The first iteration of the Cannes Film Festival, planned for 1939, was scuppered when Germany invaded Poland to trigger the start of World War II. But when the festival finally got off the ground in 1946, Indian cinema came out swinging. Mounted shortly after the conclusion of the war, the first “real” Cannes Film Festival featured competition entries from Billy Wilder (The Lost Weekend), Roberto Rossellini (Open City), and David Lean (Brief Encounter). In the spirit of post-war peace and reconciliation, the competition jury, headed by French historian Georges Huisman, handed the top prize — then the Grand Prix — to films from 11 of the 18 countries represented that year.
This included India, with Chetan Anand’s social-realist drama Neecha Nagar, and, for a decade at least, the country was a regular fixture in Competition. After Anand came V. Shantaram with Amar Bhoopali (1952), then Raj Kapoor with Awaara (1953), and Bimal Roy with Do Bigha Zamin...
This included India, with Chetan Anand’s social-realist drama Neecha Nagar, and, for a decade at least, the country was a regular fixture in Competition. After Anand came V. Shantaram with Amar Bhoopali (1952), then Raj Kapoor with Awaara (1953), and Bimal Roy with Do Bigha Zamin...
- 5/18/2024
- by Zac Ntim
- Deadline Film + TV
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
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