Changes between Version 11 and Version 12 of Amitabh Bachchan

Timestamp:

Mar 22, 2013, 10:36:59 AM (12 years ago)

Author:

UshaR

Comment:

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Amitabh Bachchan

@@ -16 +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]]. 
 
-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’
+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|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]]).