FILMOGRAPHY: 1971 Andaz; 1972: Seeta Aur Geeta; 1975 Sholay; 1980: Shaan; 1982: Shakti; 1985: Sagar; 1987–88: Buniyaad (TV); 1989: Bhrashtachar; 1991: Akela; 1995: Zamana Deewana.SIPPY, RAMESH (B. 1947)
Hindi director born in Karachi. Son of producer G.P. Sippy under whose banner he made most of his films. Graduated from Bombay University. Début, Andaz, is a love story featuring Rajesh Khanna at the peak of his popularity, Hema Malini and Shammi Kapoor. Known for big-budget multi-starrers. One of the few accomplished genre directors in India, he made a remarkable sci-fi espionage thriller (Shaan), a love story (Sagar) and virtually redefined the Hindi version of the western with Sholay, a hit of legendary proportions. His regular scenarists, Salim-Javed (more recently only Javed), helped define his story patterns enhanced by carefully choreographed, technically accomplished action sequences: Sholay’s opening chase sequence, based on How the West Was Won (1962), was made with the technical assistance of the British technician Jim Allen, as were the helicopter shots of Sunil Dutt’s kidnapping and murder in Shaan, shot in Somerset. Made the first major TV serial, Buniyaad, planned as a film drama shot on 16mm but deadlines forced him to shoot mainly on video.
FILMOGRAPHY: 1971 Andaz; 1972: Seeta Aur Geeta; 1975 Sholay; 1980: Shaan; 1982: Shakti; 1985: Sagar; 1987–88: Buniyaad (TV); 1989: Bhrashtachar; 1991: Akela; 1995: Zamana Deewana.
Niloufer (left) and G.P. Sippy in his film Bhai Bahen (1959)
SIVAN, PAPANASAM (1894–1973)
Tamil songwriter and composer. Originally called P.R. Ramaiyyer. Trained in music at the Maharaja’s Sanskrit College, Trivandrum. Became known as a classical musician in the Carnatic style at the royal court, where he was also a disciple of the musicians Mahadeva Bhagavathar and Samba Bhagavathar. Lived as an itinerant singer of devotional songs. Taught music to the members of a drama company at Papanasam village, TN, also acting in some plays. Moved to Madras (1930) and published his first book of devotional lyrics (1934). Film début for Prabhat Studio’s Tamil film Seeta Kalyanam (1933) as songwriter and composer. Had a big impact, esp. through the films in which M.S. Subbulakshmi and G.N. Balasubramanyam sang his compositions, on the induction of the Carnatic style into film music (e.g. Seva Sadan, 1938; Shakuntalai, 1940). Best-known work for K. Subramanyam: e.g. music and lyrics for Seva Sadan, and major roles in Bhakta Kuchela (1936) and Thyagabhoomi (1939). Also worked with Duncan, writing lyrics/music for Ambikapathy (1937) and Shakuntalai.
SOCIAL
See also Melodrama. The social is a loosely defined generic label for melodrama with a 20th C. setting, rehearsing a variety of ‘social’ issues. It overlaps with melodrama when these issues are elaborated in terms of family problems and sexuality. It also extends beyond melodrama by giving the social issues relating to tensions of modernisation a broader canvas than just the family. It would be possible to see the Social as an umbrella genre encompassing all stories with a 20th C. setting relying on an orchestration of affect at the expense of narrative propulsion. In this sense, the Social becomes a hegemonic genre absorbing melodrama. It is also possible to argue that the more a reformist story is treated cinematically, departing from the literariness of its model, the more melodramatic the result. In that sense, a Social is a film which is still insufficiently cinematic and a Melodrama would be a genuinely cinematic treatment of the issues addressed by reform literature. A narrower usage refers specifically to the films that emerged from the social reform movement initiated in British-controlled India towards the beginning of the 19th C. The reform movement in this sense was initiated by Christian missions (e.g. the Society for the Propagation of the Gospel, the London Missionary Society, the Church Missionary Society, the Wesleyan Mission, the Free Church Mission of Scotland) when they established institutionalised education (later extended by the British government). The impact was notable particularly in Bengal, Maharashtra, AP and Malabar (North Kerala). Among the first to redefine this reformism in line with the requirements of an Indian middle class was Raja Rammohan Roy (1772–1833) who established the Brahmo Samaj (1828). His focus on the social oppression of women and the lower castes went together with his efforts to displace established religiosity by appealing to the Vedas and the Upanishads as embodying the ‘real’ tradition. The numerous texts of the movement, including journalism, archaeology and its privileged art form, the reform novel, repeatedly negotiate a ‘traditional’ idiom and symbology to find a way of representing modernity. Key novelists were the Bengali writers Bankimchandra Chatterjee, whose work, despite important differences, is extended by Rabindranath Tagore and the early 20th C. writers Bibhutibhushan and Tarashankar Bannerjee; the seminal Telugu playwright Gurzada Appa Rao (Kanyashulkam, 1892); the Malayalam writer O. Chandu Menon (Indulekha, 1889), the Marathi novelist Hari Narayan Apte and others. The form provided some of the key stereotypes for the early cinema: e.g. ‘More than half of Saratchandra [Chatterjeel’s 20 novels and about as many short stories deal either centrally or partially with the situation of a widow’ (Meenakshi Mukherjee, 1985). Elsewhere, e.g. in Karnataka, reformism produced key literary works (e.g. Masti Venkatesha Iyenagar, K.V. Puttappa) formulating a cultural universalism within the nationalist-regionalist experience, a strategy later adopted in many films. From the silent era onwards, Socials based on classic novels sought to transfer literature’s respectability to the cinema. At times (e.g. in Maharashtra), reform novelists were hired as scenarists (Narayan Hari Apte, V.S. Khandekar). Bhavnani persuaded the best-known 20th C. Hindi-Urdu novelist, Premchand, to write a film script: Mazdoor (1934).
SOUNDARARAJAN, S. (?-1966)
Tamil director and producer, born in Kottacheri, TN. Worked with the Cummaiah theatre group and started Tamil Nadu Talkies (1933), débuting as director with the mythological Lavakusa. Introduced through his films actors like Vasundhara Devi, Krishnakumari, Rama Shankar, Gummadi Venkateshwara Rao, the musician and director S. Balachander, etc. His first Telugu film, the hit Chenchulakshmi, is composer C.R. Subburaman’s début. Films included early colour experiments, e.g. Mohini Rugmangada used hand-tinting for a sequence; Miss Sundari is printed in sepia, advertised as Trucolor. Best-known film: Rajadrohi, featuring an autocratic diwan from a princely state, a thinly disguised reference to CP. Ramaswamy Aiyer, Diwan of Travancore, who banned the film in his state, thus ensuring its success everywhere else. Directed the seminal Gubbi Veeranna Kannada stage adaption Hemareddy Malamma. Also credited with having set up the first processing lab in South India.
FILMOGRAPHY: 1934: Lavakusa; 1935: Gul-e-Bakavali; Mohini Rugmangada; 1936: Mahabharatam; 1937: Miss Sundari; 1938: Rajadrohi; 1940: Thirumangai Alwar; 1942: Bhakta Naradar; 1943: Chenchulakshmi; 1945: Hemareddy Malamma; 1950: Adrushta Deepudu; 1951: Navvitte Navarathrulu; 1952: Penn Manam.
SRIDEVI (B. 1960)
Major star mainly known until the mid-80s for Tamil and Telugu films, then for big-budget Hindi films. Started as a child actress aged 5 with Sivaji Ganesan (Kandan Karunai); also with MGR (Nam Naadu). Became a major star with Bharathirajaa’s début Pathinaru Vayathinile, its Hindi remake Solva Sawan being her first Hindi film. She had earlier featured with this film’s two male leads Kamalahasan and Rajnikant in Moondru Mudichu. Played in key NTR vigilante films (Vetagadu, Bobbili Puli) and opposite the Telugu star Krishna. Made Hindi B-movies with Dasari Narayana Rao, K. Raghavendra Rao and K. Bapaiah, including dubbed versions of her Telugu films. Broke through in Hindi with K. Raghavendra Rao’s Himmatwala, and made several more films with its male lead Jeetendra. Shekhar Kapur’s Mr India was her first solo success, her famous song in this film, Hawa hawaii, being quoted in Mira Nair’s Salaam Bombay (1988). Of another song in Mr India Ravi Vasudevan writes: ‘In the most sexual of her performances, [s]he is sensualised by the lovemaking of an invisible man. It could be argued that this empty space invites the insertion of the male spectator, [b]ut it is somehow still consistent with the narcissistic, auto-erotic regime of sexuality implied in the persona of this female star.’ With her ‘sequined dress and feathers look’ (as choreographer Chinni Prakash put it) and inch-long false eyelashes, Sridevi is the latest in a line of buxom South Indian stars (Vyjayanthimala, Rekha, Jayapradha). Nashilee Jawani was promoted as her first ‘sex film’. Highest-paid actress in India (until she was displaced by Madhuri Dixit), and the main sales asset of one of India’s most expensive films ever, Roop Ki Rani Choron Ka Raja.
FILMOGRAPHY: 1967: Kandan Karunai; 1969: Nam Naadu; Kumara Sambhavam; 1970: Swapnangal; Agni Pareeksha; Maa Nanna Nirdoshi; 1971: Poombatta; Bharya Biddalu; Naa Thammudu; Nenu Manishine; Shrimanthudu; 1972: Bala Bharatam; Kanimuthu Papa; Amma Mata; Raj Mahal; Badi Pantalu; Teerthayatra; 1973: Prarthanai; Mallamma Katha; Marapurani Manishi; Bhakta Tukaram; 1974: Avalukku Nihar Avale; 1975: Anuragalu; Devudulanti Manishi; Ee Kalapu Pillalu; Yashoda Krishna; Julie; 1976: Moondru Mudichu; Padavoyi Bharatheeyuda; Abhinandanam; Alinganam; Ashirvadam; Kuttavum Sitshayum; Thulavarsham; 1977: Gayatri; Kavikuyil; Sainthadamma Sainthadu; Pathinaru Vayathinile; Bangarakka; Vezhambal; A Nimisham; Amme Anupame; Angikaram; Antardhanam; Nalumani Pookkal; Nirai Kudam; Oonjal; Satyavan Savithri; 1978: Priya; Ayiram Janmangal; Elaya Rani Rajalakshmi; Ganga Yamuna Kaveri; Ithu Eppadi Irukku; Machanai Parthingala; Manitharil Ithanai Nirangala; Mudichooda Mannan; Pilot Premnath; Rajavukku Etha Rani; Sigappu Rojakkal; Taxi Driver; Vanakathukuria Kathaliye; Kannan Oru Kai Kuzhanthai; Radhai Ketra Kannan; Sakka Podu Podu Raja; Solva Sawan; Padaharella Vayasu; Avalude Ravukal; 1979: Sigappukkal Mookuthi; Dharma Yuddham; Kalyanaraman; Kavariman; Neela Malargal; Thayi Illamal Nanillai; Vetagadu; Buripalem Bullodu; Naan Oru Kai Parkiren; Lakshmi; Pagalil Oru Iravu; Arumbugal; Pattakathi Bhairavan; Karthika Deepam; Muddula Koduku; Samajaniki Saval; 1980: Guru; Johnny; Varumayin Niram Sigappu; Vishwa Roopam; Kaksha; Sardar Paparayudu; Sandhya; Bangaru Bhava; Prema Kanuka; Devudichina Koduku; Gharana Donga; Mama Allula Saval; Aatagadu; Adrushtavanthudu; Chuttalunnaru Jagratha; Rowdy Ramudu Konte Krishnudu; Ram Robert Rahim; Satyavandhudu; Gajadonga; Premabhishekham; 1981: Balanagamma; Daiva Thirumanangal; Meendum Kokila; Ranuva Veeran; Shankarlal; Bhoga Bhagyalu; Gadasari Attaha Sogasari Kodalu; Rani Kasularangamma; Akali Rajyam; Prema Simhasanam; Puli Bidda; Aggirava; Gharana Gangulu; Kondaveeti Simham; Guru Shishyulu; Illalu; Satyam Shivam; 1982: Moondram Pirai; Pookkari Raja; Thanikatu Raja; Vazhve Mayam; Bangaru Koduku; Devatha; Bangaru Kanuka; Bangaru Bhoomi; Anuraga Devatha; Krishnarajunulu; Vayyari Bhamulu Vagalamari Bharthulu; Krishnavataram; Shamsher Shankar; Bobbili Puli; Justice Choudhury; Aadi Vishnulu; Kalavari Samsaram; Daiviyin Thiruvilaiyadal; Premabhishekham; Prema Nakshatram; Thirisoolam; 1983: Adutha Varisu; Mundadugu; Adavi Simhalu; Muddula Mogudu; Urantha Sankranthi; Rama Rajyamlo Bheemaraju; Kirai Kotigadu; Ramudu Kadu Krishnudu; Himmatwala; Jaani Dost; Kalakaar; Mawaali; Sadma; Shri Ranganeethulu; Devi Sridevi; Lanke Bindelu; Simham Navindi; 1984: Akalmand; Amme Narayana; Aakhri Sangram; Jaag Utha Insaan; Maqsad; Naya Kadam; Tohfa; Zulm Ki Zanjeer; Inquilab; Tandava Krishnudu; Kodetharachu; Kanchu Kagada; 1985: Vajrayudham; Aaj Ka Dada; Balidan; Masterji; Sarfarosh; Pachani Kapuram; Santham Bheekaram; Joshilay; Aakhri Raasta; 1986: Karma; Aag Aur Shola; Bhagwan Dada; Dharam Adhikari; Ghar Sansar; Jadu Nagari; Jaanbaaz; Nagina; Suhagan; Sultanat; Naan Adimai Illai; Jayam Mande; Khaidi Rudraiah; 1987: Aulad; Himmat Aur Mehnat; Jawab Hum Denge; Majaal; Mr India; Nazrana; Watan Ke Rakhwale; 1988: Ram Avatar; Sherni; Waqt Ki Awaaz; Sone Pe Suhaaga; Aakhari Poratam; Halla Gulla; 1989: Gair Kanooni; Guru; Main Tera Dushman; Nigahen; Chandni; Chaalbaaz; Mera Farz; 1990: Jagadeka Veerudu Atiloka Sundari; Nakabandi; Patthar Ke Insaan; 1991: Kshana Kshanam; Lamhe; Farishte; Aasman Se Gira; Banjaran; 1992: Khuda Gawah; Laila Majnu; Roop Ki Rani Choron Ka Raja; Heer Ranjha; 1993: Gurudev; Gumrah; Chandramukhi; 1994: Gopikalyana; Govinda Govinda; S.P. Parashuram; Laadla; Chand Ka Tukda; 1995: Deva Ragam.
SRIDHAR, CHINGELPET V.
Major Tamil director of melodramas; also worked extensively in Telugu, Hindi and Kannada. Playwright while employed in a government office in his native Chingelpet. Became a scenarist after adapting his best-known play, Raktha Pasam, staged by the TKS Brothers, for R.S. Mani’s film (1954). Scripted e.g. Ch. Narayanamurthy’s Ethirparadathu (1954), T. Prakash Rao’s Amara Deepam, Mathar Kula Manikam (both 1956; the latter based on Tagore’s Nauka Dubt) and Uthama Puthran (1958). Partner in Venus Pics (1956). Directorial début with Kalyana Parisu for the producers of Amara Deepam. It is a successful love triangle presenting a neurotic man as a tragic hero and starred Gemini Ganesh and B. Saroja Devi. For his own Chithralaya Pics (1961), he scripted and directed e.g. Nenjil Ore Alayam, a story about three people in a hospital enhanced by the popular songs of A.M. Raja and shot by A. Vincent. It was remade as Dil Ek Mandir, Rajendra Kumar playing a doctor who has to cure the terminally ill husband (Raaj Kumar) of his former lover Meena Kumari. K. Hariharan suggests that Sridhar’s type of ‘intense emotional drama (was) confined to just two or three characters and with a strong emphasis on composition and gesture’. His best-known Hindi film, Pyar Kiye Jaa, adapting Kadalikka Neramillai, is a slapstick comedy featuring one of Mehmood’s most famous performances. Briefly partnered cameraman and Malayalam director Vincent in business in the 60s; his early work often featured the composer duo Vishwanathan and Ramamurthy. Launched Jayalalitha (in Vennira Adai), Ravichandran, Muthuraman and Kanchana as lead characters.
FILMOGRAPHY: 1959: Kalyana Parisu; 1960: Meenda Sorgam; Pelli Kanuka; Vidiveli; 1961: Nazrana; Punarjanmam; Thennilavu; 1962: Nenjil Ore Alayam; Policekaran Magal; Sumaithangi; 1963: Dil Ek Mandir; Nenjam Marappathillai; 1964: Kadalikka Neramillai; Kalai Kovil; 1965: Vennira Adai; 1966: Kodimalar; Manase Mandiram; Pyar Kiye Jaa; 1967: Nai Roshni; Nenjirukumvarai; Ootivarai Uravu; 1968: Saathi; 1969: Sivantha Mann; 1970: Dharti; 1971: Avalukendu Ore Manam; Duniya Kya Jaane; 1973: Alaigal; Gehri Chaal; 1974: Urimai Kural; 1975: Jagruthi; Lakshmi Nirdoshi; Ninagagi Nanu; Vaira Nenjam; 1976: Oh Manju; 1977: Meenava Nanban; Seeta Geeta Datithe; 1978: Elamai Vunjaladugiradhu; Vayasu Pilichindi; 1979: Azhage Unnai Aradikiran; Urvashi Neenu Nanna Preyasi/Urvashi Nive Naa Preyasi; 1980: Hare Krishna Hello Radha; Sundarime Varuga Varuga; 1981: Mohana Ponnagai; 1982: Dil-e-Nadaan; Nenaivellam Nithya; 1983: Oru Odai Nadhiyagiradhu; Thudikkum Karangal; 1984: Alaya Deepam; Prema Sangamam; Rowdilaku Saval; 1985: Thendrale Ennai Thodu; Unnai Thedi Varuven; 1986: Nanum Oru Thozhilali; Yaro Ezhuthai Kavithai; 1987: Andarikante Ghanudu; Lniya Uravu Poothathu; 1988: Premayanam; 1991: Thanduvitten Ennai.
SRINIVASAN, M. B. (1925–88)
One of the more enigmatic figures in Malayalam, Tamil and Telugu film music. Born in Chittor, AP; nephew of the CPI leader M.R. Venkatraman and himself a CPI member and organiser of the trade union movement in the Tamil film industry together with director Nemai Ghosh. Both were key figures in the brief career of the Leftist Kumari Films. Its best-known film, Padhai Theriyudu Paar, included the popular song written by Jayakantan and set to the xylophone, Thennan keetru oonjalile. His political allegiances hampered his Tamil career and he did his best-known work in Malayalam, initially for P. Subramanyam and K.S. Sethumadhavan, then for Adoor Gopalakrishnan (his use of the raga Chakravakam in Swayamvaram is a cinematic innovation), K.G. George (Adaminte Variyellu) and Lenin Rajendran (Swathi Thirunal). Best remembered for playing the lead in and scoring John Abraham’s Agraharathil Kazhuthai, where he used the melancholic Carnatic raga Neelambari, a lullaby usually sung by women, in the cow-milking scene. Composed choral songs like Vanam namadhu thandai and Bharatha samudayam in Dhakam.
FILMOGRAPHY: 1960: Padhai Theriyudu Paar; 1962: Sneha Deepam; Puthiya Akasam Puthiya Bhoomi; Kalpadukal; Kannum Karalum; Swargarajyam; 1963: Kaleyum Kaminiyum; 1964: Althara; Vivahahandham; 1966: Puthri; 1968: Kadal; Aparadhini; 1969: Nurse; 1970: Madhuvidhu; 1971: Vidyarthikale Ithile Ithile; Vimochana Samaram; 1972: Dhakam; Ini Oru Janmam Tharu; Swayamvaram; 1974: Kanyakumari; Uttarayanam (with Raghavan); Pathiravum Pakalvelichavum; Swarna Vigraham; 1975: Eduppar Kayi Pillai; Puthu Vellam; Prayanam; 1976: Sivathandavam; Voorummadi Brathukulu; Madana Malligai; 1977: Agraharathil Kazhuthai (also act); 1978: Onappudava; Bandhanam; Thrasam; 1979: Edavazhiyile Pucha Mindappucha; Ulkadal; 1980: Greeshamam;Kolangal; Oppol; Kala Thappitha Payilu; Mela; Vilkannudu Swapnangal; 1981: Elippathayam; Valarthu Mrugangal; Ilakkangal; Arathi; Manasinte Teertha Yatra; Venal; Vida Parayum Munpe; 1982: Yavanika; Ldavela; Layam; Varikkuzhi; 1983: Adaminte Variyellu; Akkare; Evedayo Oru Sathru; Katthi; Lekhayude Maranam Oru Flashback; Omana Thingal; Parasparam; Prem Nazirine Kanmanilla; Rachana; Rukma; Sagaram Shantham; Oru Swakariam; 1984: Mukha Mukham; Oru Kochu Swapnam; Panchavadippalam; Thathamme Poocha Poocha; 1985: Ayanam; Irakal; Kilippattu; Meenamasathile Sooryan; 1987: Purushartham; Swathi Thirunal; Manivathoorile Ayiram Sivarathrikal; Anantaram; 1988: Mattoral.
Telugu and Tamil actress; younger sister of Sriranjani (Senior). Born in Narasaraopet, AP. Known mainly for her roles as the long-suffering wife. In her Tamil film Parasakthi she epitomises the male ideal of virtuous Hindu womanhood. Joined films in Telugu with L.V. Prasad’s Grihapravesham as Lalita, the ill-reputed girlfriend of C.S.R. Anjaneyulu. Acted in films by K. Kameshwara Rao, K.V. Reddy and P.S. Ramakrishna Rao. Played the blind girl in the City Lights (1931) remake Raji En Kanmani. Retired from films in 1960, returning to play a few guest roles, usually of elderly mother-figures, after 1969.
FILMOGRAPHY: 1944: Bhishma; 1946: Grihapravesham; 1947: Gollabhama; 1948: Madalasa; 1949: Gunsundari Katha; Laila Majnu; Brahma Rath am; 1950: Vali Sugriva; 1951: Mantradandam; 1952: Prema/Kathal; Aadabrathuku; Manavati; Rajeshwari; Sankranti; Parasakthi; 1953: Bratuku Theruvu; Chandraharam; 1954: Pedda Manasulu; Raji En Kanmani/Raji Naa Pranam; Amara Sandesham; 1955: Santhanam; 1956: Shri Gauri Mahatyam; 1957: Swayamprabha; Premada Putri/Preme Daivam/Anbe Daivam; Vaddante Pelli; 1958: Shri Ramanjaneya Yuddham; 1959: Bhakta Ambarish; Ore Vazhi; 1960: Thilakam; Mahakavi Kalidasa; 1962: Shri Krishnarjuna Yuddham; 1965: Bangaru Panjaram; 1969: Bhale Tammudu; 1973: Bangaru Manushulu; Jeevana Tarangulu; Bhakta Tukaram; Snehabandham; Vishali; Pookkari; 1974: Kode Naagu; Inti Kodalu.
SRIRANJANI (SENIOR) (1906–39)
Actress known as ‘Senior’ to distinguish her from her younger sister, the Telugu and Tamil star Sriranjani (Junior). Born in Narasaraopet taluk, AP. A major singing star of the 30s; became known through her record albums and audio releases of plays by the Gramophone Company of India. Stage actress (often playing male roles, e.g. Abhimanyu, Satyavan, Krishna) in Krishna Vilas Nataka Samajam-produced mythologicals. Débuted in C. Pullaiah’s Lavakusa. Thereafter with Vel Pics in Shri Krishna Leelalu and Maya Bazaar. She died 4 years later from cancer.
FILMOGRAPHY: 1934: Lavakusa; 1935: Shri Krishna Leelalu; Nala Damayanti; 1936: Maya Bazaar; Sati Tulasi; 1937: Sarangadhara; 1938: Chitranaliyam; 1939: Varavikrayam.
SRI SRI (1910–83)
Telugu lyricist for over 150 films. Originally called Srirangam Srinivasa Rao; born in Vishakapatnam, AP. Major radical Telugu poet (e.g. Prabhava) and novelist (e.g. Veerasimha Vijayasimhulu). Introduced free verse into his socially concerned poetry (Maha Prasthanam). Known for the origiml songs for Ahuti (1950), a Telugu dubbed version of Junnarkar’s Neera Aur Nanda (1946). Some of the songs, Hamsavale o padava, Oogisaladenayya, Premaye janana marana leela, scored by Saluri Rajeshwara Rao, were major hits. Also did some strident songs like Padavoyi bharatiyudu in Velugu Needalu (1961). Biography and compilation of his writings by Chalasani Prasad (1990).
STAGE BACKDROPS
One of the earliest recorded uses of stage backdrops in the popular theatre was Vishnudas Bhave’s Marathi play Seeta Swayamvar (1853). The practice derived from the Sanskrit theatre where a mobile curtain called the yavanika or pati would be held by two men to modulate acting spaces: to mark different styles of entry of the gods and rakshasas (demons), to introduce the sutradhara (chorus) and vidushaka (jester-commentator), the women’s sanctum, etc. This device remains in use in Kathakali and related performance modes. The form developed in the Parsee theatre as a means of giving spectacular dimensions to the proceedings. Haji Abdullah’s Sakhawat Khodadost Badshah, staged by the Indian Imperial Co., used 14 curtains. The Zoroastrian Club’s famous backdrop for Badshah Ustaspa showed the angel Zarathustra with a ball of fire in his hands. Initially the curtains in the Parsee theatre were painted by Europeans (Italians, in particular), later by painters trained in Indian art schools. Some of the well-known artists incl. the German Kraus, Italians Ceroni and Rua, and Indian artists Pestonjee Madan, Ganpat, Bala and Dinshaw Irani. The scenes depicted became increasingly elaborate showing streets, gardens, industrial and urban locations. In the Lalitkaladarsh production of Mama Warerkar’s Satteche Gulam (1922), the painter P.S. Kale took the next logical step and duplicated a photograph of a Bombay street intersection on to the backdrop. Baburao Painter and his brother Anandrao were among the most famous backdrop painters in Western India. The back curtain had a double function: it presented a locale to match the one evoked in the fiction through dialogue and song, but it also provided a fantasy space beyond the physical, contiguous acting space on the stage where actors would constitute realistic tableaux. Both functions were crucial to early Indian cinema from Phalke and Hiralal Sen onwards. The pictorial paradoxes potentially set up by the relations between the backdrop space and the stage space helped determine the concept of the shot in early fiction films. The technique of spatial juxtaposition to ground the narrative in effect substituted spatial contiguity for temporal continuity, relaying the viewer’s gaze from one spatially fixed tableau to another.
SUBBAIAH NAIDU, M. V. (1896–1962)
Kannada actor-singer, best known for heroic roles in Company Natak. Started as child actor in Bailatta folk theatre. Played female roles in the Seeta Manohar Natak and worked with Simha in the Manolasini Co.; eventually joined Veeranna’s troupe (1925) where he achieved stardom. With R. Nagendra Rao, he staged Bhakta Ambarisha, Bhukailasa and Yachhamanayika (all were later filmed), introducing cinematic techniques to the Kannada stage and thus to early Kannda cinema: elaborate scene changes and backdrops, stage dimmers, spotlights, cycloramas and trick scenes such as the severing of Ravana’s head in Bhukailasa. Naidu established the pattern for the heroic look in his incarnation of Indrajit in the first Kannada talkie, Y.V. Rao’s Sati Sulochana, and as Charudatta in Vasantsena. Also composed the music for Bettada Kal la (1957).
FILMOGRAPHY (* also d). 1931: His Love Affair (St); 1934: Sati Sulochana; 1940: Bhukailasa; 1941: Vasantsena; 1943: Satya Harishchandra; 1947: Mahatma Kabir; 1958: Bhakta Prahlada*.
SUBBA RAO, ADURTHI (1921–75)
Mainstream Telugu director born in Rajamundhri, AP. Still photographer; assistant cameraman in Vijay Bhatt’s Prakash Studio (Bombay), editor (including parts of Uday Shankar’s Kalpana, 1948), occasional lyricist (Okaroju Raju, 1944; Mangalsutram, 1946) and assistant to T. Prakash Rao. Also worked for Radha Films, Calcutta (1937). Best-known films at Annapurna provided art-house variation on melodrama, backed by Telugu megastar A. Nageshwara Rao. Early work acclaimed for its heightened realism (e.g. the bullock-cart race in Namminabantu). The experimental aspect, which in e.g. Thene Manasulu simply meant working with new faces such as the future star Krishna, became a strategy when Subba Rao combined with Nageshwara Rao to found Chakravarthi Chitra (Sudigundalu). Its commercial failure and that of Maro Prapancham, the company’s only other film, ended their experimental aspirations. Hindi début Milan remade Moogamanasulu with Sunil Dutt and Nutan. Made several Hindi and Tamil films.
FILMOGRAPHY: 1954: Amara Sandesham; 1957: Thodi Kodallu; 1958: Aadapettanam; 1959: Mangalya Balam/Manjal Magimai; Engal Kula Daivi; 1960: Namminabantu/Pattayilin Vetri; 1961: Velugu Needalu/ Thooya Ullam; Krishna Prema; Iddaru Mithrulu; Kumudam; 1962: Manchi Manasulu/Penn Manam; 1963: Chaduvukonna Ammayilu; Mamakaram; Kattu Roja; Neenkada Ninaivu; Moogamanasulu; 1964: Thayin Madiyil; Dr Chakravarthi; Dagudu Moothalu; 1965: Sumangali; Thene Manasulu; Todu Needa; 1966: Kanne Manasulu; 1967: Poolarangadu; Milan; Sudigundalu; 1968: Man Ka Meet; 1969: Doli; 1970: Darpan; Mastana; Maro Prapancham; 1971: Rakhwala; 1972: Jeet; Vichitra Bandham; 1973: Mayadari Malligadu; Insaaf; Jwar Bhata; 1974: Bangaru Kalalu; 1975: Gunavanthudu; Gajula Kishtayya; Sunehra Sansar; 1976: Mahakavi Kshetrayya.
SUBBURAMAN, C. R. (1921–52)
Telugu composer and singer born in Chintamani, Tirunel Dist., AP. Employed as harmonium accompanist and later composer at HMV, Madras, where he worked until 1945. Performed occasionally in film orchestras. First film as composer is Chenchulakshmi, after S. Rajeswara Rao and R.N. Chinnaiah had already worked on the film. His contribution is a major departure from established norms in its use of Latin American rhythms in the title music and for a tribal dance sequence. His first full assignment is for Ratnamala at the Bharani Studios, becoming a top Telugu film composer with the success of Laila Majnu. Regular composer for the Jupiter Studio. Established Vinoda Pics. (1950) in partnership with the writer Samudrala Raghavacharya and the director Vedantam Raghavaiah. The group made one of the most memorable musicals of the 50s, Devadasu, dedicated to him and released shortly after Subburaman died. Music historian V.A.K. Ranga Rao describes his compositions with M.L. Vasanthakumari in Tamil and with R. Balasaraswathi in Telugu as the norm for the 1943–53 period when playback was coming into South Indian film. Also occasionally sang in films, e.g. in N.S. Krishnan’s Manamagal/Pelli Koothuru (1951). Composed Lavangi with Bulo C. Rani under the name C.S. Ram.
FILMOGRAPHY: 1943: Chenchulakshmi; 1947: Ratnamala; 1948: Abhimanyu; Mohini; 1949: Laila Majnu; Kanniyin Kathali; Nallathamhi; Pavalakkodi; Ratnakumar; Velaikkari; 1950: Parijatham; Swapna Sundari; Vijayakumari; Lavangi; 1951: Roopavati; Marmayogi/Ek Tha Raja; Manamagal/Pelli Koothuru; 1952: Dharmadevata; Shanti; Prema; Daasi; 1953: Ammalakkalu/Marumagal; Chandirani; Devadasu; 1954: Sorgavasal.
SUBRAMANYAM, KRISHNASWAMY (1904–71)
Tamil director, scenarist and producer; key figure in the establishment of a Madras-based Tamil film industry. Born in Papanasam, TN. Started film career as scenarist and producer at R. Padmanabhan’s Associated Films, working e.g. on Raja Sandow’s silent film Peyum Pennum/The Devil and the Damsel (1930). Then started Meenakshi Cinetone with Alagappa Chettiar, directing his first film, Pavalakkodi, the film début of the legendary stage star M.K. Thyagaraja Bhagavathar. Early work derived mainly from Tamil stage conventions. He made a remarkable shift with the politically emphatic Balayogini, attacking the caste system. His best-known work, displaying a stridently nationalistic reformism, is contemporaneous with V. Shantaram’s and B.N. Reddi’s melodramas and culminates in Thyagabhoomi. Other classics in the genre are Seva Sadan, advocating a better deal for women, the Saint film Bhakta Cheta, critiquing Untouchability, and the war-effort film Manasamrakshanam. Established Madras United Artists (1935) with S.D. Subbulakshmi, but shot his films (Naveena Sadarame, Balayogini, Mr Ammanji) at East India Films in Calcutta. Expanded his company into the Motion Picture Producers Combines Studio, which later became Gemini when S.S. Vasan bought it. Made some Kannada mythologicals 1942–3 (Bhakta Prahlada, Krishna Sudama) and 1955–6 (Stree Ratna and Kacha Devayani). Some accounts suggest he supervised the direction of Andaman Kaithi (1952). Participated in the setting up of the South Indian Film Chamber of Commerce, the South Indian Artists Association and the Film Producers Guild of South India. Produced documentaries for Information Films of India, and was an adviser on Indian affairs for UNESCO’s International Film and Television Committee in the 50s. Ironically, the credit due to Subramanyam for establishing the political link between cinematic and institutional reformism was later claimed by the commercially populist Vasan at Gemini and by the political populism of the DMK Film which inflected the reformist conventions into their own very different programmes. His son, Subramanyam Krishnaswamy, wrote, with Eric Barnouw, the classic book, Indian Film (1963, updated 1980). May have directed a Sinhalese film, Kapatrika Rakshakayam.
FILMOGRAPHY: 1934: Pavalakkodi; 1935: Naveena Sadarame; Naveena Sarangadhara; 1936: Balayogini; Bhakta Kuchela; Usha Kalyanam; 1937: Kausalya Parinayam; Mr Ammanji; 1938: Seva Sadan; 1939: Thyagabhoomi; 1940: Mani Mekalai; Bhakta Cheta; 1941: Prahladan; Kacha Devayani; 1942: Bhakta Prahlada; Ananthasayanam; 1943: Krishna Sudama; 1944: Bhartrahari; Manasamrakshanam; 1946: Vikatakavi; 1947: Vichitra Vanitha; 1948: Gokula Dasi; 1949: Geetha Gandhi; 1955: Stree Ratna; 1956: Kacha Devayani; 1959: Pandithevan.
SUBRAMANYAM, P. (1910–78)
Malayalam director and producer born in Nagercoil, TN. Owner of Merryland Studio, Ernakulam (Est: 1951), the second studio in Kerala after Kunchako’s Udaya and a major influence in the establishment of Kerala’s Malayalam film industry. Started as exhibitor with the first permanent sound cinema in Kerala, the New Theatres in Trivandrum. A large part of his own films, produced with the studio-affiliated Neela Pics, were mid-budget melodramas often based on Kanam and Mutatthu Varkey’s stories. Made Randidangazhi, a rare script by Malayalam novelist Thakazhy Shivashankar Pillai. His mythologicals had bigger budgets and often dealt with religious cults surrounding the temples of Guruvayoor and Sabarimalai. Some of them featured Tamil star Gemini Ganesh (e.g. Kumara Sambhavam). Not to be confused with a 1970s Telugu director of the same name.
FILMOGRAPHY: 1956: Manthravadi; 1957: Padatha Paingili; Jailpully; 1958: Mariakutty; Randidangazhi; 1959: Yanai Valartha Vanampadi; 1960: Petraval Kanda Peru Vazhvu; Poothali; 1961: Christmas Rathri; Bhakta Kuchela; Yar Manamagam; 1962: Shri Rama Pattabhishekham; Sneha Deepam; 1963: Snapaka Yohannan; Kaleyum Kaminiyum; 1964: Atom Bomb; Althara; 1965: Kaliyodam; Pattu Thoovala; 1966: Puthri; Kattumallika/Kattu Malligai; Priyatama; 1968: Kadal; Hotel Highrange; Adhyapika; 1969: Urangatha Sundari; Kumara Sambhavam; 1970: Swapnangal; 1971: Kochaniyathi; Yanai Valartha Vanampadi Magan; Adavi Veerulu; 1972: Professor; Shri Guruvayoorappan; 1973: Hum Jungli Hain; Malai Nattu Mangai; Kaadu (Mai); Swargaputhri; 1974: Vandikkari; Devi Kanyakumari; 1975: Swami Ayyappan; 1976: Amba Ambika Ambalika; Hridayam Oru Kshetram; 1977: Shri Murugan; Vidarunna Mottugal; Rowdy Rajamma; 1979: Hridayathinte Nirangal.
SUHASINI (B. 1961)
Prathap Pothan and Suhasini in Nenjathai Killathey (1980)
South Indian actress born in Parmakudi, TN. Daughter of actor Charuhasan and niece of the Tamil star Kamalahasan. Known for performances in Malayalam, Telugu and Kannada films. Trained as a cinematographer at the Madras Film Institute. Assistant to J. Mahendran, who introduced her as an actress (Nenjathai Killathey). Often cast in ‘positive’ female roles (e.g. Swati, Lawyer Subasini) developing a mature performance style best used in her Malayalam films (e.g. K.G. George’s Adaminte Variyellu, Padmarajan’s Koodevide?). Best known Tamil film is K. Balachander’s Sindhu Bhairavi. Directed the TV series Penn, and made the nationalist Indira, scripted by her husband Mani Rathnam.
FILMOGRAPHY: 1980: Nenjathai Killathey; Kotha Jeevithulu; 1981: Palaivana Solai; Kudumbam Oru Kadambam; Madhumalar; 1982: Kalyana Kalam; Lottery Ticket; Manchu Pallaki; Marumagaley Varuga; Nandri Meendum Varuga; Thottalsudum; Gopurangal Saivatbillai; Azhagiya Kanney; Agaya Gangai; Manisbiku Charithra; 1983: Benki Alii Aralida Hoovu; Koodevide?; Maa Intiki Randi; Maba Maharaju; Mukku Pudaka; Oru Indhiya Kanavu; Thayi Veedu; Uruvavugal Maralam; Veetile Raman Veliyele Krishnan; Shubha Muhurtam (Tam); Adaminte Variyellu; Pudhiya Sangamam; Muddula Mogudu; 1984: Illalu Priyuralu; Arorumariyathe; Adhiko Alladiko; Aksharangal; Aparadhi; Bandhana; Challenge; Gudigantalu Mrogayi; Mangammagari Manavudu; Nirdoshi; Santhanam; Swati; Thathamme Poocha Poocha; Unni Vanna Divasam; Bava Maradallu; Intiguttu; Justice Chakravarthy; Ente Upasana; 1985: Bullet; Sindhu Bhairavi; Kirathakudu; Kongumudi; Mangalya Bandham; Jackie; Shiksha; Mugguru Mithrulu; Muddula Manavaralu; Brahma Mudi; Dampatyam; Maharaju; Sagar (Te); Katha Ithuvare; Mazhakkala Megham; Hosa Neeru; 1986: Patnam Pilla Palletoori; Mr Bharat; Karpura Deepam; Sirivennela; Usha; 1987: Lawyer Suhasini; Aradhana; Thene Manasulu; Punya Dampathulu; Presidentgari Abbayi; Brahma Nayudu; Sardar Krishnama Nayudu; Gauthami; Manivathoorile Ayiram Sivarathrikal; Ezhuthapurangal; Samsaram Oka Chadarangam; Manadhil Urudhi Vendhum; Manchi Donga; 1988: Chuttalabbai; Chattamtho Chadarangam; En Bommu Kutti Ammavukku; Bharya Bartulu; Marana Mridangam; Suprabhata; Dharmathin Thalaivan; Ramudu Bheemudu; Oru Sayahnathinte Swapnam; Oohakachavadam; 1989: En Purushanthan Enakkum Mattumthan; Bala Gopaludu; Mamatala Kovela; 1990: Muthina Hara; 1993: Radhasarathi; 1994: Shubhalagnam; 1995: Indira (only d.).
SUKHDEV SINGH SANDHU (1933–79)
India’s leading Griersonian documentarist. Born in Dehra Dun; son of a Sikh farmer from Ludhiana. Educated in Bombay. Assistant to the German émigré cineaste Paul Zils (1955). Directorial début with film on handmade paper industry produced by Zils. When Zils left India, set up own company, United Film Arts (1958). First major work: And Miles To Go… (though censors imposed a hectoring soundtrack). Worked mostly for Films Division where he made several industrial and instructional films. Best-known film, India 67 (released as An Indian Day, later shortened and released as India Today), used documentary montage technique and rhythmic association of images. Also mixed documentary with enacted footage, casting himself (e.g. No Sad Tomorrow) and his family (After the Eclipse). Intense sympathiser with the Mukti Bahini’s Bangladeshi independence struggle. Extended the Griersonian aesthetic with a combination of highly stylised yet bluntly propagandistic movies (e.g. Nine Months To Freedom). Made one feature, starring Shashi Kapoor and Sharmila Tagore: My Love, shot in Kenya. Major propagandist for Indira Gandhi’s Emergency rule. Suffered from alcoholism and died of a heart attack in Delhi. His last film, Shaira, a documentary on Meena Kumari, was finished by S.S. Gulzar. Published work includes talks on documentary practice as well as poems in English and in Urdu. Acted in Abbas’s Saat Hindustani (1969), in a Punjabi feature by Dara Singh and in Merchant-Ivory’s Bombay Talkie (1970). Left an unfinished film, Four Directors, with footage of Kurosawa, Antonioni, Kazan and S. Ray at the Delhi Film Festival (1977). A friend and colleague, Jag Mohan, published a commemorative monograph on Sukhdev (1984).
FILMOGRAPHY: 1958: Wazir the Kazhgi; 1960: The Saint and the Peasant; 1961: The Evolution and Races of Man; 1962: Man the Creator; Castor; 1964: After the Eclipse; Frontiers of Freedom; 1965: And Miles To Go…; Kal Udaas Na Hogi/No Sad Tomorrow; 1967: India 67; Homage to Lai Bahadur Shastri; 1968: Thoughts in a Museum; 1970: Tomorrow may be Too Late; Kathak; My Love; 1971: A Village Smiles; Khilonewala; 1972: Nine Months to Freedom: The Story of Bangladesh; 1973: Co-operation is Success; You Must Be Your Own Policemen; Science-4; 1974: Behind the Breadline; Violence: What Price? Who Pays? No. 4; Wild Life Sanctuaries of India; Voice of the People; A Few More Questions; 1975: For a Happier Tomorrow; The Food Front; Maa Ki Pukar; 1976: Thunder of Freedom; 1977: After the Silence; New World of Power; 1978: Maha Kumbh; 1980: Shaira.
SULOCHANA (1907–83)
Born in Pune as Ruby Myers, one of the many Eurasian actresses to become silent stars (cf. Seeta Devi, Patience Cooper and Ermeline). A former telephone operator (1925), she became a star under Bhavnani’s direction at Kohinoor. Reputedly the highest-paid star in the film industry at Imperial. She was billed as the Queen of Romance or the Jungle Queen in De Mille-type costume epics, often co-starring with D. Bilimoria under her favourite director, R.S. Choudhury. A fair portion of Imperial’s sound films were remakes of their silent Sulochana hits. e.g. Anarkali (1928 and 1935), Indira BA (1929, remade as Indira MA in 1934), Wildcat of Bombay (1927, remade as Bambai Ki Billi in 1936), Khwab-e-Hasti/Magic Flute (1929 and 1934) and Madhuri (1928 and 1932). In Wildcat of Bombay, she played eight roles including a gardener, a policeman, a Hyderabadi gentleman, a street urchin, a banana seller and a European blonde. Also known for costumed period movies, e.g. Alibaba and her favourite role of Anarkali. Jaswantlal pays tribute to her association with the Anarkali figure in his 1953 version of the legend (where he casts her as Salim’s mother). Started her own Rubi Pics in the mid-30s, continuing production after she retired as actress. From the 60s, she had to accept cameo roles in Hindi films. Ismail Merchant’s short, Mahatma and the Mad Boy (1974), contains a passing tribute to her.
FILMOGRAPHY: 1925: Veer Bala; Cinema Ni Rani; 1926: Telephone Ni Taruni; Pagal Premi; Mumtaz Mahal; Ra Kawat; Samrat Shiladitya; Typist Girl; Bhamto Bhoot; 1927: Alibaba and the Forty Thieves; Naseeb Ni Lili; Balidan; Gutter Nu Gulab; Day a Ni Devi; Gamdeni Gori; Wildcat of Bombay; 1928: Anarkali; Madhuri; Rajrang; 1929: Heer Ranjha; Indira; Mewad Nu Moti; Khwab-e-Hasti; Punjab Mail; Talwar Ka Dhani; 1930: Hamarun Hindustan; Raat Ki Baat; 1931: Rani Rupmati; Noor-e-Alam; Khuda Ki Shaan (all St); 1932: Madhuri; 1933: Daku Ki Ladki; Saubhagya Sundari; Sulochana; 1934: Gul Sanobar; Indira MA; Khwab-e-Hasti; Piya Pyare; Devaki; 1935: Anarkali; Do Ghadi Ki Mauj; Pujarini; 1936: Bambai Ki Billi; Jungle Queen; Shaan-e-Hind; 1937: Jagat Kesari; New Searchlight; Wah Ri Duniya; 1939: Prem Ki Jyot; 1942: Aankh Micholi; 1946: Chamakti Bijli; 1947: Jugnu; 1949: Shayar; 1952: Apni Izzat; 1953: Anarkali; 1954: Sultanat; 1957: lal Batti; 1959: Anari; 1960: Kadu Makrani; Dil Apna Aur Preet Parayi; 1962: Son of India; 1963: Soorat Aur Seerat; Akeli Mat Jaiyo; 1964: Haqeeqat; 1973: Honeymoon; 1975: Julie; 1977: Khatta Meetha; 1978: Akhiyon Ke Jharokhon Se; 1979: Salaam Memsaab.
SULTANPURI, MAJROOH (B. 1924)
Prolific Hindi-Urdu songwriter originally called Asrar Hussain Khan; born in Sultanpur, UP, the son of a police constable. Studied Persian at Aligarh; moved to Bombay to practise his poetry. His early and best-known independent poetry, inspired by Jigar Muradabadi, is in the ghazal form, and was criticised by writers associated with the PWA for its feudal decadence. Film début with Kardar’s Shahjehan (1946), which included Saigal’s classic song Jab dil hi toot gaya. Early hits: e.g. Andaz (1949) and songs for Shammi Kapoor (Miss Coca Cola, 1955; Tumsa Nahin Dekha, 1957). Worked at Filmistan and for many Dev Anand films (Paying Guest, 1957; Kala Pani, 1958; Bambai Ka Babu, 1960) and with Guru Dutt (Aar Paar, 1954, Mr and Mrs 55, 1955). Wrote songs for CID (1956). His songs are often set to music by O.P. Nayyar or S.D. Burman. Also worked with Bimal Roy (Sujata, 1959). Moved to successful pop lyrics like Aja aja in Teesri Manzil (1966), in Yaadon Ki Baraat (1973) and in Qayamat Se Qayamat Tak (1988).
SUNDARAM, TIRUCHENGODU RAMALINGA (1907–63)
Tamil director and producer born in Tiruchengode, TN. Studied textile engineering at Leeds University. Worked at Angel Films (1933), later taking it over to start the Modern Theatres Studio (1937) in Salem. Apparently produced 98 films, including work by Duncan, M.V. Raman, M.L. Tandon, K. Ramnoth and T.R. Raghunath. Established a professional film industry and studio system for the first time in South India, and along with Duncan, some of the most influential conventions of dramatic narrative in Tamil, all of which was to form an important predecessor to the Gemini studio set up a decade later. Imported foreign technicians for his début, Sati Ahalya, made in two versions, one for Modern Theatres and one for Chandra Bharathi Cinetone. Produced the first Malayalam sound film, Balan (1938) as well as the first partly coloured films in Tamil (Alibabavum Narpathu Thirudargalum) and in Malayalam (Kandam Becha Coat). Worked in several genres, most notably the swashbuckling adventure movies of P.U. Chinnappa (e.g. Uthama Puthran, adapting Dumas’s The Man in the Iron Mask) that later developed into the MGR filmic and political signature: e.g. the Karunanidhi scripts Manthiri Kumari, Sarvadhikari, and the Alibaba film Alibabavum Narpathu Thirudargalum. Also adapted Tamil epics (Manonmani, Valayapathi) and made the war movie Burma Rani.
FILMOGRAPHY: 1937: Sati Ahalya; Padma Jyothi; 1938: Thayumanavar; 1939 Manikavasagar; 1940: Harihara Maya; Rajayogam; Uthama Puthran; Vikrama Urvashi; 1942: Manonmani; Sati Sukanya; 1943: Diwan Bahadur; 1944: Burma Rani; Kalikala Minor; Palli Natakam; Soora Puli; Chow Chow; 1945: Subhadra; 1946: Sulochana; 1947: 1000 Thalaivangi Apoorva Chintamani; 1948: Adinathan Kanavu; Ahimsa Yuddham (Doc); 1949: Mayavathi; 1950: Digambara Swamiyar; Manthiri Kumari; Maya Rambha/Maya Rambai; 1951: Sarvadhikari; 1952: Valayapathi; Savithri Poru; 1953: Mangala Gauri; Thirumbi Paar; 1955: Alibabavum Narpathu Thirudargalum; 1959: Thalai Koduthan Thambi; 1960: Baghdad Thirudan/Baghdad; 1961: Kandam Becha Coat.
Sundarrajan, S. see Soundararajan, S.
SURABHI THEATRES
Popular 19th C. theatre tradition in AP with a fundamental impact on early Telugu cinema, passing on its definition of the mythological and supplying a large number of its actor-singers. The name came from the large family that pioneered this industry: a family of Maharashtrian warriors which fought on the side of the British in the 1857 mutiny and later settled in the Surabhi village in Rayalseema. Initially, narrative forms were borrowed from the Andhra leather puppet tradition as used by the brothers Vanarasa Ramayya, Venkoji and Krishnajirao in the mid-19th C. It involved complex conventions: colours to show different rasas, the gods always entering from the right and the demons from the left (Tholu Bommalatta: a folk tradition performed with leather puppets). The most famous theatrical form was due to Venkoji’s adopted son, Vanarasa Govindarao, who staged the mythological Keechaka Vadha, one of the most frequently staged and filmed episodes from the Mahabharata. He subsequently established the Sarada Vinodini Nataka Sabha (1895) and became the most successful touring theatre in the state, virtually inventing a theatrical style drawn partly from the folk Harikatha mode and partly from the leather puppets (e.g. in the chalk, yellow, red ochre and lampblack used for make-up). The plays and lyrics were either written by the family itself or by well-known Harikatha performers commissioned to adapt Ramayana or Mahabharata stories. By 1910 the group split into three. Each was assigned a territory to prevent competition. Over the next 50 years, thirty companies grew up, all claiming the same ancestry. The most famous ones were the Govindaraya Surabhi Natya Mandali, the Sarada Vijaya Nataka Mandali and the Venkateswara Natya Mandali. H.M. Reddy’s first two sound films, Kalidas (1931) and Bhakta Prahlada (1931), the first talkies in Tamil and Telugu respectively, used the Surabhi repertoire and featured the theatre family’s most famous film star, Surabhi Kamala aka Kamalabai.
SURAIYA JAMAL SHEIKH (B. 1929)
Major singing star of 50s Hindi-Urdu film born in Lahore. Débuted as child actress in 1941 (Taj Mahal). Later did playback singing for Mehtab (Sharada, 1942). Effectively launched as a singing and dancing star in the Bombay Talkies film Hamari Baat. Acted with Saigal in some of his last Hindi films: Omar Khayyam, Tadbir and Parwana. With Nurjehan (with whom she acted in Anmol Ghadi) and Khursheed (Mumtaz Mahal, 1944), she introduced an acting style strongly nostalgic for the adakari (manners) of North Indian Muslim feudalism (e.g. her Urdu historicals like Mirza Ghalib and melodramas like K. Asif’s Phool). That style was often used, most notably by Mehboob in his classic Anmol Ghadi and Kardar in Dastaan, to endow modernity with an aura of tradition. It served this function even in her otherwise radically different Dev Anand films (Afsar, Shayar, Jeet). Like Shanta Apte, the other major singing star of the time, her performance expertly integrated gesture, music and speech.
FILMOGRAPHY: 1941: Taj Mahal; 1942: Station Master; Tamanna; 1943: Ishara; Hamari Baat; 1944: Phool; 1945: Main Kya Karun; Tadbir; Yateem; Samrat Chandragupta; 1946: Chehra; Eighteen Fifty-Seven; Hasrat; Jag Biti; Omar Khayyam; Urvashi; Anmol Ghadi; 1947: Dak Bangla; Dard; Do Dil; Do Naina; Natak; Parwana; 1948: Aaj Ki Raat; Gajre; Kajal; Pyar Ki Jeet; Rang Mahal; Shakti; Vidya; 1949: Amar Kahani; Badi Bahen; Balam; Char Din; Dillagi; Duniya; Jeet; Lekh; Naach; Shayar; Singaar; 1950: Afsar; Dastaan; Kamal Ke Phool; Khiladi; Nili; Shaan; 1951: Do Sitare; Rajput; Sanam; Shokhiyan; 1952: Diwana; Goonj; Khoobsurat; Lai Kunwar; Moti Mahal; Resham; 1953: Mashuqa; 1954: Bilwamangal; Mirza Ghalib; Shama Parwana; Waris; 1955: Inaam; Kanchan; 1956: Mr Lambu; 1958: Malik; Miss 1958; Trolley Driver; 1961: Shama; 1963: Rustom Sohrab.
SURYAKANT (B. 1925)
Marathi actor born in Kolhapur. With elder brother Chandrakant, was one of the first major stars of the Marathi cinema. Début aged 12 in D.K. Kale’s mythological Dhruva made in Kolhapur, playing the child god Dhruva. Pendharkar fashioned him as the archetypal Maratha Emperor Shivaji in Bahirji Naik, later in Pavankhind and then towards the end of his career in Ganimi Kava. The classic Shivaji role in Marathi/Hindi film, Chhatrapati Shivaji (1952), was, however, played by his brother. Suryakant repeated the role in Jai Bhawani and several times on the stage (Agryahun Sutka, Bebandshahi). Also known for films in the ruralist ‘gramin chitrapat’ genre with Mane (e.g. the genre’s classic Sangtye Aika) and Dinkar D. Patil (e.g. Malhari Martand); also in Dharmadhikari’s melodramas (e.g. Bala Jo Jo Re, Akher Jamla, Pativratd). Wrote his autobiography (1986).
FILMOGRAPHY (* also d): 1938: Dhruva; 1943: Bahirji Naik; 1946: Sasurvas; 1947: Jai Bhawani; 1949: Meeth Bhakar; Shilanganache Sone; 1950: Ketakichya Banaat; 1951: Bala Jo Jo Re; Swarajyacha Shiledar; 1952: Akher Jamla; Stree Janma Hi Tujhi Kahani; 1953: Aukshavanta Ho Bala; Muka Lekru; Majhi Zameen; 1954: Kanchanganga; Maharani Yesubai; Purshachi Jaat; Sasar Maher; Shubhamangal; 1955: Bal Mazha Navasacha; Bhaubeej; Kuladaivat; Punavechi Raat; Ratnaghar; 1956: Kar Bhala; Jagavegali Goshta; Pavankhind; Gaath Padli Thaka Thaka; Ranpakhare; 1957: Grihadevata; Pahila Prem; Preetisangam; 1958: Sant Changdev; 1959: Akashganga; Pativrata; Sangtye Aika; Shikleli Baiko; 1960: Antaricha Diva; Kanyadaan; Lagnala Jato Mi; Pancharati; Salami; Sakhya Savara Mala; 1961: Bhav Tethe Dev; Kalanka Shobha; Mansala Pankh Astaat; Rangapanchami; Shola Jo Bhadke; Vaijayanti; 1962: Baikocha Bhau; Bhintila Kan Astaat; Gariba Gharchi Lek; Gavachi Izzat; 1963: Fakira; Mohityanchi Manjula; Subhadra Haran; Thoratanchi Kamala; Tu Sukhi Raha; 1964: Sant Nivrutti-Dnyandev; 1965: Malhari Martand; Sadhi Manse; 1966: Hi Naar Rupasundari; Patlachi Soon; Pavanakathcha Dhondi; Tochi Sadhu Olakhava; 1967: Bar a Varshe Saha Mahine Teen Divas; Pathcha Bhau; Sangu Kashi Mi; 1968: Amhijato Amuchya Gava; Angai; Dhanya Te Santaji Dhanaji; 1969: Murali Malhari Rayachi; Tila Lavite Mi Raktacha; 1970: Ashi Rangali Ratra; Kortachi Pairi; Mala Tumchi Mhana; Varanecha Vagh; 1971: Aai Ude Ga Ambabai; Asel Mazha Hari; Lakhat Ashi Dekhani; 1972: Kaul De Re Khanderaya; Kunku Mazha Bhagyacha/; Soon Ladki Hya Gharchi; 1973: Mi Tuzha Pati Nahi; 1974: Soon Majhi Savitri; 1975: Jyotibacha Navas; 1978: Irsha*; Netaji Palkar; 1979: Aitya Bilavar Nagoba; Ashta Vinayak; 1980: Savat; 1981: Baine Kela Sarpanch Khula; Ganimi Kava; Manacha Kunku; Tamasgeer; Sher Shivaji; 1982: Daivat; Don Baika Phajiti Aika; Rakhandar; 1983: Sasu Varchad Javai; 1989: Auntie Na Vajavili Ghanti; 1990: Patli Re Patli; 1991: Pratikar; 1992: Anuradha; 1995: Doghi.
SURYAKUMARI, TANTAGURI (B. 1925)
Major Telugu actress and singer born in Vijaywada, AP. Trained in dance and music. Elected Miss Madras in a local beauty contest. Turned female singing star in Tamil with hits in Vipranarayana. Played the hero’s sister in B.N. Reddi’s Devatha. Hindi début in Watan; her big Hindi hit is Udan Khatola (although she didn’t sing in it). Sang in Telugu version of Shantaram’s Apna Desh (1949). Performed in nationalist political rallies. Recorded patriotic songs on the Odeon label, as well as devotionals and romantic bhavageetham with composers like B. Rajanikanta Rao and Manchala Jagannatha Rao, often singing the poetry of Basavaraju Apparao and D. Krishna Sastry.
FILMOGRAPHY: 1937: Vipranarayana; 1939: Raitu Bidda; Athirishtam; 1941: Chandrahasa; Devatha; 1942: Dinabandhu; 1943: Bhagya Lakshmi; Krishna Prema; 1947: Katakam; 1948: Samsara Nauka; 1949: Bharati; 1951: Maradalu Pelli (also music d); 1954: Watan; 1955: Udan Khatola; 1964 Ramadasu.
SWADESHI
Nationalist programme for the boycott of all foreign manufactures and, by extension, a spur to self-reliance and ‘Indianness’ in education, the arts, technology, etc. Originated in the 1895 agitations against the British government’s discriminatory cotton tariffs. Formally adopted as a political programme by Indian National Congress (1905). By 1912, following the enormous pressure from a growing sector of Indian entrepreneurs to define Swadeshi as a simple transfer of control into Indian hands, questions of Indianness became controversial. Gandhi’s emphasis on village crafts as urban forms of popular art was accompanied by positions on ‘high’ art by Bengal School theoreticians E.B. Havell (Havell, 1901) and Ananda Coomaraswamy (Coomaraswamy, 1911, 1918/1977), opposing e.g. the Company School’s assimilation of imported technology with a call for a more fundamental restatement of the Indian tradition. This debate influenced perceptions of a ‘borrowed’ technology such as cinema and determined both the rhetoric and the formal choices of film-makers like Phalke, Painter, Barua, K. Subramanyam et al.
SWAMINATHAN, KOMAL (1935–1995)
Tamil director, playwright and scenarist and noted Marxist intellectual born in Chettinad, TN. Associated in his youth with the theatre personality S.V. Sahsaranamam, whose group he joined (1957) apparently to learn playwriting. Later worked with director K.S. Gopalakrishnan while writing hit political plays like Puthiya Pathai (1960) and his best-known work, Thanneer Thanneer, originally staged by his own theatre group, Stage Friends, and filmed by K. Balachander (1981). Wrote the melodrama about inheritance and legitimacy filmed by Devaraj-Mohan as Paluti Valartha Kili (1976). Turned to direction in 1983, making three films all released in one year before returning to his writing. His best-known film is Oru Indhiya Kanavu, a political story in which Suhasini is a fearless crusader who comes up against corrupt and sadistic ministers. Edited the journal Subamangala, an important forum for debates in theatre, literature and film.
FILMOGRAPHY: 1983: Anal Katru; Oru Indhiya Kanavu; Yuddha Kandam.
TAGORE, RABINDRANATH (1861–1941)
Poet, novelist, playwright, essayist, painter and significant figure in 20th C. India’s cultural history. Born in Calcutta into the numerous family of Debendranath Tagore, the leading Brahmo Samaj intellectual. Privately educated, Rabindranath started writing at an early age and first visited Europe in 1878. His creative output and institutional interventions largely set the terms for India’s cultural modernity. His writings and political contributions are still highly topical and contentious. Some of the more actively discussed areas include his influence on cultural nationalism, the recasting of European neo-classicism in e.g. his literary assimilation of Goethe and Heine and his influence on education, esp. through the arts university, Shantiniketan (Est: 1901) and its industrial-agrarian counterpart, Sriniketan. In addition, Tagore exerted a formidable influence through his poetry: a whole musical industry was generated by his Rabindra Sangeet, with 2232 lyrics which he set to music and seminal experiments with orchestration. His dance dramas were assimilated into the commercial Calcutta Theatres repertories. In the 20s, the nascent Bengali cinema often borrowed from the music, literature and theatre industries, following Tagore’s example of trying to elaborate an industrially valid synthesis of diverse cultural traditions. The Bengali cinema drew heavily on Tagore’s stories and music (e.g. films by Naresh Mitra, Modhu Bose, Satyajit Ray, Ajoy Kar, Tapan Sinha, etc.). However, Tagore’s personal involvement with cinema was more significant than conventional film histories allow. His one major, extensively quoted statement on cinema came in a letter to Murari Bhaduri (1929): ‘The principal element of a motion picture is the “flux of image”. The beauty and grandeur of this form in motion has to be developed in such a way that it becomes self-sufficient without the use of words. If some other language is needed to explain its own, it amounts to incompetence. If music can achieve profundity without the words of the cadence of a melody, then why should not this “motive form” be considered as a distinct aesthetic experience?’ In addition, Arunkumar Roy (1986) noted that, in 1907, a dance ballet that he had directed was filmed in his presence. Ajit Sheth (1981) quoted Nitin Bose saying that, in 1917, Tagore had directly requested him to film a dance recital of his songs and ‘showed a great deal of interest in the technique of filming’. His letters of 1920–3 contain references to cinema (apparently Douglas Fairbanks visited him at the time) including his responses to Naresh Mitra’s filming of his Maanbhanjan (1923). In 1925, sailing to Europe, he saw a film and refers in Paschim Jatrir Diary (1925), to its ‘speed of motion’, suggesting that it could be addictive to young people; later he described Western society as ‘one huge cinema’. Closely involved in Modhu Bose’s Giribala (1930), apparently writing the intertitles himself. Scripted parts of Dahlia (1930), adapting his short story of the same name. Later (1936) wrote a screenplay subtitled ‘a play fit to be filmed’ merging parts of Dahlia with a novel, Rajorshi. In Germany he wrote an English script for Ufa, The Child (1930), later adapting it into Bengali as Shishu Tirth. It was inspired by seeing a German passion play. Also in 1930, on a visit to the USSR, he asked to see Bronenosets Potemkin (1925). Later, in Germany, he met Eisenstein along with Stefan Zweig, Lion Feuchtwanger and Pirandello. In 1932, in a much touted production, New Theatres announced that he would direct a film for them, which he may have done with two stationary cameras: Natir Puja (1932). According to Roy, he was ‘disappointed with the result’. Finally, he formally approved Pankaj Mullick’s adaptation of his lyrics for Barua’s Mukti (1937), the first film featuring Rabindra Sangeet.
TAGORE, SHARMILA (B. 1944)
Bengali actress introduced in Satyajit Ray’s Apur Sansar as the wife of the adult Apu. Also cast by Ray in Devi, Nayok, Aranyer Din Ratri and Seemabaddha. Worked for other Bengali film-makers like Ajoy Kar (Barnali, Prabhater Rang), Tapan Sinha (Nirjan Saikate), Partha Prathim Choudhury (Jadu Bans ha), etc. Became a Hindi star in Shakti Samanta’s Kashmir Ki Kali opposite Shammi Kapoor, acquiring a reputation as a sex symbol. Caused a sensation in Samanta’s Sawan Ki Ghata, posing in a bikini; consolidated her image playing a cabaret dancer in An Evening in Paris, once again with Shammi Kapoor. She changed her persona for Aradhana, playing both Rajesh Khanna’s wife and his mother, and went on to form with him the most successful duo in 70s Hindi films: e.g. Safar, Amar Prem. Alternated between Khanna and Shashi Kapoor love stories like Suhana Safar and Aa Gale Lag Jaa; also did tragic romances for Hrishikesh Mukherjee (Anupama, Satyakam), Basu Bhattacharya (Avishkar, Grihapravesh) and Samanta’s Hindi-Bengali bilinguals with Uttam Kumar (Amanush, Anand Ashram). Her reputation was consolidated in Gulzar’s Mausam, playing a prostitute. Also gave a notable performance in Ramesh Sharma’s New Delhi Times. Ashiq Awara launched her son Saif Ali Khan as a star.
FILMOGRAPHY: 1959: Apur Sansar; 1960: Devi; 1963: Nirjan Saikate; Shesh Prahar; Chhaya Surya; Barnali; Shesh-Anka; 1964: Kinu Goyalar Gali; Prabhater Rang; Kashmir Ki Kali; 1965: Waqt; Dak Ghar; 1966: Anupama; Devar; Sawan Ki Ghata; Yeh Raat Phir Na Aayegi; Nayak; 1967: Aamne Samne; An Evening in Paris; Milan Ki Raat; 1968: Dil Aur Mohabbat; Humsaya; Mere Humdum Mere Dost; 1969 Aranyer Din Ratri; Aradhana; Pyaasi Shyam; Satyakam; Talash; Yakeen; 1970: Mere Humsafar; My Love; Safar; Suhana Safar; 1971: Seemabaddha; Amar Prem; Badnaam Farishte; Chhoti Bahu; 1972: Dastaan; Malik; Yeh Gulistan Hamara; 1973: Aa Gale Lag Jaa; Avishkar; Daag; Raja Rani; 1974: Jadu Bansha; Charitraheen; Paap Aur Punya; Shaitan; Shandaar; Amanush; 1975: Khushboo; Anari; Chupke Chupke; Ek Mahal Ho Sapnon Ka; Faraar; Mausam; 1976: Ek Se Badhkar Ek; Tyaag; Do Shatru; 1977: Anand Ashram; 1978: Besharam; 1979: Chuvanna Chirakukal; Dooriyan; Mother; 1980: Grihapravesh; 1981: Naseeb; Kalankini Kankabati; 1982: Desh Premi; Namkeen; Divorce; 1983: Protidan; Tanaya; Doosri Dulhan; 1984: Jawani; Sunny; Swati; 1985: Bandhan Anjana; Ek Se Bhale Do; Uttarayan; New Delhi Times; Ricky 1986: Door Desh; Mera Dharam; 1987: Anurodh; Zindagi (TV); Maa Beti; Saat Saal Baad; 1988: Hum To Chale Pardes; 1989: Doorie; 1991: Dastoor; Mississippi Masala; 1993: Aashiq Awara; 1994: Rishte (TV); Siyasat (TV).
TARAFDAR, RAJEN (1917–87)
Bengali director born in Rajsahi (now Bangladesh). Arts degree in Calcutta (1940). Trained as commercial designer and worked for J. Walter Thompson (1944–58). Active in amateur theatre. Introduced to cinema via Renoir’s presence in India to shoot The River (1951), the Calcutta Film Society and exposure to Italian neo-realism (Ganga can be seen as a variant on La terra trema, 1947). Best-known films try to integrate fiction and ethnographic realism into quasi-documentary regime: Ganga and Nagpash were shot in the Sundarbans region in a fishing community. Claimed influence of vérité film-makers Jacques Rozier, Francois Reichenbach and Chris Marker. Innovative use of crane shots, long takes and diffused lighting, which, Chidananda Das Gupta suggests, contradicts the otherwise realist intention by evoking romanticised notions of a Sonar Bangla (Golden Bengal). Also scripted his own Akash Chhoan and Palanka in addition to e.g. Sansar Simantey (1975) and Ganadevata (1978). Acted in Mrinal Sen’s Akaler Sandhaney (1980), S. Benegal’s Aarohan (1981), and Shekhar Chatterjee’s Vasundhara (1984).
FILMOGRAPHY: 1957: Antariksha; 1960: Ganga; 1962: Agnisikha; 1964: Jiban Kahini; 1967: Akash Chhoan; 1975: Palanka; 1981: Nagpash.
Durga Khote (centre) and Govindrao Tembe (right) in Nandakumar (1938)
TEMBE, GOVINDRAO (1881–1955)
Musician, actor, playwright, theatrical personality and compulsive theorist. Composed the music for Painter’s films and some early Prabhat movies. Born in Kolhapur when it was at the forefront of a major cultural renaissance: the Khayal was adapted to concerts and recording techniques; the music schools and Sangeet Natak were recasting the classical-popular musical idiom. Tembe mentions the enormous impact on him of singers like Ustad Alladiya Khan of the Jaipur gharana (then living under the patronage of the Shahu Maharaj), Bhaskarbua Bakhle (later with Bal Gandharva) and Ramakrishnabua Vaze, crucial figures in the evolution of the Sangeet Natak. Became the chief music director of Bal Gandharva’s group (1913–15), then set up his own stage group the Shivraj Natak Mandali, employing the Painters for his stage backdrops. Joined Prabhat and was responsible for some of the first hit singles of Marathi film (e.g. Bala ka jhop yeyina in Ayodhyecha Raja). However, in the words of his successor, Bhole (1964): ‘He was never to know the difference between stage and film music.’ Wrote extensively about aesthetic problems, e.g. on attempts to create post-Sangeet Natak classical Khayal in Marathi; on problems of notating Indian music; on the harmonium, his favourite instrument (banned by AIR for being antithetical to the system of classical music). He also argued that cinema should be understood as an experience between reading and visualising what is read. Publications include Jeevan Vihar (1948) and Mazha Sangeet Vyasanga (1939).
FILMOGRAPHY (* act only/** also act): 1932: Ayodhyecha Raja/Ayodhya Ka Raja**;Jalti Nishani/Agnikankan; Maya Machhindra**; 1933: Sairandhri; Sati Mahananda; 1934: Manjari**; Seeta*; 1935: Raj Mukut** (also d); Usha**; 1936: Savkari Pash; Aseer-e-Hawas; Vish Vaman; 1937: Pratibha; 1938: Savangadi/Sathi; Vasanti; Nandakumar* (M/H); 1941: Nirdosh; 1943: Bahirji Naik.
TENDULKAR, VIJAY (B. 1925)
Scenarist and Marathi playwright born in Kolhapur. Regarded with Karnad, Mohan Rakesh and Badal Sircar as a new generation of literary and theatrical realists. One of the founders of the vanguard theatre group Rangayan, launched with Vijaya Mehta’s performance of his play Bali (1960). 70s stage work (e.g. Sakharam Binder, 1971, causing a notorious censorship debacle; Ghashiram Kotwal, 1972, the film version of which in 1976 he scripted but disowned) offered a psychological exploration of physical violence with an overtly political dimension, a concern later reflected in his scripts for Benegal (Nishant, 1975; Manthan, 1976), Nihalani (Aakrosh, 1980; Ardh Satya, 1983) and Jabbar Patel (Saamna, 1975; Sinhasan, 1979; Umbartha/Subah, 1981). Stories featured political vendettas often in rural situations, with fights between feudal rulers and oppressed castes shading into statements about the inevitability of the oppressed themselves turning into oppressors. Co-scripted Saeed Mirza’s début, Arvind Desai Ki Ajeeb Dastaan (1978).
THAKUR, RAJA (1923–75)
Marathi director born in Phonda, Goa, as Rajaram Dattatray Thakur. Assistant to Vinayak (later continuing Vinayak’s series of Malvankar-Jog comedies with Gharcha Jhala Thodd) and to Raja Paranjpe. With Rajdutt, he is regarded as part of the 60s middle-class orthodoxy in Maharashtra prior to the earthier comedies of e.g. Dada Kondke. Turned producer with his own Nava Chitra company. Made one film in English, Birbal My Brother, and his Mumbaicha Javai was adapted in Hindi by Basu Chatterjee as Piya Ka Ghar (1971).
FILMOGRAPHY: 1953: Bolavita Dhani; 1954: Reshamchya Gaathi; 1955: Mi Tulas Tujhya Angani; 1956: Mazhe Ghar Majhi Manse; 1957: Gharcha Jhala Thoda; Uthavala Narad; 1958: Gaja Gauri; 1959: Rajmanya Rajashri; 1961: Putra Vhava Aisa; 1962: Rangalya Ratri Asha; 1963: Pahure Kiti Vaatf; 1965: Raigadacha Rajbandi; 1966: Dhananjay; 1967: Sant Gora Kumbhar; 1968: Ekati; 1970: Gharkul; Mumbaicha Javai; 1971: Ajab Tujhe Sarkar; Bajiravacha Beta; 1972: Birbal My Brother; 1973: Javai Vikat Ghene Aahe; 1975: Zakhmi; 1976: Raeeszada.
THAKUR, RAMCHANDRA (1908–92)
Hindi and Gujarati director. Born in Chitroda, North Gujarat. A polyglot who spoke eleven languages, he was also a Pali scholar and a journalist at Mouj Majah (1928). Publicity officer at Sagar, later assisted C.M. Luhar and Hiren Bose. First film, Gramophone Singer, is said to have introduced back projection without recourse to optical superimposition (with cameraman Keki Mistry). Civil Marriage was hailed by Abbas as a precursor to his own 40s cinema. Worked at Sagar and its successor National Film in collaboration with progressives around R.S. Choudhury, including Mehboob and Zia Sarhadi. With the decline of National, worked with Ranjit writing scripts in Gujarati for Punatar (Nanand Bhojai, 1948; Mangalfera, 1949; Gadano Bel, 1950). Later work mainly as freelancer. Known for his ability to work within very tight budgets to help independent producers in financial trouble. Wrote two novels and several short stories, one of which, Amrapali, was the basis of Nandlal Jaswantlal’s hit in 1945. Scripted his own films, as well as e.g. Dynamite (1938), Narad Muni (1949), Baiju Bawra (1952), Tulsi Vivah (1971), Hari Darshan (1972). Apparently directed Kaa and Stree (both 1966) in Oriya under the name Siddharth. As a scenarist, he used the name Sarangapani.
FILMOGRAPHY: 1937: Mahageet (co-dir Hiren Bose); 1938: Gramophone Singer; 1940: Civil Marriage; 1941: Kasauti; 1942: Garib; Apna Paraya; 1943: Ashirwad; 1945: Aarti; Sharbati Aankhen; 1947: Geet Govind; 1948: Vadilona Vanke; Jai Hanuman; 1949: Garibi; Rumal; 1951: Ghayal; 1952: Veer Arjun; 1953: Dharmapatni; 1955: Jai Mahadev; 1956: Sheikh Chilli; Makheechoos; 1960: Veer Durgadas; 1961: Hiro Salaat; 1967: Nawab Siraj-ud-Dowla; 1969: Jyoti (Doc).
THAKUR, SIVA PRASAD (B. 1939)
Mainstream Assamese director born in Nazira, Assam. Degree in botany and lecturer at D.R. College, Golaghat. Started as producer (e.g. Mamata, 1973), then made several successful features as well as documentaries and TV serials (e.g. Sandhyatora, 1993; Dainandin and Torali, both 1994).
FILMOGRAPHY: 1978: Phaguni; 1982: Bowari; 1983: Ghar Sansar; 1984: Son Moina; 1985: Mon Mandir; 1986: Mayuri; Ae Desh Mor Desh; 1989: Sewali; 1991: Mukta Bandi; 1993: Sandhyatora (TV); 1994: Ashanta Prahar; Dainandin (TV); Torali (TV).
Thikkurisi Sukumaran Nair see Nair, Thikkurisi Sukumaran
Timirbaran see Baran, Timir
TKS BROTHERS
Best-known early 20th C. commercial Tamil theatre company. It was run by the four sons of the actor T.S. Kannuswamy Pillai. Shankaran, Muthuswamy, Shanmugham and Bhagavathi were apprenticed in 1918 to the noted playwright Sankaradas Swamigal. They later joined the group run by T.K. Krishnaswamy Pavalar, then producing plays with nationalist themes (cf. Kadarin Vetri), and then the playwright Sarabam Muthuswamy Kavirayar’s group. As established actors, they launched their own company, the Madurai Bala Shanmughananda Sabha (1925), best known by the initials of the most famous brother, T.K. Shanmugham. They débuted with the play Kovalan. Although the group was considered to be the legitimate heir to the 19th C. tradition of their mentor Sankaradas Swamigal, during the course of staging 32 original plays they gradually shifted to reform melodrama and evolved a new writing and acting style which had a big influence on early Tamil sound films. In 1935, T.K. Shanmugham started Shanmugham Talkies, co-producing Raja Sandow’s Menaka (1935) which featured the brothers along with N.S. Krishnan in an adaptation of one of their plays. This was followed by Balamani (1937) and the seminal reformist film Gumastavin Penn (1941) to which Annadurai wrote a novelised sequel. Their other noted productions adapted to film include Andaman Kaithi (1952) and Rath a Pasam (1954). Their theatre includes the earliest writings of a new generation of playwrights (and DMK Film directors) like A.S.A. Sami (Bilhana, filmed by TKS in 1948), P. Neelakantan (the play Mullil Roja) and former actor-writer A.P. Nagarajan. More significantly perhaps, the group nurtured a whole generation of film actors such as the legendary N.S. Krishnan, S.S. Rajendran, S.V. Sahasranamam, M.N. Rajam and, more recently, Kamalahasan. They also worked in other languages, e.g. the Malayalam play Manithan, later adapted by Ramnoth (1953).
TORNEY, RAMCHANDRA GOPAL (1890–1960)
Hindi and Marathi director; born in Sukulwadi and educated in Malwan, coastal Maharashtra. Employed by Greaves Cotton Electrical in Bombay (1896); then transferred as a branch manager to Karachi. Resigned and returned to Bombay (1920). He is often cited as Phalke’s rival for having apparently made the feature Pundalik (1912) a year before Raja Harishchandra (1913). Recent research suggests that it was probably made by N.G. Chitre, the owner of Coronation Cinematograph (which released Raja Harishchandra) with P.R. Tipnis, Coronation’s manager and later noted exhibitor in Delhi. Torney was initially manager of Laxmi Film (1924–6) and Imperial (1927–31). Début film, as co-director, was the commercial hit Neera (1926). Partnered distributor Baburao Pai when the latter launched the Movie Camera Co. (1931) to import Audio-Camex recording equipment which they installed in Saraswati, Prabhat and Aryan studios. Took over Saraswati Film in Pune (1931), started as a technicians’ enterprise by Nanubhai Desai, Bhogilal Dave, Dorabsha Kolha and others in 1926. Saraswati Cinetone closed down in 1942 after an unsuccessful move into Hindi cinema. Torney made Marathi comedies in late 30s and early 40s, often starring comedian Dinkar Kamanna. Made films for his own studios, Imperial, Sagar and Sikandar; also art direction and sound recording for some early Marathi talkies. Scripted Madanrai Vakil’s Mewad No Mawali (1930).
FILMOGRAPHY: 1926: Neera; 1930: Sinbad Khalashi; 1931: Dilawar (all St); 1933: Bhakta Prahlad; 1934: Bhedi Rajkumar/Thaksen Rajputra; 1935: Pyara Dushman; 1939: Majhi Ladki; 1941: Bahaklela Brahmachari; Narad Naradi; Navardev.
TRIVEDI, UPENDRA
Major Gujarati film star and producer, known also in Gujarat for his stage productions. Introduced to films by Raskapur; début in Kadu Makrani and Mehndi Rang Lagyo, films usually cited as the renaissance of Gujarati cinema. Reappeared in an equally epochal production, Dave’s Jesal Toral, playing the outlaw lover. Associated prominently with Dave’s films: e.g. Shetalne Kanthe, Malavpati Munj (which retells the extensively filmed K.M. Munshi story, Prithvi Vallabh) and Paiso Bole Chhe. His brother Arvind Trivedi is also a noted stage and film star in Gujarati who shot to fame playing Ravana in Sagar’s Ramayan TV series (1986–8).
FILMOGRAPHY (* also d): 1960: Kadu Makrani; Mehndi Rang Lagyo; 1961: Hiro Salaat; Veer Ramwalo; 1962: Jogidas Khuman; 1963: Vanraj Chavdo; 1971: Jesal Toral; Parde Ke Peeche; 1972: Zer To Pidhan Janijani*; Jungle Mein Mangal; 1973: Kadu Makrani; Raja Bhartrahari; Ranakdevi; Mahasati Savitri; Blackmail; 1974: Ghungbat; Harishchandra Taramati; Hothal Padmini; 1975: Jai Ranchhod; Jogidas Khuman; Shetalne Kanthe; Bhadar Tara Vehta Pani; 1976: Chundadino Rang; Malavpati Munj; Ra Navghan; Santu Rangili; Veer Mangdavalo; 1977: Bhrashtachar Murdabad; Halaman Jethvo; Manno Manigar; Paiso Bole Chhe; Sadavant Savlinga; Son Kansari; Kali Raat; Khel Khiladi Ka; 1978: Chundadi Odhi Tara Namni; Dada Khetrapal; Manekthamb; Patali Parmar; Ver Ni Vasulat; 1979: Amarsinh Rathod; Garvo Garasiyo; Kunwari Satino Kesariyo Kanth; Lalwadi Phoolwadi; Navrang Chundadi; Preet Khandani Dhar; Rang Rasiya; Sona Indhoni Roopa Bedlun; Suraj Chandra Ni Sakhe; Vahue Vagovya Mota Khorda; Veer Pasali; 1980: Chitadano Chor; Jivi Rabaran; Kesar Kathiyani; Koino Ladakvayo; Namni Nagarvel; Sorathni Padmini; 1981: Amar Devidas; Bhav Bhavna Bheru; Mehulo Luhar; Seth Jagadusha; Vansdi Vagi Valamni; 1982: Retina Ratan; 1983: Vachda Dadani Dikri; 1984: Dhartina Ami; Mali Methan; Mansaina Diva; Machhu Tara Vehta Pani; Nagmati Nagvalo; Sajan Sonalde; 1985: Malo Naagde; 1988: Sole Somwar; 1991: Bhadarne Kanthe; 1993: Manvini Bhavai*.
URS, D. KEMPARAJ (1918–82)
Kannada director, actor and producer; also worked in Tamil and Telugu. Born in Hunsur, Mysore Dist., into an aristocratic family. Studied medicine for three years while doing amateur theatre. Film début as actor in Veeranna’s Jeevana Nataka. Also small role in Prabhat’s Ramshastri. Pioneer producer-director of Kannada cinema with Raja Vikrama and key influence on its historicals. Jaladurga, shot simultaneously in Tamil as Karkottai, was based on The Count of Monte Cristo. Was actively involved in Congress politics when brother Devaraj Urs was Karnataka Chief Minister and campaigned for Indira Gandhi when she fought the controversial Chikmagalur elections (1980). Later chairman of Karnataka Film Development Corp. Wrote two autobiographical books, Naanu (1979) and Alvat Varshalu.
* FILMOGRAPHY (* also act/** act only): 1942: Jeevana Nataka**; 1944: Ramshastri**; 1947: Krishnaleele**; Mahananda**; 1948: Bhakta Ramadas*; 1950: Shiva Parvati**; Raja Vikrama*; 1953: Jaladurga/Karkottai*; Shri Krishna**; 1957: Nala Damayanti*; 1959: Azhagarmalai Kalvan*; 1964: Navajeevana**.
VAIRAMUTHU
Poet and noted Tamil lyricist in 70s/80s, sometimes considered a successor to Kannadasan. Born in Thamaraikulam near Madurai; graduated in Madras; employed by the government as a translator. His early poetry is often broadcast on the radio; published his first anthology in 1972. Film début in Bharathirajaa’s Nizhalgal (1980), remaining associated with this director and with composer Ilaiyaraja until his highly publicised break with the latter. Wrote the songs for over 50 films, notably Meghame meghame for Palaivana Solai, Anthi mazhaipozhikirathu (Raja Parvai), Ayiram tamarai mottukkal (Alaigal Oyvathillai), all three films 1981; Izhaya nilapozhikirathu (Payanangal Mudivathillai, 1982), and Balachander’s Sindhu Bhairavi (1985). Known in the 90s mainly for hits in Mani Rathnam films (Roja, 1992, and Bombay, 1994) and Shankar’s Kadhalan (1994).
VAKIL, NANUBHAI B. (1904–80)
Hindi director born in Valsad, Gujarat. Educated in Bombay, where he graduated as a lawyer (1926). Started as a scenarist at Sharda Film, then at Chandulal Shah’s Jagdish Film. Prolific director at Ranjit (silent) and Sagar (sound). Directed the first Gujarati sound feature, Narasinh Mehta. Definitive films were with Zubeida in Mahalakshmi Cinetone, co-founded with her (1934–5). Helped found Jayashree Cinetone in Calcutta, but returned to Bombay (1938) and joined Kikubhai Desai’s Paramount Film. Until late 60s, he mainly remade silent adventure movies derived from Parsee theatre’s versions of legends from Firdausi’s 10th C. Shah Nama and from the Arabian Nights. His films helped define the B-movie production in post-WW2 period. 50s films (Yahudi Ki Beti, Parvin, Flying Rani) are also the first scripts by the Marxist poet Kaifi Azmi. Adapted Premchand’s novel for Seva Sadan, but the author distanced himself from the film, thus enabling Subramanyam’s definitive 1938 version to be made.
FILMOGRAPHY: 1929: Veer Pujan; Dehna Daan; Kumud Kumari; Sinhaldweep Ki Sundari; 1930: Sheikh Chilli; Madhbhar Mohini; Sorathi Baharvatiyo; Desh Deepak; Ranakdevi; Rasili Radha; Vifreli Waghan; Vanraj; 1931: Albeli Mumbai; Azadi Nu Jung; Mojili Mashuq; Hoor-e-Roshan; Noor-e-Alam; Baghdad Nu Bulbul; 1932: Nakhreli Nar; Baghdad Ka Badmash (all St); Bulbul-e-Baghdad; Narasinh Mehta; Maya Bazaar; 1933: Bulbul-e-Punjab; Mahabharat; 1934: Nanand Bhojai; Radha Mohan/Nand Ke Lala; Rashk-e-Laila; Seva Sadan; 1935: Birbal Ki Beti; Gulshan-e-Alam; 1936: Mr and Mrs Bombay; Nariraj; 1937: Fakhr-e-Islam; 1938: Alladdin and the Wonderful Lamp; Banke Savaria; 1939: Son of Alladdin; Madhu Bansari; Sansar Naiya; 1940: Deepak Mahal; Golibar; Hatimtai Ki Beti; Jadui Kangan; 1941: Jadui Bandhan; Taj Mahal; 1942: Firman; 1943: Naya Zamana; 1944: Kismatwala; 1945: Alladdin; Kul Kalank; Hatimtai Ka Beta; 1946: Alibaba; Arab Ka Sitara; Baghdad Ka Chor; Sinbad the Sailor; Mohabbat Ki Duniya; 1947: Flying Man; Kismet Ka Sitara; 1948: Azad Hindustan; Desh Seva; Hind Mail; Jadui Bansari; Ratan Manjari; 1949: Flying Express; Alladdin Ki Beti; 1950: Raj Mukut; 1951: Jai Mahalakshmi; 1953: Raj Mahal; 1954: Gul Bahar; Noor Mahal; 1955: Darbar; Hatimtai Ki Beti; Sakhi Hatim; Shah Behram; 1956: Alam Ara; Indrasabha; Khul Jaa Sim Sim; Lal-e-Yaman; Lalkaar; Yahudi Ki Beti; 1957: Bansari Bala; Pervin; Sati Pariksha; 1958: Miss Punjab Mail; Shaan-e-Hatim; Pehla Pehla Pyar; 1959: Flying Rani; Kya Yeh Bambai Hai; 1960: Alam Ara Ki Beti; 1964: Id Ka Chand; 1971: Shaan-e-Khuda; 1973: Alam Ara.
VALI
Prolific Tamil lyricist with c.6500 songs, prominently associated with composer M.S. Vishwanathan and with films starring MGR. Born as Rangarajan, in Tiruchi, TN. Started as visual artist in the College of Art, Madras. Started an independent journal in Tiruchi, writing under the name Netaji. Kalki got him a job at the AIR. Early reputation as writer of theatre dialogue. Breakthrough in film with Azhagarmalai Kalvan (1959), consolidated by the success of P. Neelakantan’s Nallavan Vazhvan (1961). Major hits in Chanakya’s Enga Veetu Pillai (1965), esp. the number Nan anaiyital (If I could command), contributed to star MGR’s screen image. Top lyric writer of 80s Tamil film, e.g. Mani Rathnam’s musical hit Agni Nakshatram (1988). Also scripted the controversial Ore Oru Gramathile (1987).
VAMSY (B. 1956)
Telugu and Kannada art-house director. Born in Karnataka. Prolific novelist including novelisations of films, e.g. K. Vishwanath’s Shankarabharanam (1979). Joined films as assistant to K. Vishwanath, whom he regards as his teacher along with Bharathirajaa. Films feature extensive music (usually by Ilaiyaraja) and dance. Best-known film: Sitara.
FILMOGRAPHY: 1982: Manchu Pallaki; 1984: Sitara; 1985: Anveshana; Preminchu Pelladu; 1986: Ladies’ Tailor; Alabhama; 1987: Lawyer Suhasini; 1988: Maharshi; Shri Kanakamahalakshmi Recording Dance Troupe; 1989: Chettukinda Pleader; Swara Kalpana; Amrutha Bindu; 1991: April 1 Vidudala; 1992: Detective Narada; 1993: Joker; 1994: Neeku-16 Naaku-18; Prema & Co; 1995: Lingababu Love Story.
VANISREE (B. 1951)
Telugu, Tamil and (briefly) Kannada star born in Nellore, AP. Educated in Andhra Mahila Sabha, Madras, where she learnt the Bharat Natyam dance. Début in B.A. Subba Rao’s Bhishma; first lead role in Tamil: Joseph Taliath’s Kathal Paduthum Padu. Known as a star in Kannada cinema while playing comedienne roles in her early Telugu films. Broke through in Telugu with Marupurani Katha, going on to star opposite e.g. NTR, A. Nageshwara Rao and Shobhan Babu. Important Tamil films incl. (with Sivaji Ganesan) Uyarntha Manithan and Vasantha Maligai, and Balachander’s Velli Vizha. Known in her later career for idiosyncratic mother-in-law roles. Financed and acted in Shyam Benegal’s only Telugu film, Anugraham.
FILMOGRAPHY: 1962: Bhishma; 1964: Thotalopilla Kotalo Rani; Mane Aliya; 1965: Sati Sakkubai; Pakkalo Bellem; Pandava Vanavasam; Satya Harishchandra; Chandrahasa; Bangaru Panjaram; Mangamma Sapatham; Prameelarjuneyam; Patala Mohini; 1966: Potti Pleader; Aggibarata; Kanne Manasulu; Shri Krishna Tulabharam; Bhoolokamlo Yamalokam; Kathari Veera; Logattu Perumallukeruka; Kathal Paduthum Padu; Nammaveeti Lakshmi; Rangula Ratnam; 1967: Thanga Thambi; Marupurani Katha; Gopaludu Bhoopaludu; Kanchukota; Bhuvana Sundari Katha; Devuni Gelichina Manavudu/Devara Gedda Manava; Nindu Manasulu; Stree Janma; Aada Paduchu; Janara Jana; 1968: Sukha Dukhalu; Lakshminivasam; Asadhyudu; Ranabberi; Veerapooja; Bharya; Pantalu Pattimpulu; Kalasina Manasulu; Uyarntha Manithan; 1969: Mahabaludu; Shabash Satyam; Astulu Antastulu; Atmiyulu; Jagath Kiladilu; Bhale Rangudu; Nindu Hridayalu; Anna Dammulu; Karpura Arathi; Rajasimha; Kuzhandai Ullam; Ayiram Poyi; Nirai Kudam; Kanni Penn; Annaiyum Pithavum; Manasakshi; Athai Magal; 1970: Tapalkaran Thangai; Thalaivan; Pelli Sambandham; Kodalu Diddina Kapuram; Chitti Chellalu; Drohi; Iddaru Ammayilu; Jagath Jettelu; Katha Nayika Molla; Pachani Samsaram; 1971: Dasara Bullodu; Kiladi Singanna; Mooga Prema; Ananda Nilayam; Raitu Bidda; Adrushta Jathakudu; Chinnanati Snehitulu; Dabukku Thha Dongala Muttha; Jagath Jentreelu; Jeevitha Chakram; Katha Nayakuralu; Pavitra Bandham; Prem Nagar; Attalu Kodallu; Chelleli Kapuram; Kasidre Kailasa; 1972: Amma Mata; Dattaputhrudu; Vichitra Bandham; Bangaru Babu; Abbaigaru Ammaigaru; Illu Illalu; Maa Inti Kodalu; Marapurani Talli; Shri Krishnanjaneya Yuddham; Koduku Kodalu; Avasara Kalyanam; Velli Vizha; Vasantha Maligai; 1973: Deshoddharakulu; Ganga Manga; Minor Babu; Ramudu Devudu; Sreevaru Maavaru; Vintha Katha; Manchi Vadu; Khaidi Baba; Kanne Vayasu; Kannavari Kalalu; Jeevana Tarangulu; 1974: Chaduvu Samskaram; Manushilo Devudu; Satyaniki Sankellu; Krishnaveni; Chakravakam; Sivakamyin Selvan; Vani Rani; 1975: Eduruleni Manishi; Katha Nayakuni Katha; Abhimanavathi; Babu; Maya Machhindra (Te); Jeevana Jyoti; Ramuni Minchina Ramudu; Chikati Velugulu; Pooja; 1976: Secretary; Doralu Dongalu; Premabandham; Aradhana; Bhakta Kannappa; Pogarubottu; Suprabhatam; Ilaya Thalaimurai; Oorukku Uzhaippavan; Rojavin Raja; 1977: Thaliya Salangaiya; Edureetha; Chakradhari; Raja Ramesh; Kondura/Anugraham; Aalu Magalu; Janma Janmala Bandham; Jeevana Theeralu; Sati Savitri; 1978: Chilipi Krishnudu; Gorantha Deepam; Devadasu Malli Puttadu; Enki Nayudu Bava; Ramachilaka; Vichitra Jeevitham; Simha Baludu; Sahasavanthudu; Shri Rama Raksha; Punya Bhoomi; 1979: Kamalamma Kamatam; Nallathoru Kudumbam; Andaman Ammayi; Maavari Manchithanam; Shrimad Virata Parvam; 1980: Shri Vinayaka Vijayam; 1981: Devudu Mamayya; 1988: Ganda Mane Makkalu; 1989: Swati Chinukulu; Attaku Yamudu Ammayiki Mogudu; Poolarangadu; 1990: Bobbili Raja; 1992: Pellam Chattu Mogudu; Seetharathnamgari Abbayi; Rajeshwari Kalyanam; 1993: Evandi Avide Ochindi; Bhavya Bharata; Preme Naa Pranam; Rowdygari Teacher; 1994: Curfew.
Vanisree in Bangaru Panjaram (1965)
VARALAKSHMI, GARIKIPATI (B. 1926)
Telugu and Tamil actress, singer and producer born in Ongole, AP. Aged 11, she ran away to Vijaywada to join the theatre. Worked in Tungala Chalapathi’s and in Kotirathnam’s troupes, playing e.g. Radha in Sakkubai and Prabhavati in Rangoon Rowdy. Film début in H.M. Reddy’s Barrister Parvatisham, where she acted alongside L.V. Prasad. After a brief spell at the Shobhanachala Studio, she relaunched Prasad in her production, Drohi and acted in his Pelli Chesi Choodu. Acted in several films by her husband, K.S. Prakash Rao (whom she married in 1943). Played the comic vamp in Vindhyarani and a dominant man-hating queen in Aravalli. Acted lead and character roles in several Tamil and Telugu films; then acted with stars like MGR (Gul-e-Bakavali) and Sivaji Ganesan (Naan Petra Selvam). Produced, wrote, directed and starred in the film Moogajeevulu.
FILMOGRAPHY (* also d): 1940: Barrister Parvatisham; 1941: Dakshayagnam; 1942: Bhakta Prahlada; 1946: Vanarani; 1948: Drohi; Vindhyarani; 1950: Modathi Rathri; Vali Sugriva; Lakshmamma; Swapna Sundari; Maya Rambhal/Maya Rambai; 1951: Deeksha/Anni; Nirdoshi/Niraparadhi; 1952: Manavati; Pelli Chesi Choodu/Kalyanam Panni Paar; 1953: Kanna Talli/Petrathai; Prapancham; Paropakaram; Rohini; Naa Chellelu; Ulagam; 1954: Jyoti/Illara Jyoti; Maa Gopi; Menarikam; Palle Paduchu; Kutumbam; 1955: Ante Kavali; Pasupu Kumkuma; Porter Kandhan; Gul-e-Bakavali; Nalla Thangai; 1956: Balasanyasamma Katha; Melukolupu/Marumalarchi; Naan Petra Selvam; 1957: Aravalli; Dampatyam; Dongalo Dora; Pathni Daivam; Karpurakarasi; 1958: Raja Nandini; Dongalunnaru Jagratha; 1959: Mamiyar Meechiya Marumagal; 1960: Sivagami; Renukadevi Mahatyam; 1961: Iddaru Mithrulu; Nagarjuna; 1962: Bhishma; Kalimilemulu; Kulagothralu; Padandi Munduku; 1963: Anuragam; 1966: Atabommalu; Shri Krishna Tulabharam; Letamanasulu; Astiparulu; 1967: Rahasyam; 1968: Moogajeevulu*; Veerapooja; Amayukudu; Bangaru Sankellu; Attagaru Kottakodalu; Harishchandra; 1970: Jai Jawan; 1971: Mooga Prema; Bhale Papa; Pavitra Bandham; 1972: Abbaigaru Ammaigaru; Vazhai Yadi Vazhai; 1973: Veetukku Vandha Marumagal; Dr Babu; Ganga Manga; Neramu Siksha; Ramrajyam; Geetha; Vishali; 1974: Premalu Pellilu; Chakravakam (Te); Tulasi; Vani Rani; 1975: Thota Ramudu; Katha Nayakuni Katha; Ee Kalapu Pillalu; Vayasochina Pilla; Rajyamlo Rabandulu; 1976: Attavarillu; Manchiki Maro Peru; Swami Drohulu; Mahatmudu; 1977: Talle Challani Daivam; 1978: Gorantha Deepam; Nindu Manishi; 1980: Kiladi Krishnudu; Mohana Ragam; Sirimalle Navvindi.
VARALAKSHMI, S. (B. 1927)
Telugu and Tamil actress and noted singer. Born in Jaggampeta, AP. Début as child actress in K. Subramanyam’s Balayogini and Seva Sadan. First adult role in Ramabrahmam’s Mayalokam. Top 50s Tamil star with several musical hits. Also considered in some ways a successor to Kannamba, e.g. in Panama Pasama where she ‘tames’ her mother-in-law. Turned producer with Varalakshmi Films (1957). Married A.L. Srinivasan, owner of the ALS Prod, and brother of Kannadasan.
FILMOGRAPHY: 1936: Balayogini; 1938: Seva Sadan; 1939: Raitu Bidda; Prem Sagar; 1940: Illalu; 1945: Mayalokam; 1947: Palnati Yuddham; Apoorva Chintamani; 1948: Balaraju; Bhojan; Chakradhari; 1949: Navajeevanam; Jeevitham; 1950: Macharekhai; 1951: Saudamini; Mohanasundaram; 1952: Tinguranga; Chinnadurai; Velaikkaran; Shyamala; 1953: Kodarikam; Vayyari Bhama; 1954: Sati Sakkubai; Ethirparadathu; 1955: Shri Krishna Tulabharam; 1956: Naga Panchami; Kanakatara; 1957: Sati Savitri; Chakravarthi Thirumagal; 1959: Sati Tulasi; Veer Bhaskaradu; Rechukka Pagatichukka; Veerapandiya Kattaboman; Jai Bhawani; Sivagangai Seemai; 1960: Shri Venkateshwara Mahatyam; Abhimanam; 1961: Krishna Prema; 1962: Mahamantri Timmarasu; Shri Krishnarjuna Yuddham; 1964: Babruvahana; 1965: Vijayasimha; Satya Harishchandra; 1966: Bhimanjaneya Yuddham; Shri Krishna Tulabharam; 1967: Gopaludu Bhoopaludu; Bhama Vijayam/Bhale Kodalu; Shri Krishnavataram; 1968: Nindu Samsaram; Panama Pasama; 1969: Poova Thalaiya; Adarsha Kutumbam; Sattekalapu Sattaiah; Mattukkara Velan; 1970: Drohi; 1971: Bhagyavanthudu; Bomma Borusa; Naa Thammudu; Shri Krishna Satya; 1972: Bullet Bullodu; Pedda Koduku; Atthanu Diddina Kodalu; Bangaru Babu; Bala Bharatam; Delhi To Madras; Daiva Sankalpam; Velli Vizha; 1973: Valli Daivanai; Raja Raja Chozhan; Thirumalai Daivam; Nathayil Muthu; Sreevaru Maavaru; Devudu Chesina Manasulu; Meena; 1974: Inti Kodalu; Thayi; Devi Shri Karumariamman; 1975: Cinema Paithiyam; Abhimanavathi; Ee Kalam Dampathulu; Pichimaraju; Ramuni Minchina Ramudu; Yashoda Krishna; 1976: Doralu Dongalu; Dashavatharam; Needhikku Thalai Vanangu; 1977: Navarathnam; Swarganiki Nitchenalu; Chanakya Chandragupta; Daana Veera Shura Karna; Oka Talli Katha; 1978: Ananda Bhairavi; 1979: Puthiya Varpugal; Kavariman; Suvar Illatha Chitrangal; Viyalavari Kayalu; 1980: Madana Manjiri; Bangaru Bhava; Ketugadu; Mogudu Kavali; Moogaku Matta Vastha; Sharada Ramudu; 1981: Daiva Thirumanangal; Aggirava; Guru Shishyulu; Mayadari Alludu; Swargam; 1982: Kaliyuga Ramudu; Grihapravesham; Vayyari Bhamulu Vagalamari Bharthulu; 1983: Muddula Mogudu; Neti Bharatham; Shri Ranganeethulu; Adutha Varisu; Thungatha Kanniru Onru; Shubha Muhurtam; 1984: Tharasu; Premagola; Punyam Kodi Purushudu; Takkaridonga; Bangaru Kapuram; Devanthakudu; 1985: Aggiraju; Uriki Soggadu; Sreevaru; Bullet; 1987: Chinna Thambi Periya Thambi; 1988: Sangliana; 1991: Guna.
VARKEY, MUTATTHU (B. 1918)
Writer, born in Changanassery, Kerala. One of the most famous purveyors of a Malayalam literature known as paingili fiction: romances pioneered in the serials of the Malayalam magazine, Malayala Manorama, with weekly instalments of formulaic love stories often dealing with extramarital sex, people going away to work or the attractive returnee from the city or abroad causing emotional turmoil. These fictions were a major influence on Malayalam melodrama and on star personae such as Prem Nazir and Sharada. Joined films as scenarist for P. Subramanyam. Wrote e.g. Padatha Paingili, Jailpully, (both 1957); Mariakutty (1958); Poothali (1960); Sneha Deepam (1962), Snapaka Yobannan (1963). Also wrote for Kunchako (Inapravugal, 1965) and for K.S. Sethumadhavan (e.g. Gnana Sundari, 1961; Sthanarthi Saramma, 1966). Varkey’s style has been perpetuated by the writer and scenarist Kanam, his successor in the paingili genre.
VARKEY, POONKUNNAM (B. 1908)
Influential Malayalam writer turned scenarist. Prominent member of a new generation of radical Malayalam short-story writers with e.g. P. Kesavadev, Vaikom Mohammed Basheer and Thakazhy Shivashankar Pillai. According to the literary critic and poet Ayyappa Panicker (1987), many of his stories are ‘open attacks on the Church’ and ‘attempt to bring to light the hidden motivations for outwardly pious actions’ (1987). Dialogue writer in the 50s and 60s, e.g. for V. Krishnan’s Navalokam (1951), G.R. Rao’s Asha Deepam (1953), S.S. Rajan’s Snehaseema (1954), M. Krishnan Nair’s Viyarppinte Vila (1962), Kunchako’s Bharya (1962: from a Kanam story), K.S. Sethumadhavan’s Nithya Kanyaka and Susheela (both 1963). Adapted Panthulu’s original Kannada version of School Master (1958) into Malayalam, directed by Puttanna Kanagal (1964).
VARMA, RAJA RAVI (1848–1906)
Painter who greatly influenced the iconography of early Indian popular painting, theatre and mass-produced lithographs and oleographs. Born in a feudal family with blood ties to the royal house of Travancore, Kerala. Apprenticed to the Travancore court painter Ramaswamy Naicker and probably studied under the Dutch painter Theodore Jensen. Quickly became known as a portraitist in demand by the Indian nobility and the top British administrators. Then changed direction in a way that left an extraordinary and lasting imprint on popular Indian art forms: he started painting Indian gods and goddesses and famous scenes from the Puranas in a naturalist, ‘academic’ style, extending this practice into mass-produced oleographs manufactured at a press near Lonavala (1894), an unprecedented development at the time. The ‘surrogate realism’ (Geeta Kapur, 1989) of his oils and the way they evolved into the first industrialised visual art genre, the mythological, was partly overdetermined by the political aspirations of his royal patrons in Travancore. Varma was part of a current which was explicitly elaborated by the poet and novelist Kerala Varma (1845–1914) and included ‘Chambu poets, composers of Kathakali literature, Manipravala poets, anagrammatists, riddle-mongers, instant rhymsters and Shakuntala translators’ (R. Nandakumar, 1989). Its political role was to match the cultural credentials of the ruling élite with those of brahminical ‘tradition’ and Victorian race and class consciousness. This period in 19th C. Travancore was typical of a phenomenon in many feudal South Indian areas (e.g. Mysore), where a reinvented ‘classicism’ substituted for a social reform movement. Varma’s early paintings reinterpret the tenets of academic boudoir painting: e.g. his adaptation of Tanjore glass paintings to create his full-bosomed figures. Combining traditional performative discourses and myth with the requirements of industrial production, he achieved, in G. Kapur’s words, ‘the allegorical transfer of the heroic ages into the current cultural resurgence’. Its impact was not limited to painting. His mise en scene in spatial tableaux was directly appropriated by the Sangeet Natak and by the early cinema: e.g. the way Varma painted his historical/mythological figures in the foreground and signified their actions through a layered background was adopted by stage backdrop painters. Kapur suggested that the oleographs could have emerged directly from his oils, its colours brightened in consonance with Indian light, making the pictures float to the surface: ‘The technique of the oleograph captures this up-floated image, the depthless printing inks and high varnish of the technique, making the image all surface’. This flattening effect became a formal convention for middle-class drawing-room painting, for religious expression (e.g. the sewing of gilded sequins around the image of the gods) and for the low-technology cottage industries of label and poster printing, magazine illustrations and greetings cards. J. Sasikumar made a documentary, Raja Ravi Varma (1990), about the artist.
VARMA, RAM GOPAL (B. 1961)
Successful 90s Telugu and Hindi director. Dropped out of Engineering College and started his own video library. Debut with hit campus movie Shiva, deemed to have introduced a new generation of technically sophisticated consumerist cinema in Telugu, along with e.g. Mani Rathnam and Shankar. Made a series of hits, including Kshana Kshanam. Govinda Govinda ran into censor trouble, after which he vowed to abandon Telugu films. Successful entry into Hindi film with Rangeela, although both Shiva and Raatri had been released remade in Hindi. Returned to Telugu with Anaganaga Oka Raju and the financial disaster Deyyam. Also produced films by former assistants Sivanageshwara Rao (Money, 1993; Money Money, 1994) and Krishna Vamsy (Gulabi, 1995) who continued his consumerist approach.
FILMOGRAPHY: 1989: Shiva; 1991: Kshana Kshanam; Ratri/Raat; 1992: Antham/Drohi; 1993: Gayam; 1994: Govinda Govinda; 1995: Anaganaga Oka Raju; Rangeela; 1996: Deyyam.
VARMA, VYALAR RAMA (1929–75)
The top lyricist of Malayalam cinema from the 1950s. Born in Vyalar. As a noted poet, he was one of the few members of the erstwhile Travancore aristocracy to join the CP-led cultural resurgence in the late 40s in Kerala. His poems continued the 30s Changampuzha (1911–48) tradition of romantic verse but often shift their rampant idealism into strongly materialist concerns: e.g. his poem Sagara Sangeetham, evoking the cosmic moment of creation replacing God with material reality. According to the historian V.A.K. Ranga Rao (1991), ‘He brought the essence of Marxism, Darwin’s theory of evolution [the song Itihasangal janikkum munbe in Chuvanna Sandhyakal, 1975], the parables from the Bible, all into Malayalam film song,’ adding that Vyalar is never afraid to be explicitly erotic in the tradition of Kalidasa and Jayadeva.
Original name: Thiruthiraipoondi Subramanya Srinivasan Iyer. Director and best-known Madras producer; owner of Gemini Studio. Born in Thiruthiraipoondi, Thanjavur Dist., TN. Started in advertising; later published the journal Ananda Vikatan (still a best-selling weekly), pioneering a trend of serialised fiction that also introduced writers who later became scenarists (e.g. Kalki). His own novel Sati Leelavathi was filmed by Duncan in 1936: the film was MGR’s début. Turned distributor with Subramanyam’s Thyagabhoomi (1939) and financier investing in the Motion Pics Producers Combine; then bought the studio in a government auction to establish Gemini Pics, named after his star sign. Their first film, Madanakamarajan (1941), a major hit, signalled a big shift in the Madras entertainment industry, exemplified by his most famous film, Chandralekha, and by his manifesto in defence of cinematic populism, Pageants for our Peasants. The Gemini signature was equated with multi-starrers and megabudget spectaculars, involving songs, sword fights, massive sets and huge battle scenes, in part derived from DeMille but more from popular fairy-tale variants of Indian epics mediated by adventure fiction inspired as much by Alexandre Dumas as by Douglas Fairbanks. The formula called for direct control over distribution, which included a publishing empire, a script department with Ashokamithran and Pulamai Pithan, a star stable, a studio and, after 1958, a full-scale Eastmancolor laboratory. His unrepentant populism and commercial acumen, which at his peak virtually established Madras as a direct rival to Bombay, can be seen in part as a consequence of the nationalist mobilisation of popular culture (cf. K. Subramanyam) and the first real bid by Madras-based capital for the national All-India film market. As director, he concentrated on the Hindi versions of his studio’s productions, often simply putting his name as director of bilingual versions.
FILMOGRAPHY: 1948: Chandralekha; 1949: Nishan; 1950: Mangala; 1951: Sansar; 1952: Mr Sampat; 1954: Bahut Din Huye; 1955: Insaniyat; 1958: Vanjikottai Valiban; Raj Tilak; 1959: Paigham; 1960: Irumputhirai; 1961: Gharana; 1967: Aurat; 1968: Teen Bahuraniyan; 1969: Shatranj.
Vasudevan Nair, M.T. see Nair, Madathu Thekepattu Vasudevan
VAUHINI PICTURES
Telugu production company in Madras set up by B.N. Reddi (1939) following on from H.M. Reddy’s Rohini Pics, which first assembled the team of K. Ramnoth, A.K. Sekhar and K.V. Reddy, later key contributors to Vauhini’s 40s film output. Known mainly for B.N. Reddi’s elaborate nationalist melodramas (e.g. Vande Mataram, 1939; Sumangali, 1940, Swargaseema, 1945) and for K.V. Reddy’s early saint films. In 1948 Vauhini Pics became the studio Vauhini Prod., launched in partnership with Moola Narayanswamy. Ranked with Gemini as pioneering South Indian film institution. It changed hands the following year as B. Nagi Reddy took over and made it a sister concern of his Vijaya Pics.
VEERANNA, GUBBI (1890–1972)
Theatre and film actor, producer and entrepreneur born in Gubbi village, Mysore. Regarded as the founder of the Kannada stage and film industries. The most prominent practitioner of early 20th C. Kannada Company Natak. Aged 11, joined the Gubbi Shri Channabasaveshwara Swami Krupa Poshita Nataka Mandali, better known as the Gubbi Co., a travelling theatre group set up in 1884. Took charge of the group in 1917, performing almost only mythologicals with spectacular stage effects, rapid scene changes and the use of live animals. Set up a theatre school (1924) in Bangalore. At his peak, he ran three repertories, including one for children, with 250 salaried staff. Started film production (1927) partnered by Devudu Narasimha Sastry and Srinivasa Murthy of the Oriental Bank who later set up the Karnataka Films Corp. (1930) with studios in Malleshwaram. A Belgian cameraman and ethnographic film-maker, Raphael Algoet, helped direct Veeranna’s second feature, His Love Affair. The studio became Gubbi-Karnataka Prod, with support from A.V. Meiyappan. For its early productions Veeranna hired famous directors from other languages to make Kannada films: Y.V. Rao for Hari Maya, Raja Chandrasekhar for Sadarame (this film, based on the group’s most famous stage production, was also the studio’s first success). C. Pullaiah made Subhadra and S. Soundararajan made Hemareddy Malamma. Real success came, however, with entirely local talent: Bedara Kannappa (1954), based on G.V. Iyer’s play for the Gubbi Co., directed by H.L.N. Simha. It was also Kannada megastar Rajkumar’s first film. Veeranna set up Karnataka Film Distributors (1942), the Sagar Talkies Cinema in Bangalore with money borrowed from diwan Sir Mirza Ismail and later expanded his distribution interests by renting other cinemas. Co-founder of the Shri Kanteerava Studios in Bangalore (1966). Member of the Karnataka State Legislature. Wrote his autobiography, Kaleye Kay aka (1969).
FILMOGRAPHY: 1930: Song of Life; 1931: His Love Affair; 1932: Hari Maya; 1935 Sadarame; 1941: Subhadra; 1942: Jeevana Nataka; 1945: Hemareddy Malamma; 1953: Gunasagari/Satya Shodhanai; 1956: Sadarame; Sadarama.
VEL PICTURES
Pioneer sound studio of Telugu cinema set up (1933) by exhibitor Pinapala Venkatadasu (aka P.V. Dasu) in Madras in collaboration with M.T. Rajan, CD. Sami, CP. Sarathi and Jayantilal Thakare. Launched with Chitrapu Narasimha Rao’s 1934 Telugu remake of Prabhat’s Tamil film, Seeta Kalyanam (1933), involving the Prabhat team that later effectively ran the studio: directors K. Ramnoth and Murugadasa and art director A.K. Sekhar. It used RCA equipment apparently installed with assistance from Prabhat technicians. South India’s most famous sound recordist, C.E. Biggs (who later worked for three decades with Gemini) started here with Sarpotdar’s Nandakumar (1938). With General Pics, Vel represents the first efforts to establish a production infrastructure in Madras (away from Calcutta). The studio lasted only four years. P.V. Dasu died (1936) leaving his most ambitious film, Maya Bazaar (1936), incomplete. The impetus to local production it gave later provided precedents for the Karthikeya Studio (set up as a workers’ co-operative in Madras), for Vauhini’s output and for Ramabrahmam’s films at Sarathi. The Vel premises later became the Narasu Studios.
VENKAIAH, RAGHUPATHI (7–1941)
Popular photographer with a studio on Mount Road, Madras; as exhibitor he is sometimes credited with introducing cinema to South India. Imported the Chrono-Megaphone system through John Dickinson & Co., Madras, with an attached gramophone player which presented the illusion of synchronised sound. Screened films like Raja’s Casket and Pearl Fish in the Victoria Public Hall. Many of his screenings were limited to c.500 ft of film in order to match the duration of the record disc. Some sources claim he travelled through Burma and Sri Lanka in 1912, before building the Gaiety, the first permanent cinema in Madras (1914). Also built the Crown and the Globe theatres in that city, showing mainly British and American films. Father of Raghupati Prakash.
VENKATESH, DAGGUBATI (B. 1960)
Telugu star; son of noted producer D. Rama Naidu. Debut as child actor in Prem Nagar. Abandoned studies in business management in the USA to become ‘new generation’ Telugu star alongside contemporaries Nagarjuna and Balkrishna. Srinivasa Kalyanam was one of his early successes, while the award-winning Swarna Kamalam accrued an actorial reputation to his style. First major success however was Bobbili Raja, followed by Kshana Kshanam and Chanti. Known generally for his introduction of a light-weight and casual performing style mounted in contrast to the theatrical rhetoric that still dominates notions of ‘good acting’ in Telugu. Hindi début with Eeshwar, followed by Anari (remaking Chanti) and the unsuccessful Taqdeerwala.
FILMOGRAPHY: 1971: Prem Nagar; 1985: Kaliyuga Pandavulu; 1986: Brahma Rudralu; 1987: Ajeyudu; Bharatamlo Arjundu; Trimurtulu; Vijetha Vikram; Srinivasa Kalyanam; 1988: Raktha Tilakam; Brahma Puthrudu; Swarna Kamalam; Varasoduchadu; 1989: Prema; Vontari Poratham; Dhruvanakshatram; Two Town Rowdy; Eeshwar; 1990: Aggiramudu; Bobbili Raja; Shatruvu; 1991: Coolie No. 1; Surya IPS; Kshana Kshanam; Chanti; 1992: Chinnarayudu; Sundara Kanda; 1993: Anari; Kondapalli Raja; Abbaigaru; 1994: Super Police; Muddula Priyudu; Pokiri Raja; 1995: Taqdeerwala; Dharma Chakram.
VENKATESH, G. K. (1927–93)
Prolific Kannada composer. Entered film as a child actor. Assistant to music directors S. Venkatraman and Vishwanathan-Ramamurthy. Early film scores in collaboration with Padmanabha Sastry, e.g. T.V. Singh Thakore’s Sodari. This film was followed by a series of Thakore and G.V. Iyer productions, often starring Rajkumar. Set several of Iyer’s lyrics to music and scored almost all Rajkumar’s major musical hits. Known for emphatic scores which remain identified with the emotional intensity of Kannada mythologicals and melodramas. Also worked successfully on Kannada variations of the James Bond sub-genre (Goadalli CID 999, Operation Diamond Rocket), Sathyu’s offbeat fantasy, Chithegu Chinthe, and Rajendra Singh’s vendetta thriller, Antha. He sang in e.g. Karanth’s Chomana Dudi (1975). Superstar composer Ilaiyaraja started as his assistant but later employed him.
FILMOGRAPHY: 1950: Chechi; 1955: Sodari; 1956: Hari Bhakta; Ohileshwara; 1958: Anna Thangi; 1959: Dharma Vijaya; Jagajyothi Basaveshwara; Mahishasura Mardini; 1960: Ranadheera Kanteerava; Dashavtara; 1961: Kaivara Mahatme; Kantheredu Nodu; Arappavan; 1962: Bhoodana; Karuneye Kutumbada Kannu; Thayi Karulu/Thayin Karunai; 1963: Lawyara Magalu; Kanya Ratna; Gauri; Malli Madhuve; Kulavadhu; Kalitharu Henne; Ananda Bashpa; Bangari; 1964: Kalavati; Tumbidakoda; 1965: Kavaleradu Kulavondu; Sarvagna Murthy; Nanna Kartavya; Sati Savitri; 1966: Kiladi Ranga; Madhu Malathi; Sandhya Raga; 1967: Parvathi Kalyana; Rajashekhara; Rajadurgada Rahasya; Immadi Pulakesi; 1968: Jedara Bale; Manasakshi; Goadalli CID 999; Dial 2244; 1969: Bhagirathi; Kannu Muchale; Mukunda Chandra; Operation Jackpot; 1970: Devara Makkalu; 1971: Kasturi Nivasa; Bala Bandhana; Naguva Hoovu; Thayi Devaru; Pratidhwani; Thande Makkalu; 1972: Yara Sakshi; Bangarada Manushya; Somari Pothu; Kodalu Pilla; 1973: Doorada Betta; Devi Lalithamba; Talli Kodukulu; Sreevaru Maavaru; Pasi Hridayalu; Ponnukku Thanga Manasu; Kartavyada Kare; 1974: Murugan Kattiya Vazhi; Boothayyana Maga Ayyu; Sampathige Saval; Bhakta Kumbhara; Anna Attige; 1975: Dari Tappida Maga; Koodi Balona; Mayura; Nireekshe; Trimurthi; Zamindarugari Ammayi; Piriya Vidhai; Thennankeetru; Yarukkum Vetkamillai; 1976: Adavallu Apanindalu; America Ammayi; Raja Nanna Raja; Bangarada Gudi; Balu Jenu; 1977: Chakradhari; Tharam Marindi; Vedantha; Sose Thanda Saubhagya; Srimanthana Magalu; Sanadhi Appanna; Olavu Gelavu; Galate Samsara; 1978: Devadasi; Vamsa Jyothi; Operation Diamond Rocket; Bhale Huduga; Chithegu Chinthe; 1979: Na Ninna Bedenu; Asadhya Aliya; Huliya Halina Mevu; Kamala; Nentaro Gantu Kallaro; Dhairyalakshmi; Malligai Mohini; Ravanude Ramudaithe; 1980: Usha Swayamvara; Rustom Jodi; Azhagu; Chinan Chiru Kiley; Kannil Theriyum Kathaigal; Jatara; Raktha Bandham; Sannayi Appanna; 1981: Havina Hedde; Antha; Hana Balavo Jana Balavo; Bhoomige Banda Bhagavanta; Minchina Belakalli; Mareyada Haadu; Pennin Vazhkai; Daiva Thirumanangal; Nenjil Oru Mul; 1982: Rudri; Shankar Sundar; Bhakta Dnyanadeva; Halu Jenu; Karmika Kallanalla; Bhoodi Muchida Kenda; Snehada Sankole; 1983: Asha; Hosa Teerpu; Eradu Nakshatragalu; Nodi Swamy Navirodu Hige; Kashmir Kathali; Urumulu Merupulu; 1984: Prachanda Kulla; Gajendra; Guru Bhakti; Kaliyuga; Jiddu; Male Bantu Male; Raakasi Nagu; Makkaliralavva Mane Thumba; Muthondu Muthu; 1985: Parameshi Prema Prasanga; Guru Jagadguru; Ade Kannu; Shabash Vikrama; Chaduranga; Yauvanada Suliyalli; Bhayankar Bakasarudu; Hosa Baalu; Hosa Neeru; Sneha Sambandha; 1986: Preeti (K); 1987: Jaganmatha; Poornachandra; 1989: Gandandre Gandu.
Venkateshwara Rao, Ghantasala see Ghantasala Venkateshwara Rao
VENKATESHWARA RAO, GUMMADI (B. 1927)
Telugu actor born in Tenali, AP. Owned a shop selling electrical goods and started in amateur theatre aged 16. Professional stage career mainly 1947–50, playing roles like Duryodhana, acting often along with Madhavapeddi Venkatramaiah. Film début in Tamil Nadu Theatres’ production Adrushta Deepudu. Lead role in Mahamantri Timmarasu. Broke through with NTR’s National Art Theatre Films: the estate manager in Pichhipullaiah, and Todu Dongalu in which he played the corrupt millowner. Starred in some 50s mythologicals. Better known for supporting roles (e.g. the henpecked husband in Ardhangi). Known in later films for his numerous elderly characters in Telugu films.
FILMOGRAPHY: 1950: Adrushta Deepudu; 1953: Pichhipullaiah; 1954: Todu Dongalu; 1955: Ardhangi/Pennin Perumai; 1957: Dampatyam; MLA; Sati Ansuya; Sarangadhara; Premada Putri/Preme Daivam; Maya Bazaar; Suvarna Sundari; 1958: Dongalunnaru Jagratha; Aadapettanam; Ettuku Pai Ettu; Intiguttu; Chenchulakshmi; 1959: Sati Tulasi; Pelli Sandadi; Illarikam; Shabash Ramudu; Sipayi Kooturu; Raja Mukutam; 1960: Shri Venkateshwara Mahatyam; Renukadevi Mahatyam; Kuladaivam; Pelli Kanuka; Sahasrachirasedha Chintamani; Rani Ratnaprabha; Jalsarayudu; Bhatti Vikramarka; Dharmane Jayam; Annapurna; Vimala; 1961: Seeta Rama Kalyanam; Bharya Bartulu; Rushyashrunga/Rishyashringar; Iddaru Mithrulu; Shanta; Tandrulu Kodukulu; 1962: Bhishma; Khaidi Kannayya; Kalimilemulu; Mahamantri Timmarasu; Siri Sampadalu; Kulagothralu; Constable Koothuru; Aradhana; Shri Krishnarjuna Yuddham; 1963: Irugu Porugu; Savati Koduku; Chaduvukonna Ammayilu; Paruvu Pratishthalu; Eedu Jodu; Anuragam; Bandhipotu; Lakshadhikari; Tirupathamma Katha; Punarjanma; Moogamanasulu; Naanum Oru Penn/Nadi Aada Janme; 1964: Murali Krishna; Peetalameeda Pelli; Dr Chakravarthi; Dagadu Moothulu; Varasatwam; Ramadasu; Poojaphalam; 1965: Pandava Vanavasam; Chandrahasa; Preminchi Choodu; Vishala Hridayalu; CID; 1966: Zamindar; Loguttu Perumallukeruka; Palnati Yuddham; Atmagauravam; Kanne Manasulu; Bhakta Potana; Hantakulostunnaru Jagratha; Manase Mandiram; 1967: Pattu Kunte Padivelu; Satyame Jayam; Upayamlo Apayam; Rahasyam; Peddakayya; Kambojaraju Katha; Pranamithrulu; 1968: Paala Manasulu; Sati Arundhati; Sircar Express; Govula Gopanna; Chuttarikalu; Mana Samsaram; Pantalu Pattimpulu; Aggimida Guggilam; Bangaru Sankellu; Bandhipotu Dongalu; 1969: Jagath Kiladilu; Bhale Rangudu; Buddhimanthudu; Shri Rama Katha; Tara Sasankam; Bhale Abbayilu; Adarsha Kutumbam; 1970: Maro Prapancham; Agni Pareeksha; Amma Kosam; Jai Jawan; Katha Nayika Molla; Pachani Samsaram; 1971: Dasara Bullodu; Amayakuralu; Bangaru Kutumbam; Bhagyavanthudu; Bharya Biddalu; Nenu Manishine; Nindu Dampatulu; Pavitra Hridayalu; Prem Nagar; Sisindri Chittibabu; Suputhrudu; 1972: Abbaigaru Ammaigaru; Atthanu Diddina Kodalu; Beedala Patlu; Kalam Marindi; Koduku Kodalu; Maa Inti Kodalu; Manchi Roluju Vastai; Marapurani Talli; Kalavari Kutumbam; Neethi Nijayathi; Collector Janaki; Sampoorna Ramayanam; Menakodalu; Pandanti Kapuram; Vich itra Bandham; Vooriki Upakari; Illu Illalu; Bangaru Babu; Balamithrula Katha; Tata Manavadu; 1973: Ramrajyam; Kanna Koduku; Kanne Vayasu; Snehabandham (Te); Marapurani Manishi; Samsaram Sagaram; Meena; Dr Babu; Jeevana Tarangulu; Khaidi Baba; Mallamma Katha; Minor Babu; Vichitra Vivaham; Vintha Katha; Kannavari Kalalu; 1974: Gali Patalu; Intinti Katha; Chaduvu Samskaram; Manushilo Devudu; Anaganaga Oka Thandri; Tulasi; Jeevitha Rangamu; Mangalya Bhagyam; Ammayi Pelli; Peddalu Marali; Alluri Seetaramaraju; Manasidu Matti Bommalu; Krishnaveni; Inti Kodalu; Dhanavanthulu Gunavanthulu; Bhoomikosam; Dora Babu; Devadasu; Chinnanati Kalalu; 1975: Kotha Kapuram; Lakshmana Rekha; Moguda Pellamma; Naaku Swatantram Vachindi; Pichodi Pelli; Soggadu; Saubhagyavati; Yashoda Krishna; Pandanti Samsaram; Babu; Zamindarugari Ammayi; Vaikunthapali; Chikati Velugulu; 1976: Jyothi; Aradhana; Seeta Kalyanam; Neram Nadhikadu Akalidi; Pogarubottu; America Ammayi; Adavallu Apanindalu; Bangaru; Manishi; Devude Gelichadu; Mangalyaniki Maro Peru; Oka Deepam Veligindhi; Padavoyi Bharatheeyuda; Rama Rajyamlo Raktha Pasam; Secretary; Uttamuralu; Yavanam Katesindi; 1977: Aalu Magalu; Chakradhari; Ee Tharam Manishi; Geetha Sangeetha; Indra Dhanushu; Janma Janmala Bandham; Kalpana; Kurukshetramu; Savasagallu; Sati Savitri; Seeta Rama Vanavasam; Jeevana Theeralu; Jeevitha Nauka; 1978: Sahasavanthudu; Manchi Babai; Kalanthakulu; Enki Nayudu Bava; Akhar Saleem Anarkali; Allari Bullodu; Chal Mohanaranga; Devadasu Malli Puttadu; Dudubasavanna; Nindu Manishi; Prema Chesina Pelli; Simha Garajana; Vichitra Jeevitham; Ganga Bhawani; 1979: Captain-Krishna; Maa Inti Lakshmi; Mande Gundelu; Karthika Deepam; Bangaru Chellalu; Hema Hemeelu; Lntinti Ramayanam; Judagadu; Muddula Koduku; Naa Lllu Naa Vellu; Maavari Manchithanam; Sankhu Teertham; Shri Tirupati Venkateshwara Kalyanam; Tiger; Sangham Chekkina Silpalu; 1980: Premabhishekham; Sreevari Muchatlu; Kiladi Krishnudu; Nijam; Ammayi Mogadu Mamaku Yamadu; Buchi Babu; Challenge Ramudu; Chandi Priya; Dharma Chakram; Gharana Donga; Kaksha; Kotha Jeevithulu; Shri Vasavi Kannika Parameshwari Mahatyam; Gajadonga; Premabhishekham; 1981: Asha Jyoti; Jeevitha Ratham; Agni Poolu; Alludugaru Zindabad; Bhoga Bhagyalu; Bhogimanthulu; Jatagadu; Pranaya Geetham; Prema Mandiram; Sandhya Ragam; 1982: Jagannatha Rathachakralu; Gopala Krishnudu; Kaliyuga Ramudu; Anuraga Devatha; Bangaru Kanuka; Ee Charithra Ee Sivato; Ekalavya; Idi Kadhu Mugimpu; Mondighatam; Nelavanka; Pelli Chuputlu; Raga Deepam; Swayamvaram; 1983: Dharma Poratam; Dharmathmudu; Ee Pillaku Pellavuthunda; Ekanaina Marindi; Koteeshwarudu; MLA Yedukondalu; Mundadugu; Police Venkataswamy; Prema Pichollu; Rojulu Marayi; Rudrakali; Sangharshana; Shubha Muhurtam; Todu Needa; Gaju Bommalu; 1985: Kongumudi; O Thandri Teerpu; 1987: Thene Manasulu; 1990: Bobbili Raja; Pelli Pustakam; 1991: Talli Tandrulu; 1992: Brindavanamu; 1993: Mutha Mestry; Rajendrudu Gajendrudu; Varasudu.
VENKATRAMAIAH, RELANGI (1910–75)
Telugu actor born in Ravulapadu, AP. Educated in Kakinada. Professional Harikatha performer. Also did folk theatre and acted female roles in stage musicals. Expert harmonium player. Joined films playing the Vidushaka (jester) in C. Pullaiah’s Shri Krishna Tulabharam. Assisted Pullaiah as production manager for several years before returning to acting. Became a star with Gollabhama. First major comedy role in Vindhyarani, continuing his reputation as a comedy actor in Missamma, Bhale Ramudu and Iddaru Mithrulu. Played minor roles until the late 50s, becoming a regular face in Vijaya films. Often paired with Suryakantam (e.g. Samsaram), and with Girija (sometimes forming a trio with Ramana Reddy).
Relangi Venkatramaiah in Varakatnam (1968)
FILMOGRAPHY: 1935: Shri Krishna Tulabharam; 1939: Varavikrayam; 1940: Malathi Madhavam; 1942: Balanagamma; 1947: Gollabhama; 1948: Madalasa; Vindhyarani; 1949: Gunsundari Katha; Keelugurram/Maya Kudhirai; Mana Desam; 1950: Maya Rambha; Samsaram; Shavukaru; Vali Sugriva; Paramanandayya Sishyula Katha; 1951: Patala Bhairavi/Pataal Bhairavi; Perantalu; Agni Pareeksha; 1952: Daasi; Dharmadevata; Manavati; Pelli Chesi Choodu/Kalyanam Panni Paar; Pedaraitu; Prema/Kathal; Priyuralu; Tinguranga; 1953: Bratuku Theruvu; Chandirani; Pakkinti Ammayi; Paropakaram; Ammalakkalu/Marumagal; Chandraharam; Pardesi; 1954: Pedda Manasulu; Aggiramudu; Amara Sandesam; Maa Gopi; Raju Peda; Sati Sakkubai; Vipranarayana; 1955: Cherupukura Chedevu; Jayasimha/Jaisingh; Shri Krishna Tulabharam; Missamma/Missiamma; Rojulu Marayi/Kalam Maripochu; Santhanam; Santosham/Naya Admi; Vadina; Vijayagauri; Donga Ramudu; Aadabidda; 1956: Chintamani; Harishchandra; Ilavelpu; Bhale Ramudu/Prema Pasham; Jayam Mande; Shri Gauri Mahatyam; Umasundari; Mathar Kula Manikam/Charanadasi; Penki Pellam; 1957: Dongalo Dora; Sarangadhara; Sati Savitri; Nala Damayanti; Repu Neede; Maya Bazaar; Dampatyam; Peddarikalu; Allavudeenum Arputha Vilakkum/Allauddin Adbhuta Deepam/Alladdin Ka Chirag; Suvarna Sundari/Manalane Mangayin Bhagyam; Veera Kankanam; Bhale Bhava; Sankalpam; Bhale Ammayilu/Iru Sahodarigal; Sati Ansuya; Thodi Kodallu; Bhagya Rekha; 1958: Ettuku Pai Ettu; Anna Thamudu; Chenchulakshmi; Raja Nandini; Shobha; Aadapettanam; Manchi Manishiki Manchi Rojulu; Bhuloka Rambha; Appu Chesi Pappu Koodu/Kadan Vangi Kalyanam; 1959: Mangalya Balam/Manjal Magimai; Jayabheri; Veer Bhaskaradu; Illarikam; Rechukka Pragatichukka; Shabash Ramudu; Daivabalam; Vachina Kodalu Nachindi; Bandaramudu/Adisaya Thirudan; Balanagamma; Bhagya Devatha; Kalasivunte Kaladu Sukham; 1960: Shantinivasam; Kuladaivam; Rani Ratnaprabha; Dharmane Jayam; Pelli Kanuka; Mahakavi Kalidasa; Kumkumarekha; Bhakta Raghunath; Kadeddulu Ekaramnela; Annapurna; Runanubandham; Abhimanam; Samajam; Vimala; 1961: Velugu Needalu; Usha Parinayam; Intiki Deepam Illale; Bhakta Jayadeva; Bharya Bartulu; Pelli Pilupu; Krishna Prema; Rushyashrunga/Rishyashringar; Taxi Ramudu; Vagdanam; Jagadeka Veeruni Katha; Iddaru Mithrulu; Raktha Sambandham; 1962: Mohini Rugmangada; Khaidi Kannayya; Aradhana; Tiger Ramudu; Pelli Thambulam; Bhishma; Gundamma Katha; Mahamantri Timmarasu; Kulagothralu; Siri Sampadalu; Ashajeevulu; Atmabandhuvu; 1963: Irugu Porugu; Edureetha; Pempudu Koothuru; Chaduvukonna Ammayilu; Paruvu Pratishtha; Anuragam; Bandhipotu; Lakshadhikari; Savati Koduku; 1964: Mahiravana; Atmabalam; Gudigantalu; Amarashilpijakanna; Deshadrohulu; Ramudu Bheemudu; Babruvahana; Varasatwam; Poojaphalam; 1965: Sumangali; Mangamma Sapatham; Satya Harishchandra; Prameelarjuneyam; Preminchi Choodu; Vishala Hridayalu; Sati Sakkubai; Aadabrathuku; Shri Simhachala Kshetra Mahatmyam; 1966: Zamindar; Atmagauravam; Navarathri; Srikakula Andhra Mahavishnu Katha; Vijayasankham; Goodachari 116; Letamanasulu; Adugu Jadalu; Manase Mandiram; Astiparulu; Ramu; 1967: Bhakta Prahlada; Pinni; Sati Sumati; Pranamithrulu; Bhale Kodalu; Vasantsena; Private Master; Rahasyam; Aada Paduchu; 1968: Varakatnam; Veerapooja; Talliprema; Tikka Shankaraiah; Govula Gopanna; Amayukudu; Chinnari Papalu; Chuttarikalu; Challani Needa; Bangaru Gajulu; Umachandi Gauri Shankarula Katha; Kalasina Manasulu; Pelliroju; Baghdad Gajadonga; Nindu Samsaram; 1969: Shri Rama Katha; Bhale Abbayilu; Nindu Hridayalu; Bhale Tammudu; Mathrudevata; Karpura Harati; 1970: Dharmadatha; Pettandarulu; Vidhi Vilasam; Yamalokapu Goodachari; Kodalu Diddina Kapuram; 1971: Jeevitha Chakram; Patindalla Bangaram; 1972: Kalavari Kutumbam; Shabash Papanna; 1973: Dabbuku Lokam Dasoham; Geetha; Dr Babu; Ganga Manga; Manavu Manasu; Palletoori Bhava; 1974: Mugguru Ammayilu; Manushilo Devudu; Radhamma Pelli; Ram Rahim; 1975: Pooja; 1976: Vadhu Varulu.
VENU, MASTER (1916–81)
Telugu music composer born in Bandar, AP. Learnt music from a relative, Ramaiah Naidu, and later Chebrolu Venkatarathnam. Concert vocalist as a teenager. Introduced by Dr Giri of the Giri Museum in Madras to music director B. Narasimha Rao (1938), whom he assisted on Raitu Bidda (1939) and Meerabai (1940). Also worked in Vasant Desai’s orchestra. Employed as chief conductor of the Vijaya Studio orchestra, pioneering the use of electronic synthesisers in Telugu films. First film as composer, Anta Manavalle, at Sarathi Studio. Became a star with Rojulu Marayi, esp. with the folk number Eruvaaka sagaloi. The song, enacted by Waheeda Rehman in her screen début, caused major debates regarding its origins. It was adapted into Tamil and S.D. Burman made its Hindi version for Bambai Ka Babu (1960).
FILMOGRAPHY: 1945: Valmiki; 1950: Vali Sugriva; 1954: Anta Manavalle; 1955: Rojulu Marayi/Kalam Maripochu; 1956: Melukolupu; 1957: Sati Savitri; Peddarikalu; 1958: Ettuku Pai Ettu; 1959: Mangalya Balam/Manjal Magimai; Bhagya Devatha; Raja Mukutam; Kalasivunte Kaladu Sukham; 1960: Shantinivasam; Kuladaivam; Kumkumarekha; Jalsarayudu; 1961: Batasari/Kanal Neer; 1962: Siri Sampadalu; 1963: Irugu Porugu; Somavara Vratham; 1964: Murali Krishna; 1965: Preminchi Choodu; 1966: Adugu Jadalu; 1968: Kalasina Manasulu; Vintha Kapuram; Nindu Samsaram; Bharya; Baghdad Gajadonga; 1969: Bommalu Cheppina Katha; Ardha Rathri; 1970: Aada Janma; Vidhi Vilasam; 1972: Atthanu Diddina Kodalu; 1974: Uttama Illalu; 1975: Andaru Bagundali; 1976: Vadhu Varulu; 1978: Melukolupu; 1980: Maa Inti Devatha.
VIJAYA PICTURES
Production company established in partnership between erstwhile publishers (and owners of BNK Press) B. Nagi Reddy and Chakrapani. They started with L.V. Prasad’s Shavukaru (1950). Nagi Reddy had invested in Vauhini (1949) and became its studio manager, while Chakrapani was mainly a scenarist. With the production wing of Vauhini still run by its founder, B.N. Reddi, the Nagi Reddy-Chakrapani duo started their own production unit, Vijaya Pics, which gradually took over the studio’s entire production section. Known as the Vijaya-Vauhirri Studio complex, it is considered one of South India’s most elaborately equipped studio floors, for a while reputedly the largest in Asia. Invented the megabudget folklore genre with Maya Bazaar (1957), Patala Bhairavi (1958), Jagadeka Veeruni Katha (1961) et al., in part derived from the children’s fiction published in the 14-edition children’s journal Chandamama published by the BNK Press. Alongside these, following the landmark Shavukaru, Vijaya’s productions are also known for low-budget family socials, a genre pioneered by L.V. Prasad (Pelli Chesi Choodu, 1952; Missamma, 1955; Appu Chesi Pappu Koodu, 1958) and expanded by Vijaya in Tamil and Hindi. The films were directed by e.g. K.V. Reddy, K. Kameshwara Rao, Chanakya, T. Prakash Rao (who made their Hindi film Ghar Ghar Ki Kahani, 1970) and K.S. Sethumadhavan (Julie, 1975). After being dormant for some years, returned with films like Nammavar and Bhairava Dweepam (both 1994).
VIJAYABHASKAR (B. 1931)
Kannada music director since 1955; worked in 6 languages. Best known for Puttanna Kanagal’s films. Work includes classic songs from Bellimoda, Nagar a Haavu and Manasa Sarovara. Also worked with Lakshminarayan and Nagabharana (e.g. Grahana, with music drawn from tribal folk rituals). Formally trained in both Carnatic and North Indian classical music (the latter under G.K. Bhave) and worked as assistant to Naushad and Madhavlal Master before becoming an independent composer. His second assignment, Y.V. Rao’s Bhagya Chakra, was based on his own script and dialogues as well.
FILMOGRAPHY: 1955: Shrirama Pooja; 1956: Bhagya Chakra; 1957: Premada Putri/Preme Daivam/Anbe Daivam; 1960: Rani Honamma; 1963: Mana Mechhida Madadi; Sant Tukaram; 1964: Post Master; Pathiye Daiva; Nandi; 1965: Beretha Jeeva; Amarajeevi; 1966: Thoogu Deepa; Kusirthikuttan/Anni; 1967: Jeevikan Anuvadhikuka; Bellimoda; Lagna Patrike; Premakku Permitte; Pathirapattu; 1968: Kayalkarayil; Manku Dinne; Mysore Tonga; Bhagyada Bagilu; Anandakanda; Anna Thamma; Natasarva Bhowma; Manninamaga; 1969: Suvarnabhoomi; Namma Makkalu; Mallammana Pavada; Eradu Mukha; Makkale Manege Manikya; Uyyale; Brindavana; 1970: Gejje Pooje; Arishina Kumkuma; Anirikshita; Bhoopathiranga; Takkaf Bitre Sikka/f; Lakshmi Saraswathi; Balu Belagithu; Aaru Mooru Ombattu; Seeta; Mukti; Balapanjara; 1971: Sharapanjara; Signalman Siddappa; Kalyani; Bhale Adrushtavo Adrushta; 1972: Yavajanmada Maitri; Hridayasangama; Naa Mechida Huduga; Nanda Gokula; Mareyada Deepavali; Jeevana Jokaali; Nagara Haavu; 1973: Devaru Kotta Thangi; CID 72; Sankalpa; Seetheyalla Savithri; Jay a Vijaya; Mane Belagida Sose; Kesarina Kamala; Abachurina Post Office; 1974: Upasane; Krishnaveni; Kalyanamam Kalyanam; Ungal Virupam; Unnaithan Thambi; Engamma Sabatham; 1975: Aan Pillai Singam; Engalukkum Kathal Varum; Malai Sooda Va; Mayangurikal Oru Madhu; Thottathellam Ponnagum; Unga Veetu Kalyanam; Uravu Solla Oruvan; Yarukku Mappillai Yaro; Ammayila Sabatham; Shubhamangala; Kasturi Vijaya; Bhagya Jyothi; Ninagagi Nanu; Bili Hendthi; Hennu Samsarada Kannu; Katha Sangama; 1976: Makkala Bhagya; Besuge; Chiranjeevi; Tulasi; Maya Manushya; Phalithamsha; Kalangalil Aval Vasantham; Moham Muppathu Varusham; Kalamadi Kalam; Sangharsha; 1977: Aadu Puli Atham; Aval Oru Athisayam; Mamiyar Veedu; Olimayamana Ethirkalam; Harake; Deepa; Magiya Kanasu; Mugdha Manava; Kumkuma Rakshe; Banashankari; Devare Dikku; Ganda Hendthi; 1978: Havina Hejje; Siritanakke Saval; Paduvarahalli Pandavaru; Premayana; Thappida Tala/Thappu Thalangal; Vasanthalakshmi; Aluku; Amarnath; Pare Solla Oru Pillai; Rajavukku Etha Rani; Grahana; 1979: Adalu Badalu; Sadananda; Muyyi; Mallige Sampige; Dangeyedda Makkalu; Tirada Bayake; 1980: Akhanda Brahmachari-galu; Hanthakana Sanchu; Kappu Kola; Ellindalo Bandavaru; Subbi Subakka Suvvalali; Namma Mane Sose; Mother; Bangarada Jinke; Mithuna; Driver Hanumanthu; Hare Krishna Hello Radha; Sundarime Varuga Varuga; Anveshane; 1981: Sooravalli; Leader Vishwanath; Chalagara; Nari Swargakke Dari; Balu Bangara; Bangarada Mane; Preetisi Nodu; Daari Thappinte Manishi; 1982: Jodi Jeeva; Jimmygallu; Manasa Sarovara; Suvarna Sethuve; 1983: Devara Tirpu; Dharanimandala Madhyadolage; Banker Margayya; Matte Vasantha; Ananda Sagar a; Muttaide Bhagya; Amayaka Chakravarthi; Oru Kai Paapam; 1984: Rajahmundhry Romeo; Amrutha Galige; Shubha Muhurta; Huli Hejje; Pavitra Prema; Runamukthalu; 1985: Haavu Eni Aata; Mavano Aliyano; Masanada Hoovu; Bhayankara Bakasarudu; 1986: Thavaru Mane; Nenapina Doni; Sundara Swapnagalu; Malaya Marutha; 1987: Huli Hebbuli; Thaliya Aane; Aaseya Bale; Avasthe; Bandha Mukti; Surya; Antima Ghatta; 1988: Thayiya Aase; Bhoomi Thayane; Gudugu Sidilu; Thayigobba Karna; Mithileya Seetheyaru; Kadina Benki; 1989: Thaligagi; Madhu Maasa; Mathilukal; Amrutha Bindu; Prathama Usha Kirana; Yerudu Mane Meena; 1991: Patita Pavani; 1994: Aaghata; Gangavaa Gangamaye; 1995: Kathapurushan.
VIJAYANIRMALA (B. 1945)
Telugu actress and director. Started acting aged 5 under P. Pullaiah (Macharekhai), in male role. Début in adult roles in Tamil and Malayalam: Enga Veetu Penn (a remake of Shavukaru, 1950) for the Vijaya Studio, whence her screen name. Cast in A. Vincent’s début, Bhargavi Nilayam (Malayalam) playing the ghost. May have acted in 60s Malayalam films under the pseudonyms Neeraja and Usha Kumari. First Telugu film was Bapu’s Saakshi, after which she married its star, Krishna, working with his Padmalaya Studio since then. Appeared in over 130 films in Telugu, Kannada, Tamil and Malayalam. Known in Tamil as Alek Nirmala after the song Ezhandam pazham in Panama Pasama. Directorial début with Kavitha in Malayalam, later remade in Telugu. Together with her husband, set up own production company and directed most of their films, at times starring her son, Naresh, but mostly featuring Krishna himself, one of NTR’s main rivals. Her film Sahasame Naa Upiri was a campaign film on behalf of the Congress(I), attacking NTR’s government. Made many box-office hits but is said to prefer her flop, Devadasu, which starred Krishna in her version of the classic Saratchandra love story featuring her as Paro opposite Krishna’s Devdas.
FILMOGRAPHY (* also d/** only d): 1950: Macharekhai; 1957: Panduranga Mahatyam; 1958: Bhukailasa; 1964: Bhargavi Nilayam; 1965: Enga Veetu Penn; 1966: Kalyana Rathriyil; Puchakanni; Chitthi; Rangula Ratnam; 1967: Padhyam; Anveshichu Kandatiyilla; Udyogastha; Pooja; Pinni; Saakshi; Upayamlo Apayam; Bhale Kodalu; Poolarangadu; 1968: Panama Pasama; Sircar Express; Attagaru Kottakodalu; Bangaru Pichika; Nilagiri Express; Soppu Seppu Kannadi; Uyira Manama; Sathyam Thavarathe; Karutha Pournami; 1969: Love in Andhra; Manchi Mithrulu; Bommalu Cheppina Katha; Takkaridonga Chakkanichukka; Vichitra Kutumbam; Muhurtabalam; Mamaku Tagga Kodalu; Anna Dammulu; Buddhimanthudu; Prema Kanuka; Bandhipotu Bhimanna; 1970: Agni Pareeksha; Amma Kosam; Alludu Menalludu; Akkachellelu; Maa Nanna Nirdoshi; Malli Pelli; Marina Manishi; Pagasadhishta; Pettandarulu; Rendu Kutumbala Katha; Pelli Sambandham; Talli Bottu; Vidhi Vilasam; 1971: Adavi Veerulu; Anuradha; Rowdy Rangadu; Ramalayam; Bangaru Kutumbam; Bangaru Talli; Bomma Borusa; Master Kiladi; Mosagalluku Mosagadu; Nindu Dampatulu; Vichitra Dampathyam; Bullemma Bullodu; 1972: Kalippava; Gnana Oli; Pulliman; Postmane Kananilla; Manchivallaku Manchivadu; Shabash Papanna; Tata Manavadu; Bhale Mosagadu; Pandanti Kapuram; Kathula Rathaiah; Maa Lnti Velugu; 1973: Nija Roopalu; Varasuralu; Nenu Naa Desam; Devudu Chesina Manasulu; Kavitha*; Meena*; Ponnapuram Kotta; Kattu Vithachavan; Thenaruvi; Pavangal Pennungal; 1974: Durga; Devadasu*; Gali Patalu; Banthrotu Bharya; Dhanavanthulu Gunavanthulu; Jeevithasayam; Alluri Seetaramaraju; Nitya Sumangali; Ram Rahim; 1975: Mallela Manasulu; Santhanam Saubhagyam; Pichodi Pelli; Padi Pantalu; Kavitha*; 1976: Devude Gelichadu*; Rama Rajyamlo Raktha Pasam; Colonel and Collector; 1977: Ardhangi; Kurukshetramu; Morotudu; Maarpu; Chakradhari; Chillarakottu Chittamma; Panchayathi*; 1978: Moodu Puvvulu Aaru Kayalu*; Rowdy Rangamma*; Prema Chesina Pelli*; Devadasu Malli Puttadu; Manavoori Pandavulu; Patnavasam; 1979: Bangaru Chellalu; Korikile Gurralaite; Sangham Chekkina Silpalu*; Hema Hemeelu*; Sankhu Teertham*; 1980: Ram Robert Rahim*; Kiladi Krishnudu*; Sirimalle Navvindi*; Raktha Sambandham**; 1981: Antham Kadidi Arambham*; Bhogimanthulu*; 1982: Doctor Cineactor*; Prema Sankellu*; 1983: Todu Needa; Amayakudu Kadhu Asadhyudu**; Bezwada Bebbuli*; Chattaniki Veyi Kallu**; Lanke Bindelu**; 1984: Mukhya Mantri**; Mukkopi*; Sumangali Kolam*; 1985: Vijeta; Hasyabhishekham; Surya Chandra**; 1986: Shantinivasam*; Naa Pilupe Prabhanjanam; Krishna Paramatma*; Parasuramudu*; 1987: Sankharavam*; Pagasadhishta*; Mandala Dheesudu; Collector Vijaya*; 1988: Rowdy No. 1; Praja Pratinidhi; Sendhoora Poove; 1989: Prajala Manishi; Gandipeta Rahasyam; Pinni*; Sahasame Naa Upiri*; Ajatashatru*; 1991: Vadina Mata*; 1994: Yes Nenante Nene**.
Vijayanirmala in Pulliman
VINAYAK DAMODAR KARNATAKI, MASTER (1906–47)
Marathi and Hindi actor-director known as Master Vinayak. Born and educated in Kolhapur. Brother of the cinematographer Vasudev Karnataki and step-brother of Baburao Pendharkar. Started as a teacher while acting on the Marathi stage, then actor in Shantaram’s films, making his mark in the early Prabhat films with his powerful singing and acrobatic acting style. Moved to Kolhapur Cinetone (1933) where he made his first film, Vilasi Ishwar. Launched the famous Huns Pics (1936), later Navyug Chitrapat (1940), and then Prafulla Pics (1943–7). Used remarkable scripts by Mama Warerkar, P.K. Atre and V.S. Khandekar, members of a new literary generation aggressively seeking to go beyond the then dominant social reform conventions. Scripts engaged with contemporary politics, transforming melodrama into satire, deploying slang and journalistic techniques. Often played the gullible fool, in Brahmachari, Ardhangi, Dharmaveer. Also did some inspired casting, e.g. the Gundyabhau-Chimanrao duo reminiscent of Laurel and Hardy played by Malvankar and Vishnupant Jog, based on C.V. Joshi’s celebrated political satires (Lagna Pahave Karun and Sarkari Pahune, both scripted by Khandekar). Huns Pics commissioned scripts from writer-director teams, e.g. V.V. Bokil and R.S. Junnarkar (Pahili Mangalagaur, 1942) or Bokil and Vasant Joglekar (Chimukla Sansar, 1943). This system was continued by Atre’s productions and by e.g. P.L. Deshpande and Ram Gabale (Doodh Bhaat, Ghardhani, both 1952) and G.D. Madgulkar and Raja Paranjpe. His biography was written by his chief disciple Dinkar D. Patil (1971), who finished Vinayak’s last feature, Mandir.
FILMOGRAPHY (* also d/** only d): 1932: Ayodhyecha Raja/Ayodhya Ka Raja; Jalti Nishani/Agnikankan; Maya Machhindra; 1933: Sairandhri; Sinhagad; 1934: Akashwani; 1935: Bhikharan; Vilasi Ishwar/Nigah-e-Nafrat*; 1936: Chhaya*; 1937: Dharmaveer*; Premveer*; 1938: Jwala*; Brahmachari*; 1939: Brandichi Batli/Brandy Ki Botal**; Devata**; 1940: Ardhangi/Ghar Ki Rani*; Lagna Pahave Karun**; Lapandav; 1941: Sangam; Amrit*; 1942: Sarkari Pahune**; 1943: Mazhe Bal*; Chimukla Sansar; 1944: Gajabhau**; 1945: Badi Maa**; 1946: Subhadra**; Jeevan Yatra**; Dr Kotnis Ki Amar Kahani; 1948: Mandir**.
VINCENT, ALOYSIUS (B. 1928)
Malayalam director and noted cameraman born in Calicut, Kerala, in a Syrian Christian family. Apprentice cameraman at the Gemini Studio (1947) where he assisted Kamal Ghosh and N. Natarajan. Key technician on Kariat’s Neelakuyil (1954) and later on Mudiyanaya Puthran (1961); also worked for Venus Pics, Madras: e.g. T. Prakash Rao’s Amara Deepam (1956), Sridhar’s Kalyana Parisu (1959). Début as director with landmark Malayalam film Bhargavi Nilayam, a fantasy derived from Vaikom Mohammed Basheer’s writing. Became a noted reformist director together with e.g. Sethumadhavan, often using scripts by the novelist and scenarist M.T. Vasudevan Nair (e.g. Murappennu, Nagarame Nandi, Asuravithu). He does not usually photograph his own films.
FILMOGRAPHY: 1964: Bhargavi Nilayam; 1965: Murappennu; 1967: Ashwamedham; Nagarame Nandi; Engalukam Kalamvaryam; 1968: Asuravithu; Thulabharam; 1969: Almaram; Nadhi; 1970: Nizhalattam; Triveni; 1971: Abhijathyam; 1972: Gandharvakshetram; Teerthayatra; 1973: Chenda; Achani; Nakhangal; Dharma Yuddham; 1974: Thirumangalyam; 1975: Nalla Marumagal; Priyamulla Sophia; 1976: Anavaranam; 1977: Agni Nakshatram; Naam Pirandha Maan; 1978: Vayanadan Thampan; Anappachan; 1982: Ponnu Poovam; 1983: Tbeeram Thedunna Third; 1984: Shri Krishnaparunthu; 1985: Pournami Ravil; Kochuthemmadi.
VISHNUVARDHAN (B. 1952)
With Ambarish, the top male star in 70s/80s Kannada film. Début in Karnad/Karanth’s Vamsha Vriksha. Made a major impression as the misguided rebel in Kanagal’s Nagara Haavu: with hunched shoulders and stunted, reptilian moves he gave perhaps the one classic Kanagal performance replete with overtly phallic symbology and dramatic fatalism transcending psychological naturalism. The film showed he was capable of more than the star turns in discotheques and elaborate song picturisations which constitute the bulk of his work. Acted often with S.V. Rajendra Singh, notably the army officer in Muthina Hara. Début in Hindi cinema with Ramsay’s Inspector Dhanush. Did two Tamil films, Alaigal and Mazhalai Pattalam.
FILMOGRAPHY: 1971: Vamsha Vriksha; 1972: Nagara Haavu; 1973: Seetheyalla Savithri; Mane Belagida Sose; Gandhadagudi; Alaigal; 1974: Boothayyana Maga Ayyu; Professor Huchuraya; Anna Attige; Devara Gudi; 1975: Koodi Balona; Kalla Kulla; Bhagya Jyothi; Naga Kanye; Onderupa Eradu Guna; Lakshmi Nirdoshi; Devaru Kotta Vara; Hosilu Mettida Hennu; 1976: Pellade Bomma; Makkala Bhagya; Bangarada Gudi; 1977: Bayasade Banda Bhagya; Sose Thanda Saubhagya; Nagarhole; Chinna Ninna Muddaduve; Shrimanthana Magalu; Sahodarara Saval; Shani Prabhava; Galate Samsara; Kittu Puttu; 1978: Hombisilu; Sandarbha; Kiladi Kittu; Vamsa Jyothi; Muyyige Muyyi; Siritanakke Saval; Pratima; Nanna Prayash chitta; Sneha Sedu; Kiladi Jodi; Vasanthalakshmi; Amarnath; Bhale Huduga; Madhura Sangama; Singaporenalli Raja Kulla; 1979: Asadhya Aliya; Vijaya Vikram; Na Niruvude Ninagangi; Manini; Nentaro Gantu Kalloro; Bay an; 1980: Nanna Rosha Nooru Varusha; Rama Parashurama; Kalinga; Hanthakana Sanchu; Makkala Sainya; Biligiriya Bandalalli; Simha Jodi; Rahasya Rathri; Bangarada Jinke; Driver Hanumanthu; Mazhalai Pattalam; Mr Rajanikant; 1981: Mane Mane Kathe; Naga Kala Bhairava; Maha Prachandaru; Guru Shishyaru; Snehitara Saval; Avala Hejje; Preetisi Nodu; Adimachangala; 1982: Pedda Gedda; Sahasa Simha; Karmika Kallanalla; Urige Upakari; Jimmygallu; Suvarna Sethuve; 1983: Onde Guri; Kalluveene Nudiyitu; Sididedda Sahodara; Gandharvagiri; Gandugalli Rama; Chinnadanta Maga; Simha Garjane; 1984: Purnandayya Shishyulu Katha; Sardar Ramudu; Prachanda Kulla; Rudranaga; Khaidi; Benki Birugali; Endina Ramayana; Huli Hejje; Bandhana; Chanakya; Aradhane; 1985: Kartavya; Mahapurusha; Veeradhi Veera; Nee Bareda Kadambari; Mareyada Manikya; Nanna Prathigne; Jeevana Chakra; Nee Thanda Kanike; Eetti; Mazhakkala Megham; 1986: Kama; Ee Jeeva Ninagagi; Katha Nayaka; Satya Jyothi; Krishna Nee Begane Baaro; Malaya Marutha; Viduthalai; 1987: Saubhagya Lakshmi; Karunamayi; Jayasimha; Aaseya Bale; Jeevana Jyothi; Shubha Milana; Satyam Shivam Sundaram; 1988: December 31st; Olavina Asare; Nammoora Raja; Jana Nayaka; Suprabhata; Krishna Rukmini; Mithileya Seetheyaru; Dada; 1989: Ondagi Baalu; Hridaya Geethe; Rudra; Deva; Doctor Krishna; 1990: Shiva Shankar; Muthina Hara; Mathe Hadithu Kogile; 1991: Lion Jagapathy Rao; Neenu Nakkare Haalu Sakkare; Jagadeka Veera; Lnspector Dhanush/Police Mattu Dada; 1992: Rajadhi Raja; Ravi Varma; Sangharsha; Harakeya Kuri; Nanna Shatru; 1993: Vaishakada Dinagalu; Nanendu Nimmavane; Rayara Bandharu Mavana Manege; Vishnu Vijaya; Ashant; Manikantana Mahime; Nishkarsha; 1994: Time Bomb; Kuntiputra; Samrat; Mahakshatriya; Halunda Thavaru; Kiladigalu; Zalim; 1995: Kone Edaithe; Yama Kinkara; Mojugara Sogasugara; Deergha Sumangali; Bangarada Kalasa; Thumbida Mane; Karulina Kudi.
VISHWANATH, KASHINADHUNI (B. 1930)
Telugu and Hindi director born in Vijaywada, AP, where his father worked for Vauhini distribution. Science degree (1948) and started as sound engineer at Vauhini Studio. Assisted Adurthi Subba Rao at Annapurna and scripted e.g. the A. Nageshwara Rao production Sudigundalu (1967). Made his début in Telugu with Nageshwara Rao’s support, continuing the Annapurna brand of art-house melodrama. Broke through with Nindu Hridayalu, followed by the major success of Shankarabharanam, which led to a series of films on classical music and dance. Tends to advocate a vulgarised classicism passed off as traditionalism, even Hindu revivalism in the arts and moderate liberalism in social customs. Hindi début, Sargam, remade Siri Siri Muvva. Has adapted several of his Telugu hits into Hindi, e.g. Sur Sangam, which remade Shankarabharanam with Girish Karnad. Writes his own Telugu films and prefers location shooting. In 1995 he acted in P.C. Sriram’s Kurudhippunal/Drohi and in S.V. Krishna Reddy’s Vajram, in addition to his own Shubha Sankalpam.
FILMOGRAPHY: 1965: Atmagauravam; 1967: Private Master; 1968: Kalisochina Adrushtam; Undamma Bottupeduta; 1969: Nindu Hridayalu; 1971: Nindu Dampatulu; Chinnanati Snehitulu; Chelleli Kapuram; 1972: Kalam Marindi; 1973: Sharada; Neramu Siksha; 1974: O Seeta Katha; Amma Manasu; 1975: Jeevana Jyoti; 1976: Mangalyaniki Maro Peru; Siri Siri Muvva; Premabandham; 1977: Jeevitha Nauka; 1978: Kalanthakulu; Seetamalakshmi; 1979: Sargam; Shankarabharanam; President Peramma; 1980: Alludu Pattina Bharatham; Subhodayam; 1981: Saptapadi; 1982: Shubhalekha; Kaamchor; 1983: Sagara Sangamam; Shubh Kaamna; 1984: Jaag Utha Insaan; Janani Janma Bhoomi; Allulostunnaru; 1985: Swati Muthyam; Sanjog; Sur Sangam; 1986: Sirivennela; 1987: Srutilayalu; Swayamkrushi; 1988: Swarna Kamalam; 1989: Eeshwar; Sutradharulu; 1990: Sirimuvvala Simhanadamu; 1991: Swati Kiranam; 1992: Sangeet; Apathbandhavudu; 1993: Dhanwan; Pranavam; 1995: Shubha Sankalpam (also act).
VITHAL, MASTER (?-1969)
Best-known Marathi and Hindi stunt star. Stage début as a child at the Rajapurkar Natak Mandali. Worked as editor at Maharashtra Film, a studio with a reputation for stunts in their mythologicals, e.g. by legendary actors Zunzharrao Pawar (1891–1982) or Ganpat Bakre (1901–1983). Vithal started playing a dancing-girl in Kalyan Khajina. Played minor roles in Bhalji Pendharkar silents before breaking through at the Sharda Studio. First lead appearance in Ratan Manjari. He was its top star for several years, usually playing Douglas Fairbanks-type roles grafted on to indigenous Rajput and Maratha legends. Bhogilal Dave’s special effects accompanied his work, along with the rapid editing of directors like A.P. Kapur, Nanubhai Desai, Harshadrai Mehta, Luhar, etc. The style Vithal helped shape had a tremendous impact, making the Sharda Studio synonymous with low-budget stunt films in the silent era. Wadia Movietone later tried to redefine the stunt genre with direct reference to the Niblo/Fairbanks figure of Zorro to distance the genre from Vithal. Moved to Sagar in 1930 (and in a celebrated lawsuit that followed with Sharda, he was defended by M.A. Jinnah). Later starred in India’s first talkie, Alam Ara, and in Saraswati Studio productions, ending his career in the 60s playing minor parts in Marathi films.
FILMOGRAPHY (* also d): 1924: Kalyan Khajina; 1925: Bajirao Mastani; 1926: Vande Mataram Ashram; Ratan Manjari; Suvarna Kamal; Madan Kala; Gunial Gulab; 1927: Bansari Bala; Kala Pahad; Swadesh Seva; Asuri Lalsa; Balidan; Bhedi Trishul; Jaan-e-Alam Anjuman Ara; 1928: Gul Badan; Hira Sundari; Kanak Kanta; Raj Tarang; Sassi Punnu; Sohni Mahiwal; Saundarya Sura; Karuna Kumari; 1929: Nishan Danka; Chirag-e-Kohistan; Bhedi Sawar; Rank Nu Ratan; Ranghelo Rajput; 1930: Josh-e-Jawani; Veer Na Ver; Arunodaya; Dav Pech; 1931: Dilawar; Gulam; Hoor-e-Misar (all St); Alam Ara; Anangsena; Daulat Ka Nasha; Meri Jaan; 1932: Zalim Jawani; Kalo Bhoot (St); Burkhewala (St); 1933: Awara Shehzada/Aut Ghatkecha Raja*; 1934: Bhedi Rajkumar/Thaksen Rajputra; Chhatrapati Sambhaji; 1935: Rangila Nawab; Jaan-e-Alam Anjuman Ara; Raj Tarang; 1936: Hind Mahila; 1937: Asiai Sitara; 1939 Netaji Palkar; 1940: Jagat Mohini; Mohini; 1941: Amrit; 1942: Sunbai; 1943: Bahirji Naik; 1944: Ramshastri; 1945: Nagma-e-Sahra; Pannadai; 1946: Jadugar; Kashmir Ki Kali; Rukmini Swayamvar; Sasurvas; 1947: Jai Bhawani; 1948: Garibanche Rajya; 1949: Vikram Sh ash ikala; Meeth Bhakar; Shilanganache Sone; 1951: Swarajyacha Shiledar*; Mard Maratha; 1952: Chhatrapati Shivaji; Mayecha Pazhar; Narveer Tanaji; 1953: Tai Teleen; Vadal; 1956: Pavankhind; 1957: Naikinichi Sajja; 1958: Matevin Bal; 1959: Akashganga; 1960: Vanakesari; 1963: Mohityanchi Manjula; 1965: Sadhi Manse; Vavtal; 1966: Sheras Savasher; Shodha Mhanje Sapdel
VITTALACHARYA, B. (B. 1920)
Telugu and Kannada director born in Udupi, Karnataka, in a region exceptionally rich in traditional performing arts. Professes an interest in stage mythologicals, magicians and the fantastic tales of Harikatha performers. Film début in the pioneering Kannada Mahatma Pics, in the tradition exemplified by the company’s best-known film Nagakannika (1949). Shifted to Telugu films (1953), launching his own Vittal Prod. His work is characterised by fantasy, the evocation of legends, the use of special effects and of performing animals.
FILMOGRAPHY: 1952: Shri Srinivasa Kalyana; 1953: Saubhagya Lakshmi; 1954: Kanyadana/Kanyadanam; Rajalakshmi; 1956: Muttaide Bhagya; 1957: Vaddante Pelli; 1958: Mane Thumbida Hennu; Nabegebaboa Hennu; 1959: Jayaveeran/Jayavijaya; Pelli Meeda Pelli; 1960: Anna Chellalu; Kanakadurga Puja; 1961: Varalakshmi Vratam; 1962: Madana Kamaraju Katha; Khaidi Kannayya; 1963: Veera Kesari/Bandhipotu; Guruvuniminchina Shishyudu; Manthiri Kumaran; 1964: Veera Pandian; Aggipidugu; Navagraha Pooja Mahima; 1965: Vijayasimha; Mangamma Sapatham; Jwaladeepa Rahasyam; 1966: Aggibarata; Piduguramudu; Madurai Manuvan; 1967: Yar Vallavan; Aggidora; Iddaru Monagallu; Chikkadu Dorakudu; 1968: Bhale Monagadu; Ninne Pelladuta; 1969: Aggiveerudu; Gandikota Rahasyam; Kadaladu Vadaladu; Rani Dongala Rani; 1970: Lakshmi Kataksham; Alibaba 40 Dongalu; Vijayam Mande; 1971: Mosagalluku Mosagadu; Rajakota Rahasyam; Baghavat; 1972: Beedala Patlu; Pilla? Piduga?; 1973: Palletoori Chinnodu; 1975: Kotalo Paga; 1978: Jagan Mohini; 1979: Gandharva Kanya; 1980: Madana Manjiri; 1981: Shri Raghavendra Vaibhavam; 1982: Lakshmi Pooja; 1984: Nava Mohini; 1986: Mohini Sapatham; 1988: Sridevi Kamakshi Kataksham; 1991: Shrishaila Bhamarambika Katakshyam; 1992: Karuninchina Kanakdurga.
VYAS, AVINASH (1912–84)
Foremost music director in Gujarati cinema with music for Punatar’s Gunsundari and Mangalfera. Début with V.M. Vyas, but established himself at the Ranjit Studio. Also contributed to Ranjit film-makers Chaturbhuj Doshi and Jayant Desai’s efforts to establish a Gujarati film industry. His music was a key component of Raskapur’s films. Vyas pioneered a music industry in Gujarati before he entered films, composing songs for the Young India label of the National Gramophone. Was a well-known AIR name in the 40s. Vyas’s musical adaptations from the Hindi merged with popular Raas-Garba and Bhavai music from Gujarat, tailoring All-India Film formulas and ‘national’ genres to regional requirements, e.g. his semi-classical ballets choreographed by Yogendra Desai, such as Chauladevi, featuring Hindi star Asha Parekh.
FILMOGRAPHY: 1943: Mahasati Ansuya; 1944: Krishna Bhakta Bodana; Laheri Badmash; 1947: Hothal Padmini; Janeta; Krishna Sudama; Seth Sagalsha; 1948: Gunsundari; Jeevan Palto; Jesal Toral; Nanand Bhojai; Sati Sone; Radhe Shyam; Varasdar; 1949: Gorakh Dhandha; Mangalfera; Narad Muni; Sati Sukanya; Vargheli; 1950: Akhand Saubhagya; Gadano Bel; Har Har Mahadev; Ramtaram; 1951: Bhakta Tulsidas; Lagna Bandhan; Mangalsutra; Parnetar; Vadilono Varso; Dashavtar; Jai Mahalakshmi; Ram Janma; Shri Vishnu Bhagwan; 1952: Rajrani Damayanti; Shivashakti; Veer Arjun; Manuni Masi; 1953: Bhagyavaan; 1954: Maha Pooja; Mallika-e-Alam Nurjehan; Adhikar; Chakradhari; 1955: Andher Nagari Choupat Raja; Ekadashi; Jagadguru Shankaracharya; Riyasat; Naag Devata; Vaman Avatar; 1956: Dwarkadheesh; Sudarshan Chakra; Malela Jeev; Sati Analde; 1957: Adhi Roti; Bhakta Dhruva; Lakshmi; Sant Raghu; 1958: Gopichand; Great Show of India; fung Bahadur; Pati Parmeshwar; Ram Bhakti; 1959: Charnon Ki Dasi; Grihalakshmi; 1960: Bhakta Raaj; Kadu Makrani; Mehndi Rang Lagyo; 1961: Chundadi Chokha; Ghar Divdi; Hiro Salaat; Narasaiyani Hundi; Ra Mandlik; Nandanvan; Veer Ramwalo; 1962: Bapu Ne Kaha Tha; Hawa Mahal; Kailashpati; Jai Bhadrakali; Janam Janamna Saathi; Jogidas Khuman; Kanku Ane Kanya; 1963: Royal Mail; Gharni Shobha; Vanraj Chavdo; 1964: Ramat Ramade Ram; 1965: Chhogala Chhaganlalno Varghodo; Jamairaj; 1966: Kalapi; 1967: Samayvarte Savdhan; 1968: Mare Javun Pele Paar; Mata Mahakali; 1969: Badmash; Beti Tumhare Jaisi; Surya Devata; Hastamelap; Majiyara Haiya; Sansar Leela; 1970: Takht Aur Talwar; 1971: Jesal Toral; 1972: Zer To Pidhan Jani Jani; 1973: Mahasati Savitri; Kadu Makrani; Raja Bhartrahari; Vala Taro Deshma Danko; 1974: Ghunghat; Harishchandra Taramati; Hothal Padmini; Kunwarbainu Mameru; 1975: Daku Aur Bhagwan; Jai Ranchhod; Jogidas Khuman; Ra Mandlik; Sant Surdas; Seth Sagalsha; Shetalne Kanthe; Veer Champrajvalo; Bhadar Tara Vehta Pani; 1976: Bhabhi; Bhaibandhi; Chundadino Rang; Dharti Mata; Malavpati Munj; Ra Navghan; Santu Rangili; Sorathi Sinh; Veer Ebbalvalo; Veer Ramwalo; Verno Varas; Veer Mangdavalo; Shamalshano Vivah; Sonhaini Chundadi; 1977: Bhrashtachar Murdabad; Dada Ho Dikri; Maa Baap; Manno Manigar; Paiso Bole Chhe; Rupande Malde; Son Kansari; 1978: Ashapura Matani Chundadi; Bhakta Gora Kumbhar; Chandan Malayagiri; Chundadi Odhi Tara Namni; Dada Khetrapal; Jai Mahakali; Jantarwalo Jeevan; Maa Dikri; Mota Gharni Vahu; Nari Tu Narayani; Patali Parmar; Sansar Chakra; Sati Ansuya (G); Sati Sorath; Visamo; 1979: Apyo Jadro; Amarsinh Rathod; Ashadhi Beej; Chudi Chandlo; Jai Bhadrakali; Koinu Mindhal Koina Hathe; Kunwari Satino Kesariyo Kanth; Lalwadi Phoolwadi; Maa Te Maa; Navrang Chundadi; Pithino Rang; Preet Khandani Dhar; Rang Rasiya; Roopli Daatanwali; Shankar Parvati; Sonba Ane Rupba; Suraj Chandra Ni Sakhe; Veer Pasali; Vahue Vagovya Mota Khorda; 1980: Sorathni Padmini; Abhan Lakshmi; Bhakta Prahlad; Chitadno Chor; Jivi Rabaran; Karo Kankuna; Kesar Kathiyani; Khordani Khandani; Koino Ladakvayo; Lahini Sagar; Mari Bena; Parayana To Pyari Ladi; Sachun Sagapan; Sachun Sukh Sasaryiaman; So Dahada Sasuna To Ek Dab ado Vahuno; Sukhma Sau Dukhma Vahu; Vaya Viramgam; 1981: Albeli Naar; Amar Devidas; Bhav Bhavna Bheru; Chhel Chhabili Sonal; Hiro Ghoghe Jai Avyo; Mehndino Rang; Naag Panchami; Ranchandi; Seth Jagadusha; Vansdi Vagi Valamni; Vaheta Ansu Vahuna; 1982: Bhakta Muldas; Di Vaale Ee Dikra; Jamuna Bani Jagadamba; Jawabdaar; Khabardar; Maa Kali Pavavali; Nala Damayanti; Naseeb No Khel; Prem Diwani; Retina Ratan; Sherne Mathe Savasher; Tran Treniya Chha Chhabila Baharvatiya/Bachche Teen Aur Daku Chhe; 1983: Chhel Chhabilo Gujarati; Ghar Gharni Vaat; Jithro Bhabho; Kankuni Kimat; Khara Kharino Khel; Kurukshetra; Maa Koini Marsho Nahin; Raakhna Ramakada; 1984: Maya Bazaar; Bhakta Narasinh Mehta; Bhagwan Shri Krishna; Dhartina Ami; Maana Aansoo; Sonani Jaal; Tejal Garasani; Vavazodun; 1985: Maanu Mangalsutra; Sagan Sahu Swarthana; Vali Bharawadan.
VYAS, VISHNUKUMAR MAGANLAL (B. 1905)
Hindi and Gujarati director born and educated in Ahmedabad, Gujarat. Credited with launching a Gujarati film industry with Ranakdevi, adapted by scenarist Mohanlal Dave from his own script initially filmed by Patankar at National (1923) and later by Vakil at Ranjit (1930). Throughout his long career consistently made mid-budget melodramas scripted by Dave. Started as a tabla accompanyist for live musical scores at Kohinoor U.A. where he also became assistant cameraman; shot films for Homi Master and N.G. Devare when Kohinoor became Kohinoor United Artists. Continued as cinematographer in Bombay and Lahore until his directorial début at Kohinoor UA with Dukhiari. His melodramas and devotionals were derived from popular Gujarati fiction serials later popularised by journals like Navchetan, addressing a middle-class and often explicitly female audience. His Ranakdevi led to major shifts in the production priorities: e.g. Ranjit started a subsidiary, Ajit Pics, mainly for Gujarati films of this genre.
FILMOGRAPHY: 1930: Dukhiari; Veer Vijaysingh; 1931: Veer Bahadur Call St); 1934: Saubhagya Lakshmi; 1939: Daughters of India; Garib Ka Lai; 1940: Kanyadaan; Nirali Duniya; 1941: Ghar Ki Laaj; Prabhat; 1942: Ghar Sansar; Malan; 1943: Duhai; Mahasati Ansuya; 1944: Maa Baap; 1945: Ghar; 1946: Dhanwan; Ranakdevi; 1947: Baharvatiyo; Kunwarbainu Mameru; Sati Jasma; Amar Asha; Bhakta Ke Bhagwan; 1948: Bhabhina Het; Bhai Bahen; Shamalshano Vivah; 1949: Gunial Gujaratan; Veenaveli; 1950: Pyar; 1952: Sanskar; 1953: Dana Pani; 1955: Naag Devata; 1958: Bharatni Vani; Dulhan; Ghar Sansar; 1959: Do Gunde; 1960: Bhakta Raaj; Ghar Ki Laaj; Maa Baap; 1961: Apsara; Narsaiyani Hundi.
VYJAYANTHIMALA (B. 1936)
South Indian actress born in Madras. Trained as a classical dancer in the Bharat Natyam style. With Padmini, she is one of the first Southern actresses in post-Independence All-India film to become a national star. Started in Tamil films under M.V. Raman’s direction at AVM; Raman also cast her in her first Hindi film, AVM’s hit Bahar. A bigger success still was Nagin, esp. her sinuous snake dance to the smash hit Man dole mera tan dole. Since then, almost always has a mandatory dance sequence evoking ‘classical art’ associations: Devdas; Kishore Kumar’s elaborate spoof New Delhi where she performs Bharat Natyam to his Fred Astaire imitation in the song Nakhrewali; Ganga Jumna (the song Dhoondo dhoondo re sajna) and Amrapali. This pseudo-classical style (also practised by e.g. Hema Malini and Jayapradha) is a filmic equivalent of calendar-art’s version of Ajanta murals and Tanjore glass paintings, taking over the icon of the large-hipped, full-bosomed beauty developed e.g. by Ravi Varma. In Sangam, Raj Kapoor used this image for his post-60s exploration of links between voyeurism and decadent classicism. Other film-makers who used Vyjayanthimala’s calendar-art style include B.R. Chopra (Naya Daur, Sadhana), S.S. Vasan (Raj Tilak) and T. Prakash Rao (Amar Deep). Best cinematic performance in the title role of Madhumati. Elected MP for Congress(I) in Madras (1984). Did several famous Tamil films with Gemini Ganesh (Vanjikottai Valiban; Thennilavu) and one with MGR (Baghdad Thirudan).
FILMOGRAPHY: 1949: Vazhkai/Jeevitham; 1951: Bahar; 1952: Anjaam; 1953: Penn/Ladki/Sangham; 1954: Miss Mala; Nagin; Pehli Jhalak; 1955: Devdas; Jashan; Sitara; Yasmin; 1956: Devata; Kismet Ka Khel; New Delhi; Patrani; Taj; Anjaan; 1957: Aasha; Ek Jhalak; Kathputli; Naya Daur; 1958: Amar Deep; Madhumati; Piya Milan; Vanjikottai Valiban; Raj Tilak; Sadhana; Sitaron Se Aage; 1959: Jawani Ki Hawa; Paigham; 1960: College Girl; Baghdad Thirudan/Baghdad; Irumputhirai; Raja Bhakti; Parthiban Kanavu; 1961: Aas Ka Panchhi; Ganga Jumna; Nazrana; Thennilavu; 1962: Dr Vidya; Jhoola; Rangoli; 1964: Lshara; Leader; Phoolon Ki Sej; Sangam; Zindagi; 1965: Naya Kanoon; 1966: Amrapali; Do Dilon Ki Dastaan; Suraj; 1967: Hatey Bazarey; Chhotisi Mulaqat; Jewel Thief; 1968: Duniya; Saathi; Sangharsh; 1969 Prince; Pyar Hi Pyar; 1970: Ganwaar; 1982: Manamadurai Malli.
Vyjayanthimala in Naya Kanoon (1965)
WADIA, HOMI BOMAN (B. 1911)
Hindi director and producer born in Surat. Younger brother of J.B.H Wadia. Entered films as a laboratory worker at Devare Film Laboratory (1929); then cameraman and colleague of his brother, whom he joined at the Young United Players for remaking Fairbanks-Niblo’s Mark of Zorro (Diler Daku, 1931), for which he wrote the script and did the cinematography. H.B. and J.B.H. co-founded Wadia Movietone (1933). Operated as studio’s main director and editor, responsible for successful Fearless Nadia action films co-starring John Cawas. Also made the stunt film Ekta in Sindhi. Left to start Basant Pics in 1942 (it became a studio in 1947), carrying on the Wadia stunt-action trade-mark. Later work includes several mythologicals, usually featuring special effects by Babubhai Mistri, and the successful Gevacolor film Hatimtai. Married Nadia (1961). Sold Basant 1981 and retired.
FILMOGRAPHY: 1934: Veer Bharat; 1935: Hunterwali; Hind Kesari; Sarangadhara; 1936: Jai Bharat; Miss Frontier Mail; 1937: Toofani Tarzan; 1938: Lutaru Lalna; 1939: Punjab Mail; Bharat Kesari; 1940: Diamond Queen; Hind Ka Lai; 1941: Bambaiwali; 1942: Jungle Princess; Ekta; 1943: Vishwas; 1945: Bachpan; 1946: Amar Raj; Flying Prince; Sher-e-Baghdad; 1947: Atom Bomb; 1948: Eleven O’clock; Shri Rambhakta Hanuman; 1949: Balam; Dhoomketu; 1950: Shri Ganesh Mahima; 1951: Hanuman Pataal Vijay 1952: Jungle Ka Jawahar; Alladdin And the Wonderful Lamp; 1954: Alibaba and the Forty Thieves; 1956: Hatimtai; 1958: Zimbo; 1961: Zabak; 1964: Char Darvesh; 1966: Alibaba and the Forty Thieves; 1970: Shri Krishna Leela; Bhale Goodachari; 1976: Toofan Aur Bijli; 1978: Alladdin and the Wonderful Lamp.
WADIA, JAMSHED BOMAN HOMI (1901–86)
Hindi director and producer born in Surat, Gujarat. Literary scholar at Bombay University. Worked in a bank while taking a law degree. Major supporter and biographer of Communist (usually referred to as ‘radical humanist’) reformer M.N. Roy. Founder member of Radical Democratic Party of India (1937). Combined literary and political interests with fascination for US western and stunt films. Wrote and co-produced his first film (Vasant Leela, 1928) with Kohinoor cinematographer and producer G.S. Devare. Together they ran the Devare Film Laboratory and the Wadia Film Exchange. Established Young United Players (1931) with his brother Homi and made five silent films inspired by the Fairbanks-Niblo Mark of Zorro (1920), including one direct adaptation, Diler Daku (1931). With support from Manchersha B. Bilimoria, set up Wadia Movietone (1933) with his brother Homi. Personally made the Yeshwant Dave and Boman Shroff silents but functioned mainly as studio boss and scenarist. Best-known Wadia Movietone work, the Fearless Nadia films, were made by Homi Wadia, who also married the star. Although the Wadia signature is linked to the stunt genre, J.B.H.’s work is marked by his political adherences and the conventions of Parsee theatre (e.g. the Jal Khambatta films, Lal-e-Yaman, Baag-e-Misar, Kala Gulab). His Naujawan (Aspi, 1937) was a rare commercial feature without ‘song cushions’. When he insisted on privileging social themes in the production programme, Homi left (1942). Influential documentary and newsreel producer (e.g. his Short Films of Musical Value, recording musical performances by the likes of Mallika Pukhraj and the child Kumar Gandharva). President of the Film Advisory Board (1941–2). Unsuccessful Indian Screen Gazette, modelled on Pathé Gazette, with early work by P.V. Pathy. Collaborated with ad agency D.J. Keymer on British war-effort films (1940). Apparently made three 30’ thrillers for US television in 1949. Also made All Under the Heaven by Force, directed by Zul Velani (1964), condemning China’s 1962 military operations in India. Established J.B.H. Wadia Publications, issuing e.g. M.N. Roy’s New Humanism and wrote M.N. Roy: The Man (1983). Wrote his autobiography, Those Were The Days (unpublished, 1977), and Gujarati poetry. Excerpts of his silent film Vantolio survive.
FILMOGRAPHY: 1932: Toofan Mail; Sinh Garjana; 1933: Vantolio (all St); Lal-e-Yaman; 1934: Baag-e-Misar; Kala Gulab; Vaman Avatar; 1935: Desh Deepak; Noor-e-Yaman; 1944: Krishna Bhakta Bodana; 1951: Madhosh; 1953: Husn Ka Chor; 1955: Veer Rajputani; 1957: Captain Kishore; 1960: Duniya Jhukti Hai; 1966: Tasveer; 1971: Saaz Aur Sanam.
WADIA MOVIETONE
Studio established in 1933 by J.B.H. Wadia and Homi Wadia with Manchersha B. Bilimoria (film distributor-exhibitor and agent for the famous Columbia Carbon Arcs) and the brothers Burjor and Nadirsha Tata. Within 3 years Bilimoria and the Tata brothers left the partnership, Burjor continuing for a while as technical director at the Lovji Castle premises of the studio. Associated with the Fairbanks-inspired stunt genre in films starring Fearless Nadia, Boman Shroff, John Cawas and the villain Sayani. Most were intentionally addressed to the C-grade exhibition sector and tried to recapture J.B.H. Wadia’s early cinephiliac fascination with Hollywood serials and westerns. Also known for documentaries and newsreels made during WW2, notably the Indian Screen Gazette series, under the Film Advisory Board’s overall guidance and continued sporadically until the India-China War of 1962. J.B.H. Wadia was overall studio boss, chief producer and scenarist while Homi Wadia directed films and supervised the editing and sound departments. Shortly before closing, made the Modhu Bose dance movie Raj Nartaki (1941) with a bilingual English version to explore the US market. Wadia Movietone was sold to V. Shantaram in 1942, who started Rajkamal Kalamandir there, but it continued in the shape of Homi Wadia’s Basant Pics, first as a production house (1942), then as a studio (1947–81). In 1990, J.B.H. Wadia’s grandson, the actor and playwright Riyad Vinci Wadia, inherited Wadia Movietone which now mainly produces material for television.
WADKAR, HANSA (1923–72)
Marathi and Hindi actress, originally Ratan Salgaonkar. Changed her name in her screen début, aged 11, using the family name of her grandmother and thereby asserted her ancestry in a family of Maharashtrian courtesans. Learnt music and tried to join Shalini Cinetone as a child actress but was rejected by Tembe. Introduced to the screen in Lalitkaladarsh’s only effort to translate its Sangeet Natak to cinema with Mama Warerkar’s Vijayachi Lagne. She then starred in the Karachi-based Golden Eagle Studio’s routine movie Modern Youth. Did several B films, e.g. for Bhagwan’s Studio (Bahadur Kisan, Criminal) until she broke through in Osten’s Durga and moved to Bombay Talkies. After three years, Prabhat brought her back to star against type in Damle-Fattelal’ Sant Sakhu. Produced and starred in Dhanyavaad. Established the demure ingénue look that has graced nearly every social in Marathi cinema ever since (see Jayshree Gadkar). Went on to pioneer the brashly vulgar Tamasha musical with Shantaram’s Lokshahir Ramjoshi and, towards the end of her career, Mane’s Sangtye Aika, both record breaking hits in Marathi cinema. Subsequently in films by Paranjpe (Pudhcha Paool), Dinkar D. Patil (Patlacha Por), Bhalji Pendharkar (Shilanganache Sone, Naikinichi Sajja) and Mane. Had a difficult and tempestuous personal life, including a series of relationships which she wrote about in a remarkably candid autobiography, serialised in the popular journal Manoos (1966) and later published as Sangtye Aika (1970), which caused a major sensation. A fictionalised version was the source of Benegal’s Bhumika (1976).
FILMOGRAPHY: 1936: Vijayachi Lagne/Shadi Ka Mamla; 1937: Modern Youth; 1938: Bahadur Kisan; Sneh Lagna; Zamana; 1939: Durga; Criminal; Navjeevan; 1940: Azad; 1941: Sant Sakhu; 1942: Apna Paraya; Dillagi; Mera Gaon; 1944: Ramshastri; Meena; 1945: Aarti; Main Kya Karun; 1946: Behram Khan; 1947: Lokshahir Ramjoshi/Matwala Shay or Ramjoshi; Gaurav; 1948: Dhanyavaad; Dhanwale; Mere Lai; 1949: Pandharicha Patil; Sant Janabai; Shilanganache Sone; 1950: Kalyan Khajina; Navara Baiko; Pudhcha Paool; Sonyachi Lanka; Vanshacha Diva; Shri Krishna Darshan; 1951: Hi Majhi Lakshmi; Maya Machhindra/Gorakhnath; Patlacha Por; Parijatak/Shri Krishna Satyabhama; 1952: Shri Gurudev Dutt; 1954: Khel Chalala Nashibacha; Reshmachya Gaathi; 1955: Mi Tulas Tujhya Angani; 1956: Mulga; 1957: Naikinichi Sajja; 1958: Lokshahir Anantphandi; Matevin Bal; 1959: Sangtye Aika; 1961: Manini; Rangapanchami; 1963: Naar Nirmite Nara; 1964: Kai Ho Chamatkar; 1966: Hi Naar Rupasundari; 1967: Shrimant Mehuna Pahije; 1968: Dharmakanya.
WALKER, JOHNNY (B. 1925)
Revered Hindi comedian born Badruddin Jamaluddin Kazi; son of a millworker. Took his screen name from the whisky brand. Moved to Bombay (1942) doing odd jobs and was discovered by Balraj Sahni, who apparently met him as a bus conductor regaling the passengers with an uncanny ability to hold his audience with improvised speech. Made his mark in Baazi and Jaal playing Dev Anand’s ally; then best known for Guru Dutt’s films, often (in the mid-50s) carrying the second love interest (e.g. Aar Paar, Kaagaz Ke Phool). Developed a characteristic style as the hero’s comic sidekick within the classic Indian film comedy tradition, relying on his pencil-thin moustache, facial grimaces and nasal drawl (cf. Sarjo tera chakraye sung by Mohammed Rafi in Pyaasa). He stuck to his style even when this might contradict the character he had to play: e.g. the misogynist playboy in Kaagaz Ke Phool or the nawab in Chaudhuvin Ka Chand. Although he was unable to retain his popularity into the 80s, he pioneered a tradition of stand-up comedy often practised by successors who followed his idiosyncratic screen name: Tony Brandy, Johnny Whisky or Johnny Lever. Turned to direction with Pahunche Huye Log.
FILMOGRAPHY: 1951: Hulchul; Baazi; 1952: Aandhiyan; Jaal; 1953: Aag Ka Dariya; Armaan; Baaz; Humsafar; Thokar; 1954: Aar Paar; Baraati; Lalpari; Munna; Shaheed-e-Azam Bhagat Singh; Taxi Driver; 1955: Albeli; Bahu; Devdas; Jashan; Jawab; Joru Ka Bhai; Marine Drive; Mast Kalandar; Milap; Miss Coca Cola; Mr and Mrs ‘55; Musafirkhana; Railway Platform; Shahi Mehmaan; Shehzada; Society; 1956: Anjaan; Awara Shehzadi; Chandrakant; Choo Mantar; Chori Chori; CID; Insaaf; Naya Andaz; Rajdhani; Samundari Daku; Shrimati 420; Twenty-Sixth January; 1957: Changhez Khan; Do Roti; Duniya Rang Rangili; Ek Saal; Johnny Walker; Maibaap; Mr X; Naya Daur; Pyaasa; Qaidi; 1958: Aakhri Dao; Aji Bas Shukriya; Amar Deep; Chandan; Detective; Ghar Sansar; Khota Paisa; Light House; Madhumati; Mr Qartoon MA; Mujrim; Naya Paisa; Sitaron Se Aage; Zindagi Ya Toofan; 1959: Black Cat; Bhai Bahen; Jawani Ki Hawa; Kaagaz Ke Phool; Mr John; Pehli Raat; Paigham; Satta Bazaar; Zara Bachke; 1960: Basant; Chaudhvin Ka Chand; Ek Phool Char Kaante; Ghar Ki Laaj; Kala Admi; Mughal-e-Azam; Rickshawala; 1961: Chhote Nawab; Modern Girl; Suhaag Sindoor; 1962: Aashiq; Baat Ek Raat Ki; Girls’ Hostel; Neeli Aankhen; Sachche Moti; 1963: Ghar Basake Dekho; Kahin Pyar Na Ho Jaye; Kaun Apna Kaun Paraya; Mere Mehboob; Mulzim; Phool Bane Angarey Pyar Ka Bandhan; Ustadonke Ustad; 1964: Door Ki Awaz; Shehnai; 1965: Bombay Race Course; Zindagi Aur Maut; 1966: Baharen Phir Bhi Aayengi; Dil Diya Dard Liya; Dillagi; Dulhan Ek Raat Ki; Pati Patni; Preet Na Jane Reet; Suraj; 1967: Bahu Begum; Jaal; Milan Ki Raat; Nawab Siraj-ud-Dowla; Night in London; Noorjehan; Palki; Raju; Wahan Ke Log; 1968: Baazi; Dil Aur Mohabbat; Duniya; Hasina Maan Jayegi; Kahin Din Kahin Raat; Mere Huzoor; Shikar; 1969: Admi Aur Insaan; Nannha Farishta; Pyar Ka Sapna; Sachaai; 1970: Anand; Gopi; 1971: Hangama; Memsaab; Sanjog; 1972: Ek Bechara; Ek Hasina Do Diwane; Raja Jani; Yeh Gulistan Hamara; 1973: Dil Ki Raahein; Pyar Ka Rishta; 1974: Aarop; Badla; Dawat; Imaan; Jurm Aur Sazaa; Mera Vachan Geeta Ki Kasam; 1975: Teri Meri Ik Jindri; Dhoti Lota Aur Chowpatti; Kaagaz Ki Nao; Pratigya; Sewak; Vandana; Zakhmi; Ganga Ki Kasam; 1976: Bandalbaaz; Santan; Uranchoo; 1977: Farishta Ya Qatil; Khel Khiladi Ka; 1979: Madine Ki Galiyan; 1980: Jayen To Jayen Kahan; Shaan; 1983: Bindiya Chamkegi; 1984: Mera Dost Mera Dushman; Hum Dono; 1985: Pahunche Huye Log (also d); 1987: Mera Karam Mera Dharam; The Perfect Murder.
YAGNIK, INDULAL (1892–1972)
Gujarati scenarist and producer. Best known as a Gujarati politician for his long association with Gandhi, his 50s trade union work and his involvement in the regionalist Mahagujarat movements. His brief encounter with film as scenarist and producer stemmed from a desire to give it intellectual legitimacy. As editor of the Hindustan newspaper, he made both Indian and foreign film a subject of lively debate, e.g. through contributions from Chaturbhuj Doshi, then a journalist. Extended this commitment to a popular column in the Bombay Chronicle. Entered film as a scenarist (e.g. for Sharda Studio). After an abortive attempt to launch the Classical Pics Corp. with G.S. Devare and J.B.H. Wadia, turned producer with Young India Pics (Nagendra Majumdar’s Pavagarh Nu Patan, 1928, which he also wrote). The company used his scripts, which were, from available descriptions, largely romances. He faced bankruptcy following the failure of Majumdar’s Kashmir Nu Gulab (1931) and was rescued by Imperial’s financier, Abu Hasan. His productions introduced film-makers Majumdar and Ramakant Gharekhan, and featured stars Madhuri and Navinchandra. Other script credits include Manilal Joshi’s Ajabkumari (1926), Bhavnani’s Daya Ni Devi (1927) and B.P. Mishra’s Jay Bharati (1929). Major six-volume autobiography published between 1955–73.
Yatrik see Majumdar, Tarun
YESUDAS, K.J. (B. 1940)
Best-known playback singer in Malayalam cinema. Born in Cochin. Dominated Malayalam music since the 60s and created a parallel music industry with the Tarangini audiocassette label. Made a big cultural impact on e.g. the popular ‘devotional’. Son of Augustine Joseph, a major stage actor and early Malayalam film star (and among the first Christians to be successful in Malayalam theatre and music), his early career was in professional Gana Mela troupes (groups singing film and film-derived compositions during religious festivals). Claimed to be the disciple of the legendary classical musician Chembai Vaidyanatha Bhagavathar, but probably only accompanied him on a few occasions. Early hits include the Baburaj-composed songs for Vincent’s Bhargavi Nilayam (1964) and Kariat’s Chemmeen (1965). Occasionally imitated the Carnatic maestro Balamurali Krishna. Most famous for his light classical devotionals addressed to the icons of Ayyappa at Sabarimalai (now an aggressive male cult) and Guruvayoor. His cassette releases are intended for Hindu and sometimes Christian festivals. Sang in almost every Malayalam film since the early 70s. Sang in Tamil, e.g. Neeyum bommai nanum bommai in S. Balachander’s Bommai (1964), Vincent’s Thulabharam (1968) and made a major comeback in Balachander’s Aval Oru Thodarkathai (1974). Also did Hindi songs for Basu Chatterjee in the 70s, of which Jab deep jale aana in Chit Chor (1976) and Ka karun sajni in Swami (1977) were hits. Among the films he scored are Sethumadhavan’s Azhakulla Saleena (1973); Madhu’s Theekkanal (1976); Shrikumaran Thampi’s Malika Paniyunnavar (1978) and P.N. Menon’s Udhayam Kizhakku Thanne (1976). Also composed for Sanchari (1981) and Tharavu (1981).
YOGANAND, D. (B. 1922)
Telugu and Tamil director born in Madras. Son of the estate manager of an Andhra nawab; adopted at an early age by D. Subbaiah of Bandar, owner of a watch-repairing and photography shop. Studied radiology briefly while developing his skills as a photographer. Joined films as assistant to Ramabrahmam’s editor, Manikyam (Mayalokam, 1945). Also assisted famous South Indian technicians Jiten Bannerjee and Rehman. After Ramabrahmam, worked with L.V. Prasad, whose notions of the reformist social left their imprint on his films. In his use of genre he is perhaps the most inventive of the post-Prasad film-makers: his début, the sentimental Ammalakkalu, is a musical hit attacking feudalist practices; his second film, Todu Dongalu, produced by and starring NTR, is an influential realist melodrama which flopped. Telugu and Hindi star Waheeda Rehman acted in his folk musical Jayasimha. Best-known 50s films are the successful Tamil folk legend Madurai Veeran, one of MGR’s most influential roles, and Parthiban Kanavu.
FILMOGRAPHY: 1953 Ammalakkalu/Marumagal; 1954: Todu Dongalu; 1955: Jayasimha/Jaisingh; Vijayagauri; Kaveri; 1956: Ilavelpu; Shri Gauri Mahatyam; Madurai Veeran; 1958: Bhuloka Rambha/Bhuloka Rambhai/Pareeksha; Anbu Engay; 1959: Kaveriyin Kanavan; Pelli Sandadi/Kalyana Penn; Vachina Kodalu Nachindi; 1960: Parthiban Kanavu; Engal Selvi; 1962: Rani Samyuktha; 1963: Parisu; 1964: Pasamum Nesamum; 1967: Ummadi Kutumbam; 1968: Tikka Shankaraiah; Baghdad Gajadonga; 1969: Mooganomu; 1970: Jai Jawan; Kodalu Diddina Kapuram; 1971: Thangaikkaga; 1972: Rani Yar Kulandai?; 1973: Dabbuku Lokam Dasoham; Vaade Veedu; 1974: Thayi; 1975: Katha Nayakuni Katha; Ee Kalam Dampathulu; Vemulavada Bhimakavi; 1976: Grihapravesham; 1978: General Chakravarthi; Justice Gopinath; 1979: Naan Vazhavippen; 1980: Yamanukku Yaman; 1982: Oorukku Oru Pillai; Vaa Kanna Vaa; 1983: Sumangali; Simham Navindi; 1984: Charitra Nayakan.
Yusufali, Abdulali see Esoofally, Abdulally
ZILS, PAUL (1915–79)
Director born in Wuppertal, Germany. Influential figure in documentary Indian cinema. Worked at Ufa, Germany (1933–7), where he was a favourite of Goebbels and was often used by Ufa to secure Nazi governmental approval for scripts. Defected in 1937. Travelled to Africa and the USA (1939), where he worked with William Dieterle and Max Reinhard in Hollywood and persuaded Paramount to fund a film he wanted to make in Bali. During shooting he was arrested by the British (1941) and, with other Germans, interned in a prisoner of war camp in Bihar. After the war, because of his prior film experience and also because of some impressive stage spectacles in the POW camp, he was offered the job of heading the external unit of Information Films of India (1945–8). Then started his own Documentary Films of India. Sponsored quarterly journal Indian Documentary (1949). Became an Indian national for a few years before reverting to his German nationality. Documentarists Fali Bilimoria and P.V. Pathy started as his assistant and cameraman respectively. Made three features for Art Films of Asia, starring Dev Anand. His second one, Zalzala, was adaptated from Tagore’s controversial novel Char Adhyay. Returned to documentaries, setting up the Documentary Unit: India in collaboration with Fali Bilimoria, for which they made several films sponsored by e.g. Shell, the UN and the USIS. Best-known for his Major Industries In India series for Burmah Shell. Sukhdev regarded Zils as his teacher. Returned to Germany in 1959 where he ran the Deutsche Condor (Munich) and the Erlangen Film Institute, occasionally making films in India as well. Worked in Sri Lanka (1968–9) on behalf of the German government and made some films about Buddhism. Except for the 1950–2 titles, all are documentaries.
Kishore Sahu (on table), Jagdev, Mahendranath and Dev Anand (partially lit, right) in Paul Zils’ Zalzala (1952)
FILMOGRAPHY (* co-d. F. Bilimoria): 1945: Bombay-The Story of the Seven Isles; 1947: India’s Struggle for National Shipping; 1947–8: Mother/Child/Community*; 1949: Kurvandi Road; White Magic*; The Last Jewel*; General Motors in India*; A Tiny Thing Brings Death*; Two Worlds; 1950: Hindustan Hamara; 1952: Zalzala; Shabash; 1954: A Family In Bangalore; Ujala*; 1955: Fisherfolk Of Bombay; 1956: The School; The Ripening Seed; 1957: New Life of a Displaced Person; Maa-The Story of an Unwed Mother; Fifty Miles from Poona*; 1958: The Vanishing Tribe*; Oraons of Bihar; Martial Dances of Malabar.
ZUBEIDA (1911–90)
Actress born in Surat as a Muslim princess, daughter of the Nawab of Sachin and Fatma Begum (later India’s first woman director). Started in silent films at Kohinoor aged 12. Early career was dominated by her extraordinarily beautiful sister Sultana, a better-known star in the 20s. Her second sister, Shehzadi, also became a teenage actress. Zubeida’s best silent work was for Manilal Joshi at the Kohinoor, Laxmi and Excelsior Studios. Played the lead in Alam Ara, India’s first sound film. Identified with courtesan roles in big Urdu, stage-derived costume pictures, a tradition extended by Meena Kumari. Developed the tragic dimension of her image in several of Naval Gandhi’s socials including the prestigious Tagore adaptation Balidan. Freelanced at the Ranjit and Sagar Studios and in her mother’s films: Bulbul-e-Paristan; Heer Ranjha, Milan Dinar. Set up Mahalakshmi Cinetone (1934) with the film-maker Nanubhai Vakil. Retired at the height of her stardom in the late 30s, doing only a few films later on.
FILMOGRAPHY: 1924: Gul-e-Bakavali; Manorama; Prithvi Vallabh;Sati Sardarba; 1925: Kala Chor; Devadasi; Indrasabha; Ra Navghan; Rambha Of Rajnagar; Desh Na Dushman; Yashodevi; Khandani Khavis; Sati Simantini; 1926: Bulbul-e-Paristan; Kashmeera; Raja Bhoj; Indrajal; Sati Menadevi; 1927: Laila Majnu; Nanand Bhojai; Balidan; 1928: Chamakti Chanda; Samrat Ashok; Golden Gang; Heer Ranjha; 1929: Kanakatara; Mahasundar; Milan Dinar; Shahi Chor; Jai Bharati; 1930: Devadasi; Garva Khandan; Joban Na Jadu; Veer Rajput; Sinh No Panja; 1931: Meethi Churi; Diwani Duniya; Roop Sundari; Hoor-e-Misar; Karmano Kaher; Nadira (all St); Alam Ara; Meri Jaan; Veer Abhimanyu; 1932: Meerabai; Subhadra Haran; Zarina; 1933: Harijan (St); Bulbul-e-Punjab; Pandav Kaurav; Mahabharat; 1934: Gul Sanobar (?); Nanand Bhojai; Radha Mohan/Nand Ke Lala; Rashk-e-Laila; Maa; Seva Sadan; 1935: Birbal Ki Beti; Gulshan-e-Alam; 1936: Mr and Mrs Bombay; 1937: Aurat Ki Zindagi; Kiski Pyari.
Zubeida and Master Vithal in Alam Ara
Sathyan and Sheela in Chemmeen
1912 St c.12’ b&w
d P.R. Tipnis, N.G. Chitre c Johnson?
Often presented as the first Indian film. Usually credited to R.G. Torney, but recent research suggests he was only marginally involved. Made jointly by N.G. Chitre, the manager of the Coronation Cinematograph in Bombay, and P.R. Tipnis, later a major Delhi-based distributor. The film about the Hindu saint is based, according to Harish Booch (1964), on Ramrao Kirtikar’s Marathi play as staged by the Shripad Sangeet Mandali of Nasik. Shot on location in Bombay’s Mangalwadi compound near Grant Road by a Bourne & Shepherd crew and released at the Coronation on 18 May, 1912. For the record, it must be pointed out that film-makers such as Hiralal Sen had made similar films of stage plays before Pundalik.
RAJA HARISHCHANDRA
aka King Harishchandra
1913 St 3700 ft b&w
d/s/p D.G. Phalke pc Phalke Films c Trymbak B. Telang.
lp D.D. Dabke, P.G. Sane, Bhalchandra D. Phalke, G.V. Sane, Dattatreya Kshirsagar, Dattatreya Telang, Ganpat G. Shinde, Vishnu Hari Aundhkar, Anna Salunke, Nath T. Telang.
Commonly performed and often-filmed Mahabharata legend and Phalke’s first feature. The film is often celebrated for having inaugurated the Indian film industry following Phalke’s own claim to that effect (ICC Report, 1928). The cast was drawn from non-professionals and although Phalke wanted to cast women in female roles (breaking with stage tradition), no woman agreed to perform. After its premiere on 21 April, the film was released at the Coronation Cinematograph on 3 May as part of a variety entertainment programme which also included The MacClements: A Comical Sketch and Alexandroff The Wonderful Foot Juggler. The film that survives and has been extensively screened following the Indian Silent Cinema package at the Pordenone Film Festival 1994 is the 1917 remake.
LANKA DAHAN
aka Lanka Aflame
1917 St 3000 ft b&w
d/p/s D.G. Phalke pc Phalke Films c Trymbak B. Telang.
lp Anna Salunke, Ganpat Shinde, D.D. Dabke
Phalke Films’ last production is a mythological retelling of the familiar Ramayana story of Rama’s (Salunke) wife Seeta being abducted by Ravana, the demon king of Lanka, and Rama’s triumph with the aid of men and monkeys. The available footage of the film, 501 ft, offers sophisticated parallel cutting between three spaces: the tulasi platform where Seeta is held captive in Lanka, the villain, Ravana, coming to molest her and the brave Hanuman (Shinde) atop a tree witnessing the tragic scene below. Instead of editing according to a temporal narrative logic, Phalke uses a spatial logic: Seeta’s space is physically and emotionally isolated, conveyed in foreground/background contrasts. Ravana moves towards her in two daring long shots, from right background to left foreground, first across his palace garden and along his pool (locating his characters in the way stage backdrops in Marathi theatre functioned), then through two elaborate circular movements as he jettisons his royalty and moves into the no-man’s-land around Seeta, with Hanuman performing an athletic dance in rage and grief at the villain’s progress. The film proved a success after opening at the West End, Bombay and Aryan cinema, Pune.
RAJA HARISHCHANDRA
aka Satyavadi Raja Harishchandra
1917 St 2944 ft b&w
d/co-c/s D.G. Phalke pc Phalke’s Films co-c Trymbak B. Telang
lp Anna Salunke, D.D. Dabke, Bhalchandra Phalke
Phalke’s remake of his 1913 film. The original version of this very successful theme was written by Ranchhodbhai Udayram, but made popular by Vinayak Prasad Talib’s Urdu version for the Baliwala Victoria theatre group (1884) and Bhartendu’s Hindi Satya Harishchandra (1885). The homage to the upright King Harishchandra (Dabke) who almost sacrifices his kingdom for his love of truth, opens with a Ravi Varma-like tableau showing the king, his wife Taramati (Salunke) and his young son, to whom he is teaching archery. Derived from the Sangeet Natak, continuity is defined through juxtaposition of spatial planes (e.g. the space of the family idyll and the space ‘beyond’, while off-screen space functions like stage wings) which allow the narrative to be condensed into spaces against, and into, which the viewer’s gaze traces a logic of movement. The hunt proceeds into and conquers the space beyond. Then the king blunders into a contiguous area controlled by the sage Vishwamitra, a mystical space opposed to the king’s physical one. To atone for his mistake, the king is banished. In his play, Talib had introduced an Indrasabha -like fairy to seduce the king into renouncing his kingdom. In the film, this figure surfaces in the form of the three furies caught in flames whom Harishchandra tries to rescue. The hunt sequence, as well as the reduction of Nakshatra, Vishwamitra’s disciple, into a comic character, are faithful to the play. The king endures much hardship before a deus ex machina (here literally a god) emerges at the join of the horizon and the gaze (cf Shri Krishna Janma, 1918) to reasssure everyone that the whole narrative was merely a test of the king’s integrity. Only 1475 ft of the original film appear to have survived.
SHRI KRISHNA JANMA
aka Birth of Shri Krishna
1918 St 5500 ft b&w
d/s D.G. Phalke pc Hindustan Cinema Films
lp D.D. Dabke, Purshottam Vaidya, Mandakini Phalke, Bhagirathibai, Neelkanth
Mandakini, the film-maker’s daughter, played the child god Krishna, repeating her role in Phalke’s next mythological, Kaliya Mardan (1919). Beginning with the invocation of ‘almighty god’, the only available sequence of the film (576 ft), which may in fact be its last episode, opens with a shot of a river from behind the backs of a group of people, echoing the position of the audience vis-a-vis the miraculous appearance of young Krishna rising out of the water astride the demon snake Kaliya. Phalke then cuts 180 degrees across the axis to the audience of the scene, an editing pattern he repeats several times, locking the two spaces into each other at right angles. The viewer enters Yashoda’s space as she rocks the sleeping Krishna’s crib and imagines the god as Gopala, generating a fantasy space in which the evil Kamsa imagines Krishna threateningly duplicated many times around him. Kamsa then imagines himself dead as his severed head rises up out of the frame and descends again, a matte effect that was one of the film’s highlights. The end has people of all castes paying obeisance to the deity and Phalke inserted the title-card: ‘May this humble offering be accepted by the Lord’. Adverts included a reference to a ‘spectacular’ scene of ‘the heavenward flight of Maya in the form of lightning’. Released to great acclaim in Bombay.
KALIYA MARDAN
1919 St 6000 ft b&w
d/s D.G. Phalke pc Hindustan Cinema Films
lp Mandakini Phalke, Neelkanth
Introducing Phalke as the ‘Pioneering Cine-Artist of the East’, the most complete Phalke film extant opens with a series of shots demonstrating the 7-year-old Mandakini Phalke’s acting skills through a series of facial expressions. The playmates of Krishna (Mandakini) are insulted by a female villager who splashes water on them. They take revenge by stealing butter from her house. When they are beaten up by the woman, they again take revenge. Krishna receives a gift of fruit and gives it away, ‘an act which foreshadows his future benevolent inclination’. The film’s most elaborately plotted sequence has Krishna entering the room of a wealthy merchant and his wife at night and tying the man’s beard to his wife’s hair. These exploits lead to a large crowd complaining of Krishna’s antics to his foster parents. The film ends with Krishna vanquishing the demon snake Kaliya in a fierce underwater battle, intercut (cf Shri Krishna Janma, 1918) with the faces of anxious observers. Krishna eventually rises triumphant with the slain demon’s tail on his shoulder, garlanded by the now liberated wives of the demon. Only 4441 ft of the original film survive.
SAIRANDHRI
1920 St 4958 ft b&w
d/s/co-c Baburao Painter pc Maharashtra Film co-c S. Fattelal
lp Balasabeb Yadav, Zunzharrao Pawar, Kamaladevi, Kishabapu Bakre, Baburao Pendharkar, Ravji Mhaskar, Ganpat Bakre, Sushiladevi, Sitarampant Kulkarni, Shivram Vashikar, V.G. Damle
Painter’s first completed feature, a mythological alluding to contemporary politics, tells the Mahabharata story of the villainous Keechak’s (Pawar) lusting after Sairandhri (Kamaladevi), the persona adopted by Draupadi in her 13th year of exile. As a maid who is supposed to be Swaraksita, she claims the protection of King Veerat (Bakre). Keechak, with the covert complicity of his sister Sudeshna, attacks the heroine and, after a spectacular chase through King Veerat’s court, he is gorily beheaded by Bheema (Yadav). Pendharkar appears as Krishna. The published script (in Bhide and Gajbar, 1978) suggests several grand court scenes and a complicated narrative, more intricate than in Phalke’s contemporaneous work and with a more flexible use of space. Remade as a sound film by Shantaram (1933).
NALA DAMAYANTI
1920 St 10,000 ft b&w
d/c Eugenio De Liguoro pc Madan Theatres
lp Patience Cooper, Keki Adajania, Dadibhai Sarkari, Signor Manelli, Signorina Manelli, Master Mohan, Khorshedji Bilimoria, Manchersha Chapgar
Big-budget film featuring Madan’s star, Patience Cooper as Damayanti and Adajania as Nala in an often filmed episode from the Mahabharata, relying on special effects, moving from ‘Narada’s Ascent of Mount Meru to Swarga, the Heaven of Indra, the Transformation in the Clouds of the Four Gods into impersonations of King Nala, Swan Messengers of Love, the Transformation of Kali, the Demon of Evil, into a Serpent, the Meeting of Kali and Dwapor and the Four Gods amidst the Blue Air’ etc., according to a Times of India advert. De Liguoro, who also played Pushkar, was known in Italy for his Orientalist spectacles (e.g. Fascino d’Oro, 1919).
SHAKUNTALA
1920 St c.6000 ft b&w
d/sc Suchet Singh pc Oriental Film st Kalidasa’s Shakuntala c Baron Von Rayvon (Roy Vaughan?)
lp Dorothy Kingdom, Goharjaan, Sampson, Mrs Sutria, Kanjibhai Rathod, Dadibhai Sarkari, Khorshedji Engineer, Signorina Albertini, Isaac Simon, Rewashankar
Suchet Singh’s debut, adapting Kalidas’ Sanskrit play, features the American import Dorothy Kingdom in the title role, triggering a major Swadeshi debate with S.N. Patankar announcing a rival production in the Bombay Chronicle of 24 January 1920: Shakuntala, or The Fateful Ring (1920), adapted ‘strictly in accordance with the drama’. Hindustan Cinema Films joined in claiming that its Usha Swapna was ‘produced by Indian Artistes, by Indian Labour and Without Foreign Assistance’. Singh’s film was a major success running for 40 consecutive days in Bombay. The cameraman was probably Roy N. Vaughan, an American import.
BHAKTA VIDUR
aka Dharma Vijay
1921 St 6835 ft b&w
d Kanjibhai Rathod pc Kohinoor Film s Mohanlal G. Dave c Gajanan S. Devare
lp Dwarkadas Sampat, Sakina, Maneklal Patel, Homi Master, Prabhashankar, Gangaram
One of the most famous silent mythologicals proposing a politically subversive allegory, causing a major censorship row. The Mahabharata story was advertised as a ‘series of events between Pandavas and Kauravas, which led to the decline and downfall of the ancient empire and culminated in terrible war between the two rival factions. A Swadeshi film. Glory of the East, portrayed with a skill of acting which defies European art.’ (Bombay Chronicle, 13 August 1921). Starred the studio’s owners, Dwarkadas Sampat as Vidur and Maneklal Patel as Krishna, with Homi Master as Duryodhan. Initially successful in Bombay, it was first banned in Karachi, then in Madras, for being ‘a thinly veiled resume of political events in India, Vidur appearing as Mr Gandhi clad in Gandhi-cap and khaddar shirt’ (quoted in ICC Report, 1928). It was made partially in the wake of the anti-Rowlatt Act (1919) agitations and continued the studio’s political documentaries representing Sampat’s Gandhian nationalist adherences. Also known for a specially written music score performed live with every show, esp. the stridently nationalistic song in praise of the charkha (spinning wheel and Congress Party symbol) Rudo maro rentiyo, rentiyama nikle taar, taare taare thai Bharatno udhaar Re-released as Dharma Vijay in 1922. Rathod and Dave courted notoriety again with Mahasati Ansuya (1921).
BILET PHERAT
aka The England Returned
1921 St c.4000 ft b&w
d/co-s N.C. Laharry pc Indo-British Film p/co-s Dhirendranath Ganguly c Jyotish Sarkar
lp Dhirendranath Ganguly, Manmatha Pal, Kunjalal Chakraborty, Sushilabala
Dhirendranath Ganguly made his acting debut in this famous satire contrasting conservative Bengali culture with that of the colonial elite. Advertised as a story about ‘a young Indian [who] returns to his native land after a long absence and is so mightily impressed with his foreign training that, at his parental home, he startles everybody with his quixotic notions of love and matrimony’ (Bombay Chronicle, 20 August 1921). Ganguly’s acting incorporated Hollywood slapstick and a number of 19th century performance traditions from Calcutta. A long time in the making, the film was promoted as the first Bengali film, with a live ‘all-Bengali’ band to accompany the screening.
DHRUVA CHARITRA
aka Triumph of Devotion
1921 St c.4000 ft b&w
d Eugenio De Liguoro pc Madan Theatres s Tulsidutt Shaida
lp Patience Cooper, Master Mohan, Signora Dorros, James Magarth, Master Manilal, Dadabhai Sarkari, Aga Hashr Kaslimiri, Mrs Manelli, P. Manelli, Master Surajram, Khorshedji Bilimoria, Jashodha Singh, Cawasji Golla, Isaac Simon, Ardeshir Sanjana, Mr Palwan, Master Revla, Pestonji Madan
Mythological based on the Pauranic legend of the boy Dhruva whose quest for eternal salvation was rewarded when he became the brightest star in the heavens (the pole star is known as the Dhruvatara). As part of Madan’s bid for an international breakthrough (cf Nala Damayanti, 1920, also by De Liguoro), the cast featured many Europeans with Cooper in the lead as Suniti. The Times of India (11 June 1921) noted that it offered ‘directions in which a greater appeal may be made to the Westernised mind in trying to picture modern India.’ The playwright Aga Hashr Kashmiri, then a Madan employee, played a small role (Dharmadev) and may have written some of the script, uncredited. The Indian version was successful but the film became better known in a shorter version adapted for Europe.
MAHASATI ANSUYA
aka Birth of Shri Dattatreya, Sati Ansuya
1921 St 6927 ft b&w
d Kanjibhai Rathod pc Kohinoor Film s Mohanlal G. Dave c V.B. Joshi
lp Vaidya, Sakina
Successful Kohinoor mythological consolidating the partnership between Rathod and Dave (e.g. Bhakta Vidur, 1921). It retells the Ramayana tale of Ansuya, who, with her husband Atri, shelters Rama, Seeta and Lakshmana during their banishment from Ayodhya. It gained notoriety for a nude shot of Sakina.
ANDHARE ALO
aka The Influence of Love
1922 St c.5000 ft b&w
d Sisir Bhaduri, Naresh Mitra pc Taj Mahal Film st Saratchandra Chatterjee c Nonigopal Sanyal
lp Sisir Bhaduri, Naresh Mitra, Jogesh Choudhury, Durga Rani
Typical Saratchandra love-triangle short story provided the plot for Taj Mahal Film’s debut production. An upper-class Bengali hero, the son of a zamindar, Satyendra, experiences the conflict between familial duty and the modern world in terms of his desire for an 11-year-old virgin bride, Radharani, and the nurturing and self-sacrificing courtesan Bijli. This is the first exploration in Bengali cinema of this plot’s melodramatic potential (cf the films of Saratchandra’s Devdas in 1928, 1935, 1955). The journal Bijli (1923) commended the acting in the emotionally charged scenes. Painted backdrops were used and, although Sourindramohan Mukherjee (in Bangla Bioscope) felt the film deployed several stereotypical scenes (drunkenness, a courtesan’s dance), he recommended adapting more Saratchandra stories.
aka Human Emotions
1922 St 11710 ft b&w
d J.J. Madan pc Madan Theatres s Harikrishna Jauhar, based on his play
lp Patience Cooper, Master Mohan, Signorina Manelli, Manilal, Sayed Hussain
Major Madan hit starring Cooper as Leelavati in a social advocating that women should be devoted to their husbands. A highlight in her career and a significant prototype of the genre (cf Gunsundari, 1927). In Madras, the censor demanded that an ‘obscene’ dance sequence be removed. The film was later recensored on 16 Nov 1923.
SUKANYA SAVITRI
1922 6898 ft b&w
d Kanjibhai Rathod pc Kohinoor Film s Mohanlal Dave
lp Moti, Jamna, Sakina
Recently restored by the NFAI, this is the only surviving work of Rathod and the important Kohinoor studio. It tells two relatively independent stories from the Mahabharata. The first part features the princess Savitri, who stands by her husband, the woodcutter Satyavan, when he is marked by Yama, the god of death. When Yama fulfills his prophecy and takes away Satyavan’s life, Savitri pleads with him and eventually wins her husband back. The extraordinary scene showing Savitri’s pleas with a god sitting astride a buffalo somewhere between heaven and earth is intercut with shots of the couple’s idyllic life as Savitri tends to her blind parents-in-law. The flash-back construction and the cross-cutting to the ‘tableau’ of Savitri arguing with Yama provides a more sophisticated temporal structure than is evident in e.g. Phalke’s work of the period. The second half narrates the legend of Sukanya, the daughter of Sharyati. Seeing a large ant-hill, and unaware that it has been built over the meditating sage Chyavana, she blinds the sage and, in return, is forced to marry him. She tends to the old and decrepit man, and he changes into a handsome youth. The surviving print mentions the Krishna studio in its inter-titles, possibly because former Kohinoor partner Maneklal Patel reissued it under his new banner.
VEER ABHIMANYU
aka Virat Swaroop
1922 St c.6500 ft b&w
d Manilal Joshi pc Star Films s Mohanlal G. Dave c V.B. Joshi
lp Sultana, Fatma Begum, Madanrai Vakil, Joshi
Big-budget mythological by first-time producers Ardeshir Irani and Bhogilal Dave, director Joshi and silent star Sultana (sister of Zubeida). Adverts in the Bombay Chronicle emphasised the ‘expense of more than 100,000 rupees. More than 5000 people have taken part in the production of this film’. The plot is from the Mahabharata tale about Abhimanyu who learns of the Chakravyuha or battle formation of the Kauravas while in the womb of his mother, Subhadra (Fatma). The film was acclaimed for its war scenes. Sultana plays Uttara and Vakil is Krishna.
CATECHIST OF KIL-ARNI, THE
1923 St 5 reels b&w
co-d/c R.S. Prakash co-d/co-s/p Thomas Gavin Duffy co-s Bruce Gordon
Catholic propaganda film produced and written by the Irish lay-priest Thomas Gavin Duffy together with Bruce Gordon as a fund raiser for the Paris Foreign Mission Society in Pondicherry. Although there was a village called Kil-Arni nearby, the film was shot in March and April 1923 in the village of Sattiamangalam inhabited by Catholic Untouchables to avoid problems of caste and religious dissent. The plot tells of a reprobate called Ram who is converted to Catholicism by the exemplary conduct of the local priest (Duffy himself) during an epidemic. The main interest of the film resides in its location footage showing the landscapes and farming practices in the district. The non-professional cast was recruited locally. The film was processed in Boston where it was premiered on 25 October 1923.
SAVITRI
aka Savitri Satyavan
1923 St 1634m b&w
d/sc Giorgio Mannini p Cines (Rome), Madan Theatres s Ferdinando Paolieri, Aldo de Benedetti c Gioacchino Gengarelli
lp Rina de Liguoro, Angelo Ferrari, Gianna Terribili-Gonzales
Described as India’s first international co-production (cf Nala Damayanti, 1920; Dhruva Charitra, 1921), this much-touted Madan film was shot in Rome with an Italian cast in 1923 and released in 1925. Italian sources do not mention the involvement of Madan Theatres. Some sources credit T. Marconi, who later shot Indrasabha (1932), with the cinematography and the original story is said to be by the indologist A. De Gubernatis whose narrative was first translated into Gujarati by Nanabhai Ranina (Parsee theatre playwright and author of the first dictionary from Gujarati to English), and thence into Hindi. The love-is-stronger-than-death story sees Savitri (de Liguoro), the daughter of King Ashwapati and a goddess, fall for Satyavan (Ferrari) who is destined to die within a year. He is killed by a tree and his soul is gathered by the god Yama (Terribili-Gonzales) but he returns to life and there is a happy ending for the lovers. Contemporary Italian critics described it both as a medieval legend transported to the Orient and a 1001 Nights story. It was regarded as a colourful spectacle, promoted as Italy’s most ‘daring’ film to date. Its delayed release and the short running time suggest that the film may have been re-edited, losing some nudity and other ‘erotic’ images to satisfy the censor.
SINHAGAD
1923 St 6880 ft b&w
d Baburao Painter pc Maharashtra Film s Hari Narayan Apte’s novel Gad Aala Pan Simha Gela c S. Fattelal
lp Balasaheb Yadav, Kamaladevi, Nalini, Baburao Painter, V. Shantaram, Zunzharrao Pawar, K.P. Bhave, G.R. Mane
India’s first full-scale historical and the Maharashtra Studio’s costliest film to date. Based on a classic by the best-known 19th/early 20th-C. Marathi novelist, it retells a famous episode in the military career of the 17th-C. Maratha emperor Shivaji (Painter) and his lieutanant, the folk hero Tanaji Malusare (Yadav). It features Tanaji’s invasion of Fort Sinhagad in the dead of night, using his pet lizard to run up the wall with a rope, and his death in victory. The film was a major influence on subsequent Marathi cinema and on Prabhat films when Maharashtra Film’s key technicians worked there. It was remade by V. Shantaram (1933). Yadav played a double role in the film.
BISMI SADI
aka Twentieth Century
1924 St 9170 ft b&w
d Homi Master pc Kohinoor Film s Mohanlal G. Dave c D.D. Dabke
lp Raja Sandow, Noor Mohammed, Moti
Homi Master’s directorial debut at Kohinoor is a social attacking Bombay’s industrial parvenu class, initiating the realist-reformist melodrama as a genre. It tells of the street hawker Devidas, who goes to the city to make his fortune but, once successful, becomes an exploitative cotton mill owner and a callous snob knighted by the British. His wife, the kindly Hirabai, is made to suffer and his daughter Rukmini is dishonoured. The happy ending sees his deathbed repentance and Rukmini is saved by the real heir to the business. Location shots filmed on board a steamer and the mise en scene of a factory workers’ violent revolt figured prominently in the film’s marketing campaign.
GUL-E-BAKAVALI
1924 St 7997 ft b&w
d Kanjibhai Rathod pc Kohinoor Film s Mohanlal G. Dave
lp Zubeida, Fatma Begum, Sultana, Khalil, Noor Mohamed, Savita, Jamna, Usha Rani
One of the most successful silent films tells the legend of the fairy Bakavali (Zubeida), her deivi pushp (or divine flower) Gul known for its healing powers, and the Eastern prince Taj-ul-Mulk (Khalil), who wants the flower to cure his blind father. The origins of this popular legend vary. One version claims it was introduced into India by Nihal Chand Lahori’s Mazhab-e-Ishq, translating from Izzat Ali Bengali’s Persian version around the turn of the 19th C. under the influence of his British teacher John Gilchrist at the Fort William College in Calcutta. Another traces it to Abley Sheikh’s narration of the story in 1513 couplets from which it was adapted by several Kashmiri writers into Urdu couplets in the Masnavi form. It was a favourite on the Parsee stage, esp. the scenes where Taj-ul-Mulk faces his villainous brothers who steal the flower as Bakavali is turned to stone and installed in a temple, and her human re-birth. It was often filmed, including in several South Indian languages (Dhirubhai Desai’s Paristan, 1957; a Tamil version starring M.G. Ramachandran in 1955; a Telugu one, Gul-e-Bakavali Katha, starring N.T. Rama Rao in 1962). This version, made in 97 scenes, featured Kohinoor superstars Zubeida and Khalil. It was one of the first films to embrace the folk-fantasy mode as opposed to e.g. Rathod and Dave’s mythologicals (Bhakta Vidur, Mahasati Ansuya, both 1921).
KALA NAAG
aka Kalyug Ki Sati aka Triumph of Justice
1924 St 8200 ft b&w
d Kanjibhai Rathod pc Kohinoor Film s Mohanlal G. Dave c Gajanan S. Devare, D.D. Dabke
lp Sultana, Homi Master, Ibrahim, Moti, Savita, Tara, Behram Vasania, R.N. Vaidya, Fatma Begum, Khalil
There is some debate about whether this film was made by Rathod or by Homi Master, its male star. It claimed realist intent, mainly for its thinly veiled allusions to a major scandal in Bombay known as the Champsi-Haridas murder case. Vihari, the son of a rich mill owner, falls into the clutches of crooks led by Kalidas, aka the Black Cobra, who also has designs on Nirmala, Vihari’s wife. The Bombay Chronicle (5 January 1924) advertised the film as a ‘thrilling plot revealing various styles of treacherous fraud of the modern civilisation and dreadful assassination for the ardent desire of wealth or passions and rape and ravishment by atrocious villains’.
KALYAN KHAJINA
aka The Treasures of Kalyan
1924 St 9440 ft b&w
d Baburao Painter pc Maharashtra Film c S. Fattelal
lp Chimasaheb Bhosle, K.P. Bhave, Sultana, Master Vithal, Kamaladevi, Nalini, Vedi
Quasi-historical adventure movie based on the exploits of the 17th-C. Maratha emperor Shivaji (Bhosle). A large part of the film was shot in a cave where Shivaji meets the Subedar of Kalyan (Bhave). The design of the cave is often hailed as an art-directorial triumph for the studio. The film’s dramatic highlight occurs when, inspecting stolen Mughal wealth, Shivaji suddenly confronts not a box-full of coins but a fair maiden (Sultana) emerging from one of the crates full of treasure. It is also stunt superstar Master Vithal’s debut, apparently in the role of a dancing-girl.
PAAP NO FEJ
aka The Debt of Sin
1924 St 6782 ft b&w
co-d Ardeshir Irani co-d/s Naval Gandhi pc Majestic Film c Bhogilal K.M. Dave
lp B.P. Mishra, Tara, Asooji, Elizer
The best-known Gandhi-Irani co-direction at Majestic is a moralistic social in a contemporary setting, successfully translating Hollywood conventions (e.g. parallel cutting). The plot concerns a young woman, Sarojini (Tara), who, under the influence of her jailbird cousin Jairam (Mishra) swindles her aged husband and ruins her lover, the next door neighbour Thakurdas (Asooji). In spite of the moralism, the film’s interest and energy derive from the depiction of moral turpitude and modernity represented by a race course, the cotton market and bars. Highlights include a car chase and Jairam’s narrow escape from the police while Sarojini and Thakurdas end up in jail.
POONA RAIDED
aka Poona Par Hallo
1924 St 7453 ft b&w
d/s Mama Warerkar pc Deccan Pics c Ramrao Anandkar
lp Miss Bhawani, Krishnarao Ketkar, Shankarrao Sahasrabuddhe, Shankarrao Moghe, Vishnupant Pagnis, Miss Kaiser, Krishnarao Pethkar, Baburao Sansare, Datta Varane, Haripant Kulkarni, Narayanrao Phaterphekar, Shankarrao Shinde, Pandharinath Kale, Lakshmanrao Rane, Mohammed Arab, Shuplani Mukherjee, Ratansha Vakil, Miss Dulari, Sundarrao Nadkarni
This expensive historical, the most ambitious production of the Pune-based Deccan Pics, is a seminal item in Marathi cinema’s influential tradition later continued by Sarpotdar and inherited by Bhalji Pendharkar: the Right-wing valorisation of the 17th-C. Maratha emperor Shivaji. It was also the best-known directorial effort by one of the Marathi theatre’s major playwrights, B.V. (Mama) Warerkar, whose play Satteche Gulam (1922), transformed the Marathi stage with the first full-blown instance of Ibsenite stage naturalism. This film retells the legendary episode, a favourite of numerous popular historians of Maratha glory, of Mughal emperor Aurangzeb’s (Sahasrabuddhe) attack on the fort city of Poona and of how Shivaji (Ketkar) repelled it. Although it shared the scale of e.g. Painter’s Sinhagad (1923), it was probably made with greater awareness of the contemporary anti-imperialist metaphors of the historical genre and the ideological Hindu and Marathichauvinist dimensions of the era. Apart from Sarpotdar, who continued in this vein when he acquired Deccan, the other film-maker to launch his career was Sundarrao Nadkarni, appearing in a minor role.
PRITHVI VALLABH
aka The Lord of Love and Power
1924 St 7456 ft b&w
d Manilal Joshi pc Ashoka Pics sc Sirur based on K.M. Munshi’s novel c V.B. Joshi
lp P.Y. Altekar, Wagle Sandow, Fatma Begum, Zubeida, Sultana, Miss Jaina, Bhalji Pendharkar
Seminal silent historical and the first film adaptation of Gujarati novelist K.M. Munshi. Just before the film was made, the story was serialised in the journal Vismi Sadi and its allusions to current events became controversial. Gandhi criticised it for departing from the principles of non-violence and abstinence. The story features King Munja, ruler of Aranti, famed warrior and patron of the arts who Munshi saw as ‘the gay, amoral man radiating power and love – extracting joy from every moment – true to himself, under all conditions, in conquest, defeat, in prison, in love, when betrayed and sentenced to death. Critics fell on me like voracious tigers – Munja was so immoral! The truth was that in him the readers saw the man who lived as most people wanted to live but dared not.’ (Munshi in a speech, 1947). Munja (Sandow) falls into the hands of his arch enemy Tailap, who received assistance from Bhillam (Altekar), king of Dharavati. Tailap orders that Munja be put to death but is held back by Tailap’s powerful sister Minalvati (Fatma Begum), a widow who first wants to break Munja’s spirit. Instead, she and Munja fall in love. Learning of Munja’s plan to escape with Minalvati, Tailap has Munja trampled to death by his elephants. Manilal Joshi’s film was also an ambitious launch for the new Ashoka Pics set up as an independent production company. The big production shot mainly around the Makkarpura palace in Baroda with sets designed by R.S. Choudhury, had climactic scenes featuring the elephant stampede and created a sensation. It was also noted for its costume design. Joshi defended the film’s technical defects and implausibilities in a note published when it was released, claiming all this would be excused when India one day ‘finds its place in the pantheon of world cinema’. It was remade by Sohrab Modi as a spectacular in 1943.
SADGUNI SUSHILA
aka Sushila the Virtuous aka Triumph of Truth
1924 St 7997 ft b&w
d Kanjibhai Rathod pc Kohinoor Film s Mohanlal G. Dave
lp Raja Sandow
Attributed to Rathod, this is a love story claiming to uphold the tradition of domesticated female virtue and a classic example of a reform novel-derived plot being transmuted into a thriller melodrama using elaborate references to the freedom struggle. Story tells of virtuous Sushila and her debauched husband Pratap, who leads a peaceful life until her former suitor Jaswant arrives on a social call. His appearance prompts Pratap to suspect his wife’s marital fidelity and he drives the visitor away. Returning to retrieve his belongings, Jaswant surprises a gang of burglars who shoot him dead. The leader of the gang, the police chief Vinayak, frames Pratap for the murder. Pratap runs away and what appears to be his corpse is found in a well. Vinayak now makes amorous advances to Sushila who is resigned to widowhood (performing symbolically laden acts like weaving on the charkha). After some years, Pratap reappears having discovered the truth about Vinayak’s criminal deals (but apparently unrepentant about his own nasty behaviour towards his wife).
SATI PADMINI
aka Beauty of Rajasthan, aka Siege of Chittor
1924 St 5990 ft b&w
d Baburao Painter pc Maharashtra Film c S. Fattelal
lp Vedi, Ganpat Bakre, Balasaheb Yadav, Nalini, V. Shantaram
Painter moved outside his favourite Maratha history for this story of the legendary Rajput queen Padmini of Chittor. At the turn of the century, Rajput history, often drawn from the Raso sagas (corresponding to medieval European lays of prowess and chivalry), together with Maratha history were the most popular sources of screen historicals evoking pre-colonial grandeur. The story is set against the violent siege of Chittor, the Rajput capital, by the sultan of Delhi, Allauddin Khilji (Vedi), which temporarily saw the end of the Chauhan dynasty (14th C.). According to legend, during a state visit to Chittor, Khilji caught sight of a reflection of Queen Padmini and became so infatuated that he attacked the Chittor fortress, defeating the Rajputs. However, Padmini, with her entire entourage, had committed sati (ritual suicide) by the time Khilji arrived. The film capitalised on its screening at the British Empire exhibition at Wembley and received some favourable reviews in the British press, a fact always mentioned in references to the film in autobiographies or film histories.
SATI SARDARBA
1924 St 8747 ft b&w
d/s Nanubhai Desai pc Saraswati Film c Bhogilal K.M. Dave
lp Zubeida, Sultana, Mohanlala, Fatma Begum, Putli
The debut production of Saraswati Film, an offshoot of Irani’s Star Studio. Mulraj (Mohanlala), an alcoholic and gambler, wagers his sister Sardarba (Zubeida) to a bunch of crooks and loses her. The rest of the film focuses on Sardarba’s tormented life and how she comes through her trials with her virtue intact. Apart from the sisters Zubeida and Sultana and their star mother Fatma Begum, the film features a rare screen appearance of Gujarati stage star Mohanlala (cf Narasinh Mehta, 1932).
BAAP KAMAI
aka Fortune and Fools
1925 St 8927 ft b&w
d Kanjibhai Rathod pc Krishna Film st Shaida c Chimanlal Luhar
lp Gulab, Gohar, Gangaram, Nandram, Putli
Seth Madhavadas’s only son Laxmidas aka Bachuseth (Gangaram) is brought up with affection but also strict discipline. Surviving on a small allowance, he cannot sustain his expensive habits, particularly after he is befriended by the scoundrels Harilal and Chiman who try to exploit his family’s wealth. Madhavadas dies leaving his son in the care of his trusted manager. Bachuseth then meets the actress Roshanara, a lady of ill repute who, with Harilal and Chiman, entices him to a gambling den. The villains tell Bachuseth that his wife is having an affair with Kundan, the son of his manager-guardian. Bachuseth dismisses the manager and his son and, gradually, Harilal and Chiman take over the business, including the inherited wealth, leaving Bachuseth a pauper. He is eventually helped by the sacked Kundan. The film is mainly remembered as Gohar’s film debut, albeit in a minor role. Based on a novel by the Gujarati writer Shaida, the film illustrates a genre of popular fiction addressing the urban experience in colonial India, a fertile terrain to dramatise the encounter between traditional cultural values and those of the West.
BAJIRAO MASTANI
1925 St 7679 ft b&w
co-d/s Bhalji Pendharkar co-d Nanubhai Desai pc Sharda Film c Bhogilal K.M. Dave
lp Master Vithal, Nanasaheb Phatak, Miss Jones, Sayani, Yakub
Pendharkar’s film debut, foreshadowing his later use of Maratha history, focuses on the Maratha Peshwai (18th C.). It is an uncharacteristic production launching the silent era’s most famous manufacturer of stunt movies, Sharda Film, and features the legendary Marathi stage actor, Nanasaheb Phatak.
CINEMA NI RANI
aka Cinema Queen, Love’s Sacrifice
1925 St 8550 ft b&w
d Mohan Bhavnani pc Kohinoor Film st Mohanlal G. Dave c V.B. Joshi
lp Sulochana, Khalil, Putli
Bhavnani’s second film and one of Sulochana’s first big films also inaugurated the very popular ‘lives of the stars’ genre. This film was about a poor painter named Chandrakant (Khalil) who is about to commit suicide when he meets the film star Manjiri (Sulochana). He is creatively rejuvenated by the fantasies she inspires. Manjiri’s modelling sessions are used to narrate her biography: her mother was a prostitute with a heart of gold who made sure her daughter was well educated. Chandrakant and Manjiri fall in love, but he is already married and his vampish, ill-tempered wife will not set him free. Exploiting the autobiographical ambiguities generated by a star playing a star, the film shows how Sulochana’s image was being moulded for exploitation at Kohinoor and later at the Imperial Studio.
FANKDO FITURI
aka Handsome Blackguard
1925 St 16400 ft b&w
d Homi Master pc Kohinoor Film st Pijam sc Mohanlal G. Dave c D.D. Dabke, Gajanan S. Devare
lp Homi Master, K.B. Athavale, Miss Moti, Behram Vasania, Fram Sethna, Yakbal, Thelma Wallace, Yvonne Wallace
Based on a popular novel by Pijam (aka P.J. Marzban), editor of the newspaper Jam-e-Jamshed and playwright. Released as a two-part serial, the adverts summarised the story as: ‘A charming heiress, a good-looking but villainous doctor, a timid lover, a crafty detective, a singing girl, a Nawab in his dotage and a dancing woman from the gutter. A photodrama that rings with love, hate, villainy, and fidelity’; ‘The magnificent Parsee-Hindu-Muslim screen romance, from the extremely popular and sensational novel, [a] fascinating and thrilling story of social life of today, starring the beautiful and emotional artists Miss Thelma Wallace and Miss Yvonne Wallace’. It helped consolidate its maker and lead actor, Homi Master, playing Yakub the detective, as the top-selling film-maker at Kohinoor. Athavale played the eponymous handsome blackguard.
KULIN KANTA
1925 St 9144 ft b&w
d Homi Master pc Kohinoor Film s Mohanlal G. Dave c K.G. Gokhale
lp Miss Moti, Jamna, Khalil, Behram Vasania, Ganibabu, Yakbal
Advertised as a ‘dramatic version of love, jealousy and loyalty along with disastrous results of superstition and hot-headedness and the miseries of a deserted and ill-treated Hindu wife’ and a ‘story of Hindu superstition and its ruinous results’, this film extends Homi Master’s tendency (Bismi Sadi, 1924) to weave major social scandals into a fast-paced narrative with socially critical pretensions. The plot is derived from the Bawla murder case. The maharaja of Holkar fell in love with a dancing girl named Mumtaz (played by Moti) who spurned his advances because she loved another man. In fact, the maharaja had the man kidnapped in full public view and killed, a scene included in the film, shot on the Chowpatty waterfront in Bombay. The film was presented as critiquing the behaviour of religious leaders while showing communal unity among the lower classes. It equally valorises the love between brother and sister as well as between sisters-in-law. Reviewers often commended Master for his ability to elaborate highly complicated plots.
LANKA NI LAADI
aka Fairy of Ceylon
1925 St 9101 ft b&w
d Homi Master pc Kohinoor Film s Mohanlal G. Dave c Gajanan S. Devare
lp Jamna, Gohar, Khalil
This fantasy, with overtones of Greek legend, is Gohar’s first major hit and grossed more than any other film in 1925. The story is set in Lanka, present-day Sri Lanka and a site for some of the most important action of the Ramayana epic. The king is told that he will be killed by his grandson and that his daughter will marry a brave shepherd. When bandits come to steal cows from the royal park, the princess (Gohar) gives chase and is helped by a passing shepherd (Khalil). They fall in love and the shepherd claims her hand in marriage. The king then sends the shepherd on a series of dangerous adventures around the globe, hoping that he will die. However, the shepherd cures the ailing king of neighbouring Ghoga and is declared the heir to the kingdom, an event that enables the union of the couple and the realisation of the two predictions. The highlight is said to be a scene where the wounded shepherd is fed milk by a lioness.
MAHARACHI POR
aka Dher Ni Chhokri aka Two Little Untouchables aka The Untouchables
1925 St 7986 ft b&w
d Narayanrao D. Sarpotdar pc United Pics Syndicate c Pandurang Talegiri
lp P.Y. Altekar, Joshi, Miss Jones, Dattoba Rajwade
Influential reformist social about an Untouchable girl who marries a Brahmin. The film draws its influence from a strand of Ibsenite naturalism pioneered on the Marathi stage by playwright Mama Warerkar. Warerkar had, the previous year, made Poona Raided for Deccan Pics, predecessors of United Pics, with Sarpotdar. This was a brief occasion for the convergence of Left progressives with mainstream Hindu reformism, e.g. in the journalism of N.S. Phadke, associate of Sarpotdar and an influence on the Natyamanwantar group (1933, cf K. Narayan Kale). It did not last long, as Sarpotdar’s work revealed in its increasing assimilation of Hindu Mahasabha-inspired religious and regional Marathi chauvinism.
MOJILI MUMBAI
aka The Slaves of Luxury
1925 St 8220 ft b&w
d/s Manilal Joshi pc Kohinoor Film c D.D. Dabke
lp Yakbal, Raja Sandow, Jamna, Ganibabu, Moti, Noor Mohammed, Baby Saraswati
Joshi’s best-known film and, with Bismi Sadi (1924), the most successful attempt to locate the narrative in the present day. Presented as a comment on the lifestyle of Bombay’s rich, the film tells of the wealthy Mr Nanavati (Sandow) who is attracted to a dancer, Roshanara (Yakbal) who in turn is represented by a Dalai (agent or, more precisely, pimp) named Chhotalal (Noor Mohammed). Chhotalal plans to rob Nanavati and seizes his chance when the rich man buys a gold necklace as a present for his daughter’s birthday. Chhotalal tempts Nanavati to visit Roshanara, who then seduces him and obtains the necklace. When Nanavati realises that he has been duped, he accuses Chhotalal, who has by then switched the necklace for a fake. The film led to a debate in the pages of the journal Be-Ghadi Mouj about questions of morality and realism in film between Shaida, the editor and himself a scenarist, and Joshi. Joshi claimed that he merely wished to point to an all-too-common incident in Bombay instead of attempting to make a tragedy. The only other interesting thing about the characters is the continual reappearance in film themes (e.g. Baap Kamai, 1925), of a dancer of ill repute named Roshanara, based, apparently, on a real cabaret dancer of that name.
MUMBAI NI MOHINI
aka Social Pirates, aka Night Side of Bombay
1925 St 8879 ft b&w
d/sc Nanubhai Desai pc Saraswati Film st Nirbhayshankar Thakkar c Bhogilal K.M. Dave
lp Fatma Begum, Mohanlala, Dorabji Mewawala, Elizer
Millionaire Ratanlal (Mohanlala) is an old man without an heir. He marries the rich, Western-educated Mohini. He has two managers, the sincere and faithful Dhairyadhar and the Anglicised crook Manhar. Mohini, bored with her marriage, falls in love with Manhar who embezzles Rs 50,000 from Ratanlal’s office and frames Dhairyadhar for the crime, who is imprisoned. Mohini’s affair with Manhar develops and they decide to eliminate old man Ratanlal but they are caught. In the end the two schemers die. The title, which in translation simply means Mohini of Bombay, is also a pun on the phrase ‘the Charms of Bombay’. It preceded by a few months Kohinoor’s Mojili Mumbai, the best-known example of a thriller set amongst Bombay’s colonial bourgeoisie. Desai’s film ran into a legal problem when the noted Gujarati novelist Gopalji Delwadekar claimed that he had written the script, commissioned by Bhogilal Dave’s Star Film and that it was based on his novel Chandrakala (possibly adapted from Baron Lytton’s play Night And Morning). Nirbhayshankar Thakkar, officially credited with the story, claimed that he had written it drawing on his own experiences as a poor medical student in Bombay.
PREM SANYAS
aka The Light of Asia aka Die Leuchte Asiens
1925 St 9437 ft b&w
d Franz Osten pc Great Eastern Film, Emelka Film (Munich), The Indian Players sc Niranjan Pal st Edwin Arnold c Josef Wirsching, Willi Kiermeier
lp Seeta Devi, Himansu Rai, Sarada Ukil, Rani Bala, Prafulla Roy
Osten’s Indian debut launched the Indo-German unit which grew into Bombay Talkies. Pal’s adaptation of Arnold’s 1861 Orientalist epic opened with documentary shots of tourists in Bombay watching street performers. Then a white-bearded old man sitting under the bodhi tree tells the tourists the story of Gautama (Rai), son of King Suddhodhana (Ukil) and Queen Maya (Bala), who left his consort Gopa (Seeta) and became a wandering teacher credited with founding Buddhism. The religious epic, with its idealised figures, takes up the narrative in flashback and ends with Gopa kneeling before Gautama asking to become his disciple. The film suggests that the real aim of Buddhism is the de-sexualisation of women. Released in India in 1926, it also received a major release in Germany with a score written by I.L. Fischer and Hans-Heinrich Dransmann. The film was hyped, mainly by Osten, as the ‘first specifically Indian film’ and the production was aided by a wealthy maharaja who contributed the use of his subjects, dressed in valuable old costumes, and 30 richly decorated elephants. One of the film’s highlights, besides Seeta Devi’s performance, is Wirsching’s use of deep focus, as in the scene where Gopa watches a spectacular contest between Gautama and Devadatta (Roy) in the royal court. A key influence on the film’s style was probably the costume and set designer, and future director, Charu Roy. A 90’ version was screened in the US in 1928, shortly after the wedding of a Nancy Miller to a maharajah. (The original German footage is given as 7382 ft, while the print with the NFAI is 6569 ft). The discrepancy in the film’s length may be due to different Indian and European versions. Some sources credit Himansu Rai as co-director.
SANAM NI SHODHMA
aka Looking for Love
1925 St 7468 ft b&w
d M.M. Vaidya pc Saurashtra Film s/c Chimanlal Luhar
lp Gatubhai Vaidya, Dorothy, Maganlal Dave, Bhimbhai, Monghibai, Miss Mani
Love fantasy from the short-lived but culturally influential Saurashtra Studio. Two young men, Naval and Mavji, dream of their ideal love. Naval’s fantasy draws upon the Laila Majnu story while Mavji’s is from the Arabian Nights. Trying to realise their dreams, Mavji falls for a woman he sees in a horse-drawn carriage. Naval meets Dolar, the daughter of Seth Kapurchand, who is trying to escape from an oppressive home. Mavji steals jewels which Naval had bought for Dolar, but the lovers overcome adversity and live happily ever after.
SAVKARI PASH
aka Indian Shylock
1925 St 5984 ft b&w
d Baburao Painter pc Maharashtra Film s Narayan Hari Apte c S. Fattelal
lp V. Shantaram, Zunzharrao Pawar, Kamaladevi, Kishabapu Bakre, Keshavrao Dhaiber, Shankarrao Bhute
The Marathi cinema’s first explicit social, written by one of Maharashtra’s most popular novelists in this genre. A peasant (Shantaram) loses his land to a greedy money-lender and moves to the city where he becomes a mill worker. Taking its cue from the realist tradition, the film counterposes an idyllic rural life (destroyed by the greedy money-lender who uses forged papers to steal the peasant’s land) with the harsh city life. In spite of its high melodrama, the film was hailed as a realist breakthrough. Critics noted the poetic combination of visuals evoking sound and light, singling out the shot of a hut accompanied by a howling dog as one of the most memorable moments of the Indian cinema to date. The ending intercuts the money-lender snoring with his head on his safe while the poor peasant turned proletarian trudges the streets. It was remade in 1936, hyping the drama with scenes showing the money-lender with a sexy courtesan.
Zunzharrao Pawar (seated) and V. Shantaram (right) in Savkari Pash
