Changes between Version 9 and Version 10 of Amitabh Bachchan


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Timestamp:
Mar 22, 2013, 10:35:50 AM (9 years ago)
Author:
UshaR
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  • Amitabh Bachchan

    v9 v10  
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    16 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.  
     16In 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]].  
    1717 
    18 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’ 
    19 woman as personified by Parveen Babi (Deewar), Zeenat Aman (Don), and their clones (e.g. Amrita Singh in Mard).  
     18Other 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’ 
     19woman as personified by Parveen Babi ([[Deewar]]), [[Zeenat Aman]] (Don), and their clones (e.g. Amrita Singh in [[Mard]]).  
    2020 
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    2424but he soon abandoned politics. After Shahenshah and his return to cinema, some of 
    2525his films’ unofficial budgets made them the most expensive Indian films ever. In the late 
    26 80s his popularity declined but revived with Hum (and other Mukul Anand films) showing 
     2680s his popularity declined but revived with [[Hum]] (and other [[Mukul Anand]] films) showing 
    2727the star coming to terms with the ageing process. His wife, the actress Jaya Bhaduri, 
    2828stopped acting after their marriage, except for one noted appearance with her husband in 
    29 Silsila (returning with Nihalani’s Hazar Chourasi Ki Maa, 1998). In 1995, founded the 
     29[[Silsila]] (returning with [[Nihalani]]’s Hazar Chourasi Ki Maa, 1998). In 1995, founded the 
    3030controversial ABCL (Amitabh Bachchan Corporation Limited) as an entertainment 
    3131conglomerate for merchandising himself and other celebrities as a brand name, creating and 
     
    3535[[Embed(youtube=KfIB_7-c3nY)]] 
    3636 
    37 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. 
     37Initially 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. 
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