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The 1977 blockbuster Amar Akbar Anthony about the heroics of three Bombay brothers separated in childhood became a classic of Hindi cinema and a touchstone of Indian popular culture. Beyond its comedy and camp is a potent vision of social harmony, but one that invites critique, as the authors show.
Even forty years after it was made, Amar Akbar Anthony remains the final word in film entertainment, which many film-makers aspire to, but seldom manage to replicate. Well-known journalist and author Sidharth Bhatia goes behind the scenes of one of the most loved Hindi films of all time to unravel the story of its making and what it means to Indian cinema. Talking to various people associated with the film - cameraman Peter Pereira, scriptwriter Kader Khan, composer Pyarelal and stars Rishi Kapoor and Amitabh Bachchan - who fondly remember how Manmohan Desai created this magical movie, he has written a book as entertaining as the film itself, a tribute both to the iconic film and to the incredible vision of its maker.
‘Raat baaki, baat baaki... Hona hai jo, ho jaane do...’ Sensuous, glamorous and bold, Parveen Babi set the Hindi cinema screen ablaze during the 1970s and ’80s, breaking the ‘pious, nice girl’ mould of the film heroine and redefining it after her own style. On screen, she sizzled in unforgettable roles in blockbusters like Deewaar, Shaan, Kaalia and Amar Akbar Anthony – while, off-screen, her bohemian and unabashed lifestyle lit up gossip columns, and her appearance on the cover of Time magazine, a first for an Indian, created a stir nationwide. Yet, for all the sensational rumours and films her life inspired, Parveen has remained something of an enigma to generations of fans. In Parveen Babi: A Life, Karishma Upadhyay traces the journey of a shy but ambitious girl from an aristocratic family in Junagadh, Gujarat, to a life of merciless scrutiny that comes with being in the Bollywood spotlight. Exploring with depth and sensitivity the myriad facets of the actress’s life, she lays bare little-known details about Parveen’s doomed romances, her obsession with the spiritual guide who advised her to quit films, the tumultuous years of battling mental illness and her tragic, untimely demise. Rich with insights from the star’s friends, former lovers and colleagues, this compelling narrative captures the nuances of an extraordinary life – the highs and lows of finding fame, love and solace, and then, in the end, losing it all.
Anhonee ko honee karna hamara kaam hai.' (It is our job to make the impossible possible.) The sentence leading into the title song of the blockbuster film Amar Akbar Anthony sums up the magic of Manmohan Desai, the master entertainer whose desire to please his public made his name synonymous with success during much of his career in popular Hindi cinema from 1960 to 1988. In Enchantment of the Mind: Manmohan Desai's Films, Connie Haham delves into the director's work and analyses some of his cinematic signatures - speed, fun, adventure and delight, alongside a devotion to motherhood and a stance in favour of inter-religious harmony. His cinema is fondly remembered for its many catchy tunes and the characters brought to life by leading stars, from Raj Kapoor to Amitabh Bachchan. Lending extra magic to this book is Manmohan Desai's own account of a life dedicated to cinema - a medium he wielded artfully to depict both struggle and an affirmation of life.
The trio—Amar, Akbar, and Anthony—had no clue whatsoever about their goddammit indecisive-careers-and-indefinite-struggles. And that was because they were born with the Peter Pan Syndrome and were simple enough to be tricked by anyone, including their mystifying girlfriends—Meghna, Farah, and Sarah. And as is the fate of all morons, they were drawn into trouble—deep trouble—of hiding crores of rupees of black money in secret offshore companies. Will their mistake of turning a blind eye to the philosophy of ‘See no evil, hear no evil, speak no evil’ cost them their careers and put them in prison? Or Will Lady Luck change their fortunes forever?
Overview of Nazi cinema
Powers of the Real analyzes the cultural politics of cinema’s persuasive sensory realism in interwar Japan. Examining cultural criticism, art, news media, literature, and film, Diane Wei Lewis shows how representations of women and signifiers of femininity were used to characterize new forms of pleasure and fantasy enabled by consumer culture and technological media. Drawing on a rich variety of sources, she analyzes the role that images of women played in articulating the new expressions of identity, behavior, and affiliation produced by cinema and consumer capitalism. In the process, Lewis traces new discourses on the technological mediation of emotion to the 1923 Great Kanto Earthquake and postquake mass media boom. The earthquake transformed the Japanese film industry and lent urgency to debates surrounding cinema’s ability to reach a mass audience and shape public sentiment, while the rise of consumer culture contributed to alarm over rampant materialism and “feminization.” Demonstrating how ideas about emotion and sexual difference played a crucial role in popular discourse on cinema’s reach and its sensory-affective powers, Powers of the Real offers new perspectives on media history, the commodification of intimacy and emotion, film realism, and gender politics in the “age of the mass society” in Japan.
100 Iconic Bollywood Costumes is a definitive guide to these colorful silver screen outfits and more Beautifully illustrated and a must-buy for fans and scholars of women's fashion and Bollywood cinema Full of insider know-how from designer legends such as Manish Malhotra 100 Iconic Bollywood Costumes is a celebration of fashion in Indian cinema, studded with beautiful illustrations of India's most enduring glam icons. It pays tribute to the colorful silver screen looks that have not only come to define their lms and actresses, but have also shaped the way millions of Indian women view style: Madhubala's classic Anarkali in Mughal-e-Azam (1960), Kajol's tomboy chic in Kuch Kuch Hota Hai (1998), Kareena Kapoor's game-changing Patialas in Jab We Met (2007), and many more. Packed with insider know-how on the creative processes behind these influential costumes - from designer legends such as Manish Malhotra to the stylish performers themselves - 100 Iconic Bollywood Costumes is a must-have for both fans and scholars of women's fashion, Bollywood cinema, and the quintessential quirks of modern Indian culture.
As almost every aspect of making and viewing movies is replaced by digital technologies, even the notion of "watching a film" is fast becoming an anachronism. With the likely disappearance of celluloid film stock as a medium, and the emergence of new media, what will happen to cinema--and to cinema studies? In the first of two books exploring this question, Rodowick considers the fate of film and its role in the aesthetics and culture of the twenty-first century.
Dev Anand has long been known as the evergreen star of Hindi cinema. Navketan, the production company he started in 1949, is as perennial too. It has come to be known for stylish, contemporary films and some of the finest film music ever produced in India.But Navketan is more than just its films. It spans a crucial phase in the growth of the Indian film industry, from the early, post-independence phase of black and white films to the glorious, music-filled colourful cinema of the 1960s and '70s. It has been a training ground and school for many famous directors, producers, composers and technicians. It has also launched several actors who went on to become big stars in their own right. Some of the landmark films of Indian cinema have been produced by Navketan, from the noir classic Taxi Driver and the cultish Hare Rama Hare Krishna, to the all-time entertainer Jewel Thief and Guide, which features in every list of the ten best films ever made in India. The story of Navketan therefore is a parallel history of the Hindi film business and indeed a social history of India. By interviewing scores of people in front of and behind the camera, and after poring over archives and through old, faded cuttings, Sidharth Bhatia has put together a fascinating saga of the creative partnerships which spawned an organization that defined popular film-making for decades. Profusely illustrated with stunning photographs, stills from Navketan's films, publicity brochures and posters-some of them never seen before-Cinema Modern is a collector's edition for anyone interested in Indian cinema.