu (act only); 1988: Ayarthi Thollayirathi Irupathonnu; Anuragi; Illam; Mukti; Abkari; 1989: Aksharathettu; Avedana; Manchivaru Maavaru; Mrigaya; 1990: Ee Thanutha Velappan Kalathu; 1991: Inspector Balram; Miss Stella; Neelagiri; 1992: Aparadha; Kallanum Polisum; 1993: Devasuram; Arthana; 1994: The City; 1995: Kolangal.

SASIKUMAR

Prolific Malayalam director born in Alleppey, Kerala, where he started in Kunchako’s Udaya Studio. Acted a small part in P.R.S. Pillai’s Thiramala (1953). His first feature was co-directed by P.A. Thomas. Best known for sex comedies and titillation melodramas. One of the latter, Interview, is not to be confused with Mrinal Sen’s film of 1970.

FILMOGRAPHY: 1964: Porter Kunjali; 1965: Jeevitha Yatra; Thommente Makkal; 1966: Kanmanikal; Pennmakkal; Kootukar; 1967: Kavalam Chundan; 1968: Velutha Kathrina; Vidyarthi; Love in Kerala; 1969: Rest House; Rahasyam; 1970: Rakta Pushpam; 1971: Bobanum Molyum; Lanka Dahanam; 1972: Anveshanam; Brahmachari; Pushpanjali; Maravil Thiruvu Sukshikuha; 1973: Divya Darshanam; Interview; Padmavyuham; Panchavati; Thani Niram; Thekkan Kattu; Thiruvabharanam; 1974: Setu Bandhanam; Night Duty; Panchatanthram; Poonthenaruvi; 1975: Abhimanam; Aranyakadam; Alibaba and Forty-One Thieves; Chattambi Kalyani; Padmaragam; Palazhi Madhanam; Picnic; Pravaham; Sindhu; Sammanam; Pulival; 1976: Ajayanum Vijayanum; Amritha Vahini; Kamadhenu; Kayamkulam Kochunniyude Maghan; Pickpocket; Pushpa Sarem; Swimming Pool; Panchamrutham/Pachamirutham; Thuruppu Gulam; 1977: Minimol; Mohamum Mukthiyum; Lakshmi; Aparajitha; Chaturvedam; Rathi Manmathan; Rendu Lokam; Parivarthanam; Muttathe Mulla; Saghakkale Munottu; Vishukkani; Varadakshina; Akshaya Pathram; 1978: Bharyayum Kamukiyum; Kalpa Vruksha; Kanyaka; Jayikkanai Janichavan; Mattoru Karnan; Mudra Mothiram; Mukkuvane Snehicha Bhootham; Ninakku Jnanum Enikku Neeyum; Nivedyam; Shathru Samharam; 1979: Ormayil Nee Mathram; Manavadharmam; Nithiyavasatham; Vellayani Paramu; Chula; 1980: Ithikkara Pakki; Theenalagal; Oru Varsham Oru Masam; Kari Puranda Jeevithangal; Prakatanam; 1981: Kodumudikal; Ellam Ninakku Vendi; Dhruva Sangamam; Attamari; Theekali; Nagamadhathu Thampuratti; 1982: Post Mortem; Thuranna Jail; Jambulingam; Koritharicha Naal; Madrasille Mohan; Sooryan; Keni; Nagamadhathu Thampuratti; 1983: Arabikadal; Kattaruvi; Mahabali; Chakravalam Chuvannappol; Yuddham; Sandhya Vandanam; Attakkalasam; Kola Komban; Pournshyam; 1984: Ivide Thodangannu; Saundamevide? Bandamevide?; Makale Maapu Tharu; 1985: Azhiyatha Bandhangal; Ezhamuthal Onpathuvare; Ente Kannakuyil; Makan Ente Makan; Mouna Nombaram; Shri Vamanavatharam; Pathamudayam; Manasi Oru Manimuthu; 1986: Akalangalil; Iniyum Kurukshetram; Kunjatta Kiligal; Ente Entethu Mathram; Sobhraj; 1987: Ithente Neethi; Jaithra Yathra.

SASTRY, BELLAVE NARAHARI (1881–1961)

Kannada cinema’s first scenarist-lyricist. Foremost author of Company Natak mythologicals with c.40 plays, nearly all for Veeranna, including the hit Sadarame (1935). Key figure in the translation of Yakshagana folk forms into proscenium stagecraft and films, incorporating many ritual forms such as the initial invocation of the gods in his Krishna Leela. Renowned for plays with miracle scenes like the Kaliya Mardana (Krishna killing the snake-demon Kaliya) and Vishwaroopa Darshan (the world seen in Krishna’s mouth). Historian Marulasiddappa (1983) commented that Sastry’s idealisation of the divine and the heroic were the kind of formal anachronism castigated by the ‘modernist’ Amateur Dramatic Assoc. but his more casual scenes of e.g. village life were remarkable for their use of popular dialect. Also successful lyricist with hits like Aseye neerase yaadude in H.L.N. Simha’s Hemareddy Mallamma (1945). Other scripts: Y.V. Rao’s Sati Sulochana (1934), Chavan’s Bhakta Purandaradasa (1937), C. Pullaiah’s Subhadra (1941), Ch. Nayaranamurthy’s Bhakta Prahlada (1942) and K. Subramanyam’s Krishna Sudama (1943).

SASTRY, DEVULAPALLI KRISHNA (1897–1980)

Telugu lyric writer and noted poet, born in Pithapuram, AP. Born in a family of traditional literary scholars in the employ of the Rajah of Pithapuram. Associated with the rationalist and social reformer Raghupati Venkataratnam Naidu. Published his first anthology of poetry, Krishna Paksham (1925), initiating a new age of romantic literature described as the Bhava kavitvam. Also known for devotional poems, published under the name Mahati, and prose compilations (Bahukala Darshanam, Pushpa Lavikalu). A popular figure on early radio, broadcasting several plays and lectures. Film début with B.N. Reddi’s Malleeshwari (1951) as songwriter. Wrote several film lyrics and his poetry has been extensively used in films.

SATHYAN (1912–71)

Top star, with Prem Nazir, in Malayalam cinema, providing the embodiment of Malayali machismo. Former Malayalam teacher when aged 16. Joined the army (1941) becoming the Viceroy’s commissioned officer, seeing action in Imphal, Burma and (former) Indochina against the Japanese. Later, a clerk at the Trivandrum secretariat and a police sub-inspector. Stage actor with Thikkurisi Sukumaran Nair; entered cinema at Merryland Studio (Atmasakhi). His classic screen persona of the brooding, remote and unreachable outlaw was shaped mainly by Kariat’s Mudiyanaya Puthran (where he spurns love with a Byronic disregard for merely human emotion) and Chemmeen (as an orphan battling with the forces of nature). In his many films with Nazir, he acquired the image of a loser (e.g. Odeyil Ninnu). Partner in Manjilas Films, with director Sethumadhavan and M.O. Joseph. Biography by Kunnapally (1988).

FILMOGRAPHY: 1952: Atmasakhi/Priyasakhi; 1953: Thiramala; Lokaneethi; Asha Deepam; 1954: Neelakuyil; Snehaseema; 1955: Kalam Marunnu; 1956: Avarunarunnu; 1957: Achannum Maganam; Minnunnathellan Ponnalla; Devasundari; 1958: Thaskara Veeran; Lily; Nair Pidicha Pulivalu; 1959: Minnal Padayali; 1960: Alukkoru Veedu; 1961: Unniyarcha; Arappavan; Krishna Kuchela; Mudiyanaya Puthran; 1962: Laila Majnu; Sreekovil; Palattukoman; Kannum Karalum; Vidhithanna Vilakku; Bhagya Jatakam; Viyarppinte Vila; Bharya; Puthiya Akasham Puthiya Bhoomi; 1963: Nithya Kanyaka; Doctor; Moodupadam; Kadalamma; Ammeye Kannan; Rebecca; Sushila; 1964: Manavatti; Pazhassi Raja; Adya Kiranangal; Omanakuttan; Kalanjukuttiya Thangam; Ayesha; Thacholi Othenan; Anna; 1965: Devatha; Shyamalachechi; Odeyil Ninnu; Kadatthukaran; Lnapravugal; Ammu; Kattu Thulasi; Daham; Shakuntala; Chettathi; Thommente Makkal; Chemmeen; 1966: Station Master; Pagal Kinavu; Rowdy; Jail; Kootukar; Kayamkulam Kochunni; Anarkali; Tharavatamma; Kallipennu; Tilottama; 1967: Thallirukal; Sahadharmini; Sheelavati; Udyogastha; Arakillam; Postman; Kudumbam; Mainatharuvi Kola Case; Kadhija; Anveshichu Kandatiyilla; Ashwamedham; Pavapettaval; NGO; Kavalam Chundan; Nadan Pennu; Chekuthante Kotta; Swapnabhoomi; Mulkireedam; Ollathu Mathi; Pesum Daivam; 1968: Thokkukal Katha Parayunnu; Manaswini; Vazhipizhacha Santhathi; Karthika; Kaliyalla Kalyanam; Yakshi; Midumidukki; Pengal; Aparadhini; Velutha Kathrina; Agni Pareeksha; 1969: Veetu Mrugham; Kattukurangu; Kuruthikalam; Urangatha Sundari; Sandhya; Kadalpalam; Vilakkapetta Bandhangal; Chattambi Kavala; Velliyazhcha; Kootu Kudumbam; Adimagal; Mooladhanam; 1970: Amma Enna Stree; Kurukshetram; Kalpana; Stree; Vazhve Mayam; Cross Belt; Bhikara Nimishankal; Dattuputhran; Othenente Makan; Kuttavali; Ningalenne Communistaki; Vivahitha; Nilakatha Chalanangal; Triveni; Tara; Aranazhikaneram; Nishagandhi; 1971: Shiksha; Moonnupukkal; Thettu; Oru Penninte Katha; Kalithozhi; Lnquilab Zindabad; Sarasayya; Karakanakadal; Vimochana Samaram; Anubhavangal Palichakal; CID in Jungle; Kuttiyedathi; Karinizhakal; Panchavan Kadal; Agnimrigam; 1972: Kalippava; Akkarapacha; Lakshyam; Balya Pratignya; 1973: Checkpost; Asha Chakram.

Sathyan (holding gun) in Adya Kiranangal (1964)

SATHYU, MYSORE SRINIVASA (B. 1930)

Hindi, Urdu and Kannada director born in Mysore, Karnataka; noted theatre director and set designer. Graduated from Central College, Bangalore; moved to Bombay in 1952. Directed plays in Bombay and Delhi while freelancing as set designer and lighting director for e.g. Parvati Kumar ballets (Dekh Teri Bambai, Discovery of India). Associated with IPTA, Bombay, and with its various offshoots: e.g. the Left organisation Bombay Youth (which published a journal edited by theatre director Habib Tanvir) and Balraj Sahni’s Juhu Art Theatre. Staged Aakhri Shama (1969), a biographical play on the poet Mirza Ghalib, along with writer Kaifi Azmi and Sahni in the role of Ghalib. Both later contributed to his début feature, and best-known film, Garam Hawa. Other noted plays for IPTA include Sarveshwar Dayal Saksena’s Bakri, Sufaid Kundali (from Brecht’s Causasian Chalk Circle) and Moteram Ka Satyagrah (adapting Premchand). Also directed the play Sookshma Roop written by Sahni for the latter’s Juhu Art Theatre. Joined films assisting Chetan Anand (e.g. Haqeeqat, 1964) and documentarists Homi Sethna and Zul Velani. Also collaborated on the children’s film Chernaya Gora (aka Black Mountain, 1971), an Indo-Soviet co-production by Alexander Zguridi based on a story by K.A. Abbas. Made c.20 shorts and 12 documentaries; now works mainly for TV, e.g. the 13-part series, Choli Daman, and adaptating Masti Venkatesha Iyengar’s Kannada short stories into Tamil and Kannada (e.g. Pratidhwani). His wife, Shama Zaidi, wrote scripts for S. Benegal.

FILMOGRAPHY: 1967: Ek Tha Chhotu Ek Tha Motu; 1969: Ghalib (Doc); Irshad Panjatan (Doc); 1970: Kala Parvat; 1971: Chernaya Gora; 1973: Garam Hawa; 1977: Kanneshwara Rama; 1978: Chithegu Chinthe; 1980: Bara/Sookha; 1981: Your Enemy: TB (Doc); 1986: Kahan Kahan Se Guzar Gaye; 1988: Choli Daman (TV); 1991: Kayar (TV); 1995: Galige.

SATYANARAYANA, E. V. V.

Successful 90s Telugu director. Former assistant to writer-filmmaker Jandhyala. Early films were failures, but broke through with Prema Kaidi, produced by D. Rama Naidu, followed by a series of hits. Occasionally possesses the humorous style associated with Jandhyala, but currently best known for the controversial reception to his erotic drama Alluda Majaaka starring Chiranjeevi. Earlier, A Okati Adakku had also been attacked for obscenity, as had Jambalakadi Pamba.

FILMOGRAPHY: 1989: Chevilo Puvvu; 1990: Prema Khaidi; 1991: Appula Apparao; 420; 1992: A Okati Adakku; Seetharathnamgari Abhayi; Jambalakadi Pamba; 1993: Alibaba Aru Dozen Dongalu; Abbaigaru; Evandi Avide Ochindi; Varasudu; 1994: Hello Brother; Aame; Maharayudu; 1995: Alluda Majaaka; Ayanaku Iddaru; Telugu Veera Levara.

SAURASHTRA FILM COMPANY

Est: 1923 as the Saurashtra Kinematograph in Rajkot, making it the first fully equipped studio in Gujarat. Founded by Vajeshankar Kanji Pattani (1889–1957) and Champakraj Kanji Pattani (1897–1958) with financial support from Sir Prabhashankar Pattani, Diwan of Bhavnagar. Major films include Kanjibhai Rathod’s Anath Abala (1925) and V.K. Pattani’s Baliyagna (1924). Known for making Harold Lloyd-type comedies. Among the other talent employed was Chimanlal Lunar, actors Madanrai Vakil and Miss Ermeline and the comedian (later cameraman) Gatubhai Vaidya. Shiraz Ali started his career at the studio before establishing the Famous Cine Lab. The studio, which also made newsreels, closed in 1929.

Save Dada see Bhatavdekar, H. S.

SAVITRI, KOMMAREDDY (1937–81)

Telugu-Tamil actress and director born in Chirravuru, Guntur Dist., AP, into a wealthy family. She learnt music and dance under Sista Purnayya Sastry and gave some public performances as a child in Vijaywada. Worked in the theatre company run by NTR, K. Jaggaiah et al. Started her own group, the Navabharata Natya Mandali. Also acted in the play Atma Vanchana by Buchi Babu. Début with L.V. Prasad’s Samsaram, then K.V. Reddy’s Patala Bhairavi. Minor film roles until Pelli Chesi Choodu made her a star, although she had to wait until Ardhangi to establish her acting credentials. Played the lead role of Mary in Prasad’s comedy Missamma. Acted in several films by the choreographer-director Raghavaiah, e.g. Devadasu. Leading Tamil star in Bhimsingh (Pasamalar) and A.P. Nagarajan (Navarathri, Thiruvillaiyadal) films, often starring with Sivaji Ganesan, leading to her being titled ‘Nadigeyar Thilakam’. Turned director and producer (1968–71) without much commercial success. Married to Gemini Ganesh.

FILMOGRAPHY (* also d): 1950: Samsaram; 1951: Roopavati; Patala Bhairavi; 1952: Adarsham; Priyuralu; Pelli Chesi Choodu/Kalyanam Panni Paar; Palletooru; Shanti; Sankranti; 1953: Chandraharam; Bratuku Theruvu; Devadasu; Kodarikam; Paropakaram; Pempudu Koduku; Pratigna; 1954: Jyoti/Illara Jyoti; Menarikam; Parivarthana; Bahut Din Huye; 1955: Ardhangi/Pennin Perumai; Vijayagauri; Missamma/Missiamma; Santhanam; Vadina/Chellapillai; Donga Ramudu; Kanyasulkam; 1956: Bhale Ramudu/Prema Pasham; Mathar Kula Manikam/Charanadasi; Amara Deepam; 1957: Thodi Kodallu; Maya Bazaar; Bhale Ammayilu/Iru Sahodarigal; MLA; Kutumba Gauravam; Karpurakarasi; Mahadevi; Saubhagyavati; 1958: Intiguttu; Karthavarayan Katha; Appu Chesi Pappu Koodu/Kadan Vangi Kalyanam; 1959: Mangalya Balam/Manjal Magimai; Bandaramudu/Adisaya Thirudan; Bhagya Devatha/Bhagya Devathai; Kalasivunte Kaladu Sukham; 1960: Namminabantu/Pattayilin Vetri; Shri Venkateshwara Mahatyam; Kumkumarekha; Deepavali; Chivaraku Migiledi; Abhimanam; Vimala; Mamaku Tagga Alludu; Maa Babu; Kalathur Kannamma; Pudhiya Pathai; 1961: Maavoori Ammayi; Tallichina Ajna; Pasamalar; Kappalotiya Thamizhan; Pasamalar; Pavamanippu; 1962: Aradhana; Manchi Manushulu/Penn Manam; Gundamma Katha/Manidan Maravalli; Siri Sampadalu; Kathirunda Kankal; Atmabandhuvu; Pavitra Prema; Parthal Pasi Theerum; Konjum Salangai; Padithal Mattu Pothuma; Vadivukku Valai Kappu; 1963: Raktha Tilakam; Karpagam; Parisu; Chaduvukonna Ammayilu; Nartanasala; Thobuttuvulu; Mamakaram; Moogamanasulu; Naanum Oru Penn/Nadi Aada Janme; 1964: Karnan/Karna; Poojaphalam; Raktha Tilakam; Pativrata; Dr Chakravarthi; Kaikodutha Daivam; Ganga Ki Lehren; Vettaikaran; Navarathri; 1965: Sumangali; Pandava Vanavasam; Devatha; Manasulu Mamathalu; Thiruvillaiyadal; 1966: Monagalluku Monagadu; Papa Pariharam; Navarathri; Bhakta Potana; Manase Mandiram; Saraswathi Sabatham; 1967: Seeta; Kanchukota; Nirdoshi; Ummadi Kutumbam; Pranamithrulu; Kandan Karunai; 1968: Bandhavyulu; Moogajeevulu; Talliprema; Chinnari Papalu*; Varakatnam; 1969: Chiranjeevi*; Mathrudevata*; Manasichina Maguva; Vichitra Kutumbam; Kuzhandai Ullam*; 1970: Maro Prapancham; Pettandarulu; Talli Tandrulu; Kodalu Diddina Kapuram; 1971: Vintha Samsaram*; Suputhrudu; Talli Kuthulu; Nindu Dampatulu; Praptham*; 1972: Jakkamma; Thaikku Oru Pillai; Kanna Talli; Amma Mata; Shabash Baby; Shabash Papanna; 1973: Deshoddharakulu; Ramrajyam; Puttinillu Mettinillu; Jyoti Lakshmi; Poola Mala; Chuzhi; Veetu Mappillai; Suryakanthi; Engal Thayi; Baghdad Perazhagi; 1974: Akkarai Pachai; Jeevitha Rangamu; Gali Patalu; Uttama Illalu; Tulasi; Manushulu Matti Bommalu; Anaganaga Oka Thandri; Adambaralu Anubandhalu; Bandhalu Anubandhalu; Mugguru Ammayilu; 1975: Bharatamlo Oka Ammayi; Kavitha; Maa Inti Devudu; Pooja; Santhanam Saubhagyam; Pellikani Thandri; Puthu Vellam; Chillara Devullu; 1977: Punitha Anthoniar; Rambha Urvashi Menaka; Panchayathi; 1978: Rowdy Rangamma; Amara Prema; Prema Paga; Allari Pillalu; Devadasu Malli Puttadu; Vattathukkul Chaduram; Jagan Mohini; Mugguru Muggure; 1979: Rangoon Rowdy; Gorintaku; Korikile Gurralaite; 1980: Circus Ramudu; Prema Tarangalu; Ravichandra; Ramayanamlo Pidikala Veta; Sujatha; 1981: Puli Bidda; 1985: Andarikante Monagadu.

SEGAL, MOHAN (B. 1921)

Hindi director born in Jullundur, Punjab. Degree in literature. Studied dance at Uday Shankar’s India Culture Centre, Almora. Member of theatre group invited by the IPTA and the PWA to tour their Shadow Play in working-class areas throughout Bombay to raise funds for Bengal famine relief (1944). Worked at Prithviraj Kapoor’s Prithvi Theatres as actor (e.g. Deewar and Shakuntala, 1945) and choreographer. Remained closely involved with the IPTA in Bombay. Wrote and directed the play Desh Bhakt; also directed Balraj Sahni’s play Jadu Ki Kursi. Joined films as actor and assistant director to Chetan Anand (Neecha Nagar). Choreographed Nanabhai Bhatt’s Chalis Karod, and the first two films he directed. His best-known films are the freewheeling Kishore Kumar satires of the late 50s: New Delhi, Apna Haath Jagannath and Karodpati. His spectacular hit, Sawan Bhadon, introduced the 70s/80s star Rekha.

FILMOGRAPHY (* act only): 1945: Chalis Karod*; 1946: Neecha Nagar*; 1948: Phool Aur Kaante*; 1949: Raaz*; 1950: Afsar*; 1953: Humsafar*; 1954: Aulad; Adhikar; 1956: New Delhi; 1960: Apna Haath Jagannath; 1961: Karodpati; 1966: Devar; 1968: Kanyadaan; 1969: Saajan; 1970: Sawan Bhadon; 1972: Raja Jani; 1974: Woh Main Nahin; 1976: Santan; 1977: Ek Hi Raasta; 1979: Kartavya; 1981: Daulat; 1982: Samrat; 1984: Hum Hain Lajawaab; 1989: Kasam Suhaag Ki.

Sekhar, Raja C. see Chandrasekhar, Raja

SEN, APARNA (B. 1945)

Bengali actress and director born in Calcutta, daughter of critic and cineaste Chidananda Das Gupta. Grew up watching European art films. Graduated in English. Stage actress in Utpal Dutt’s Little Theatre Group and made film début as a teenager in the Samapti episode of S. Ray’s Teen Kanya. Went on to star in many mainstream melodramatic plays and films. Directorial début with the English-language film, 36 Chowringhee Lane, produced by Shashi Kapoor as explicitly apolitical cinema. As director she deploys psychological realism familiar from Western art films but concentrates on female characters, often imbued with a strong sense of nostalgia. Edits a women’s fashion glossy, Sananda. Directed Shabana Azmi’s first TV drama, Picnic. Recently returned to the commercial stage with Pannabai (1989) and Bhalo Kharap Meye (1991).

FILMOGRAPHY (* only d): 1961: Teen Kanya; 1965: Akash Kusum; 1968: Hansamithun; 1969 Aparichita; Vishwas; The Guru; Aranyer Din Ratri; 1970: Kalankita Nayak; Padmagolap; Bombay Talkie; 1971: Ekhani; Ekhane Pinjar; Jay Jayanti; Khunje Berai; 1972: Jiban Saikate; Mem Sahib; Nayikar Bhumikay Basanta Bilap; Bilet Pherat; 1973: Epar Opar; Kaya Hiner Kahini; Rater Rajanigandha; Shesh Pristhay Dekhun; Sonar Khancha; 1974: Alor Thikana; Asati; Jadu Bansha; Sujata; Chhutir Phande; Chenra Tamsukh; 1975: Jana Aranya; Kajal Lata; Nishi Mrigaya; Raag Anuraag; 1976: Nidhi Ram Sardar; Ajasra Dhanyabad; Asomoy; 1977: Proxy Imaan Dharam; Kotwal Saab; 1978: Hullabaloo over Georgie and Bonnie’s Pictures; 1979: Nauka Dubi; 1980: Pikoo (TV-Sh); 1981: Abichar; Bandi Balaka; 36 Chowringhee Lane*; 1982: Amrita Kumbber Sandhaney Bijoyini; 1983: Abhinay Nay; Indira; Mohaner Dike; Arpita; 1984: Bishabriksha; 1985: Paroma/Parama*; Devika; Neelkantha; 1986: Shyam Saheb; 1987: Ekanto Apon; Jar Je Priyo; 1988: Ek Din Achanak; 1989: Kari Diye Kinlam; Sati*; 1990: Picnic* (TV); Sankranti; 1991: Mahaprithibi; 1992: Ananya; Shet Patharer Thala; 1994: Unishe April; Amodini; 1995: Yuganta*.

SEN, ASIT (B. 1922)

Bengali and Hindi director born in Dhaka (now Bangladesh). Early interest in photography. Joined films as camera assistant to D.K. Mehta at Bharatlaxmi Prod. (1946); then assisted his uncle, the noted cameraman Ramananda Sengupta, on Ardhendu Mukherjee’s Purbaraag (1947). Made an independent 16mm documentary on Gandhi’s tour of Noakhali and Patna, joining Gandhi’s entourage for a month. Début in Assamese film (Biplabi), went uncredited following a dispute with the producers over its ending. Ran a photography studio (1949) while seeing Hitchcock and Danny Kaye and other Hollywood films which, he says, he studied extensively, often persuading the manager of the New Empire and Light House theatres in Calcutta to run selected reels specially for him. His Bengali début, Chalachal, was a major Arundhati Devi hit; it was followed by Panchatapa with the same star. The Suchitra Sen hits Deep Jweley Jai and Uttar Falguni established a new generation of post-war and post-Independence (and in Bengali film, post-New Theatres) brand of romantic love story, using several new lyrical-expressionist devices such as the mobile camera of Deep Jweley Jai and the dramatic montage of Uttar Falguni. Much of his style is comparable to Bimal Roy’s in its simultaneous assimilation of romantic Bengali literature, Hollywood and neo-realism. Roy produced Sen’s third film, his first in Hindi, Parivar, and later also Anokhi Raat. Remade Uttar Falguni in Hindi as Mamata. In the late 1960s/70s, he directed Hindi star Rajesh Khanna in two big romances, Khamoshi (remaking Deep Jweley Jai) and Safar (remaking Chalachab, both strongly imbued with the Bengali romantic lyricism of his early work.

FILMOGRAPHY: 1948: Biplabi; 1956: Chalachal; Parivar; 1957: Aparadhi Kaun; Panchatapa; Jiban Trishna; 1958: Jonakir Alo; 1959: Deep Jweley Jai; 1961: Swaralipi; Swayambara; 1962: Agun; 1963: Uttar Falguni; 1965: Trishna; 1966: Mamata; 1968: Anokhi Raat; 1969 Khamoshi; 1970: Maa Aur Mamta; Safar; Sharajat; 1972: Annadata; Anokha Daan; 1975: Anari; 1976: Bairaag; 1981: Vakil Babu; 1983: Mehndi; 1984: Prarthana; 1985: Pratigya.

SEN, HIRALAL (1866–1917)

Bengali film pioneer born in Bakjuri village, Manikganj (now Bangladesh). India’s first film-maker with Bhatavdekar. The son of a lawyer, he started as photographer and achieved considerable renown. Almost definitely saw first-ever film show, at Star Theatres, featuring Prof. Stevenson’s shorts on double-bill with Star’s stage hit, The Flower of Persia (1898). His first film, made with equipment and guidance from Stevenson, was based on scenes from The Flower of Persia and shown at Star, with Stevenson’s package, in repeated shows that year. Acquired camera from London, a projector from Warwick Trading and set up Royal Bioscope (1899) with his brother, Motilal Sen. His best-known outlet was Amar Dutta’s Classic Theatre in Calcutta, where Royal initially exhibited imported footage (e.g. Transvaal War Pictures, Splendid Magical Exhibitions, A Few Marvellous Scenes of a Well-known Circus Played at Paris Exhibition) in intervals between stage shows. Best-known work in collaboration with Classic, filming scenes from its stage repertoire (1901–4). The partnership culminated in what was perhaps Sen’s only feature-length film, Alibaba and the Forty Thieves (the film’s length is disputed). Also did many request shows in private houses of landed gentry, command performances at the court of local maharajas, etc. Made some advertising films. Increasing competition from Madan Theatres in partnership with Pathé and the rise of several newer bioscope companies in Calcutta are among the reasons for Royal Bioscope’s decline. Apparently all its films were destroyed in a fire shortly before the studio closed down. Sen’s filmography is still a controversial issue among film historians. This one combines titles given by various sources. Further research will have to establish the definitive filmography.

FILMOGRAPHY: 1898: Dancing Scenes from The Flower of Persia; 1899: Moving Pictures of Natural Scenes and Religious Rituals (both co-dir Prof. Stevenson); 1901: Scenes from Bhramar; Scenes from Seetaram; Scenes from Sarala; Scenes from Alibaba; Scenes from Buddhadev; Scenes from Hariraj; Scenes from Dol Leela; 1903: Scenes from Sonar Swapan; Scenes from Maner Matan; Dances from Alibaba; Alibaba and the Forty Thieves; Indian Life and Scenes; Coronation Ceremony and Durbar; 1905: The Bengal Partition Film; 1912: Grand Delhi Coronation Durbar and Royal Visit to Calcutta Including Their Majesties’ Arrival at Amphitheatre; Arrival at Howrah; Princep’s Ghat; Procession; Visit to Bombay and Exhibition; 1913: Hindu Bathing Festival at Allahabad.

SEN, MRINAL (B. 1923)

Leading Bengali director; also worked in Oriya, Telugu and in Hindi. Born in Faridpur (now Bangladesh). Studied science in Calcutta; worked as apprentice in sound recording studio, as journalist and medical representative. Read voraciously about cinema and aesthetics; also reviewed films. Associated with the IPTA (1943–7) and remained active in Left politics. Early influences include Arnheim’s writings. Authored book on Chaplin (1951) and Bengali translation of Karl Capek’s The Cheat (1946). Directorial début in 1956 and his 2nd film was banned for two months by the government, but didn’t break through until Akash Kusum, which generated a passionate debate with S. Ray. His Bhuvan Shome, made in Hindi, was a commercial success in Bombay and is said to have pioneered the New Indian Cinema, generating the 70s debates about low-budget alternatives to commercial cinema. In his films Sen has consistently and unambiguously downgraded notions of artistic ‘originality’ and deployed a wide array of influences from Glauber Rocha’s early work to Truffaut (Akash Kusum) and from Augusto Boal’s Theatre of the Oppressed to Solanas and Getino (the Calcutta trilogy: Interview, Calcutta 71 and Padatik), Fellini (Akaler Sandhaney) and most recently Bresson (Khandhar). Best-known 70s work evoked the radical currents of Bengali theatre and folk forms, achieving a freewheeling style Sen later described as ‘playing around with tools as often as I could, as a child plays with building blocks. Partly out of sheer playfulness, partly out of necessity, also partly to shock a section of our audiences [to violate the] outrageously conformist … mainstream of our cinema.’ His political films, drawing also from the IPTA and from Utpal Dutt’s 60s theatre group, culminated in the Calcutta trilogy made in the wake of the dismantling of the United Front Ministry in Bengal, with massive anti-Left reprisals, esp. against Naxalite factions. The films became a cause celebre as their screenings became meeting-points for Left activists (with Sen’s encouragement) and were raided regularly by the police. This period was later commemorated by Reinhard Hauff in his documentary Ten Days In Calcutta: A Portrait of Mrinal Sen (1984). 80s work, introduced by Ek Din Pratidin, returns to a storytelling style he presents as a more contemplative way of advocating ‘a greater awareness of reality’. In addition to scripting his own films, also wrote Ajit Lahiri’s Joradighir Choudhury Paribar and Ajoy Kar’s Kanch Kata Hirey (both 1966). Published books on cinema, Chalachitra Bhut Bartaman Bhabhishya and Views on Cinema (both 1977) and Cinema, Adhunikata (1992).

FILMOGRAPHY: 1956: Raat Bhore; 1958: Neel Akasher Neechey; 1960: Baishey Shravan; 1961: Punashcha; 1962: Abasheshe; 1964: Pratinidhi; 1965: Akash Kusum; 1966: Matir Manisha; 1967: Moving Perspective (Doc); 1969: Ichhapuran; Bhuvan Shome; 1970: Interview; 1971: Ek Adhuri Kahani; 1972: Calcutta ’71; Allavudeenum Arputha Vilakkum; 1973: Padatik; 1974: Chorus; 1976: Mrigaya; 1977: Oka Oorie Katha; 1978: Parashuram; 1979: Ek Din Pratidin; 1980: Akaler Sandhaney; 1981: Chaalchitra; 1982: Kharij; 1983: Khandhar; 1984: Tasveer Apni Apni (TV); 1986: Genesis; 1987: Kabhi Door Kabhi Paas (TV); 1988: Ek Din Achanak; 1990: Calcutta My Eldorado (Doc); 1991: Mahaprithibi; 1993: Antareen.

Mrinal Sen’s Matir Manisha (1966)

SEN, SATU (1902–72)

Bengali director; pioneering art director on commercial Bengali stage before entering films; considered to have influenced later masters such as Bansi Chandragupta and Tapas Sen, the lighting technician for several IPTA plays and for Utpal Dutt. Early training in Europe and USA. Saw Meyerhold’s work in Moscow; apprenticed to Stanislavski’s student Richard Boleslawski at Laboratory Theatre, New York (1926). Also saw Max Reinhard perform in Berlin, Gordon Craig in London and Sarah Bernhardt on Broadway. Technical director of Laboratory Theatre; then mainly responsible for building Woodstock Theatre (1929). Returned to Calcutta (1930) where he worked for major Calcutta Theatre companies: Rangmahal (1931), Natya Niketan (1931–42) and Sisir Bhaduri’s Srirangam (1942–56). Best-known plays co-directed with Naresh Mitra, often starring major Bengali film actors: Dhiraj Bhattacharya, Jahar Ganguly, Shanti Gupta, etc. Also introduced the revolving stage, mood (or ‘psychological’) lighting, etc. Freelanced as film-maker, e.g. Sachindranath Sengupta’s well-known comedy produced by Priyanath Ganguly, Sarbajanin Bibahotsab. Wrote autobiography (1976), including theoretical essays on colour and light.

FILMOGRAPHY: 1935: Mantra Shakti; 1936: Abartan; Pandit Moshai; Impostor; 1938: Sarbajanin Bibahotsab; Chokher Bali; 1940: Swami Stri.

SEN, SUCHITRA (B. 1931?)

Bengali star; originally called Roma Sen. Born in Patna, Bihar. Début in unreleased Shesh Kothai. First role opposite Uttam Kumar in Sharey Chuattar. They lasted as a screen duo in Bengali romantic melodramas for more than 20 years, becoming almost a genre unto themselves. Her career peaked in the late 50s with films like Shap Mochan, Sagarika, Harano Sur and Saptapadi, creating a new image in Bengali film of the articulate, if tragic, heroine, carving out an independent space away from those framed by the family and traditional values. First Hindi film was Bimal Roy’s Devdas. Did two films with Dev Anand in 1960 (Sarhad, Bambai Ka Babu) and later returned again to the Hindi cinema to star in Gulzar’s Aandhi, in a role apparently modelled on Indira Gandhi. The announcement of her early retirement triggered a wave of nostalgia for her romantic films. Mother of current Bengali-Hindi star Moon Moon Sen. Her assertiveness on screen was coupled with a personal anxiety over the way she was photographed while her rigid gestures and mask-like make-up at times contradicted her strong screen persona, dividing the star from the stereotype (e.g. Hospital).

FILMOGRAPHY: 1952: Sesh Kothai; 1953: Sat Number Kayedi; Sharey Chuattar; Kajari; 1954: Atom Bomb; Ora Thake Odhare; Dhuli; Maraner Pare; Sadanander Mela; Annapurnar Mandir; Agni Pareeksha; Grihapravesh; Balay Gras; Bhagwan Shri Krishna Chaitanya; 1955: Sanjher Pradeep; Devdas; Sajghar; Shap Mochan; Mejo Bou; Bhalobasha; Sabar Uparey 1956: Sagarika; Shubharatri; Ekti Raat; Trijama; Shilpi; Amar Bou; 1957: Harano Sur; Chandranath; Pathe Holo Deri; Jiban Trishna; Musafir; Champakali; 1958: Rajalakshmi-o-Shrikanta; Indrani; Surya Toran; 1959: Chaowa-Pawa; Deep Jweley Jai; 1960: Hospital; Sarhad; Bambai Ka Babu; Smriti Tuku Thak; 1961: Saptapadi; 1962: Bipasha; 1963: Saat Pake Bandha; Uttar Ealguni; 1964: Sandhya Deeper Sikha; 1966: Mamata; 1967: Grihadah; 1969: Kamallata; 1970: Megh Kalo; 1971: Fariyad; Nabaraag; 1972: Alo Amar Alo; Haar Mana Haar; 1973: Shravan Sandhya; 1974: Debt Choudhrani; 1975: Priya Bandhabi; Aandhi; 1976: Datta; 1978: Pronoy Pasha.

SETHUMADHAVAN, K. S, (B. 1926)

Prolific Malayalam director; also worked in Tamil, Hindi and made one film (Manini) in Kannada. Born in Palghat. Science graduate from Madras University. Assistant to K. Ramnoth (1952), later worked briefly with L.V. Prasad (1954) and more extensively with T.R. Sundaram (1957). First major hit: Kannum Karalum. Early films produced by Manjilas, a collaboration between Sethumadhavan, star Sathyan and M.O. Joseph. Adapted novels by Kesavadev (Odeyil Ninnu, Adhyathe Katha), Thakazhy Shivashankar Pillai (Omanakuttan, Chukku, both scripted by Thoppil Bhasi), Uroob (Mindapennu) etc., often with playwright-scenarist K.T. Mohammed. Together with Vincent’s films, his work exemplifies a cinema promoted after 1970 by official institutions as ‘good’ films (see New Indian Cinema). Nijalgal addressed the conditions of bus transport, while Marupakkam was made for the NFDC. Best-known films claimed to address social justice issues mainly through bizarre portrayals of intimate sex, seen from the ‘tragic’ viewpoint of decaying but good tradition (Odeyil Ninnu, Adimagal, Chattakkari, and his best-known film outside Kerala and Tamil Nadu, Oppol). Remade Nasir Hussain’s teen movie Yaadon Ki Baraat (1973) as Nalai Namadhe with MGR. Returned to direct the Vijaya studios’ comeback film with Kamalahasan, Nammavar.

FILMOGRAPHY: 1961: Gnana Sundari; 1962: Kannum Karalum; 1963: Nithya Kanyaka; Sushila; 1964: Anna; Manavatti; Omanakuttan; 1965: Odeyil Ninnu; Daham; 1966: Rowdy; Archana; Sthanarthi Saramma; 1967: Kottayam Kola Case; Nadan Pennu; Ollathu Mathi; 1968: Thokkukal Katha Parayunnu; Yakshi; Bharyamar Sukshikuka; Paal Manam; 1969: Adimagal; Kadalpalam; Kootu Kudumbam; 1970: Mindapennu; Amma Enna Stree; Kalpana; Vazhve Mayam; Kuttavali; Aranazhikaneram; Kalyana Urvalam; 1971: Oru Penninte Katha; Thettu; Anubhavangal Palichakal; Karakanakadal; Inquilab Zindabad; Line Bus; 1972: Devi; Achannum Bappayum; Punarjanmam; Adhyathe Kadha; Pani Teertha Veedu; 1973: Kaliyugam; Chukku; Azhakulla Saleena; 1974: Jeevikkan Marannupoya Sthree; Chattakkari; Kanyakumari; 1975: Chuvanna Sandhyakal; Makkal; Julie; Nalai Namadhe; 1976: Priyamvadha; 1977: Amme Anupame; Ormakal Marikkumo; Yahi Hai Zindagi; 1978: Nakshatrangale Kaval; 1979: Manini; 1980: Oppol; 1982: Afsana Do Dilon Ka; Nijangal; 1984: Zindagi Jeene Ke Liye; Ariyatha Veethigal; Arorumariyathe; 1985: Avidathepole Ivideyum; 1986: Sunil Vayasu 20; 1990: Marupakkam; 1991: Venal Kinavukal; 1994: Nammavar; 1995: Stree.

SHAH, CHANDULAL JESANGBHAI (1898–1975)

Hindi director born in Jamnagar, Gujarat. Attended Bombay University (1924) and trained as a stockbroker. Among the biggest moguls in Indian cinema with his studio, Ranjit. Introduced to films by his brother, Dayaram J. Shah, the publicity manager of Irani’s Majestic theatre and later scenarist at Ranjit. Assistant to Manilal Joshi for whose Laxmi Film he made his directorial début (1925). After Laxmi closed down, joined Kohinoor (1926–7). His third film Typist Girl/Why I Became a Christian featured Sulochana and Gohar. Founded Jagdish Film where the nucleus of his Ranjit Movietone in Bombay (Est: 1929) was gathered: Gohar (his actress and common law wife), Raja Sandow and cameraman Pandurang Naik. By 1950, Ranjit had produced over 160 films, the largest number under any single banner in Indian cinema (e.g. work by Nanubhai Vakil and Jayant Desai). Their films largely adhered to the genres inherited from the Kohinoor scenarist Mohanlal Dave, including social melodramas addressing the joint-family system, occasionally with mythological overtones based on original scripts by Narayan Prasad Betaab, Gunwantrai Acharya, Chaturbhuj Doshi et al. The breakthrough film founding the genre was Gunsundari. The films were distributed by his elder brother, Dayaram Shah. A leading spokesman for the industry in his later years (first president of the Film Federation of India, 1951). He died in poverty.

FILMOGRAPHY: 1925: Panchdanda; Vimala; 1926: Typist Girl; Madhav Kam Kundala; 1927: Gunsundari; Sati Madri; Sindh Ni Sumari; 1928: Grihalakshmi; Vishwamohini; 1929: Bhikharan; Chandramukhi; Pati Patni; Rajputani; 1930: Diwani Dilbar; Raj Lakshmi (all St); 1931: Devi Devayani; 1932: Sati Savitri; Sheilbala; Radha Rani; 1933: Miss 1933; Vishwamohini; 1934: Toofani Taruni; Gunsundari; Tara Sundari; 1935: Barrister’s Wife; Desh Dasi; Keemti Aansoo; 1936: Prabhu Ka Pyara; Sipahi Ki Sajni/Sipahini Sajni; 1937: Pardesi Pankhi; 1940: Achhut; 1953: Paapi; 1955: Ootpatang; 1960: Zameen Ke Tare.

SHAH, KUNDAN (B. 1947)

Hindi director. Studied commerce at Sydenham College, Bombay (1968). Employed in educational publishing at Popular Prakashan. Spent time in London but returned to join the FTII where he took a special interest in silent comedy. Graduated (1976) and did some documentaries for the Municipal Corp. of Hyderabad as part of a film collective. Returned to Bombay to work with Dharmaraj. Début feature Jaane Bhi Do Yaaron introduced to the New Indian Cinema the genre of ribald comedy. The TV series Yeh Jo Hai Zindagi inaugurated the era of sponsored serials on Doordarshan. Partner in Iskra, a company founded with Saeed Mirza, Aziz Mirza, Sudhir Mishra et al., directing alternate episodes of Nukkad. His Police Station started as a serial but ran into censorship problems over its depiction of police brutality; it was broadcast as a TV film using footage from the three episodes that had been shot. The serial Circus discovered 1990s superstar Shah Rukh Khan, with whom Shah made the love story Kabhi Haan Kabhi Naa, returning to mainstream features.

FILMOGRAPHY: 1976: Bonga (Sh); Posters-Neons (Doc); 1981: Vision Of The Blind (Doc); 1983: Jaane Bhi Do Yaaron; 1985: Yeh Jo Hai Zindagi (TV); 1987: Nukkad (TV); Police Station (TV); 1988: Intezaar (TV); 1989: Wagle Ki Duniya (TV); 1993: Kabhi Haan Kabhi Naa.

Naseeruddin Shah in Tabbaliyu Neenade Magane (1977)

SHAH, NASEERUDDIN (B. 1950)

One of the icons of New Indian Cinema with Smita Patil, Shabana Azmi and Om Puri. Born in Barabanki, student at the National School of Drama in Delhi and the FTII. First roles in Benegal’s Nishant, Manthan and Bhumika, followed by the lead role in Saeed Mirza’s Albert Pinto Ko Gussa Kyon Aata Hai and as the lawyer in Nihalani’s Aakrosh. His use of hesitant speech and casual gesture to signify psychological complexity has been widely adopted as the norm for ‘realist’ characterisation, e.g. by Mrinal Sen in Khandhar, Girish Kasaravalli in Mane and Sai Paranjpye in Sparsh. He also reveals a talent for comedy, e.g. in Ketan Mehta’s films (in comics and catchpenny print-inspired roles in Bhavni Bhavai and Mirch Masala), the corrupt, smooth-talking lawyer in Mohan Joshi Hazir Ho!, and in Mandi. Shah also works in commercial cinema, where he is best-known for his Tirchi Topiwala role in Rajiv Rai’s big-budget hit, Tridev. Also actor and director in English and Hindi plays. Often cast as an innovative actor in demand by commercial directors for character roles, e.g. Karma, where he was pitted against Dilip Kumar.

FILMOGRAPHY: 1975: Hand Held (Sh); Hero (Sh); Nishant; 1976: Manthan; A Proposal (Sh); Bhumika; 1977: Tabbaliyu Neenade Magane/Godhuli; 1978: Junoon; 1979: Shayad; Sunayana; Sparsh; 1980: Khwab; Aakrosh; Albert Pinto Ko Gussa Kyon Aata Hai; Bhavni Bhavai/Andher Nagari; Chakra; Hum Paanch; 1981: Kanbaiya; Sazaaye Maut; Tajurba; Umrao Jaan; Adharshila; 1982: Bezubaan; Bazaar; Dil Aakhir Dil Hai; Pyara Dost; Masoom; Sitam; Swami Dada; Katha; Naseeb Ni Balihari; 1983: Ardh Satya; Haadsa; Nirvana; Mandi; Woh Saat Din; Jaane Bhi Do Yaaron; Khandhar; Mohan Joshi Haazir Ho!; Holi; Protidan; 1984: Party; Paar; Lorie; 1985: Bahu Ki Awaaz; Ghulami; Misaal; Surkhiyaan; Mirch Masala; Trikaal; Khamosh; Shart; Maan Maryada; 1986: Ek Pal; Karma; Jalwa; Yeb Woh Manzil To Nahin; 1987: Pestonjee; Ijaazat; The Perfect Murder; 1988: Zulm Ko Jala Doonga; Hero Hiralal; Malamaal; Rihaee; 1989: Anjaam Khuda Jaane; Tridev; Khoj; Mane; 1990: Police Public; Chor Pe Mor; 1991: Shikari; Libaas; Electric Moon; Lakshmanrekha; 1992: Vishwatma; Panaah; Tahalka; Chamatkar; 1993: Game; Lutere; Hasti; Sir; Bedardi; Kabhi Haan Kabhi Naa; Ponthan Mada; 1994: Mohra; Drohkaal; 1995: Najayaz; Takkar.

SHAHANI, KUMAR (B. 1940)

Director born in Larkana, Sind (now Pakistan). Early life marked by Partition. Graduated from the University of Bombay (1962) and from the FTII (1966) where he was one of Ghatak’s students. Also student of the historian and anthropologist D.D. Kosambi. Further film studies in France (1967–68) where he assisted Bresson on line Femme Douce (1969). Was an enthusiastic participant in the May 1968 movements in France. After the intense and innovative Maya Darpan, he obtained no support from the NFDC for 12 years. Homi Bhabha fellowship (1976–8) to study the epic tradition as represented by the Mahabharata, Buddhist iconography, classical Indian music and the Bhakti movement, leading to the production of Tarang. Made two more features subsequently, adapting a Chekhov story for Kasha, and investigating the North Indian classical Khayal music for Khayal Gatha. Taught and lectured extensively, including at the FTII, presented the film appreciation programme on Bombay TV, Montage (1974–6) and wrote numerous essays and lectures on cinematic aesthetics, defining the terrain of an independent cinema movement in India. Early work contextualised by the political events of the 60s/70s (the Naxalite insurgency culminating in the Emergency) and the definitive shifts in the Nehruite nationalist model caused by the Indira Gandhi regime. Developed from the iconographies of revolt and repression characterising this period, and evident in e.g. his documentary Fire in the Belly, his contemporary terms of reference for the epic in cinema. Developed his key formulation of the narrative sequence (as against the shot or the frame) from theories of performance and visual representation in Indian art, to define what he sees to be the two crucial needs of an oppositional art practice: the need ‘to innovate [and] to individuate’. Has addressed, from this vantage point, questions of nationalism, indigenous modernism, the forms of capitalist commodification and their impact on both feudal/patriarchal systems and on the Left movement. Recent work, such as Khayal Gatha and Bhavantarana (on Odissi dancer Guru Kelucharan Mahapatra), investigates more specifically the process of cultural classicisation in India, where the epic often comes to be the most precise representation for history itself. Writings on cinema published by Framework (No. 30/31, Dossier on Kumar Shahani). Major essays include ‘Film as a Contemporary Art’ (In Social Scientist, March, 1990) and the Rita Ray Memorial Lectures, ‘The Self as an Objective Entity’, ‘Narrativity’ and ‘Figures of Film’ (unpublished, 1987). Co-edited the book Cinema and Television (1991). Directed actress Alaknanda Samarth in two stage plays La Voix humaine and Kunti.

FILMOGRAPHY: 1966: The Glass Pane (Sh); 1967: Manmad Passenger (Sh); 1969: A Certain Childhood (Sh); 1970: Rails for the World (Sh); 1971: Object (Sh); 1972 Maya Darpan; 1973: Fire in the Belly (Doc); 1976: Our Universe (Sh); 1984: Tarang; 1987: Var Var Vari (Sh); 1988: Khayal Gatha; 1989: A Ship Aground (Sh); 1990: Kasha; 1991: Bhavantarana.

SHAILENDRA (1923–66)

Hindi and Urdu lyric writer often associated with Raj Kapoor’s films. Part of a long-lasting team with composers Shankar-Jaikishen and Urdu lyricist Hasrat Jaipuri. Worked in IPTA plays in Bombay. Employed in a railway yard when he was offered a job by Kapoor (Barsaat, 1949). Wrote many of the best-known songs of Kapoor’s 50s and 60s output, including the title numbers of Barsaat and Awara (1951) and Mera Naam Joker (1970). He also produced Teesri Kasam (1966), based on the novel by Phaneshwar Nath ‘Renu’, and starring Raj Kapoor and Waheeda Rehman. Wrote songs for c.170 films, working with several music directors.

Shaji see Karun, Shaji Narayanan

SHANKAR-JAIKISHEN, AKA SHANKARSINH RAGHUWANSHI (?-1987) AND JAIKISHEN DAYABHAI PANCHAL (1929–71).

Composers who started as orchestra musicians in Prithviraj Kapoor’s Prithvi Theatres where they first met Raj Kapoor. Jaikishen was born in Bulsar, Gujarat, and migrated to Bombay in 1945. Shankar was born in Hyderabad. They assisted composer Ram Ganguly in Kapoor’s inaugural production, Aag (1948). Scored Barsaat and continued working with Kapoor and his favourite playback singer, Mukesh, for the next two decades, including Awara and Shri 420. Their extraordinary popularity was enhanced by numerous films, e.g. Amiya Chakravarty’s Daag, Patita (using the singer Talat Mahmood), Seema and Kathputli, Vijay Bhatt’s Patrani and Hariyali Aur Raasta, Mohan Segal’s New Delhi, Bimal Roy’s Yahudi. Also did the Hindi films at AVM. Changed after Chori Chori to rock music in the Shammi Kapoor era: Nasir Hussain’s Jab Pyar Kisise Hota Hai, Subodh Mukherjee’s Junglee (with the famous Shammi Kapoor ‘Yahoo’ number) and April Fool; Rajkumar, An Evening in Paris etc. Composed for all leading playback singers, but also worked with unknown singers like Subir Sen and Sharada. After Jaikishen died, Shankar carried on scoring films signing their joint names. For Chandrasekhar’s Street Singer, Shankar used the name Suraj.

FILMOGRAPHY: 1949: Barsaat; 1951: Awara; Badal; Kali Ghata; Nagina; 1952: Daag; Parbat; Poonam; 1953: Aah; Aas; Aurat; Naya Ghar; Shikast; Patita; 1954: Badshah; Boot Polish; Mayurpankh; Pooja; 1955: Seema; Shri 420; 1956: Basant Bahar; Chori Chori; Halaku; Kismet Ka Khel; New Delhi; Patrani; Rajhaath; 1957: Begunah; Kathputli; 1958: Baghi Sipahi; Yahudi; 1959: Anari; Chhoti Bahen; Kanhaiya; Love Marriage; Main Nashe Mein Hoon; Shararat; Ujala; 1960: College Girl; Dil Apna Aur Preet Parayi; Ek Phool Char Kaantejis Desh Mein Ganga Behti Hai; Singapore; 1961: Aas Ka Panchhi; Boy Friend; Job Pyar Kisise Hota Hai; Junglee; Karodpati; Roop Ki Rani Choron Ka Raja; Sasural; 1962: Aashiq; Asli Naqli; Dil Tera Diwana; Hariyali Aur Raasta; Professor; Rangoli; 1963: Dil Ek Mandir; Ek Dil Sau Afsane; Hamrahi; 1964: Apne Huye Paraye; April Fool; Aayi Milan Ki Bela; Beti Bete; Rajkumar; Sanjh Aur Savera; Sangam; Zindagi; 1965: Arzoo; Gumnaam; Jaanwar; 1966: Amrapali; Badtameez; Gaban; Love in Tokyo; Pyar Mohabbat; Suraj; Teesri Kasam; Street Singer (only Shankar); 1967: Aman; An Evening in Paris; Around the World; Chhotisi Mulaqat; Diwana; Gunahon Ka Devta; Hare Kaanch Ki Chudiyan; Laat Saheb; Raat Aur Din; 1968: Brahmachari; Duniya; Jhuk Gaya Aasmaan; Kahin Aur Chal; Kanyadaan; Mere Huzoor; Sapnon Ka Saudagar; Shikar; 1969: Bhai Bahen; Chanda Aur Bijli; Jahan Pyar Mile; Prince; Pyar Hi Pyar; Sachaai; Shatranj; Tumse Achha Kaun Hai; Yakeen; 1970: Bhai Bhai; Dharti; Mera Naam Joker; Pagla Kahin Ka; Pehchan; Turn Haseen Main Jawan; Umang; Jwala; Bombay Talkie; 1971: Albela; Andaz; Balidan; Duniya Kya Jaane; Ek Nari Ek Brahmachari; Elaan; Jaane Anjane; Jawan Mohabbat; Kal Aaj Aur Kal; Lai Patthar; Main Sundar Hoon; Nadaan; Parde Ke Peechhe; Patanga; Preetam; Seema; Yaar Mere; Jeevitha Chakram; 1972: Aan Baan; Aankh Micholi; Aankhon Aankhon Mein; Bandagi; Beimaan; Dil Daulat Duniya; Jungle Mein Mangal; Rivaaj; 1973: Aaj Ki Taaza Khabar; Chori Chori; Daman Aur Aag; Door Nahin Manzil; Naina; Pyar Ka Rishta; Archana; 1974: Chhote Sarkar; Lnsaniyat; International Crook; Resham Ki Dori; Tarzan Mera Saathi; Vachan; Mera Vachan Geeta Ki Kasam; 1975: Do Jhooth; Love in Bombay; Neelima; Saazish; Sanyasi; 1977: Dhoop Chhaon; Duniyadari; 1978: Mehfil; 1979: Atmaram; The Gold Medal; 1980: Garam Khoon; 1981: Nari; Chorni; 1982: Eent Ka Jawab Patthar; 1984: Paapi Pet Ka Sawaal Hai; 1986: Inteqam Ki Aag; Kaanch Ki Deewar; Krishna Krishna.

SHANTARAM, RAJARAM VANKUDRE (1901–90)

Hindi and Marathi director, producer and actor aka V. Shantaram. Born in Kolhapur. Worked on the railways as a teenager; apprentice in Bal Gandharva’s Gandharva Natak Mandali (1914–15) where he was trained by people he later employed (e.g. Govindrao Tembe, the tabla master Tirakhwan); then odd-job man at a local cinema (1917). Became assistant photographer, then joined Painter’s Maharashtra Film (1920) learning all production skills, including acting (Surekha Haran, Sinhagad, Savhari Pash) and eventually directing Netaji Palkar. Left together with Damle, Fattelal, Keshavrao Dhaiber and S.B. Kulkarni to start Prabhat in Kolhapur (1929), directing all the studio’s silent films. Released 3 sound films in 1932 launching Durga Khote (e.g. Ayodhyecha Raja). Established Prabhat Studio in Pune (1933). Prabhat’s films made him one of the most celebrated Indian directors of the 30s. The spectacular Amritmanthan consecrated Shanta Apte as a major star. Married one of his stars, Jayshree (Shakuntala) and launched their daughter, Rajshree in Geet Gaya Pattharone. Later teamed up with the dancer and actress Sandhya (Jhanak Jhanak Payal Baaje). Chief Producer of Government Film Advisory Board during WW2 (producing documentaries, e.g. Sangeet Bharat, Song of Maharashtra, both 1956; Important People, Magic Touch and Symphony of Life, all 1957). Established his own studio Rajkamal Kalamandir in Parel, Bombay (1942). Founded V. Shantaram Prod., 1962. Published autobiography, Shantarama (1986). Up to 1933, followed the Painter mould of mythologicals and historicals, occasionally with political overtones (Udaykal). After 1933, following long visit to Germany’s UFA Studios, his films show the influence of the expressionist Kammerspiel film. Perceived by Shantaram himself as ‘classical’ art, the films arguably mobilise a 19th C. German Orientalism to achieve a modernist return to classic Sanskrit Indian cultural values. His later Rajkamal films ended up offering degraded versions of the classical arts (e.g. India’s first Technicolor film, the musical extravaganza Jhanak Jhanak Payal Baaje – later re-released in 70mm – or Jai Bin Machhli Nritya Bin Bijli). Early reformist socials (Kunku/Duniya Na Mane) were exemplary of the genre in pre-Independence India and led to e.g. Dr Kotnis Ki Amar Kahani (which pleased the British, the nationalists and the Communists all at the same time) and Do Aankhen Barah Haath. Lokshahir Ramjoshi (co-d. Painter) helped originate the Tamasha musical in Marathi cinema. His critical approach to feudal traditions in melodramas and socials, together with determined efforts to break into US and European markets (e.g. with Shakuntala) earned him the reputation of being influenced by foreign (read German and Hollywood) elements. Many, including K.A. Abbas, regard Manoos/Admi as his finest film.

V. Shantaram in his film Do Aankhen Bara Haath (1957)

FILMOGRAPHY (* also act/** act only): 1921: Surekha Haran**; 1923: Sinhagad**; Shri Krishnavatar**; 1924: Sati Padmini**; 1925: Shahala Shah**; Savkari Pash**; Rana Hamir**; Maya Bazaar**; 1926: Gaja Gauri**; Bhakta Prahlad**; 1927: Muraliwala**; Sati Savitri**; Netaji Palkar (with K. Dhaiber); 1928: Maharathi Kama**; 1929: Baji Prabhu Deshpande**; Nisha Sundari**; Gopal Krishna; 1930: Rani Saheba*; Khooni Khanjar; Udaykal*; 1931: Chandrasena (all St); 1932: Ayodhyecha Raja/Ayodhya Ka Raja; Jalti Nishani/Agnikankan; Maya Machhindra; 1933: Sinhagad; Sairandhri; 1934: Amritmanthan; 1935: Chandrasena; Dharmatma; 1936: Amar Jyoti; 1937: Kunku/Duniya Na Mane; 1939: Manoos/Admi; 1941: Shejari/Padosi; 1943: Shakuntala; 1944: Parbat Pe Apna Dera*; 1946: Dr Kotnis Ki Amar Kahani*; 1947: Lokshahir Ramjoshi/Matwala Shayar Ramjoshi; 1949: Apna Desh/Nam Naadu; 1950: Dahej; 1951: Amar Bhoopali; 1952: Parchain; 1953: Surang; Teen Batti Char Raasta; 1954: Subah Ka Tara; 1955: Jhanak Jhanak Payal Baaje; 1957: Do Aankhen Barah Haath*; 1959 Navrang; 1961: Stree*; 1963: Sehra; 1964: Geet Gaya Pattharone; 1965: Lye Marathyachi Nagari/Ladki Sahyadri Ki; 1967: Boond Jo Ban Gaye Moti; 1971: Jai Bin Machhli Nritya Bin Bijli; 1972: Pinjra; 1977: Chaani; 1986: Jhanjhar.

SHARADA (B. 1945)

Aka Saraswati, aka ‘Urvashi’ Sharada. Malayalam, Telugu, Tamil and Hindi star born in Tenali, AP. Studied Bharat Natyam dance as a child. Early youth in Burma. Spotted by L.V. Prasad in a Telugu play, Rakthakanneeru. Married Chalam, the co-star of her début film, Tandrulu Kodukulu. Second film, Iddaru Mithrulu, a hit made by Adurthi Subba Rao for A. Nageshwara Rao’s Annapurna Studio, established her in mid-budget Telugu melodramas in secondary roles and as a comedy actress. Sivaji Ganesan noticed her in Athreya’s play Thirupati which led to her first Tamil film, Kumkumam. Achieved major stardom in Malayalam with Kunchako’s Inapravugal. Best film work is in Malayalam, e.g. for Sethumadhavan, A. Vincent and Kariat, with intensely emotional performances chronicling the decline of matriarchal power. Oru Minnaminuginte Nurungu Vettam cast her with Nedumudi Venu playing retired school teachers. Cast in Adoor Gopalakrishnan’s début Swayamvaram and in his Elippathayam, in K.G. George’s Lekhayude Maranam Oru Flashback and in P.N. Menon’s films. Returned to Telugu cinema when her award-winning Malayalam film by Vincent, Thulabharam, was remade in Telugu as Manushulu Marali and in Hindi as Samaj Ko Badal Dalo, featuring her in all three versions.

FILMOGRAPHY: 1961: Tandrulu Kodukulu; Iddaru Mithrulu; 1962: Atmabandhuvu; 1963: Valmiki; Thobuttuvulu; Kumkumam; 1964: Vazhkai Vazhvadarke; Arunagiri Nathar; Murali Krishna; Dagudu Moothalu; 1965: Chaduvukonna Bharya; Inapravugal; Kattuthulasi; Rajamalli; Kathiruna Nikkah; Murappennu; 1966: Manikya Kottaram; Archana; Pagal Kinavu; Jail; Kanmanikal; Karuna; Tilottama; Bhakta Potana; Shakuntala; Shrimati; 1967: Thallirukal; Irutinte Atmavu; Udyogastha; Arakillam; Anveshichu Kandatiyilla; Chitramela; Pareeksha; Kavalam Chundan; Kasavuthattam; Mulkireedam; 1968: Karutha Pournami; Manaswini; Asuravithu; Karthika; Kadal; Hotel High range; Punnapra Vyalar; Kaliyalla Kalyanam; Yakshi; Thulabharam; Midumidukki; Aparadhini; Agni Pareeksha; Mana Samsaram; 1969: Shri Rama Katha; Manushulu Marali; Vila Kuranja Manushyar; Veetu Mrugham; Kattukurangu; Susie; Adimagal; Sandhya; Mooladhanam; Jwala; Vilakkapetta Bandhangal; Nadhi; Velliyazhcha; Kootu Kudumbam; 1970: Mindapennu; Pearl View; Stree; Cross Belt; Kuttavali; Kakathampurati; Triveni; Tara; Samaj Ko Badal Dalo; Sambarala Rambabu; Pasidi Manasulu; Ambalapravu; 1971: Abhijathyam; Vilakku Vangiya Veena; Amayakuralu; Jeevitha Chakram; Pagabattina Paduchu; Sati Ansuya; Sisindri Chittibabu; 1972: Kalam Marindi; Manavudu Danavudu; Maya; Professor; Shri Guruvayoorappan; Gandharvakshetram; Anveshanam; Brahmachari; Swayamvaram; Gnana Oli; Snehadeepame Mizhi Thurakku; 1973: Enippadikal; Udayam; Veendum Prabhatam; Thekkan Kattu; Agni Rekha; Abhimanavanthulu; Ida Lokam; Jeevitham; Mallamma Katha; Sharada; Vishali; Mayadari Malligadu; Devudu Chesina Manushulu; 1974: Harathi; Urvashi (Te); Premalu Pellilu; Thulabharam; Radhamma Pelli; Adambaralu Anubandhalu; Palle Paduchu; Devudu Chesina Pelli; Oru Pidi Ari; Thayi Pirandhal; 1975: Ninaithathai Mudippavan; Ragam; Abhimanam; Palkadal; Thiruvonam; Saubhagyavati; Vaikunthapali; Bharati; Zamindarugari Ammayi; Balipeetam; 1976: Mahatmudu; Suprabhatam; Amritha Vahini; Chennai Valarthiya Kutty; Kanyadanam; Nurayum Pathayum; Ennai Pol Oruvan; Mazhai Megam; 1977: Aradhana; Amme Anupame; Anjali; Aparajitha; Hridayame Sakshi; Itha Ivide Vare; Rendu Lokam; Sridevi; Taxi Driver; Vishukkani; Indra Dhanushu; Swarganiki Nitchenalu; Bhale Alludu; Daana Veera Shura Karna; 1978: Navodayam; Anubhootikalude Nimisham; Asthamayam; Ithanende Vazhi; Mannu; Onappudava; Raghuvamsam; Rowdy Ramu; Society Lady; Sundari Marudde Swapnangal; Mattoli; Manoratham; 1979: Ente Sneham Ninakku Mathram; Ward No. 7; Karthika Deepam; Captain Krishna; Rajadhi Raju; Gorintaku; Shivamettina Satyam; Pichathikkuttappan; Pushyaragam; Priya Bandhavi; 1980: Alayam; Alludu Pattina Bharatham; Dharma Chakram; Pratishodh; Adhikaram; Akalangalil Abhayam; Mangala Gauri; Sannayi Appanna; Sardar Paparayudu; Ramudu Parashuramudu; Evar; Swarga Devata; Kaliyuga Ravana Surudu; Kodalu Vastunaru Jagratha; 1981: Elippathayam; Prema Natakam; OAmma Katha; Sindoor Bane Jwala; Alludugaru Zindabad; Nyayam Kavali; 1982: Nipputho Chelagatam; Jagannatha Rathachakralu; Pratikaram; Anantham Ajnatham; Ankuram; Ponmudi; Justice Choudhury; 1983: Lekhayude Maranam Oru Flashback; Nizhal Moodiya Nirangal; Apathbandhavudu; Durga Devi; Kala Yamudu; Kaliyuga Daivam; Poratham; Bandhipotu Rudramma; Bahudoorapu Batasari; Kumkuma Tilakam; Raghu Ramudu; Alaya Shikharam; Kurukshetramlo Seeta; Swarajyam; 1984: Raaraju; Apanindalu Adavallakena; Bobbili Brahmana; Iddaru Dongalu; Katha Nayakudu; Marchandi Mana Chattalu; Rowdy; Sardar; Ugra Roopam; Bharatamlo Sankharavam; Justice Chakravarthy Swati; Chadarangam; Bharyamani; Nimmajanam; Charitra Nayakan; Alaya Deepam; 1985: Bhale Tammudu; Agni Parvatham; Illaliko Pariksha; Maha Sangramam; Palnati Simham; Devalayam; Raktha Sindooram; Ee Samajam Maakodu; Adavi Donga; Bebbuli Veta; Vijeta; Pattabhishekham; Krishnagaradi; Intiko Rudramma; Pralaya Rudra; Thayi Mamathe; 1986: Kondaveeti Raja; Muddula Krishnaiah; Mr Bharat; Manavudu Danavudu; Khaidi Rudraiah; Ravana Brahma; Ansuyammagari Alludu; Deshoddharakulu; Apoorva Sahodaharulu; Jailupakshi; 1987: Rotation Chakravarthi; Repati Swarajyam; Muddayi; Agni Putrudu; Sharadamba; Bhargava Ramudu; Samrat; Lawyer Bharti Devi; Presidentgari Abbayi; Sankharavam; Kulala Kurukshetram; Ramu; Oru Minnaminuginte Nurungu Vettam; 1988: Prajaswamyam; Samsaram; Raktha Tilakam; Ashwathama; Illu Illalu Priyuralu; Donga Ramudu; Rowdy No. 1; Brahma Puthrudu; Maa Telugu Talli; Dharma Teja; August 15 Rathri; Rakthabhisekham; 1989: Manchi Kutumbam; Goonda Rajyam; Pardhudu; Raktha Kanneeru; Dhruvanakshatram; Nari Nari Naduma Murari; Dr Bhawani; 1990: Lorry Driver; Kadapa Redamma; Prema Khaidi; 1991: Jagannathakam; Nayakuralu; Coolie No. 1; 1992: Mother India; Killer; 1993: Major Chandrakant; Pelli Gola.

SHARDA FILM COMPANY

Studio set up by Bhogilal K.M. Dave and Nanubhai Desai under direct control of financier Mayashankar Bhatt (formerly of Hindustan Cinema Film) in 1925. The most famous of the silent era’s stunt film producers, Sharda’s output was marked by its biggest star, Master Vithal. Around his image they developed a style combining special effects with Arabian Nights exotica. Their fast editing has remained part of the genre ever since (cf. Dara Singh). Dave’s Suvarna Pics extended this approach, as did the Surya Studio (launched by former manager of Laxmi, Haribhai Desai) where Dhirubhai Desai made his directing début. Nanubhai Desai went on to found Saroj Movietone. Actors like Ganpatrao Bakre and Zunzharrao Pawar, working under Sundarrao Nadkarni’s direction, also continued the Sharda signature.

SHARMA, ARIBHAM SYAM (B. 1939)

Manipuri director born in Imphal. Graduated in philosophy and music from Shantiniketan. Lecturer in philosophy and worked in the Aryan Theatre in Imphal in the late 60s. Well-known singer with classical training. Films often written with Manipuri author Maharajkumari Binodini Debi and usually feature mystical versions of traditional cultures contrasted with economic modernity. Manipur’s marginalised and colonised relations with the Indian mainstream, leading to insurrectionist movements (70s and 80s), are referenced obliquely, e.g. the toy guns in Paokhum Ama, the child playing Krishna in a folk performance in Imagi Ningthem or the Meitei rituals in Ishanou. Acted in and scored the first Manipuri film, Deb Kumar Bose’s Matamgi Manipur (1972).

FILMOGRAPHY: 1974: Lamja Parashuram; 1976: Saphabee; 1979: Olangthagee Wangmadasoo; 1981: Imagi Ningthem; 1982: Paokhum Ama; 1983: Sagol Sanabi; 1986: Tales of Courage (Doc); 1988: Sangai Dancing Deer of Manipur (Doc); Keibul Lamjao National Park (Doc); Koro Kosii (Doc); 1989: The Deer on the Lake (TV); 1990: Ishanou; 1991: Indigenous Games of Manipur (Doc); 1992: Lai Haraoba (Sh).

SHARMA, KIDAR NATH (B. 1910)

Hindi director and scenarist born in Narowal, Sialkot (now Pakistan). Signboard painter at New Theatres; promoted to dialogue writer-lyricist for the studio’s Hindi versions, including Baruas Devdas (1935) and Mukti (1937), Debaki Bose’s Vidyapati (1937) and Sapera (1939). Author of classic Saigal numbers such as Balam aayo baso more man mein (Devdas). Moved to Bombay (1941). Established by the success of Chitralekha. Noted for having introduced several famous Hindi actors to their best-known image: e.g. Mehtab (in Chitralekha), Ramola (Dil Hi To Hai), Shamim (Armaan), Raj Kapoor and Madhubala (Neel Kamal), Geeta Bali (Suhaag Raat). Acted the lead in his own Neki Aur Badi. Made several films at Ranjit Studio in mid-40s. In recent years made children’s films (e.g. Jaldeep). Wrote his own scripts, which were the films’ most saleable aspects. In an essay in Filmfare (1952), Sharma distanced himself from the dominant ways sensuality was portrayed in films, criticising ‘The director with the Cave Man conception of Love. This is the technique made vivid on the Indian screen mostly by Raj Kapoor and other film artistes graduating from the Prithvi Theatres.’ His own favoured technique was to evoke the passionate imagery of Urdu poetry in tragic romances (Jogan, Banwre Nain) with wide-angle shots of nature in the form of rain or howling wind playing a major commentative role. Made several shorts for the Children’s Film Society.

FILMOGRAPHY (* only act/** act also): 1935: Inquilab*; Devdas*; Dhoop Chhaon*; 1936: Karodpati*; 1937: Vidyapati*; 1939: Badi Didi*; Dil Hi To Hai; 1941: Chitralekha; 1942: Armaan; 1943: Gauri; Vish Kanya; 1944: Bhanwara; Kaliyan; Mumtaz Mahal; 1945: Chand Chakori; Dhanna Bhagat; 1946: Duniya Ek Sarai; 1947: Neel Kamal; 1948: Suhaag Raat; 1949: Neki Aur Badi**; Thes; 1950 Banwre Nain; Jogan; 1951: Bedardi; Shokhiyan; 1952: Sapna; 1953: Gunah; Jhanjhar; 1955: Chhora Chhori; 1956: Jaldeep; Rangeen Raatein; 1957: Bachchon se Baatein (Doc); Ganga Ki Lehren (Sh); 1958: Scout Camp; Gulab Ka Phool (Sh); 1959: Ekta (Sh); 1960: Chetak; Meera Ka Chitra (Sh); 1961: Hamari Yaad Ayegi; Mahateerth (Sh); 1964: Chitralekha; Fariyad; 1967: Maikhana; 1972: Kavi Sammelan (Doc); 1981: Pehla Kadam; 1983: Khuda Hafiz.

SHARMA, RAMESH

Hindi director born in Kalimpong near Darjeeling, where he attended university. Postgraduate studies in Montreal at McGill University. Returned to India (1974) and joined a media company in Calcutta. Made ads for the Sikkim Government. Went independent in 1979. Through his own company, Rigsum Prod., published the book Images of Sikkim. Feature début in 1985. Produces current affairs series for TV, Focus.

FILMOGRAPHY: 1979: Rumtek: A Monastery Wreathed in a Thousand Rainbows (Sh); 1981: Drikung: A Faith in Exile (Sh); 1985: New Delhi Times.

Sharmaji see Khayyam, Mohammed Zahur Shobhana Samarth see Samarth, Shobhana

SHOBHAN BABU (B. 1936)

Telugu star born in Tallidevarapalli, Krishna Dist., AP. Studied science and law; broke into films playing Lakshmana in NTR’s mythological Seeta Rama Kalyanam; also played Abhimanyu in Nartanasala and Veer Abhimanyu (his first solo hit). Early films extended the classic Vijaya Studio-NTR idiom, e.g. third film, K. Kameshwara Rao’s Mahamantri Timmarasu. Departed from mythologicals and aristocratic roles with Loguttu Perumallukeruka, achieving great success with Manasulu Marali. Made the hit cop movie Goodachari 116 with main rival, G. Krishna. Although known mainly for macho roles in action melodramas and musicals e.g. by V. Madhusudana Rao, returned to mythologicals with e.g. Bapu’s Sampoorna Ramayanam and Kameshwara Rao’s Kurukshetramu.

FILMOGRAPHY: 1960: Bhakta Shabari; 1961: Seeta Rama Kalyanam; 1962: Mahamantri Timmarasu; 1963: Somavara Vratham; Irugu Porugu; Chaduvukonna Ammayilu; Nartanasala; 1964: Navagraha Pooja Mahima; Mahiravana; Deshadrohulu; 1965: Prameelarjuneyam; Veer Abhimanyu; Bangaru Panjaram; 1966: Loguttu Perumallukeruka; Potti Pleader; Kanne Manasulu; Goodachari 116; 1967: Pinni; Satyame Jayam; Private Master; Shri Krishnavataram; Poolarangadu; Aada Paduchu; Raktha Sindooram; Kambojaraju Katha; Punyavati; Pattu Kunte Padivelu; 1968: Bharya; Chuttarikalu; Lakshminivasam; Pantalu Pattimpulu; Jeevitha Bandham; Kalasina Manasulu; Kumkumabharina; Mana Samsaram; 1969: Manchi Mithrulu; Mooganomu; Vichitra Kutumbam; Sattekalapu Sattaiah; Mamaku Tagga Kodalu; Nindu Hridayalu; Buddhimanthudu; Manasulu Marali; Mathrudevata; Kannulapanduga; Tara Sasankam; Pratikaram; 1970: Bhale Goodachari; Desamante Manushuloi; Iddaru Ammayilu; Maa Manchi Akkaiah; Mayani Mamata; Pasidi Manasulu; Inti Gauravam; Pettandarulu; Talli Tandrulu; Jagath Jettelu; 1971: Mooga Prema; Jagath Jentreelu; Bangaru Talli; Chelleli Kapuram; Chinnanati Snehitulu; Dabukku Thha Dongala Muttha; Katha Nayakuralu; Koothuru Kodalu; Naa Thammudu; Sati Ansuya; Sisindri Chittibabu; Talli Kuthulu; Tehsildarugari Ammayi; Vichitra Dampathyam; Kalyana Mandapam; Ramalayam; 1972: Kalam Marindi; Kiladi Bullodu; Manavudu Danavudu; Pedda Koduku; Sampoorna Ramayanam; Shanti Nilayam; Vamsodharakudu; Amma Mata; Kanna Talli; Bangaru Babu; 1973: Dr Babu; Ganga Manga; Puttinillu Mettinillu; Lda Lokam; Jeevana Tarangulu; Jeevitham; Kannavari Kalalu; Khaidi Baba; Sharada; Minor Babu; 1974: Chakravakam (Te); Kode Naagu; Andaru Dongale; Manchi Manasulu; Devudu Chesina Pelli; 1975: Soggadu; Andharu Manchivare; Babu; Jeevana Jyoti; Balipeetam; Jebu Donga; Pichimaraju; Gunavanthudu; 1976: Iddaru Iddare; Monagadu; Premabandham; Raja; Raju Vedale; Pogarubottu; 1977: Khaidi Kalidas; Ee Tharam Manishi; Gadusu Pillodu; Jeevitha Nauka; Kurukshetramu; 1978: Enki Nayudu Bava; Naidu Bava; Nindu Manishi; Mallepoovu; Radha Krishna; Manchi Babai; Kalanthakulu; 1979: Mande Gundelu; Karthika Deepam; Bangaru Chellalu; Judagadu; Gorintaku; Ramabanam; 1980: Chandi Priya; Sannayi Appanna; Chesina Basalu; Dharma Chakram; Ramudu Parashuramudu; Manavude Mahaniyudu; Pandanti Jeevitham; Deeparadhana; Kaksha; Ketugadu; Kodalu Vastunaru Jagratha; 1981: Jeevitha Ratham; Gharana Gangulu; Devudu Mamayya; Illalu; Jagamondi; Samsaram Santhanam; Alludugaru Zindabad; Girija Kalyanam; 1982: Pratikaram; Swayamvaram; Illali Korikalu; Balidanam; Krishnarajunulu; Iddaru Kodukulu; Korukunna Mogudu; Prema Moorthalu; Devatha; Vamsagauravam; 1983: Bandhulu Anubandhulu; Mugguru Monagallu; Mundadugu; Raghu Ramudu; Rajakumar; Todu Needa; 1984: Danavudu; Iddaru Dongalu; Kodetharachu; Mr Vijay; Bava Maradallu; Punyam Kodi Purushudu; Jagan; Abhimanyudu; Sampoorna Premayanam; Dandayatra; Illalu Priyuralu; Bharyamani; 1985: Maha Sangramam; Kongumudi; Devalayam; Jackie; Maharaju; Mugguru Mithrulu; Mangalya Balam; Sreevaru; Uriki Soggadu; 1986: Shravana Sandhya; Mr Bharat (Te); Jeevana Poratam; Jailupakshi; Driver Babu; Jeevana Rangam; Bandham; 1987: Ummadi Mogudu; Karthika Pournami; Punya Dampathulu; 1988: Samsaram; Chattamtho Chadarangam; Donga Pelli; Bharya Bartulu; 1989: Dorikite Dongalu; 1990: Doshi Nirdoshi; 1991: Sarpayagam; 1992: Balaram Krishnudu; 1993: Evandi Avide Ochindi; 1995: Asthi Muredu Ashe Baredu; Dora Babu.

SHOREY, ROSHAN LAL

Pioneer Punjabi cineaste. Started in photolitho dept. of the Military Staff College in Quetta. Specialised in photography in the USA and returned to Lahore where he founded Kamala Movietone (1924), later to house the Punjab Film Corp. set up in 1926 with R.L. as its technical director and facilities provided by Shorey Studios. Began film career with government-sponsored instructional films but sound prompted the move into features (the mythological Radhe Shyam). From 1942, Shorey Pics grew into a major financier and distributor of post-Independence Hindi film. His son Roop K. Shorey was the in-house director.

FILMOGRAPHY: 1932: Radhe Shyam; 1935: Swarg Ki Seedhi; 1940: Ik Musafir.

SHOREY, ROOP KISHORE (1914–73)

Hindi and Punjabi director and producer born in Quetta (now Pakistan). Son of R.L. Shorey. Cinematographer, lab assistant, editor and producer in Kamala Movietone. Produced and directed more than fifty shorts in Lahore. Turned feature director with the coming of sound, pioneering cheap versions of Bombay films: e.g. mythologicals, Laila-Majnu love stories and Tarzan movies. Although preceded in this by B.R. Oberai and Kardar, Shorey was the first to demonstrate the financial viability of this formula, esp. in partnership with distributor Dalsukh M. Pancholi (1938). Worked with Information Films of India in WW2. Migrated to Bombay following Partition. Established Shorey Films in Bombay (1948). His last film, Ek Thi Rita, is an English bilingual (A Girl Named Rita) intended to tap the US market. His wife Meena Shorey (1920–87) acted in several of his films and, after her hit song in Ek Thi Ladki, became known as the ‘La-ra-lappa’ girl.

FILMOGRAPHY: 1935: Majnu 1935; 1938: Tarzan Ki Beti; 1939: Khooni Jadugar; 1940: Dulla Bhatti; Ik Musafir; 1941: Himmat; 1942: Nishani; Mangti; 1943: Koel; 1945: Din Raat; 1946: Shalimar; 1947: Paro; 1948: Chaman; 1949: Ek Thi Ladki; 1951: Dholak; Mukhda; 1953: Aag Ka Dariya; Ek Do Teen; 1955: Jalwa; 1961: Ek Ladki Saat Ladke; Aplam Chaplam; 1962: Main Shaadi Karne Chala; 1966: Akalmand; 1971: Ek Thi Rita/A Girl Named Rita.

SIMHA, H. L. N. (1904–72)

Kannada director; also well-known Kannada Company Natak actor and stage director. Worked in several theatre companies such as Bharata Manolasini Co. (Mysore) and Gubbi Veeranna’s. Best stage work, including his own landmark play, Samsara Nauka, for Mohammed Peer’s Chandrakala Nataka which he filmed twice, in Kannada (1936) and Tamil (1948). Started his own Select Artists in the mid 30s. Started in film as assistant to Belgian director Raphael Algoet’s Veeranna-produced silent film, His Love Affair (1931). With theatre colleagues B. Puttaswamaiah and B.R. Panthulu, he abandoned the conventions of the mythological as practised by B.N. Sastry and the Gubbi Co., in favour of a more ‘contemporary’ approach, derived from the Amateur Dramatic Assoc.’s (Est: 1909) socials and historicals and from G.B. Shaw. In this respect, modernist Kannada cineastes paralleled the Marathi avant-garde of the 30s (see K. Narayan Kale). His films transposed his own plays and those of the Gubbi repertoire. Best-known: Bedara Kannappa, introducing Kannada superstar Rajkumar to the screen.

FILMOGRAPHY: 1936: Samsara Nauka; 1938: Muthal Mappillai; 1940: Tilottama; 1948: Samsara Nauka; 1953: Gunasagari/Sathya Shodhanai; 1954: Bedara Kannappa; 1955: Shiv Bhakta; 1959: Abba! A Hudgi; 1962: Tejaswini; 1971: Anugraha.

SINGH, DARA (B. 1928)

The best known of the B-grade stunt actors in the Master Vithal tradition. Born in Dharmuchak near Amritsar, Punjab. Started as a professional wrestler and later self-proclaimed world champion in live bouts usually with masked foreign challengers. Babubhai Mistri’s version of King Kong launched him in a stunt movie series often playing Tarzan. His early career extended the Mistri-Nanabhai Bhatt tradition of the Wadia Movietone and Prakash Pics stunt movie, in films like Samson and Shankar Khan. Set up his own Dara Films (1970) and turned to direction with a hit Punjabi devotional, Bhagat Dhanna Jat, made in the wake of Nanak Naam Jahaz Hai’s 1969 success. Later work in quasi-mythologicals playing characters like Balram or Hanuman. Often worked with director Chandrakant. Obtained a substantial urban working-class and semi-urban following. His most famous recent role as Hanuman, the monkey god revered by traditional village wrestlers in North India, was in Sagar’s television epic Ramayan. Also acted sentimental roles of the strong man with a tender heart in e.g. Anand, and the commando trainer in Karma. Kedar Kapoor paid tribute to the star with a feature called Dara Singh (1964). In the early 90s, promoted his son Vindoo in action films.

Dara Singh in Veer Bajarang (1966)

FILMOGRAPHY (* also d): 1954: Pehli Jhalak; 1962 King Kong; 1963: Awara Abdulla; Ek Tha Alibaba; Faulad; Rustom-e-Baghdad; King of Carnival; 1964: Aandhi Aur Toofan; Aaya Toofan; Badshah; Dara Singh; Hercules; Rustom-e-Rome; Samson; Veer Bhimsen; 1965: Bekhabar; Boxer; Hum Sub Ustad Hain; Khakaan; Lutera; Mahabharat; Raaka; Rustom-e-Hind; Saat Samandar Paar; Sangram; Sher Dil; Sikandar-e-Azam; Tarzan and King Kong; Tarzan Comes to Delhi; 1966: Dada; Daku Mangal Singh; Insaaf; Jawan Mard; Khoon Ka Khoon; Naujawan; Shankar Khan; Thakur Jarnail Singh; Veer Bajrang; Bahadur Daku; Husn Ka Gulam; 1967: Do Dushman; Nasihat; Sangdil; Sardar; Trip to the Moon; 1968: Balaram Shri Krishna; Jung Aur Aman; Thief of Baghdad; Watan Se Door; 1969: Apna Khoon Apna Dushman; Beqasoor; Chaalbaaz; Danka; Hum Ek Hain; Jaalsaaz; The Killers; Toofan; 1970: Anand; Choron Ka Chor; Gunahon Ke Raaste; Mera Naam Joker; Ilzaam; Nanak Dukhiya Sab Sansar*; 1971: Tulasi Vivah; Sher-e-Watan; Daku Mansingh; Kabhi Dhoop Kabhi Chhaon; Maya Bazaar; 1972: Dukh Bhanjan Tera Naam; Mele Mitran De; Lalkaar; Sultana Daku; Hari Darshan; Aankhon Aankhon Mein; 1973: Mera Desh Mera Dharam*; Phir Aya Toofan; The Criminals; 1974: Kunwara Baap; Bhagat Dhanna Jat*; Har Har Mahadev; Kisan Aur Bhagwan; Zehreela Insaan; Shaheed-e-Azam Sardar Bhagat Singh; 1975: Dharmatma; Dharam Karam; Warrant; 1976: Alibaba; Bajrang Bali; Raakhi Aur Rifle; Sawa Lakh Se Ek Ladaun*; 1977: Jai Mata Di; Bolo He Chakradhari; Ram Bharose; 1978: Bhakti Mein Shakti/Dhyanoo Bhagat*; Sone Ka Dil Lohe Ke Haath; Nalayak; 1979: Chambal Ki Rani; Banmanush; 1980: Shiv Shakti; Guru Suleman Chela Pahelwan; Khel Muqaddar Ka; Lambadarni; 1982: Rustom*; Main Inteqam Loonga; 1983: Aan Aur Shaan; Bhulekha; Unkhili Muttiar*; 1984: Shravan Kumar; 1985: Veer Bhimsen; Mard; Babul Da Vedha; 1986: Karma; Krishna Krishna; 1988: Mahaveera; Mardangi; Paanch Fauladi; Shiv Ganga; 1989: Elaan-e-Jung; Shehzade; Maut Ki Sazaa; 1990: Nakabandi; Triyatri; 1991: Ajooba; Dharam-Sankat; 1992: Prem Diwani; Main Hoon Sherni; 1993: Bechain; Anmol; 1994: Rakhwale; 1995: Ram Shastra.

SINGH, M. A.

Manipuri director. Graduated from Shantiniketan University in Bengal; obtained FTII diploma (1973) and moved to Bombay. Worked for TV, then returned to Manipur and made newsreels and documentaries. Shot his first feature, Manipur’s first colour film, on 16mm. Chairman of the Manipur Film Development Corporation. One incomplete film, Paikrachakrabadha, has been in the making for several years.

FILMOGRAPHY: 1983: Sanakeithel; 1984: Langlen Thadoi.

SINGH, SHANKAR V. RAJENDRA (B. 1948)

Kannada director; also worked extensively in Telugu and Hindi. Born in Mysore, Karnataka. Son of director Shankar Singh, itinerant exhibitor with Mahatma and Nehru Talkies; owner of the influential Kannada company, Mahatma Pics, started with Kemparaj Urs in 1947. Rajendra Singh entered films as child actor in 50s in his father’s Mahatma productions. Assisted Hunsur Krishnamurthy. Started Rohini Pics (1974), expanding it with a distribution wing (1976). Nagarhole is a children’s thriller modelled on disaster movies. Best-known film, Antha, remade in Hindi as Meri Awaaz Suno, introduced a Kannada version of the Bachchan-type vigilante, with publicity slogans enjoining audiences to ‘see it before it is banned’. Ganda Bherunda was strongly influenced by Mackenna’s Gold (1968). His war film, Muthina Hara, had one of the biggest-ever Kannada film budgets.

FILMOGRAPHY: 1975: Naga Kanye; 1977: Nagarhole; 1978: Kiladijodi; 1980: 1981: Antha; Simhada Mari Sainya; Bhari Bharjari Bete; Meri Awaaz Suno; 1984: Ganda Bherunda; Bandhana; Sharara; Mera Faisla; Aaj Ke Sholay; 1985: Ek Se Bhale Do; Prem Yuddham/Prem Yudh; Elam Singam; 1987: Thene Manasulu; 1990: Bannada Gejje; Muthina Hara; Prema Yuddham; 1993: Hoovu Hannu; 1994: Mahakshatriya; 1995: Kalyanotsava.

SINGH, SUCHET (?-1920)

Pioneer of the pre-studio era comparable to Dadasaheb Phalke and S.N. Patankar. Studied film-making in USA at Vitagraph. Returned to India (1917) and, with assistance from Haji Alia Rakhia (editor of the prominent Gujarati journal, Vismi Sadi), started Oriental Film (1919) in partnership between Abu Hasan (who later financed Irani), Chunilal Munim (later manager of Universal’s Bombay office), Mangaldas Parekh and H.M. Mehta. Went back to USA (1919); returned with actress Dorothy Kingdom and cameraman Baron Van Rayvon (probably Hollywood cameraman Roy N. Vaughan). Died in a car crash. His unfinished productions were apparently finished by his assistant and actor, Kanjibhai Rathod.

FILMOGRAPHY: 1920: Shakuntala; Rama Or Maya; Mrichhakatik; Narasinh Mehta; Doctor Pagal (all St).

SINGH, SURINDER (B. 1945)

Punjabi director born in Jullunder. Obtained degrees in the arts (1965) and in English (1969), then graduated from the FTII (1973). Films often address questions of Punjabi ethnicity: Sachcha Mera Roop Hai/Khalsa Mera Roop He, co-d by B.S. Shaad, dealt with the politically contentious concept of ‘Khalsa’, the term used by Guru Gobind Singh to define Sikhs as the chosen people and later inflected into a territorial Sikh nationalism, in a story where the heroine returns from abroad and learns about the history of her native Punjab. Other stories feature fratricidal conflicts within the Punjabi joint family, blood ties (in Dharti Sadi Maa two men are close friends until the wife of one is suspected of having an affair with the other) and feuds over agrarian property. His best-known film Marhi Da Deeva is based on a popular novel also adapted to the stage by Gurdial Singh (1964). Teaches at the FTII.

FILMOGRAPHY: 1976: Sachcha Mera Roop Hai; Dharti Saddi Ma; 1977: Saal Solvan Chadiya; 1979: Mutiyar; 1982: Reshma; 1989: Marhi Da Deeva/Deep; 1992: Udikan Saun Diyan.

SINHA, MALA (B. 1936)

Hindi and Bengali star of Nepali origin born in Calcutta. Introduced in Bengali films by Pinaki Mukherjee, acting in his classic Dhuli. Made her Hindi début in Kishore Sahu’s Hamlet followed by Amiya Chakravarty’s Badshah. Became one of the leading stars in 50s melodramas with a series of tragic roles often featuring marital discord. Played Guru Dutt’s former girlfriend in Pyaasa, the single mother in Yash Chopra’s Dhool Ka Phool and Ashok Kumar’s estranged wife in B.R. Chopra’s Gumrah. Her best-known performance was as the self-sacrificing Shobhana in Vijay Bhatt’s Hariyali Aur Raasta, she also did his next film Himalay Ki God Mein. Acted in the hit Maryada with the rising star Rajesh Khanna, but then receded into supporting roles. Currently promoting her daughter Pratibha Sinha as a star.

FILMOGRAPHY: 1953: Jog Biyog; Shri Krishna Leela; Roshanara; 1954: Bhakta Bilwamangal; Dhuli; Chitrangada; Badshah; Hamlet; 1955: Ekadashi; Riyasat; 1956: Putrahadhu; Paisa Hi Paisa; Rangeen Raatein; 1957: Surer Parashey; Prithibi Amar Chai; Louha Kapat; Aparadhi Kaun; Ek Gaon Ki Kahani; Fashion; Lal Batti; Nausherwan-e-Adil; Naya Zamana; Pyaasa; 1958: Bandhu; Lookochuri; Chandan; Detective; Devar Bhabhi; Ek Shola; Parvarish; Phir Subah Hogi; 1959: Chhabi; Khelaghar; Dhool Ka Phool; Duniya Na Mane; Jaalsaaz; Love Marriage; Main Nashe Mein Hoon; Ujala; 1960: Shaharer Ltikatha; Bewaqoof; Mitti Mein Sona; Patang; 1961: Raibahadur; Sathi Hara; Dharmaputra; Maya; Suhaag Sindoor; 1962: Aankh Micholi; Anpadh; Bombay Ka Chor; Dil Tera Diwana; Gyarah Hazaar Ladkiyan; Hariyali Aur Raasta; 19&3 Bahurani; Gehra Daag; Gumrah; Phool Bane Angarey; 1964: Apne Huye Paraye; Jahan Ara; Main Suhagan Hoon; Pooja Ke Phool; Suhagan; 1965: Abhoya-o-Shrikanta; Bahu Beti; Himalay Ki God Mein; 1966: Aasra; Baharen Phir Bhi Aayengi; Dillagi; 1967: Jaal; Jab Yaad Kisiki Aati Hai; Nai Roshni; Night in London; 1968: Aankhen; Do Kaliyan; Humsaya; Mere Huzoor; 1969: Do Bhai; Paisa Ya Pyar; Pyar Ka Sapna; Tamanna; 1970: Geet; Holi Aayee Re; 1971: Chahat; Maryada; Kangan; Sanjog; 1972: Lalkaar; Rivaaj; 1973: Archana; Kahani Hum Sub Ki; Rickshawala; 1974: Chhattis Ghante; Kora Badan; Phir Kab Milogi; 1975: Sunehra Sansar; 1976: Do Ladkiyan; Mazdoor Zindabad; Zindagi; 1977: Kabita; Prayashchit; 1978: Karmayogi; 1980: Berahem; Dhan Daulat; 1981: Harjaai; Yeh Rishta Na Toote; 1982: Nek Perveen; 1983: Babu; 1984: Aasmaan; 1985: Dil Tujhko Diya; 1992: Khel; Radha Ka Sangam; 1994: Zid.

SINHA, TAPAN (B. 1924)

Bengali director born in Calcutta. Studied in Bihar, where his family owned much land. Science graduate at Calcutta University (1945). Worked as sound engineer at New Theatres (1945–9) where he observed Nitin Bose and Bimal Roy. Did the sound for Satyen Bose’s Paribartan (1949). Invited to the London Film Festival, he stayed and spent a few months at Pinewood Studios (1950–1). Committed to making mid-budget ‘honest entertainment’. Worked in many genres including comedies and children’s films. Best-known work is derived from literature: e.g. Tagore (Atithi, Kabuliwala, Kshudista Pashan), Narayan Ganguly’s story Sainik (Ankush), Sailajananda Mukherjee’s Krishna (Upahar), Jarasandha (Louha-Kapat), Tarashankar Bandyopadhyay (Hansuli Banker Upakatha), Indramitra (Apanjan), Ramapada Choudhury (Kalamati, Ekhani), Samaresh Bose (Nirjan Saikate), Shankar (Ek Je Chhilo Desh), Sunil Ganguly (the children’s film Sabuj Dwiper Raja). Jhinder Bandi adapted John Cromwell’s The Prisoner of Zenda (1937). Films usually focus on literary rather than cinematic qualities. Occasionally made more expensive melodramas with major stars from Bengali (Uttam Kumar) or Hindi film (Ashok Kumar and Vyjayanthimala in Hatey Bazarey Dilip Kumar in Sagina Mahato). Introduced a brand of political cinema with Apanjan, later continued in Raja and Adalat-o-Ekti Meye, addressing the contemporary in the wake of the Naxalite uprising, revealing a greater sense of social critique when dealing with women’s oppression. Raja and Adalat-o-Ekti Meye were accused by Provas Phadikar, West Bengal’s Minister of Information & Cultural Affairs, of having incited political violence. Writes and scores many of his own films.

FILMOGRAPHY: 1954: Ankush; 1955: Upahar; 1956: Tonsil; Kabuliwala; 1957: Louha-Kapat; 1958: Kalamati; 1959: Kshaniker Atithi; 1960: Kshudista Pashan; 1961: Jhinder Bandi; 1962: Hansuli Banker Upakatha; 1963: Nirjan Saikate; 1964: Jotugriha; Arohi; 1965: Atithi; 1966: Galpa Holeo Satti; 1967: Hatey Bazarey; 1968: Apanjan; 1970: Sagina Mahato; 1971: Ekhani; 1972: Zindagi Zindagi; 1973: Andhar Periye; 1974: Sagina; Raja; 1975: Harmonium; 1976: Ek Je Chhilo Desh; 1977: Safed Hathi; 1979: Sabuj Dwiper Raja; 1980: Bancharamer Bagan; 1981: Adalat-o-Ekti Meye; 1983: Abhimanyu; 1984: Admi Aur Aurat; 1985: Baidurya Rahasya; 1986: Atanka; 1987: Aaj Ka Robin Hood; 1990: Ek Doctor Ki Maut; 1991: Antardhan; 1994: Wheelchair

SIPPY, GOPALDAS PARMANAND (B. 1915)

Director born in Hyderabad (Sind). Jailed as a student for participation in the Independence Movement. Became a lawyer and ran a restaurant in Karachi. Moved to Bombay following Partition. Floated G.P. Prod, with Sazaa (1951). Also produced Amiya Chakravarty’s Shahenshah (1953) and Raja Nene’s Radha Krishna (1954). Started Sippy Films, now one of the biggest Hindi producers and distributors, with Marine Drive. Concentrated on production and distribution in the 60s; since the early 70s a leading industry representative involved in government policy. Produced blockbusters such as Sholay (1975), Shaan (1980) and Sagar (1985) by his son Ramesh Sippy, a major box-office director. The music of his film Bhai Bahen was released under the title Blackmailer.

FILMOGRAPHY (* also act): 1955: Marine Drive; Adl-e-Jehangir; 1956: Chandrakant; Shrimati 420; 1958: Light House; 1959: Bhai Bahen; 1961: Mr India.