Changes between Version 9 and Version 10 of Amitabh Bachchan

Timestamp:

Mar 22, 2013, 10:35:50 AM (12 years ago)

Author:

UshaR

Comment:

--

Amitabh Bachchan

@@ -14 +14 @@
 
 
-In this respect, he is in the tradition of Dilip Kumar (e.g. Deedar, 1951), Sunil Dutt (Sujata, 1959; Gaban, 1966) and Dharmendra (Satyakam, 1969). His persona of the angry youth was elaborated in directly political language in Zanjeer, the first of his big vendetta films. Expanded in the films of Prakash Mehra and Yash Chopra, Bachchan’s image reorganised the formulaic melodrama around the clash between the laws of kinship and the laws of the state, requiring the hero to become an outlaw governed by a higher code of conduct. In Deewar and Trishul this conflict still constituted the films’ main theme but it quickly became a mere plot device, while a more directly political discourse began to insinuate itself into the films via the repeated references to the early 70s working class agitations (which culminated in the 1974 railway strike preceding the Emergency in 1975), as in e.g. Kala Patthar. 
+In this respect, he is in the tradition of [[Dilip Kumar]] (e.g. [[Deedar]], 1951), Sunil Dutt (Sujata, 1959; Gaban, 1966) and Dharmendra (Satyakam, 1969). His persona of the angry youth was elaborated in directly political language in [[Zanjeer]], the first of his big vendetta films. Expanded in the films of [[Prakash Mehra]] and [[Yash Chopra]], Bachchan’s image reorganised the formulaic melodrama around the clash between the laws of kinship and the laws of the state, requiring the hero to become an outlaw governed by a higher code of conduct. In [[Deewar]] and [[Trishul]] this conflict still constituted the films’ main theme but it quickly became a mere plot device, while a more directly political discourse began to insinuate itself into the films via the repeated references to the early 70s working class agitations (which culminated in the 1974 railway strike preceding the Emergency in 1975), as in e.g. [[Kala Patthar]]. 
 
-Other topical and politically loaded references invoked threats of national economic destabilisation in e.g. Trishul, Shakti and Mr. Natwarlal. The melodramatic plot structure also lent itself well to the enactment of the fantasy of the lumpen rebel-vigilante who achieves great personal success, at times turning the film into a gigantic masquerade (esp. with Manmohan Desai). In addition to his own charismatic presence and his sonorous voice, an important component in several Bachchan films is the Salim-Javed script. Bachchan’s persona is often defined by two female figures: the melodramatic mother who symbolises the family and the ‘liberated’
-woman as personified by Parveen Babi (Deewar), Zeenat Aman (Don), and their clones (e.g. Amrita Singh in Mard). 
+Other topical and politically loaded references invoked threats of national economic destabilisation in e.g. [[Trishul]], [[Shakti]] and Mr. Natwarlal. The melodramatic plot structure also lent itself well to the enactment of the fantasy of the lumpen rebel-vigilante who achieves great personal success, at times turning the film into a gigantic masquerade (esp. with [[Manmohan Desai]]). In addition to his own charismatic presence and his sonorous voice, an important component in several Bachchan films is the [[Salim-Javed]] script. Bachchan’s persona is often defined by two female figures: the melodramatic mother who symbolises the family and the ‘liberated’
+woman as personified by Parveen Babi ([[Deewar]]), [[Zeenat Aman]] (Don), and their clones (e.g. Amrita Singh in [[Mard]]). 
 
 
@@ -24 +24 @@
 but he soon abandoned politics. After Shahenshah and his return to cinema, some of
 his films’ unofficial budgets made them the most expensive Indian films ever. In the late
-80s his popularity declined but revived with Hum (and other Mukul Anand films) showing
+80s his popularity declined but revived with [[Hum]] (and other [[Mukul Anand]] films) showing
 the star coming to terms with the ageing process. His wife, the actress Jaya Bhaduri,
 stopped acting after their marriage, except for one noted appearance with her husband in
-Silsila (returning with Nihalani’s Hazar Chourasi Ki Maa, 1998). In 1995, founded the
+[[Silsila]] (returning with [[Nihalani]]’s Hazar Chourasi Ki Maa, 1998). In 1995, founded the
 controversial ABCL (Amitabh Bachchan Corporation Limited) as an entertainment
 conglomerate for merchandising himself and other celebrities as a brand name, creating and
@@ -35 +35 @@
 [[Embed(youtube=KfIB_7-c3nY)]]
 
-Initially billed as the first significant effort in India to corporatise India’s chaotic entertainment industry (cf. Businessworld 1-14 Nov 1995 cover feature ‘Bachchan’s Business Blueprint’), ABCL had a major setback when the ‘Miss World 1996’ contest, hosted by them in Bangalore, led to a political and financial controversy. Following the disastrous reception of his ‘comeback’ film, Mehul Kumar’s Mrityudaata (1997) produced by ABCL, the company has faced a severe crisis forcing it to sell its ‘Big-B’ record label and its ‘Star Track’ talent bank, leading to questions about the survival of the company.
+Initially billed as the first significant effort in India to corporatise India’s chaotic entertainment industry (cf. Businessworld 1-14 Nov 1995 cover feature ‘Bachchan’s Business Blueprint’), ABCL had a major setback when the ‘Miss World 1996’ contest, hosted by them in Bangalore, led to a political and financial controversy. Following the disastrous reception of his ‘comeback’ film, [[Mehul Kumar]]’s Mrityudaata (1997) produced by ABCL, the company has faced a severe crisis forcing it to sell its ‘Big-B’ record label and its ‘Star Track’ talent bank, leading to questions about the survival of the company.