BOMBAY TALKIES-The SOUL OF HINDI CINEMA

The Producer,Director and Actor HIMANSHU RAI had a dream to start a Film Company in India.That dream fulfilled in the year 1934.It was the first movie company to be established in India.
Himanshu Rai who went to England for Studying Law from Calcutta where he completed his studies
and became a barrister .There he met a playwright and screenwriter Niranjan Pal. That association led to making of a film The Light of Asia, which he co-directed with Franz Osten. Rai was also one of the main actors in this film.Before this film he Directed Prem Sanyas/Leuchte Asiens (German Title) in 1925.In 1928 he produced a film Shiraz in which he acted also.

A Scene from Karma

• While making his third film, A Throw of Dice, he met and fell in love with beautiful Devika Rani, a great-grandniece of the Nobel Laureate Rabindranath Tagore. Before this film was complete, he married her.
• By 1932 he was back to India, the idea of starting a studio was still in his mind.He was meeting lots of people trying to convince people to invest in his project but his efforts were not successful.Hunt for looking the Financer completed when he was intoduced to Shri Raj Narain Dube the son of Seth Badriprasad Dube who was a well known financer of that time.Shri Raj Narain Dube was young and was confident enough to the power of Art and Creativity.To invest in a business which was new to them and also not seen as a respectable business.Shri Raj Narain Dube went against the advise of his father for investing in cinema. He took a risk and annoyance of his father he gave Himanshu Rai a green signal to go ahead with his dream .The famous SHASHDHAR MUKARJEE also joined them along with F E Dinshaw and Sir Feroze Sethna.
• On 22nd June 1934 India's First Studio  Bombay Talkies was formed and a studio was built in Malad, on the outskirts of Mumbai. In its quest to set up the most modern film studio in India, Bombay Talkies purchased state-of-the-art equipment from Germany and recruited German and British talent, such as cinematographer Josef Wirsching, art director Karl von Spretti and director Franz Osten.
• The first film of Bombay Talkies was KARMA starring Himanshu Rai and Devika Rani  By 1935, starting with the murder mystery Jawani ki Hawa, Bombay Talkies regularly began producing Hindi films with Devika Rani as its main star. The self-sufficient studio had a board of directors, issued shares to the public, declared dividends and bonuses, and was listed on the stock exchange. In addition, Rai and Rani even started a trainee programme. Each year, Rai interviewed scores of candidates from leading universities and assigned employees to a variety of tasks in all departments of filmmaking.
• Ashok Kumar was the first Star introduced by Bombay Talkies .Later on Ashok Kumar and Devika Rani became a highly successful pair both appeared in many hit movies JEEWAN NAIYA (1936) and ACHHUT KANYA (1936)
• Durring the 2nd World War Film Industries all over the globe were strugling .Bombay Talkies was no exception despite a highly siccessful films the company.was facing financial crisis .At this point 10-15 fims were on production floor which were stalled pretty badly this led to nervous break down of Himanshu Rai.He passed away on 16th May 1940
• After Rai's death, there was a struggle for studio control. His widow Devika Rani was in conflict with Sashadhar Mukherjee. Eventually there was dual control and alternate production of films by the two camps. During this era Mukherjee produced the studio's biggest hitKismet in 1943. Then Mukherjee broke away to form Filmistan Studio in partnership, and Devika Rani, fully in charge of the studio, did not have as much success.
• In 1945 Devika Rani married Svetoslav Roerich and moved away from Bombay and films. Ashok Kumar and Mukherjee made a bid to revive Bombay talkies and produced one big hit in Mahal. Eventually the studio shut down 
• After Devika Rani left the movies in 1945, Ashok Kumar and many others returned to their alma mater in 1947. But the studio was unable to clear its debts despite the success of such films as Majboor (1948), Ziddi (1948), which gave Dev Anand his first big hit and Kishore Kumar his first playback singing chance, and the suspense thriller Mahal (1949).
  
  Though the studio continued making films, Bombay Talkies died a lingering death in the fifties. Its final productions were Bimal Roy’s Maa(1952), with the studio’s one-time heroine Leela Chitnis playing the title role, the Ashok Kumar-Dev Anand-Meena Kumari starrer Tamasha (1952) and the Ashok Kumar-P Bhanumathi vehicle Shamsheer (1953). Even a last-ditch effort, the multi-starrer Baadbaan (1954), made by the Bombay Talkies Workers Industrial Co-operative Society, could not save the studio from shutting down.
• This is the story of India's biggest Film company which produced 102 films and launched 280 legends of all the fields of cinema constucted 400 cinema halls throughout the country and Financed nearly 700 Films.
• Some of the Legends given by Bombay Talkies are-

• 

  LEGENDS GIVEN BY BOMBAY TALKIES-

  Himanshu Rai

  1892 - 16 May 1940

  
  
  Launched as a lead actor in Bombay Talkies produced film - Achut kanya (1936)

  Padma Bhushan - 1998

  The Dadasaheb Phalke Award - 1988

  National Award - 1

  Filmfare Awards - 3
• Devika Rani  30 March 1908 – 9 March 1994

  Launched In Karma (1934)
  The President Of India honored Devika Rani with a Padma Shri - (1958)
  She Became The First Recipient Of The Prestigious Film Prize, The Dadasaheb Phalke Award - (1969)
• Ashok Kumar 13 October 1911 - 10 December 2001

  Launched as a lead actor in Bombay Talkies produced film - Achut kanya (1936)
  Padma Bhushan – 1998
  The Dadasaheb Phalke Award – 1988
  National Award – 1
  Filmfare Awards - 3
• Dilip Kumar
  

  14 February 1933 - present 23rd June 2016 

  Bombay Talkies  launched his career with - Jhwar Bhatta (1944) 

  Padma Bhushan - 1991

  Dadasaheb Phalke Award - 1994

  Filmfare Best Actor award - 8

  Filmfare  Nominations - 19

  Shriff  Of Mumbai City 1991

  Nominated Member of parliament
• Dev Anand
  

  26 September 1923 – 3 December 2011

  His first hit film came under Bombay Talkies  production - Ziddi (1948)

  Padma Bhushan - 2001

  Dadasaheb Phalke Award - 2002

  National Awards - 2

  Filmfare Awards - 4
• Raj Kapoor

  14 December 1924 – 2 June 1988
  Started working as assistant at Bombay Talkies in - 1935

  Introduced as a lead in Bombay Talkies produced film -  Neel Kamal 1947

  Padma Bhushan award - 1971

  Dadasaheb Phalke Award - 1987

  National Film Awards - 2

  Filmfare Awards - 9

  Filmfare  Nominations - 19.

  2 Films Nominated At The Palme D'or At The Cannes Film Festival

  
  
• Satyajit ray 

  2 May 1921 – 23 April 1992

  Began his career as a assistant to Nitin bose in Bombay Talkies  production -  Mashal (1951)

  The Dadasaheb Phalke Award -  1985

  Bharat ratna - 1992 

  Padma Shri  award - 1958

  Padma bhushan award - 1965

  National film awards - 32
• Madhubala
  

  14 February 1933 – 23 February 1969

  Started her career as a child artist (baby mumtaz) with Bombay Talkies in - Basant (1942)

  Later, Bombay Talkies introduced her as a lead in - Neel kamal (1947)
• Mehmood

  29 september 1932 – 23 july 2004

  Started as a Child artist in Bombay Talkies produced - Kismet (1943)

  Filmfare awards - 5

  Filmfare nominations - 15
• Kishore Kumar

  august 1929 – 13 october 1987

  First opportunity as play back singer in Bombay Talkies production - Ziddi (1948) Introduced as a lead by Bombay Talkies in - Andolan (1951) Filmfare awards - 8 Filmfare nominations - 19
• Lata Mangeshkar

  28 september 1929 - present 

  Started her career as a chorus singer with Bombay Talkies Her first hit came in Bombay Talkies produced film - Mahal (1949) Bharat ratna 1969 Padma bhusan- 1999
  

  Dadasaheb phalke award - 1989

  National awards - 3
  

  Filmfare awards - 4
• Pran

  12 February 1920 – 12 July 2013

  His first hit as a villain came in Bombay Talkies production - Ziddi (1948)
  

  Padma bhushan - 2001

  Dadasaheb Phalke Award - 2013
• Leela Chitins

  9 september 1909 – 14 july 2003

  Launched by Bombay Talkies in Kangan (1939)
• Nalini Jaiwant
  

   18 february 1926 – 20 december 2010

  Her first hit came in a Bombay Talkies film - Sangram (1950)
• Kamini Kaushal

  born 16 january 1927 -  present

  Introduced by Bombay Talkies  in Sangram (1950)

  Filmfare award - 1
• Jairaj

  September 28, 1909 – August 11, 2000

  Got in the lead hero category with Bombay Talkies production - Bhabhi (1938)
  

  Dadasaheb Phalke Award - 1980

  Padma bhusan - 1980
• Hansa Wadkar
  

  24 january 1924 - 23 august 1971

  Introduced by Bombay Talkies  in Navjeean (1939)
• Kamal Amrohi

  17 January 1918 - 11 February 1993

  Began his journey as a director in Bombay Talkies film - Mahaal (1949)

  Filmfare Award - 1
• Bimal roy

  12 jul 1909 - 8 jan 1965

  Bombay Talkies produced his first hindi film -  Maa (1952)

  National awards - 2

  Filmfare awards - 11

  Also the International prize of the cannes film festival.
• Nitin Bose
  

   26 April 1897 - 14 April 1986

  Made his first hindi film under Bombay Talkies  production - Milan (1947)

  Dadasaheb Phalke Award - 1977
• Ameya Chakrabarti

  1901–1986

  Started his career by working as a writer in Bombay Talkies produced - Bandhaan (1940) Introduced as a director in Bombay Talkies production - Anjaan (1943)
• Shakti Samnta

  3rd January 1926 – 9th  April 2009

  Started his career with assisting Gyna mukherjee in Bombay Talkies  produced film - Sangram (1950)

  Filmfare awards - 3
• Shashadhar Mukheerji

  29 September 1909 - 3 November 1990

  Started as manager of Bombay Talkies  - 1934
• Khwaja Ahmed Abbas

  7 June 1914 – 1 June 1987

  Introduced by Bombay Talkies as a writer in -  Naya Sansar (1941)
• Lv  Prasad
  

   17 January 1908 – 22 June 1994

  Started as lab incharge for Bombay Talkies - 1935

  Dadasaheb Phalke Award award - 1982
• Kishore Sahu

  22 November 1915 - 22 August 1980

  Introduced by Bombay Talkies in - Jeevan Prabhat (1937)
  

  Filmfare Award - 1
• Niranjan Pal

  17 August 1889 – 9 November 1959

  Top technician and first writer of Bombay Talkies - The Light Of Asia (Prem Sanyas) (1935)
• Saraswati Devi

  1912 – 1980

  First female music director of Asia and first music director of Bombay Talkies - Jawani Ki Hawa (1935)
• Tarachand Barjatya

  10 May 1914 - 21 September 1992

  Started as managing distribution and exhibition department of Bombay Talkies - 1940
• P. L. Santoshi

  August 7, 1916 - September 7, 1978

  Began his journey as a writer in Bombay Talkies produced film - Jhoola (1941)
• Abhi Bhattacharya

  1921–1993

  Launched as a lead in Bombay Talkies Bengali venture - Naukadubi (1947)

  Filmfare award - 1956
• Mukri

  5th January 1922 – 4th September 2000

  Bombay Talkies  launched his career with - Pratima (1945)
• Sachin Dev Burman (S.D Burman)
  

  1 October 1906 – 31 October 1975

  His First hit Hindi film as a music director came under Bombay Talkies production - Mashal (1951)

  National film awards - 2

  Filmfare awards - 7
• Hrishikesh Mukherjee

  30 September 1922–27 August 2006

  Started his journey by  assisting Bimal roy  in Bombay Talkies  produced film -  Maa (1952)

  Padma bhushan - 2001

  Dadasaheb Phalke Award award - 1999
• Guru Dutt

  9 July 1925 – 10 October 1964

  Started his career with assisting Gyan Mukherjee in Bombay Talkies  produced film - Sangram (1950)
• Salil Chowdhary

  19 November 1922 – 5 September 1995

  Began his career by assisting music director  S.K. Pal in Bombay Talkies  produced film - Maa (1952)
• Manna Dey

  1 May 1919 − 24 October 2013

  Started with assisting  S. D. Burman Mashaal (1951)

  Dadasaheb Phalke Award - 2007
• Joseph Whirshing

  22 March 1903 –11 June 1967

  Started as the first cameraman of Bombay Talkies  in Light Of Asia (Prem Sanyas) (1935)
• Sita Devi
  

  1912–1983

  Leading Lady for the first film produced by Bombay Talkies  - Light Of Asia (Prem Sanyas) (1935)
• Gemini Ganeshan

  17 November 1920 – 22 March 2005

  Bombay Talkies gave him his first hindi film - Maharani (1946)

  Padma shri award - 1971
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Dadasaheb Phalke-The Father of Indian Cinema

·                         

·                           Born on April 30, 1870 at Tryambakeshwar, Maharashtra, India into a Marathi Brahmin family. His father was a proficient Sanskrit scholar.

·                           He received his early education from Sir J. J. School of Art, Mumbai in 1885. In 1890, he completed his school education and then attended the Kala Bhavan in Baroda.

• ·                           From an early age, he was artistic in nature and displayed great interest in the creative arts. He pursued arts for completing his graduation and later took up various jobs such as that of a photographer and a draftsman. He also tried setting up his printing business but closed it down when problems arose with his partner. The turning point in his life came when he saw a silent film and was deeply moved by its poignancy. He decided to become a filmmaker and viewed it as his mission to present Indian mythological characters on the moving picture screen. His first full length Indian motion picture, ‘Raja Harishchandra’, the most important milestone in Indian cinematic history. His persistent faith and pioneering efforts laid the foundation of Indian cinema. He was a visionary who foresaw the potential of the film medium and also made people realize its cultural and financial worth.
  ·                           The movie Raja Harishchandra  was publicly shown on May 3, 1913 at Mumbai's Coronation Cinema. It was an unbelievable experience for public and he received much appreciation for his work The film was a huge success which encouraged many businessmen to produce more films He was aproached by an enterpreneurers to start a film company He agreed and  opened a film company ‘Hindustan Films’ in partnership with five businessmen from Bombay The company made many movies and short films. Some of his renowned works were ‘Mohini Bhasmasur’ (1913), ‘Savitri Satyavan’ (1914), ‘Lanka Dahan’ (1917), ‘Shri Krishna Janma’ (1918) and ‘Kaliya Mardan’ (1919).
  He was never interested in business side of the company he focused on the creative aspect of filmmaking which led to difference of opinions and he resigned from the company in 1920. Although after some time, he returned to the film company and directed some films, he never really understood or appreciated the profit aspect of filmmaking and eventually left the company again. His last silent movie was ‘Setubandhan’ (1932).
  In his 19 years of film making career, he made 95 movies and 26 short films. His other motion picture works include ‘Rajrishi Ambarish’ (1922), ‘Ram Maruti Yuddha’ (1923), ‘Guru Dronacharya’ (1923), ‘Ashwathama’ (1923), ‘Shivajichi Agryahun Sutaka’ (1924), ‘Satyabhama’ (1925), ‘Ram Rajya Vijay’ (1926), ‘Bhakta Pralhad’ (1926), ‘Hanuman Janma’ (1927), ‘Draupadi Vashtraharan’ (1927),‘Parshuram’ (1928), ‘Sant Mirabai’ (1929) and ‘Kabir Kamal’ (1930).
  In 1937, he directed his first sound film ‘Gangavataran’ which also proved to be the last film of his career. With the introduction of sound in cinema and the new diversified ways of filmmaking, his work lost admiration and eventually he took retirement from filmmaking.
  
  
  
  

MUGHAL-e-AZAM-The CELLULOID MONUMENT

 Arguably Indian Cinema’s greatest epic immortalized not just for its grandeur, extravagance and opulence but for its brilliance as a ‘Movie Par Excellence!’Mughal-e-Azam had the widest release of any Indian film up to that time and patrons often queued all day for tickets. Released on 5 August 1960 it broke box office records in India, and became the highest-grossing Bollywood film of all time, a distinction it held for 15 years. The accolades awarded to the film include one National Film Award and three Filmfare Awards.
Mughal-e-Azam was directed by K ASIF who Directed only 2 films and the third film he was producing and directing was Love and God which could not be completed due to his untimely death.His Directorial debut, Phool (1945), did very well at the box-office due to the casting of and portrayals by famous actors and actresses of the time such as Prithviraj Kapoor, Durga Khote and Suraiya.

In 1944, Asif planned to make a film called Mughal-e-Azam based on the life and times of Mughal Emperor Akbar the Great's court dancer, with Chandramohan in the male lead and the then upcoming actress Nargis in the female lead. However, in 1946, before the production of the film could begin, the male lead, Chandramohan, died. After that he shelved the idea of making this film and started producing a film' Hulchal"in 1951 After the release of this film Asif recast Mughal-e-Azam with Dilip Kumar in the male lead and Madhubala in the female lead and began the production of the film in the same year

“Mughal-e-Azam is a tribute to the imagination, hard work and lavishness of its maker,” Filmfare wrote in its review of the film soon after its release. “For its grandeur, its beauty and the performances of the artistes it should be a landmark in Indian films.”

Directed by	K. Asif
Produced by	Shapoorji Pallonji
Written by	Aman Kamal Amrohi K. Asif Wajahat Mirza Ehsan Rizvi
Starring	Prithviraj Kapoor Dilip Kumar Madhubala Durga Khote
Music by	Naushad
Cinematography	R. D. Mathur
Edited by	Dharamvir
Production company	Sterling Investment Corporation
Release dates	5 August 1960
Running time	197 minutes
Country	India
Language	Hindi Urdu
Budget	₹10.5–15 million
Box office	₹55 million

Mughal-e-Azam (The Emperor of the Mughals) is a 1960 Indian epic historical drama film directed by K. Asif and produced by Shapoorji Pallonji. Starring Prithviraj Kapoor, Dilip Kumar, Madhubala, and Durga Khote, it follows the love affair between MughalPrince Salim (who went on to become Emperor Jahangir) and Anarkali, a court dancer. Salim's father, Emperor Akbar, disapproves of the relationship, which leads to a war between father and son.

The development of Mughal-e-Azam began in 1944, when Asif read a play set in the reign of Emperor Akbar (1556–1605). Production was plagued by delays and financial uncertainty. Before its principal photography began in the early 1950s the project had lost a financier and undergone a complete change of cast. Mughal-e-Azam cost more to produce than any previous Indian motion picture; the budget for a single song sequence exceeded that typical for an entire film of the period. The soundtrack, inspired by Indian classical and folk music, comprises 12 songs voiced by playback singers including Lata Mangeshkar and classical singer Bade Ghulam Ali Khan. It is often cited as one of the finest soundtracks in Bollywood cinematic history.

Mughal-e-Azam had the widest release of any Indian film up to that time and patrons often queued all day for tickets. Released on 5 August 1960 it broke box office records in India, and became the highest-grossing Bollywood film of all time, a distinction it held for 15 years. The accolades awarded to the film include one National Film Award and three Filmfare Awards. Mughal-e-Azam was the first black-and-white Hindi film to be digitally coloured, and the first in any language to be given a theatrical re-release. The colour version, released in November 2004, was a commercial success.

The film is widely considered a milestone of its genre, earning praise from critics for its grandeur and attention to detail. Film scholars have welcomed its portrayal of enduring themes, but question its historical accuracy. The film boasts a cache of riches: high drama exquisitely verbalised through dialogues that can be shimmeringly ornate yet have the edge of a medieval sword; magnificent music (lyricist Shakeel Badayuni's best work); powerful performances. And the other-worldly beauty of Madhubala at the centre of this phantasmagoria.

Much of the enjoyment of Mughal-e-Azam comes from the outstanding dialogue,delivered majestically by the entire cast,including Prithviraj Kapoor,Dilip Kumar,Madhubala,Durga Khote and Ajit.When the film played in cinema halls across North India,it is well known that audiences applauded in appreciation of a well-spoken line. 

 It was launched in black-and-white, but when Technicolor came in, Asif wanted to use color, and finally did so in the song Pyar kiya to darna kya and the climax. The film was finally completed at a cost of about Rs 1.5 crore in 1960. 

Authentic grandeur, lavish perfection 
The war sequences used 2000 camels, 4000 horses and 8000 men, most of the latter being real soldiers from the Army. Prithviraj wore real armour, real weapons were crafted and real jewellery used. The best tailors, embroiders, jewellers, shoemakers and other craftsmen from across the country were employed. The chains worn by Madhubala in prison were also real. Even the statue of Lord Krishna was in real gold.

The grandeur was incomparable: the mirrors for the dance sequence on the Sheesh Mahal set were coated with a thin, transparent wax layer to prevent reflection from studio lights. The set was 80 feet wide and 150 feet long - and 35 feet high. And cinematographer R.D.Mathur would sometimes take up to eight hours to light a single shot! Sometimes, 14 cameras were used when the norm then was just one or two, and unlike the normal 60 to 125 shooting days, MEA thus needed 500, with more than a million feet of negative being used.

Music director Naushad composed many more than the 12 songs finally seen in the film, and Lata Mangeshkar sang eight solos and the duet Teri mehfil mein with Shamshad Begum. The hits were led by Mohe panghat pe and Mohabbat ki jhoothi kahani.

Of these, Pyar kiya to darna kya cost Rs 10 lakh to shoot, which was equal to the production cost of a big film! This Lata chartbuster's graph was perfected by Naushad and Shakeel in a marathon session from four in the evening to daybreak the following day on the terrace of Naushad's bungalow. Neither ate food during this period.

A 100 chorus singers sang on Rafi's Ae mohabbat zindabad. And since Ustad Bade Ghulam Ali Khan did not want to sing for films and quoted an exorbitant sum to discourage Naushad and Asif, they agreed to the sum (in multiples of the topmost playback singer's fees) and the maestro had no choice but to render Shubh din aayo and Prem jogan banke as he had no excuse left

When completed, Asif is said to have got Rs 17 lakh per territory for the film when the going rate was Rs 3-4 lakh. The premiere invite was written in Urdu on red velvet and "stamped" with the seal of Akbar's royal court. MEA ran for 100 weeks, was the biggest grosser of the 1960s and was finally beaten by the 1975 Sholay.

The premiere of Mughal-e-Azam was held at the then new,1,100-capacity Maratha Mandir cinema in Mumbai, The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets.

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BIMAL ROY- the genius and master craftsman

Born on july 12/1909  was an Indian film director. He is particularly noted for his realistic and socialistic films like Do Bigha Zamin,Devdas, Parineeta, Biraj Bahu, Madhumati, Sujata, and Bandini, making him an important director of Hindi cinema.He  was born into an old landholding family in former East Bengal, (Bangladesh). After his father’s death, Roy was thrown out of the Zamindari by the estate manager. Young, penniless, he moved to Calcutta with his widowed mother and infant brothers.

Bimal Roy’s debut feature film Udayer Pathewas made in Bengali in 1944. The film was subsequently released in Hindi as Humraahi .The most significant Information from that film is that the film featured three songs of Rabindranath Tagore, most significantly the full version of “Jana Gana Mana”, which later became India’s national anthem.The 3.2-minute version was composed by RC Boral and rendered by a chorus. Bimal da used it in the film’s opening credits

Roy came to Mumbai, apparently at Ashok Kumar’s behest, to direct Bombay Talkies’s Maa(1952).

With Bombay Talkies on a downward spiral, Ashok Kumar asked Roy to direct his own production Parineeta (1953), starring Meena Kumari and himself. Influenced by the neo-realist Italian cinema,though  Parineeta, based on Sarat Chandra Chattopadhyay’s novel, was a sweet little love story about neighbours, conventions and inhibitions; but the deeply humanist Do Bigha Zameen which involves us in a poor peasant’s visceral struggle to save his patch of land won wide acclaim at Cannes and Karlovy Vary Film Festivals and went on to become a cinematic reference point back home.Madhumati  was his all time Hit   that won Roy Filmfare’s Best Director Award setting off another hat-trick with awards for Sujata and Parakh.

The women in his movies played powerful, defining roles like the orphan and untouchable Sujata (played by Nutan) in ‘Sujata’ and a tribal girl, Madhumati (played by Vyjayantimala) whose songs have a haunting feel in ‘Madhumati’ 

Roy’s collaboration with Nutan resulted in two dramatic classics. Sujata (1959), the first, charmingly and convincingly argued for a more humanistic society where caste differences did not determine a person’s destiny.The other  Bandini was based on a novel by Jarasandha. Roy and Nutan brought to startling life a remarkable woman whose binding love for a revolutionary brings about her ruination as well as deliverance.

After Bandini, Roy was to start a film, but death claimed him in 1966(8th Jan). Roy was only 57,

Filmography

Director

• Bengal Famine (1943)
• Udayer Pathey (1944)
• Hamrahi (1944)
• Anjangarh (1948)
• Mantramugdhu (1949)
• Pehla Aadmi (1950)
• Maa (1952)
• Parineeta (1953)
• Do Bigha Zamin (1953)
• Naukari (1954 )
• Biraj Bahu (1954)
• Baap Beti (1954)
• Devdas (1955)
• Yahudi (1958)
• Madhumati (1958)
  
• Sujata (1959)
• Parakh (1960)
• Nader Nimai (1960)
  
• Immortal Stupa (1961)
• Prem Patra (1962)
• Bandini (1963)
• Life and Message of Swami Vivekananda (1964)

Producer

• Parivar (1956 film) Directed by Asit Sen
• Apradhi Kaun (1957 film) Directed by Asit Sen
• Usne Kaha Tha (1960) Directed by Moni Bhattacharjee
• Kabuliwala (1961) Directed by Hemen Gupta
• Benazir (1964) Directed by S. Khalil
• Gautama the Buddha (1967) Director: Rajbans Khanna

Editor

• Nartaki (1963)

Golden Era of Hindi Films

Golden Era of Hindi Films

ALAM ARA was the first Indian Sound Movie released in 1931 at the Majestic Cinema in  Bombay on 14 March 1931. The first Indian talkie was so popular that police  had to be summoned to control the crowds.The Director of the movie was Ardeshir Irani and the hero was Master Vithal and herone was Zubeida .Prithviraj kapur was also in that movie

After the success of Alam Ara many hindi films started Initialy 2-3 fims in a year Later the number increased Indian cinema was at the peak of its glamour from the late 1940s to the early 1960s. It is now seen as the ‘glory years’. A number of Indian films from this era are often included among the greatest films of all time in various critics and directors polls Infact  the 50`s saw the rise of these great directors, who changed the fate of Indian cinema.Thus 50″s and 60’s can be called as GOLDEN ERA of hindi cinema During these two decades memorable films and music was created.Successful actors of that time are Guru Dutt, Dev Anand, Raj Kapoor and Dilip Kumar. The popular actresses were Mala Sinha, Meena Kumari, Nargis, Nutan, Madhubala, and Waheeda Rehman. They gave such powerful and mind blowing performances that we remember them for their work till date.