He is the only actor who has played the roles of Rama (twice) – and of Raja Dashrath, Arjuna – and Karna, Vikramaditya, Harishchandra, Emperors Akbar and Shah Jahan, Alexander the Great – and a quarter-century later, his determined Indian opponent, Raja Porus, and for good measure, Persian strongman Rustom, and Hannibal of Carthage.
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
- 11/3/2023
- by Agency News Desk
He is the only actor who has played the roles of Rama (twice) – and of Raja Dashrath, Arjuna – and Karna, Vikramaditya, Harishchandra, Emperors Akbar and Shah Jahan, Alexander the Great – and a quarter-century later, his determined Indian opponent, Raja Porus, and for good measure, Persian strongman Rustom, and Hannibal of Carthage.
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
With his chiselled looks, strapping figure and emoting abilities, which made him consummate performer on stage, screen, and in his own life, Prithviraj Kapoor was a patriarch in all senses, be it with a range of regal roles in a career spanning silent films to the technicolour era, and in bequeathing Indian filmdom its most famous family, whose fourth generation is still flourishing.
As part of the latter, he is possibly the only Indian actor who has appeared in two films featuring three generations of a family – with his father and sons in “Awaara” (1951) and his son and grandson...
- 11/3/2023
- by Agency News Desk
- GlamSham
Among the titans of the Indian film industry, his forte was the grand epic that brought various phases of the subcontinent’s history – ancient, medieval, and early modern – to vivid life and enabled him to use his booming baritone, which even drew blind people to cinema theatres just to hear his grandiloquence.
Be it as the Rajput nobleman Sangram Singh in “Pukar” (1931) set in the times of Mughal Emperor Jahangir, Raja Porus in “Sikandar” (1941), in the title role of the Parmar king in “Prithvi Vallabh” (1943), as the Rajguru of Rani Lakkshmibai in “Jhansi ki Rani” (1952), or the bitter persecuted Jew Ezra in “Yahudi” (1958), Sohrab Modi strode the silver screen with his imposing presence, boundless histrionic abilities, and thunderous voice.
He delivered a trailblasing performance as a kind and rational man turned domestic tyrant – and twice over- in “Jailor”, made first in 1938 and remade in 1958, with totally different casts save him in the title role.
Be it as the Rajput nobleman Sangram Singh in “Pukar” (1931) set in the times of Mughal Emperor Jahangir, Raja Porus in “Sikandar” (1941), in the title role of the Parmar king in “Prithvi Vallabh” (1943), as the Rajguru of Rani Lakkshmibai in “Jhansi ki Rani” (1952), or the bitter persecuted Jew Ezra in “Yahudi” (1958), Sohrab Modi strode the silver screen with his imposing presence, boundless histrionic abilities, and thunderous voice.
He delivered a trailblasing performance as a kind and rational man turned domestic tyrant – and twice over- in “Jailor”, made first in 1938 and remade in 1958, with totally different casts save him in the title role.
- 11/2/2023
- by Agency News Desk
Among the titans of the Indian film industry, his forte was the grand epic that brought various phases of the subcontinent’s history – ancient, medieval, and early modern – to vivid life and enabled him to use his booming baritone, which even drew blind people to cinema theatres just to hear his grandiloquence.
Be it as the Rajput nobleman Sangram Singh in “Pukar” (1931) set in the times of Mughal Emperor Jahangir, Raja Porus in “Sikandar” (1941), in the title role of the Parmar king in “Prithvi Vallabh” (1943), as the Rajguru of Rani Lakkshmibai in “Jhansi ki Rani” (1952), or the bitter persecuted Jew Ezra in “Yahudi” (1958), Sohrab Modi strode the silver screen with his imposing presence, boundless histrionic abilities, and thunderous voice.
He delivered a trailblasing performance as a kind and rational man turned domestic tyrant – and twice over- in “Jailor”, made first in 1938 and remade in 1958, with totally different casts save him in the title role.
Be it as the Rajput nobleman Sangram Singh in “Pukar” (1931) set in the times of Mughal Emperor Jahangir, Raja Porus in “Sikandar” (1941), in the title role of the Parmar king in “Prithvi Vallabh” (1943), as the Rajguru of Rani Lakkshmibai in “Jhansi ki Rani” (1952), or the bitter persecuted Jew Ezra in “Yahudi” (1958), Sohrab Modi strode the silver screen with his imposing presence, boundless histrionic abilities, and thunderous voice.
He delivered a trailblasing performance as a kind and rational man turned domestic tyrant – and twice over- in “Jailor”, made first in 1938 and remade in 1958, with totally different casts save him in the title role.
- 11/2/2023
- by Agency News Desk
- GlamSham
There was one occasion when Dev Anand, forced to quit a blue-collar job he depended on for sustenance, ripped his elder brother Chetan Anand of Rs (the then) princely sum of Rs 5,000 to launch a less than moral venture, and if this was not enough, began wooing the girl his younger brother Vijay ‘Goldie’ Anand fancied, and eventually in luring her away.
If these sordid revelations shock you, do not think too badly of Dev Anand. For all this did not happen in real life, but in reel life, in the social romantic comedy “Kala Bazaar” (1960), which has several distinctions to its credit but chiefly stands out for being the only film in which all the three Anand brothers acted together.
While Chetan Anand had directed the early Dev Anand films, he had sought to branch out on his own after “Taxi Driver” (1954) to indulge in his own creativity, and...
If these sordid revelations shock you, do not think too badly of Dev Anand. For all this did not happen in real life, but in reel life, in the social romantic comedy “Kala Bazaar” (1960), which has several distinctions to its credit but chiefly stands out for being the only film in which all the three Anand brothers acted together.
While Chetan Anand had directed the early Dev Anand films, he had sought to branch out on his own after “Taxi Driver” (1954) to indulge in his own creativity, and...
- 9/25/2023
- by Agency News Desk
There was one occasion when Dev Anand, forced to quit a blue-collar job he depended on for sustenance, ripped his elder brother Chetan Anand of Rs (the then) princely sum of Rs 5,000 to launch a less than moral venture, and if this was not enough, began wooing the girl his younger brother Vijay ‘Goldie’ Anand fancied, and eventually in luring her away.
If these sordid revelations shock you, do not think too badly of Dev Anand. For all this did not happen in real life, but in reel life, in the social romantic comedy “Kala Bazaar” (1960), which has several distinctions to its credit but chiefly stands out for being the only film in which all the three Anand brothers acted together.
While Chetan Anand had directed the early Dev Anand films, he had sought to branch out on his own after “Taxi Driver” (1954) to indulge in his own creativity, and...
If these sordid revelations shock you, do not think too badly of Dev Anand. For all this did not happen in real life, but in reel life, in the social romantic comedy “Kala Bazaar” (1960), which has several distinctions to its credit but chiefly stands out for being the only film in which all the three Anand brothers acted together.
While Chetan Anand had directed the early Dev Anand films, he had sought to branch out on his own after “Taxi Driver” (1954) to indulge in his own creativity, and...
- 9/25/2023
- by Agency News Desk
- GlamSham
Glamsham introduces Classic Rewind series where movie critic, feature writer and columnist Vishal Verma will revisit Indian / World cinema since its origin and highlight its relevance in today?s times.
Beginning from where cinema became an undying passion in our lives and created livelihood for generations after generations, Raja Harishchandra by the father of Indian cinema Dada Saheb Phalke.
History
Raja Harishchandra the 1913 Indian silent film, directed and produced by Dadasaheb Phalke, is recognized by Government of India as the first Indian feature film. Raja Harishchandra features Dattatraya Damodar Dabke, Anna Salunke, Bhalchandra Phalke, and Gajanan Vasudev Sane and is based on the legend of Harishchandra, with Dabke portraying the title character. The film, being silent, had English and Hindi-language slates coming in between.
Significance/relevance in today?s times
It was the decision taken by a painter after watching The Life Of Christ (1906) at a theatre in Mumbai, the...
Beginning from where cinema became an undying passion in our lives and created livelihood for generations after generations, Raja Harishchandra by the father of Indian cinema Dada Saheb Phalke.
History
Raja Harishchandra the 1913 Indian silent film, directed and produced by Dadasaheb Phalke, is recognized by Government of India as the first Indian feature film. Raja Harishchandra features Dattatraya Damodar Dabke, Anna Salunke, Bhalchandra Phalke, and Gajanan Vasudev Sane and is based on the legend of Harishchandra, with Dabke portraying the title character. The film, being silent, had English and Hindi-language slates coming in between.
Significance/relevance in today?s times
It was the decision taken by a painter after watching The Life Of Christ (1906) at a theatre in Mumbai, the...
- 5/15/2019
- GlamSham
Remember the super hit song Ajeeb Daastaan Hai Yeh..... from Meena Kumari's timeless classic Dil Apna Aur Preet Parai. Incidentally, the Daastaan (story) of Meena Kumari's life has suddenly become a hot piece of news since biopics are ruling the roost in Bollywood hence everybody is keen to exploit the life of the tragedy queen and mint money.
On one hand filmmaker Tigmanshu Dhulia has reportedly signed Queen actress Kangana Ranaut to play Meena Kumari in his film which is an adaption of the biography on Meena Kumari, penned by eminent late journalist Vinod Mehta.
On the other hand, interestingly, Meena Kumari's step-son Tajdar Amrohi, son of Kamal Amrohi from his first wife, is also making a movie titled Meena Baa Kamaal (Meena - the extraordinary). Initially Manisha Koirala was announced to play the lead but she declined the offer and now a new actress would play the part.
On one hand filmmaker Tigmanshu Dhulia has reportedly signed Queen actress Kangana Ranaut to play Meena Kumari in his film which is an adaption of the biography on Meena Kumari, penned by eminent late journalist Vinod Mehta.
On the other hand, interestingly, Meena Kumari's step-son Tajdar Amrohi, son of Kamal Amrohi from his first wife, is also making a movie titled Meena Baa Kamaal (Meena - the extraordinary). Initially Manisha Koirala was announced to play the lead but she declined the offer and now a new actress would play the part.
- 3/31/2015
- GlamSham
She lived a tumultuous life, filled with passion, romance and a tragic grandeur. And now Meena Kumari's life would be chronicled in cinema by none other than Tigmanshu Dhulia whose Sahib Bibi Aur Gangster was inspired by Meena Kumari's best-known work Sahib Bibi Aur Ghulam. For the first time Tigmanshu Dhulia talks about why he has chosen National Award winner Kangna Ranaut to play Meena Kumari.
Dhulia, who is currently wrapping up a film called Yaara, says he chose Kangna because she was the only actress who could convey the tragic pathos of Meena Kumari's personality. "There is a profound sadness in Kangna's eyes, the same quality that we saw in Meena Kumari's eyes. And that voice! When I heard Kangna Ranaut in her debut film Gangster I was reminded of Meena Kumari. The same haunted and haunting quality, a voice that suggests pain grief, wisdom and seduction!
Dhulia, who is currently wrapping up a film called Yaara, says he chose Kangna because she was the only actress who could convey the tragic pathos of Meena Kumari's personality. "There is a profound sadness in Kangna's eyes, the same quality that we saw in Meena Kumari's eyes. And that voice! When I heard Kangna Ranaut in her debut film Gangster I was reminded of Meena Kumari. The same haunted and haunting quality, a voice that suggests pain grief, wisdom and seduction!
- 3/31/2015
- BollywoodHungama
What:
This edition of IndiEarth OnScreen will celebrate Indian cinema, folk music & post-modern mural art movement in urban landscapes. A biographical film on Sohrab Modi, a documentary on folk music in Bengal and a film on an urban art festival in Delhi will be screened.
When:
Date: 12th June
Time: 8 pm
Where:
The Hive,
50-a, Huma Mansion, Next to Ahmed Bakery, Chuim Village, Khar west, Mumbai – 400052
The Humming Tree
#949, 3rd Floor and Rooftop, 12th Main, Indiranagar, Bangalore – 560038
Alliance Française of Madras
No.24, College Road, Chennai 600 006
About the event:
Film 1
Sohrab Modi
Filmmaker: Director: Yash Chaudhary
Year: 1989
Duration: 40 min
Genre: Biography
A biographical film on the veteran actor, producer, director Sohrab Modi, vividly protraying his contributions to the field of cinema and theatre.Interviews with the thespian intercut with clippings from his films are included in this film.
Film 2
Folk Songs of Bengal
Filmmaker: Nripen Ganguli
Duration: 27 min
Genre:...
This edition of IndiEarth OnScreen will celebrate Indian cinema, folk music & post-modern mural art movement in urban landscapes. A biographical film on Sohrab Modi, a documentary on folk music in Bengal and a film on an urban art festival in Delhi will be screened.
When:
Date: 12th June
Time: 8 pm
Where:
The Hive,
50-a, Huma Mansion, Next to Ahmed Bakery, Chuim Village, Khar west, Mumbai – 400052
The Humming Tree
#949, 3rd Floor and Rooftop, 12th Main, Indiranagar, Bangalore – 560038
Alliance Française of Madras
No.24, College Road, Chennai 600 006
About the event:
Film 1
Sohrab Modi
Filmmaker: Director: Yash Chaudhary
Year: 1989
Duration: 40 min
Genre: Biography
A biographical film on the veteran actor, producer, director Sohrab Modi, vividly protraying his contributions to the field of cinema and theatre.Interviews with the thespian intercut with clippings from his films are included in this film.
Film 2
Folk Songs of Bengal
Filmmaker: Nripen Ganguli
Duration: 27 min
Genre:...
- 6/11/2014
- by NewsDesk
- DearCinema.com
Dilip Kumar has the privilege of acting opposite great actors of Indian cinema. From Prithviraj Kapoor (Mughal-e-azam), Sohrab Modi (Yahudi) , Moti Lal (Devdas), Balraj Sahni (Sangharsh), Raaj Kumar (Saudagar) and Amitabh Bachchan (Shakti). However, the only actor who has overshadowed Dilip Kumar till date has been, any guess.? Yes, you have rightly guessed. He is none other but the exceptional Sanjeev Kumar. And what's amazing is that Dilip Kumar has no regrets, instead the...
- 12/11/2013
- GlamSham
2013, the extra special year marking the centenary of Hindi Cinema is almost coming at an end.
To celebrate, BollySpice briefly explores the theatrical roots of Bollywood, expanding on the contribution of William Shakespeare, the famous playwright who has continuously intrigued the Indian film industry since the beginning of the Hindi film industry.
We explore selected Bollywood “Romeo and Juliet” interpretations and how they disturbingly reflect South Asian cultural issues related to “love”.
Theatrical Beginnings
When “sound” arrived into the world of Hindi cinema in 1931, it threatened the existence of the Parsi Theatre – a popular culture of performing arts that formed the foundation for what we now call “Bollywood”.
Not only had theatre formed an important foundation, but continues to be reflected through Bollywood – through more ways than one.
Popular Parsi theatrical productions were made into Hindi films. Famous theatre playwrights, as well as singing-dancing theatre performers joined the film industry; dramatical,...
To celebrate, BollySpice briefly explores the theatrical roots of Bollywood, expanding on the contribution of William Shakespeare, the famous playwright who has continuously intrigued the Indian film industry since the beginning of the Hindi film industry.
We explore selected Bollywood “Romeo and Juliet” interpretations and how they disturbingly reflect South Asian cultural issues related to “love”.
Theatrical Beginnings
When “sound” arrived into the world of Hindi cinema in 1931, it threatened the existence of the Parsi Theatre – a popular culture of performing arts that formed the foundation for what we now call “Bollywood”.
Not only had theatre formed an important foundation, but continues to be reflected through Bollywood – through more ways than one.
Popular Parsi theatrical productions were made into Hindi films. Famous theatre playwrights, as well as singing-dancing theatre performers joined the film industry; dramatical,...
- 11/23/2013
- by Aashi Gahlot
- Bollyspice
Sikandar, Jhansi Ki Rani, Prithvi Vallabh, Mirza Ghalib, etc. Do these movies tinkle anything extraordinary? Well, yes! All these movies are based on historical heroes of Indian history and are laced with patriotism. The younger generation may not be aware who made these milestone movies. In our 'Independence Day' Special Glamsham.Com enlightens about the legendary actor-filmmaker Sohrab Modi, known as the Cecil B. DeMille of India, and pioneer of patriotic movies. Born in Bo...
- 8/7/2013
- GlamSham
To mark the centenary of the Indian film industry falling May 3, 2012, a fitting tribute will be paid to its legendary founding father, Dhundiraj G. Phalke, famous as Dadasaheb Phalke, an official said here Friday.A full-size wax statue of Dadasaheb Phalke will be created and installed at the Celebrity Wax Museum (Cwm) in Lonavala, according to a trustee of the Dadasaheb Phalke Academy.A Memorandum of Understanding was signed here late Thursday with Cwm.s managing director Sunil Kandalloor, commissioning the statue, which will be ready by May 3, the trustee said here.The occasion was to mark the 68th death anniversary of Dadasaheb Phalke yesterday at the Dadasaheb Phalke Chitranagari, in which a host of Bollywood personalities paid homage to the father of Indian cinema.Born on April 30, 1870, at Trimbakeshwar, near Nashik, Dadasaheb Phalke made his debut with India.s first full-length silent movie .Raja Harishchandra. in 1913.In a career spanning nearly 25 years,...
- 2/17/2012
- Filmicafe
September 1, 2010: The ‘Mughal-e-azam’ Of 1960
Black tinged with white is beautiful they said. And it was, indeed. As I discovered myself when I had first trudged into Mumbai’s grand Maratha Mandir Cinema holding my mom’s hand. The year was 1960. My first brush with cinema as a ten year old kid was incidentally with thespian Dilip Kumar’s film ‘Yahudi’ directed by Sohrab Modi. By end of the movie, I had become a diehard fan of the tragedy king. The beauty of ‘Mughal -E-Azam’ as I had seen even then was a like a textured black and white canvas. No it never.
Black tinged with white is beautiful they said. And it was, indeed. As I discovered myself when I had first trudged into Mumbai’s grand Maratha Mandir Cinema holding my mom’s hand. The year was 1960. My first brush with cinema as a ten year old kid was incidentally with thespian Dilip Kumar’s film ‘Yahudi’ directed by Sohrab Modi. By end of the movie, I had become a diehard fan of the tragedy king. The beauty of ‘Mughal -E-Azam’ as I had seen even then was a like a textured black and white canvas. No it never.
- 9/1/2010
- by realbollywood
- RealBollywood.com
Has patriotism been diluted in the films being made nowadays?Bollywood filmmakers admit high-voltage patriotic movies like 'Purab Aur Paschim' are no longer being made, but insist they haven't stopped visiting the theme even though the numbers have come down.'I don't think filmmakers are not interested...at least after what 'Rang De Basanti' did. It created a kind of revolution in portraying anger and love, and proved that young India could love a patriotic film,' Madhur Bhandarkar told Ians.But Bhandarkar concedes that making patriotic films is tricky.'Taking patriotic values and making a film out of them is quite tricky. The scenario has changed a bit because making a patriotic film not only involves lot of hard work but it needs to be poignant so that it can connect with the audience... that's why 'Rang de Basanti' worked and the three films on Bhagat Singh weren't appreciated,...
- 8/14/2009
- Filmicafe
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