In his latest edition of FOTM, Ashish guides us through the exhilarating career of Shanta Apte.
Ashish Dwivedi’s next FaceoftheMonth article delivers a deep-dive exploration into the illustrious career of Dilip Kumar.
Golden . . . I think this word makes up half of the descriptions of classical world cinema: the golden age, the golden four, the golden canon, and so forth. In the context of Hindustani (or Hindi) cinema, this word has been used, not surprisingly, to connotate three superstars of the 1950s — Dilip Kumar,…
In the India of the past, the differences between an actress and a bold actress were quite well-defined, almost unambiguous. The entertainment business wasn’t showered with the most bountiful of respect, leading associated people — particularly women — to become extremely conscious about their image in the public imagination. Women’s roles in society were susceptible…
Pran’s biography — written by Bunny Reuben — may have a quirky title, but it emblematises a rare sort of cinematic stardom that was rarely attributed to secondary characters. Yes, I shouldn’t be addressing Pran as a secondary character (he never was!), but the structure of an Indian film frequently positioned the villain/vamp figure within…
Heterogeneity is a popular format of containing the filmic audiences of India, who might have differing preferences or stances over stardom — and these preferences are typically influenced by linguistic, cultural, religious, and political factors. Only a few stars within the pantheon of Indian cinema have been able to transcend these differences and become everyman’s…
Since the release of India’s first talkie, Alam Ara (1931), music has perpetually sustained its position as an outstanding candidate for entertainment and refined aesthetics. It has witnessed several revolutions within Indian Cinema and – as a dynamic element of the Indian film language – has been subject to countless transformations, with the first-ever occurrence…