Changes between Version 3 and Version 4 of Amitabh Bachchan


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Timestamp:
Feb 29, 2012, 8:01:14 PM (13 years ago)
Author:
Lawrence Liang
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  • Amitabh Bachchan

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    77Hindi cinema’s biggest star actor. Born in Allahabad, son of noted Hindi poet Harivanshrai Bachchan. Former stage actor, radio announcer and freight company executive in Calcutta. Although he initially had difficulties being accepted as an actor, his productions eventually determined the health of the whole Hindi film industry. Abbas gave him his first role in Saat Hindustani; next came a voice-over for Sen’s Bhuvan Shome (1969). Later, he also did the voice-over for Ray’s Shatranj Ke Khiladi (1977). Eventually became the superstar of the mid-70s TV, radio and the press issued daily bulletins on his health when he suffered a near-fatal accident in 1982 while shooting Coolie. In early Gulzar- scripted and Hrishikesh Mukherjee-directed films (Anand, Namak Haram) and in Saudagar, based on Narendranath Mitra’s story, Bachchan is presented as a brooding, melancholic anti-hero drawn from Bengali literary stereotypes traceable to novelist Saratchandra Chattopadhyay and brought into Hindi film by Nitin Bose, Bimal Roy and Asit Sen.  
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     12Amitabh in the role that defined him as the angry young man (Zanjeer) 
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    916In 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.  
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    2532under his ‘Big-B’ label, and event management.  
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    2736Initially 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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