Kalakruti Media

  In the early fifties, director Mehboob made the first  Technicolor  film 'Aan' in 1952  . It had Dilip Kumar, Nadira and Nimmi in lead roles. It was a bold experiment at that time. It was promoted on a large scale. The premiere of this movie was to be held in London. For that, Mehboob decided to release the English version of this film with the name 'Savage Princess'. Many famous Hollywood actors attended this premiere. It also featured famous Hollywood actor Errol Flynn who loved Nimmi's performance. After watching the movie he met Nimmi and while greeting her took her hand in his hand and started kissing him in western style! (Mehboob) Then Nimmi quickly removed her hand from his hand and said, “I am an Indian girl. You cannot treat me like this.” Nimmi's act was a media headline of the time. The next day several newspaper headlines were 'An Kissed Girl of India' Today's readers may find this story ridiculous but Nimmi maintained this aristocra

  What is the definition or identity of a successful director? whose 'picture' is understood (and hence loved) by fans from all walks of life and stays in houseful crowds for Silver Jubilee, Golden Jubilee weeks (in today's corporate era breaking news of doing a few hundred crore business in the first week), continues across generations of fans to know the next generation of fans, Want to see, the song, music and dance are popular all time, the director Yashasvi (Manmohan Desai). Our Girgaonkar director Manmohan Desai is just like that. In the seventies, from the 'public of the stall' in front of the single screen theaters (I was the lead actor) to the fans in the last row of the balcony, everyone was enjoying their 'picture' with gusto. So what is in their pictures? Entertainment, entertainment, entertainment (entertainment entertainment entertainment) His pictures created the society, presented something from a symbolic view, fed the brain even if it did

  There is a lot of color in many small things in the all-round movement of the film industry. You might be surprised, in the 1970s, parents were keen not to see the posters on street poles and hoardings at strategic intersections with an 'adults only' certificate ("just ask" if you're familiar with anyone of my generation who crossed over to today's middle-class homes). Gossip magazines on glossy paper didn't even come in. You don't want to see bold photos of Asha Sachdev, Sheetal, Shyamali, Komila Virk etc. You don't want to see such things at a cultured age. Sometimes extra-marital affair) something daring "story", story of physical attraction, heroine, co-heroine, villain as much body exposure as possible. (Do Raha) Although such pictures were widely watched by the amateurs of the time, it was a cheap entertainment for them. Once upon a time, Rajendra Singh Bedi's 'Dastak' (1972) was a different film that made you think

  Log zindagi ka sabes chota aur sabes kimti labj bhul gaye hai, Pyaar. Kesi badi khushi ke intezaar me hum ye chote chote khushiyon ke muchee kho dete hai. It is so simple to be happy. But it is so difficult to be simple This is Gulzar's very effective dialogue from the film 'Bavarchi' directed by Hrshikesh Mukherjee. As Rajesh Khanna also performed it in the same tune or style, his influence continues even today. This is a feature of Gulzar's article. (Gulzar Gyanpith Award) The stature of some 'prestige awards' is further underscored by the winners. The positive response is that the right talented personality is receiving this award. Jnanpith award to Gulzar is also a similar story. There is no disagreement about their choice. Sahaj reminisces, at a star-studded spot in Andheri, there was a launch event for the soundtrack of the film 'Filhaal' directed by Meghna Gulzar. As Gulzar's daughter has ventured into film direction, there is an overwhel

Currently there is a wave of historical films in the Marathi film industry. Since the history of the Marathas is the intimate subject of Maharashtra, the Marathi audiences are drawn to the theaters in large numbers. The major name to be taken among the directors making this historical film is 'Digpal Lanjekar'! Digpal has so far made an honest attempt to present the Maratha history based on Shiva Gathas in the form of 'Shivaraj Ashtak'. After that now he has turned his march towards Shambhugatha. 'Chhatrapati Sambhaji Maharaj' is a fiery episode in the history of the Marathas! One of the events in his heroic saga is the loot of Burhanpur! Digpal's new film 'Shivarayancha Chhava' is based on this topic. (Shivrayancha Chhava Movie Review) The film begins with the coronation of Shambhu Raja! Actor 'Bhushan Patil' has bowed to the role of Shambhu Raja. In the beginning, all the Maratha chieftains and ministers are introduced. This can be called a

  Today, radio can be heard even on mobile phones in moving taxis. Even earlier, you could carry a radio or a small transistor in your hand and go anywhere at any time, listening to songs or commentaries on cricket test matches, you could listen to them in public transport, even on the streets. Long ago, when a middle-class family brought radio (Radio Movies) to their homes, I myself experienced it as a child that the boys from the surrounding streets used to gather together and distribute sugar to them. In our small house in Khotachi Wadi in Girgaon, father brought a small radio, everyone around the house came and mother immediately appreciated everyone for bringing a radio. Those days were different. The doors of families were open, it was possible to visit distant friends or relatives without an appointment, and radio was slowly coming to many homes. Today 13 February is World Radio Day of this radio. Times have changed, media have changed. Today we live in the online world. What

  Even after 49 years since Gulshan Roy's "Deewar" (released in Mumbai on January 24, 1975) directed by Yash Chopra, the film is still known as "Aajcha". One of the most poignant and dramatic moments in the film, which has struck a chord with at least four generations of fans, is Mera Bap Chor Hai, engraved on the hands of rebellious Vijay (Amitabh Bachchan) at a very young age, Mera Bap Chor Hai… (Satyen Kappu). Through a systematic conspiracy, the father (Satyen Kappu) of brothers Vijay and Ravi (Shashi Kapoor) gets caught in a web of misunderstandings during the labor movement. As soon as they are brutally beaten by the workers, it is written that the family will be disgraced for life on Vijay's hands as punishment. From this Vijay keeps smoldering in his mind. The mother (Nirupa Roy) then raises her children by doing carpentry work, lifting bricks for building construction. In Salim Javed's “Deewar”, the very tight screenplay and sharp dialogues,

  Two years ago, actress Asha Parekh received the highest Dadasaheb Phalke award in Indian cinema. In an interview at that time, he had shared some interesting memories of his first film. In fact, Asa Parekh started acting in the film industry as a child artist from the year 1952. As a child artist, she acted as a child artist in two films, 'Maam' (1952) and 'Bap Beti' (1954) directed by famous director Vimal Roy, but both films were not successful. (Asha Parekh) Vijay Bhatt chose Asha Parekh as the heroine for the film 'Gunj Uthi Shehnai'. Asha Parekh was very happy as she was very happy that she is getting her first film with the director who produced a film like 'Baiju Bawra'. But the joy was short-lived as after a few days of the film's shoot, the director felt that the heroine did not have much 'star material' and dropped Asha Parekh from his first film. Asha Parekh was of course very upset. (Asha Parekh) But even after that she was go

  The beginning of the picture is exciting and thrilling. Eye catching on screen. Dr. Anand (Manoj Kumar) is driving his car on a deserted road in a village and is heading home late in the evening. There are dark clouds in the sky. Just then it gets dark and heavy rain starts. There are potholes on the road. He is damaged, how is it that when Bashi is driving a car in heavy rain, a young woman (Sadhana) in a white dress is seen in front of the car. Anand stops the car and questions her. What is she doing in this night and rain, where does she want to go, where should we leave her? Anand asks her this and asks her to sit in his car. As soon as she sits down, the windshield wipers stop. Then the road in front is not visible. On that she says, I can see everything. I tell the way. Anand starts the car and is soon shocked to see the blood on her hand. On this she says, I was taking a picture. It has this color. The car takes several turns and the young lady asks the car to stop at one plac