Dadasaheb Phalke Award - Directors
Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke's contribution to Indian cinema.[4] Phalke (1870–1944), who is popularly known as and often regarded as "the father of Indian cinema", was an Indian filmmaker who directed India's first full-length feature film, Raja Harishchandra (1913).
The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards. As of 2021, there have been 51 awardees.
The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards. As of 2021, there have been 51 awardees.
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- Actor
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Dhirendranath Ganguly was born on 26 March 1893 in Calcutta, Bengal Presidency, British India. He was a director and actor, known for Kamanar Aagun (1930), Takay Ki Na Hay (1931) and Shesh Nibedan (1948). He was married to Premika Devi. He died on 18 November 1978 in Calcutta, West Bengal, India.- Director
- Cinematographer
- Writer
Nitin Bose was born on 27 April 1897 in Calcutta, Bengal, British India [now India]. He was a director and cinematographer, known for Gunga Jumna (1961), Desher Mati (1938) and Dharti Mata (1938). He died on 14 April 1986 in Calcutta, West Bengal, India.- Actor
- Director
- Producer
Sohrab Modi was born on 2 November 1897 in Bombay, Bombay Presidency, British India. He was an actor and director, known for Mirza Ghalib (1954), Pukar (1939) and Jailor (1938). He died on 28 January 1984 in Bombay, Maharashtra, India.- Director
- Producer
- Actor
L.V. Prasad was born on 17 January 1908 in Eluru, Andhra Pradesh, India. He was a director and producer, known for Jai-Vijay (1977), Bidaai (1974) and Jeene Ki Raah (1969). He was married to Soundarya Manoharamma. He died on 22 June 1994.- Writer
- Composer
- Director
Satyajit Ray was born in Calcutta on May 2, 1921. His father, Late Sukumar Ray was an eminent poet and writer in the history of Bengali literature. In 1940, after receiving his degree in science and economics from Calcutta University, he attended Tagore's Viswa-Bharati University. His first movie Pather Panchali (1955) won several International Awards and set Ray as a world-class director. He died on April twenty-third, 1992.- Actress
- Director
- Actor
- Producer
- Director
Raj Kapoor was the son of well-known Indian actor Prithviraj Kapoor, who acted both in film and on stage. After apprenticing in the Bollywood production studios of the 1940's, at 24 years of age Raj Kapoor produced, directed and acted in Aag (1948), with his new company, RK Films. His next production, Barsaat (1949), was a smash hit. In 1951, he also produced, directed and starred in Awaara (1951), which was another megahit, and costarred Nargis, who had appeared in Aag and Barsaat. Awaara also gained popular acclaim in Russia, where the movie and songs were dubbed into Russian. The theme song, Awaara Hoon, was popular in the East for many years. Kapoor has been dubbed "a great showman," and a filmmaker in the purest Romantic tradition, as he strove to entertain as well as address social themes close to his heart. Awaara dealt with the question of what forms an individual's moral grounding, ("nurture or nature") while incorporating comedy and stirring love scenes; in Shree 420 (1955) he addressed issues of poverty, unemployment and national pride in the new Indian state at the same time maintaining the audience's interest in the romantic plot. While never revolutionary in tone, many of his films explore the ability of the individual to overcome economic and environmental injustice while maintaining his/her innocence and integrity. He is quoted as believing that the individual's struggles ultimately lead to the desire for love, to care and be cared for. This is consistent with his admiration of Charles Chaplin, and Kapoor's own "tramp" (Awaara, Shree 420, Mera Naam Joker (1970) is modeled somewhat on his mentor, though with a definite individual flair.
His films demonstrate an understanding of music and direction that continue to influence Bollywood filmmaking today. Also a musician, his understanding of the musical feel of his movies gives them a storytelling fluidity equal to that of the best American movie musicals. He surrounded himself with the foremost talents in filmmaking, acting, writing (Kwaja Ahmad Abbas'), music composition (Jaikishan Dayabhai Panchal, 'Shankarsinh Raguwanshi'), and playback singers, including Mukesh, 'Mohamed Rafi', and Lata Mangeshkar. Kapoor continued to make films of varying critical and popular success up until his death in 1988, and apparently considered Mera Naam Joker his personal favorite. He is still a well-known name not only in India, but in the Middle East, SE Asia, and Eastern Europe. His descendants have attempted to continue the RK Films banner.- Director
- Writer
- Producer
Bhalji Pendharkar was born on 3 May 1898 in Kolhapur, Bombay Presidency, British India. He was a director and writer, known for Thoratanchi Kamla (1941), Netaji Palkar (1939) and Shyam Sundar (1932). He died on 28 November 1994 in India.- Producer
- Director
- Writer
One of India's most respected film personalities, Baldev Raj Chopra (better known as B.R. Chopra) has been an architect of what is now known as the golden era of the Bollywood industry. Having converted offbeat stories into immortal classics like Waqt (1965) and Naya Daur (1957), he commands high regard in the world film fraternity.
B.R. Chopra was born in Lahore, 1914, to an accountant in the PWD administration of the British Punjab administration. After graduating, he did his M.A. degree in English Literature from Lahore University. . Having a deep-rooted fascination for films, he switched over from a higher education to film journalism, surprising his family. He began his celluloid career writing and editing film reviews for the Cine Herald journal.
When the partition of India occurred in 1947, B.R. became a victim of communal riots. His house having been burnt down, he migrated to Bombay to live up to his dreams. In 1949, he produced his first film Karwat (1949). Unfortunately, it turned out to be a flop. In 1951, he tried again as the producer and director of the film Afsana (1951) and hit gold. His movie, a tale of mistaken identity with Ashok Kumar in a double role, was a runaway hit and went on to celebrate its silver jubilee.
Encouraged by this success, B.R. formed his production company, B.R. Films, in 1955, and started off on a roll with the release of Ek-Hi-Rasta (1956), a drama about widow remarriage. He churned out a string of successful films, the most notable being Naya Daur (1957), Sadhna (1958), Kanoon (1960), Gumrah (1963) and Hamraaz (1967). He also gave his younger brother, Yash Chopra, his first directorial opportunity with the box-office hit Dhool Ka Phool (1959) and in the subsequent years Yash made four more films for B.R., including Waqt (1965) and Ittefaq (1969).
B.R. has always endeavored to make socially relevant films, which at the same time try to cater to popular sentiment. For instance, Naya Daur (1957) told the story of a traditional rural community threatened with modernism and mechanism; B.R. perceives mechanism as evil and has the protagonist, a horse carriage rider, defeat an automobile in a race! B.R. has also made films that were regarded as ahead of their time - Kanoon (1960) was a courtroom drama without any songs at all (music being essential of all Hindi films, this was a novel technique); _Gumrah (1963)_qv told the tale of a woman resuming her affair after marriage; and Ittefaq (1969) showed the heroine as a murderess of her own husband!
B.R. continued to make films into the 1970s and 1980s, and met success with Insaf Ka Tarazu (1980), focusing on the issue of rape, and Nikaah (1982), a Muslim love triangle. His son Ravi did try to keep the banner going but none of the films did well except for Aaj Ki Awaz (1984), another courtroom tale, and the family epic Baghban (2003). However, B.R. Films turned to television in 1985 and made several successful television programs, the most successful of the being the serial Mahabharat (1988), based on the Hindu epic. Perhaps the most popular serial in the history of Indian cinema, it entered the Guinness Book of World Records by registering 96% world viewer ship. In 1999, B.R. was awarded the Dadasaheb Phalke Award for his contribution to Indian Cinema.
It was another triumph for the movie mogul...- Director
- Editor
- Writer
By no means is he any glamorous director, yet Hrishikesh Mukherjee is one of the most popular and beloved filmmakers in Indian cinema. His magic lay not in the glamor or largeness so often associated with cinema, but in its simplicity and warmth.
He began his career in Bombay, 1951, as an editor and assistant director to Bimal Roy, another great director himself. His first directorial venture, Musafir (1957), centering on an old house where three unrelated stories dealing with birth, marriage and death occur in a series, was a disaster. But director Raj Kapoor was impressed and strongly recommended Hrishida as director for Anari (1959). Starring Kapoor himself and Nutan, the film was a critical and commercial success.
His next film, Anuradha (1960), about an idealistic doctor who neglects his wife to focus on his work, got him the President's Medal Award. But from then on throughout the 1960s decade, none of Hrishida films were particularly distinguishable, barring Asli-Naqli (1962), a Muslim melodrama; Anupama (1966), which was based on a true incident; Aashirwad (1968), a family drama; and Satyakam (1969), about an idealist seeing his dreams crumble after Indian independence.
Then Hrishida made what is considered his masterpiece - Anand (1971). This classic film gave a complex but compassionate look at the balance between hope, fear, life and death and saw Rajesh Khanna's greatest performance as a terminally ill man who wishes to live life to the full before he dies. It was an auspicious beginning to the 1970s, for that time proved to be an exceptionally good time for Hrishida as he gave the public excellent films like Guddi (1971), a semi-satiric look at the film industry and generally considered as Jaya Bhaduri's debut film; Abhimaan (1973), the Bachchans' greatest ever performance together; and Chupke Chupke (1975), a comedy about a newlywed professor's joke on his pompous brother-in-law. These films gave an extremely skilled and detailed look at the middle-class mentality.
Few people understood human nature as well as Hrishida - in all his films he examined their aspects, particularly their failings and foibles and the outworn values people always seem to hold on to. However in the 1980s, the advent of the superstar Amitabh Bachchan and of larger-than-life films saw Hrishida's brand of filmmaking die out. Recently he attempted a comeback with _Jhooth Bole Kauwa Kaate (1999)_, but sadly it was a futile effort as the film was a commercial and critical failure. However, the magic of his films still lingers after three decades, and he will be best remembered for his film Anand (1971), which told that people who die but remain in heart and mind do not die, but become immortal. No one justifies this truth more than Hrishida.- Producer
- Director
- Additional Crew
Labeled the eternal romantic and with one of the best musical senses in the business, Yash Chopra is arguably India's most successful director of romantic films. Although he made action-oriented films like the ever-popular Deewaar (1975), it is in tackling love and its various aspects that he has been at his best. One of the few remaining commercial Indian directors who started their careers in the 1950s, he has successfully moved with the times from the socially significant Dhool Ka Phool (1959) to the young and cool Dil To Pagal Hai (1997).
Yash Chopra was born in Lahore in 1932, to an accountant in the PWD division of the British Punjab administration, the youngest of eight children. He began as an assistant director to I.S. Johar before working with his elder brother, the legendary B.R. Chopra; while another brother, Dharam Chopra, worked as his cameraman. He was given his first directorial opportunity with Dhool Ka Phool (1959), a melodrama about illegitimacy; it became a hit and even now remains popular today. Encouraged by this success, the Chopra brothers made a few more movies together, the most notable being Waqt (1965), India's first multi-starrer; and Ittefaq (1969), a thriller. On the personal front, Chopra married Pamela Chopra (née Singh) in 1970, and they had two children, Aditya Chopra and Uday Chopra, both working in the film industry today.
In 1973, the Chopra brothers separated, with Yash Chopra founded his studio, Yash Raj Films, and launched it with Daag: A Poem of Love (1973), a successful melodrama about a polygamous man. He then entered one of his best phases with two Amitabh Bachchan classics: Deewaar (1975) and Kabhi Kabhie (1976). These movies set the standard for the 1970s and 1980s, establishing Bachchan as the greatest and most beloved Indian film star of all time. His respective roles--a bitter criminal and a sensitive, brooding poet--are considered to be his greatest performances, although complete opposites of each other.
In the 1980s, Chopra went through a rough time. Two of his melodramas, Silsila (1981) and Faasle (1985); and two action-oriented films, Mashaal (1984) and Vijay (1988), flopped at the box office, although the latter became a critically acclaimed classic years later. However, he made a comeback with his musical love triangle Chandni (1989). The film was a huge success, with great performances by established heroine Sridevi and action hero Vinod Khanna. Then came what critics and Chopra himself considered his best film, Lamhe (1991), a beautiful film about cross-generational love. It couldn't survive the box office, however, due to its incestuous nature.
Parampara (1993), done for an outside producer, was a misfire, but then came the box-office hit and trend setter Darr (1993). Starring the then-débutant Shah Rukh Khan, it showed a sympathetic look at obsessive love and an emotion often overlooked in love--fear--and its success catapulted Khan to super-stardom. In 1995, Chopra turned to production and Aditya Chopra made his directorial debut with Dilwale Dulhania Le Jayenge (1995), which had the longest-running initial release in cinema history. He directed one more film, Dil To Pagal Hai (1997), a love story set against the theater, which became a huge success and a cult hit, before he retired from directing. However, in 2004, he made a grand comeback with Veer-Zaara (2004), a touching cross-border love story, which he said would be his last directorial effort.
The ages of the director and playback singer Lata Mangeshkar, his muse, proved you need to be young, as well as crazy, at heart, to be a true romantic....- Actor
- Producer
- Director
One of the most beloved, charismatic and accomplished actors as well as one of the most imaginative and pathbreaking directors in the history of Indian cinema, Dev Anand was a leading man for more than five decades in over 110 motion pictures and continues to bestride Indian film fraternity even after his passing. He gave a new dimension to that magical state known as Stardom. And for his exemplary work he was awarded the Padma Bhushan in 2001 by the President of India. From the time he embarked on his career as a Film Actor in the mid-forties till his demise, his movies had been a journey filled with enriching experiences for the 'Evergreen Living Legend' of Indian Cinema. And he had always remained eternally youthful by his remarkable ability to live always in the present and the future; never in the past.
Also, as head of his film production company Navketan International Films, which was founded in 1949, Anand introduced a multitude of talent to the Indian Film Industry by way of actors, directors, music composers and cinematographers. He introduced new talent to cinema and experimented with new ideas for movies. He also headed one of the finest Film Sound Post-Production facilities in India - Anand Recording Studios - which has to its credit more than 3,000 Indian feature films that have been mixed/ surround mixed for worldwide release.
Anand won two Filmfare Awards - India's equivalent of the Oscars - in 1958 for his performance in the film "Kala Paani" (Black Water) and in 1966 for his performance in Navketan International Films' "Guide". "Guide" went on to win Filmfare Awards in five other categories including 'Best Film' and 'Best Director' and was sent as India's entry for the Oscars in the foreign film category that year. He co-produced the English Version of "Guide" with the Nobel Laureate Pearl S. Buck ("The Good Earth"). Eventually, his creative sensibilities got the better of him and he started writing and directing his own movies.
In 1993, he received a Filmfare 'Lifetime Achievement Award' and in 1996 he received a Screen Videocon 'Lifetime Achievement Award'. Then in 1997 he was given the Mumbai Academy of Moving Images Award for his Outstanding Services to the Indian Film Industry. In 1998, he was given a 'Lifetime Achievement Award' by the Ujala Anandlok Film Awards Committee in Calcutta. In 1999, he received the Sansui 'Lifetime Achievement Award' for his 'Immense Contribution to Indian Cinema' in New Delhi. In the year 2000, he was awarded the Film Goers' 'Mega Movie Maestro of the Millenium' Award in Mumbai. And then in July 2000, in New York City, he was honored by an Award at the hands of the then First Lady of the United States of America - Mrs. Hillary Rodham Clinton - for his 'Outstanding Contribution to Indian Cinema'. And again Anand was awarded the Indo-American Association 'Star of the Millennium' Award in the Silicon Valley, California. The President of India honored Anand with the prestigious Padma Bhushan Award on India's Republic Day - January 26th, 2001. And yet again, Donna Ferrar, Member New York State Assembly, honored him with a New York State Assembly Citation for his 'Outstanding Contribution to the Cinematic Arts Worthy of the Esteem and Gratitude of the Great State of New York' on May 1st, 2001.
Most recently, in April 2003, Anand was given a 'Lifetime Achievement Award' by the F.I.F.A. Committee in Johannesburg, South Africa. For an Indian Movie Icon who has hobnobbed with royalty, heads of State and celebrities, he did it all.
Anand passed away on December 3rd, 2011 in London's Washington Hotel, aged 88.
There are some who might remember Anand for not hanging his boots at the right time like his rival Dilip Kumar. But for millions of his admirers, both India and overseas, he shall remain the embodiment of someone who just never learnt to give up and being one of the pivotal figures who shaped the destiny of Indian Cinema in its formative years post independence and with his peerless intellect combined with his killer good looks gave it a footing on the map of world.- Director
- Writer
- Producer
Sen is one of his nation's most politically active filmakers. After having studied physics at university in Calcutta, Sen worked as a freelance journalist, a salesman of patent medicines and a sound technician in a film studio. In the mid-1940s he joined the Indian People's Theatre Association and at that time began to read about and study film. The association had links to the Communist Party of India and this heralded the beginning of Sen's involvement with Marxist politics. In 1956 Sen made his debut with Raat Bhore (1956), the first of his 30 (as of 2002) films. Although his first film was openly political, he achieved national status as the director of a comedy, Bhuvan Shome (1969). Influenced by Italian neorealism and the work of fellow countryman Satyajit Ray, Sen used location shooting and non-professional casts in his early films. By the 1970s he was making wider use of symbolism and allegory. Although he remains politically committed, Sen feels that the "difference between party Marxists and a private Marxist like me is that others think they pocketed truth, whereas I am always in search of truth... " Sen's films have won numerous international awards. The Case Is Closed (1982), a scathing look at the hypocritical reaction of a bourgeois Calcutta family to the death of a servant boy, took home the Jury Prize from the 1983 Cannes Film Festival.- Director
- Writer
- Producer
Adoor Gopalakrishnan is India's most acclaimed contemporary filmmaker. Born in 1941 in Kerala, a state in south India, he belongs to a family with strong links to the performing arts, especially Kathakali, a highly-stylised form of dance drama. From the age of eight Adoor began acting for the stage, later producing and directing over twenty plays, several written by him. He is the author of two books on the theatre as well as a book on the cinema, "The World of Cinema", for which he won a national award in 1983. In 1962 Adoor enrolled in the Film and Television Institute in Pune and graduated in 1965 with a diploma in Scriptwriting and Direction. The same year he founded the Chitralekha Film Society of Trivandrum as well as the Chitralekha Film Cooperative. Both played a key role in the development of film culture in Kerala. In 1972 Adoor made Swayamvaram/One's Own Choice, his first full-length feature film. It launched the New Cinema in Kerala and became one of the major films of the Indian New Wave. He has since made seven more films (along with over 25 shorts and documentaries), all of which have won major national and international awards: Kodiyettam/Ascent (1977); Elippathayam/Rat Trap (1981); Mukhamukham/Face to Face (1984); Anantaram/Monologue (1987); Mathilukal/The Walls (1990); Vidheyan/The Servile (1993), and Kathapurushan/Man of the Story (1995). Elippathayam received the prestigious British Film Institute Award in 1982; Mukhamukham won the FIPRESCI prize in 1985; Kathapurushan was honoured in India in 1995 with the National Award for Best Film. Retrospectives of Adoor's films have been held in Pesaro, Helsinki, La Rochelle, Nantes, Munich, and New York. All of Adoor's films draw on the history and culture of his native Kerala. Kerala's transition from feudalism to modernity serves as a backdrop to his complex meditations on the psychology of power, the nature of oppression, the corruption of patriarchy, and the coexistence of the modern and the feudal in post-Independence democratic India. Elippathayam, his masterpiece, vividly captures the descent into paranoia of a man trapped within his feudal universe. In Mukhamukham, a study in failed idealism, a Communist leader gives up on revolution and decides to go to sleep instead. Vidheyan, a parable-like story, deals with the abuse of power, the plight of the outsider, and the nature of a master-servant relationship. The more recent films--especially Anantaram, Mathilukal and Kathapurushan--display a new concern with interiority and reflexivity, foregrounding time, memory, consciousness, and the nature of storytelling itself. Adoor's genius lies in his ability to create visually complex films that operate on multiple levels, that are culture-specific and yet universal in significance.- Director
- Producer
- Writer
Shyam Benegal was born on 14 December 1934 in Tirumalagiri, Hyderabad State, British India. He is a director and producer, known for Ankur: The Seedling (1974), Bhumika (1977) and Trikal (Past, Present, Future) (1985). He is married to Nira Benegal.- Director
- Writer
- Composer
Born in 1924. Science graduate from University of Calcutta. Sinha began his film career as a sound engineer in Calcutta's New Theatre in 1946. Four years later, he received an invitation to the London film festival and the opportunity of working at Pinewood Studios. He was in the UK for two years. On returning to India, he turned his attentions to film directing. Tapan Sinha was influenced by American and British film making. Tagore was a great source of inspiration to him. He made three films on Tagore's stories: Kabuliwala, Hungry Stones (Khudito Pashan), Atithi.
Tapan Sinha's first film Ankush was based on Narayan Gangopadhyay's story 'sainik'. In 1957, his film 'Kabuliwala' was shown in Berlin Film festival. He has won National award many times. His films were shown in different film festivals all over the world. He was married to actress Arundhuti who passed away in 1990. Sinha lives in Calcutta.- Writer
- Director
- Producer
K. Balachander was born on 9 July 1930 in Nannilam, Madras Presidency, British India. He was a writer and director, known for Ek Duuje Ke Liye (1981), Thaneer Thaneer (1981) and Apoorva Raagangal (1975). He was married to Rajam. He died on 23 December 2014 in Chennai, Tamil Nadu, India.- Music Department
- Writer
- Director
Gulzar is a writer, a lyricist, a director and, at heart, a poet. His films, sensitive, lyrical, and yet successful, were a welcome relief from the violent films that filled the 1970s and 1980s.
Born Sampooran Singh Kalra in Deena, in the Jhelum District in what is now Pakistan, he came to Delhi after the partition during independence as a poet. He joined Bimal Roy Productions in 1961 and got his first break as a lyricist writing for Bimal Roy's Bandini (1963). The success of this film made him Bimalda's full-time assistant and got him writing for films by acclaimed directors like Hrishikesh Mukherjee and Asit Kumar Sen. Some of the films he has written include Anand (1971), Guddi (1971), Bawarchi (1972), and Namak Haraam (1973) for Mukherjee; and Do Dooni Char (1968), Khamoshi (1969), and Safar (1970) for Sen.
Gulzar made his directorial debut with Mere Apne (1971). Based on Tapan Sinha's "Apanjan," the film looks at an old woman (played by Meena Kumari) caught between two street gangs of unemployed and frustrated youths. He then went on to make Parichay (1972) (loosely based on The Sound of Music (1965)) and Koshish (1972), which gave a superb look at the trials of a deaf and dumb couple (played by Jaya Bachchan and Sanjeev Kumar). From this film came a mutually beneficial partnership with Kumar, which resulted in fine films like The Season (1975), Angoor (1982)Namkeen (1982), and the classic film Aandhi (1975), which had been banned for a while. However, Gulzar didn't always depend on Sanjeev Kumar: the stars of the time, such as Jeetendra, Vinod Khanna, and Hema Malini, worked with him in unglamorous roles and gave some of their best and introspective performances in films like Achanak (1973), Khushboo (1975), and Kinara (1977).
Musically, Gulzar was unbeatable. Being a lyricist and collaborating with film composers, he always had a high quality of music in his films, especially with Rahul Dev Burman. And while Burman became a pop icon with his tunes from Procession of Memories (1973) and Hum Kisise Kum Naheen (1977), he also gave Gulzar classic pieces with which to work in Khushboo (1975) and Permission (1987).
Sadly, the 1980s and 1990s saw a decline in Gulzar the director, and although films such as Lekin... (1990) and Maachis (1996) had their moments, his last film to date, Hu Tu Tu (1999), was a misfire. However, he tried his hand at television with the much acclaimed television film Mirza Ghalib (1988). Made about the poet's life and starring Naseeruddin Shah in the title role, the serial was a landmark in Indian Television. Gulzar has also directed documentaries on Amjad Khan and Pandit Bhimsen Joshi as well as "Shaira," a film based on Meena Kumari. He has also turned his creativity into other channels--he has written screenplays for films like Masoom (1983) and Rudaali (1993), and has written the lyrics for films like Dil Se.. (1998) and Saathiya (2002).- Actor
- Writer
- Visual Effects
Manoj Kumar, born Harikrishna Giri Goswami, is an Indian film actor, director, and screenwriter best known for his work in Hindi films.
Born in Abbottabad, a small town in the North-West Frontier Province, British India (now Khyber Pakhtunkhwa, Pakistan), he and his family shifted to Delhi during the Partition.
Kumar made his film debut with Fashion (1957). He then got his break in Kanch Ki Gudiya (1961), where he acted with Sayeeda Khan.
After acting in Reshmi Rumal (1961) and Piya Milan Ki Aas (1961), Kumar was cast opposite Mala Sinha in Vijay Bhatt's Hariyali Aur Rasta (1962).
He continued to rule the roost with films, including Apna Banake Dekho (1962) and Nakli Nawab (1962).
He also acted in social films, including Grahasti (1963) and Apne Huye Paraye (1964).
In 1964, Kumar appeared in Raj Khosla's Woh Kaun Thi? (1964) with Sadhana Shivdasani. He worked alongside Mala Sinha and Vijay Bhatt again in Himalay Ki Godmein (1965).
Kumar and Khosla built upon their joint success with Do Badan (1966), which became a success. In this film, Kumar was cast opposite Asha Parekh.
His thriller, Gumnaam (1965), was another box office hit, and it was one of the highest-grossing movies that year, earning Rs. 2.6 crores. In the same year, Kumar starred in the film Shaheed (1965), which explored the life of the great freedom fighter, Bhagat Singh.
He also played pivotal roles in classics such as Sawan Ki Ghata (1966) and Patthar Ke Sanam (1967).
In 1967, he forayed into film direction with Upkar (1967), where he starred as a farmer and a soldier. This film won multiple awards at the Filmfare Awards 1968, including Best Story, Best Dialogue, Best Director, and Best Film.
Kumar followed up his success with more films such as Aadmi (1968), Purab Aur Pachhim (1970), and Be-Imaan (1972). He also directed and acted in Shor (1972).
Kumar acted in and directed Roti Kapada Aur Makaan (1974) and won the Best Director award at the Filmfare Awards in 1975.
He then went on to appear in more classics, including Sanyasi (1975); Pehchan (1975), wherein he starred opposite Babita Kapoor; and Dus Numbri (1976).
He directed Dilip Kumar, his idol, in the film Kranti (1981), which explored the Indian struggle for Independence.
Post Kranti, Kumar acted in films such as Kalyug Aur Ramayan (1987), Clerk (1989), and Maidan-E-Jung (1995). He also directed Kunal Goswami, his son, in Jai Hind (1999).
Kumar was conferred the title of Padma Shri by the Government of India in 1992. He also received The Filmfare Lifetime Achievement Award in 1999 for his work spanning four decades; the Bharat Gaurav Award in New Jersey, U.S., in 2012; and The Dadasaheb Phalke Award in 2016- Writer
- Director
- Actor
K. Viswanath was born on 19 February 1930 in Peddapulivarru, Guntur District, Andhra Pradesh, India. He was a writer and director, known for Sagara Sangamam (1983), Sutradhaarulu (1990) and Sruthilayalu (1987). He was married to Kasinadhuni Jayalakshmi. He died on 2 February 2023 in Hyderabad, India.