Kalakruti Media

  Whenever someone asks what are your favorite films directed by Mahesh Bhatt, I say 'Artha' (1982), 'Saaransh' (84), 'Jakhm' (98), 'Sadak' (91) and 'Hum Hai Rahi Pyaar Ke' (93). ) states in this order. I remember, once some of us film journalists were sent to Mehboob studio for shooting reporting, shooting of Mahesh Bhatt's film. In those days, Mahesh Bhatt was like a 'film directorial factory'. By then mobile phones were expensive, otherwise Mahesh Bhatt would have sat on the sets of one of his films and directed the sets of his other films by video call. There is skill in that too. Leave the fun part aside, but I consider Mahesh Bhatt a director of immense potential, vision, variety in themes (I chose his films with that in mind) and a very focused director. On that day, 'Angare' on one side and 'Duplicate' on the other side were being shot at the same time in Mehboob Studio and of course the director of both was

  Those halcyon days before the mass media boom. To be precise, those days were almost fifty years ago. It was enough to get information about so many incidents that the paperman had to drop the paper home every morning. Gaining knowledge. A middle-class Maharashtrian family gets only one newspaper every day. Loksatta came to our house in Khotachi Wadi in Girgaon. Although television came to Mumbai on October 2, 1972, for a long time the television set was owned by someone in four or six buildings in the street. It is a subject of a different social and cultural environment. I was just school age. In half pants. To eat sweets only during the festival. (Raha kappor) Enrolling in the library and bringing weeklies, magazines, books, issues home to read on Diwali is an ingrained culture. What do you get from all this to read about film? A review of a new film released on Friday in the newspaper, some news, an Ekada article on Sunday and a lot of content mainly on Marathi films and flash

  A touch of Marathi in a Hindi picture, a touch of a song, a feast of a dialogue has always been a huge favorite among Maharashtrian film lovers. Feels like you. These things were guaranteed applause and whistles from the house full crowd in the theatre. 'Animal' is a prime example. Many enjoyed this feature length picture for its stunning visuals by Upendra Limaye. Going into the flashback, it seems that 'Marathi Baana in Hindi Picture' has become a superhit forever and must be. Now I'm done. Wasn't it a big hit? One such piece, Pandoba Porghi Patli Re Patli…Ag Ye Nayde Ye Laju Nako…Dharmendra and Rekha's teasing love song from Kahani Kismet Ki (Mumbai release 21st December 1973. Almost 50 years) must have come before the eyes of the older generation movie buffs. This song was favorite in Binaka songs. (Superhit)   Hey Rafta Rafta Dekho.. Aakh Meri Ladi Hai.. These two and the Mumbaikar public in the crowd are enjoying the huge herd of cranes in South Mu

  Each picture has a different 'success story'. Similarly 'Flap's Fund' is different. 'Mera Naam Joker' came to the screen and it was bombed like that, 'Joker' is known as a classic film. Not only this, but after a journey like repeat runs, matinee shows in the seventies, videos in the eighties, satellite channels in the nineties, he R. K. The film is known as the most popular and successful film of the banner. Some films, however, continue their journey in different ways. With superduper hit songs, music and dance, many types of anecdotes, memories, anecdotes, stories, legends, gossips, those films continue across generations. Today marks forty-three years since the release of 'Joker' (released in Mumbai on December 18, 1970), but he is still in the "focus" for many things. One film, many points of view, its journey is long. The first run is a flap. Hit the long innings. The same 'story' happened with the films '

  Positively not The End But it was positively the end of Jokar ! At the end of 'Mera Naam Joker' (1970) these words appear on the screen and we get emotional. This is because the first run of the film was completely rejected by the audience and it became known as a flop film. Unfortunately, the same is mentioned even today. But Raj Kapoor's content, producer, director, acting, compilation, studio owner, talent in art direction, great ear for music and visionary personality make this movie the best movie of his silver career.(Raj Kapoor) On the occasion of today's Raj Kapoor's birthday (14 December 1924 – 2 June 1988), the first half and the second half of Raj Kapoor 'Joker' before and after are highlighted. And the CinemaScope personality across the cinema screen that has been happening through all this. Qalandar celebrities in the language of today's global era. Tells a different memory. When Raj Kapoor was felicitated by a film society in Mumba

  Continuity of success cannot be sustained by the good. Ramesh Sippy's 'Sholay' was a resounding success. After this great success, he made the movie 'Shaan'. While making this film, he was always burdened with the expectations of the audience as the comparison was going to be direct with 'Sholay'. While making 'Shaan', he took great care that nothing was missing anywhere. The star cast, music, scenery, locations, technology, cinematography were all ahead of time. But the fog of Sholay in the eyes of the audience had not yet come down. They kept comparing Shaan with Sholay frame to frame. Why did the audience not even think of 'Shaan' as an independent film and criticized the movie by giving headlines that 'Shaan' is not the 'Shaan' of 'Sholay'. The reason for remembering all this today is that it is now thirty-five years since 'Shaan' was released on December 12, 1980. At least today, can we neutrally thi

  Dilipkumar's birth anniversary In fact, birth centenary. On this occasion I would like to tell you readers something different, but I mainly remembered two films starring Dilip Kumar. 'Chanakya' and 'Kalinga'. Dilip Kumar's true devotees must have remembered both the 'unfortunately unreleased' films. There are innumerable films in the history of the film industry that have gone from being announced and hyped to being completed. It's also a flashback. It is also a part of film history. In fact, more films are shelved at some stage of production and for some reason than are released. Money, time, energy, dreams, hopes and expectations are forever wasted in it, it can never be counted. Along with that, many good themes (story ideas), hopes of many (this film will give a lift to your career) all go wrong. It cannot be measured at all. Meaning, countless films are left to hit the screens. This focus on two particularly interesting films of Dilipkumar

  "Faulad" (released December 6, 1963), which flaunts Darasingh's bare chest and muscular chest, is a modern-day cigarette-in-mouth, hair-grown, bearded, grimacing 'animal' (ie Ranbir Kapoor) of that era. The previous generation of film lovers will understand exactly what I mean. (Dara Singh) Today's digital generation may have gone to Google, but nothing heavy can be found there. With each passing time, the film takes on new characters and travels forward. Once upon a time 'Tufan' (1968) was the name of Darasingh's stunt film. Later, Amitabh Bachchan's Manmohan Desai film was titled Tufan (1989). Darasingh's De Maar films did not find a place in mainstream cinemas. Their main theaters are Gulshan, Nishat, Taj (the main theater of 'Faulad'), New Roshan, Daulat, Royal and nearby Moti, Super in the Pila House area of ​​central Mumbai. The poster was full of fighting and scheming heroines. The director did not understand how to come