Bordoloi, Atul (b. 1938) Assamese playwight and director born in Jorhat; initially a teacher after graduating from Gauhati University (1962). Author of 15 full- length and about 20 one-act plays in Assamese. Worked as journalist for the daily, Natun Asomiya. First film, Aparajeya, was the unremarkable result of a remarkable film- making experiment sponsored by poet- playwright Phani Talukdar and made by a group, Chaturanga, including Gauri Burman and Munin Bayan. Bordoloi’s films, set in deprived milieus, are known mainly for their multi-layered sense of reality achieved by suppressing narrative progression. Best-known film: Kallol. on Indian Broadcasting Co. in Calcutta (1927). JoinedNew? Theatresduringsilentera, creatinglivescoreforCharuRoy’s Chorekanta (1931) and Prafulla Roy’s Chasher Meye (1931), and remained the studio’s top composer into the 40s. Although less associated with the dominant Rabindra Sangeet (Tagore’slyrics)thane.g.Pankaj Mullick,his adaptations of the ghazal style into light classical, emotionally charged music were influential in the recording industry, esp. as interpreted by his famous protegé, actor-singer

FILMOGRAPHY: 1970: Aparajeya; 1973: duet Prem nagar mein banaoongi ghar main Banaria Phool;  Anutaap; 1 9 7 8 : Kallol; fromNitin Bose’sChandidas,Balamaaye and Dukh ke in Barua’s Devdas, Ek bangla bane nyaara in President, all remaining perennial hits. Other legendary compositions include Phani Majumdar’s Street Singer, Debaki Bose’s Bidyapati, and Nitin Bose’s Lagan and Dhoop Chaon (claimed by some as the first use of playback in India), songs by PahadiSanyal?,KananDeviand?,inHindi,by the ghazal exponent Talat Mahmood. Worked extensivelywiththeearlyBimalRoy, (Udayer Pathey, Anjangarh, Maa). His musical style rested heavily on songs with large string sections, with e.g. sitar and violins. In many of the songs he combined forms like Thumri, Keertan, Akhrai and the Kabigan, invoking a 19th C. Bengali tradition of cultural fusion in popular music associated with immigrants to Calcutta who brought musical forms from the North and the East. Also directed an animated short, Pear Brothers. Formed the independent MLB Prod. with actor ShyamLahaandAmar? Mullick. F I L M O G R A P H Y (* also d): 1 9 3 1 : Dena Paona; 1932: Mohabbat Ke Aansoo; Chirakumar Sabha; Chandidas; Subah Ka Sitara; Zinda Lash; Punarjanma; Palli Samaj; 1933: Puran Bhakt; Meerabai/Rajrani? Meera; Kapal Kundala; Mastuto Bhai; 1 9 3 4 : Excuse Me, Sir; Rooplekha/Mohabbat? Ki Kasauti; Chandidas; Daku Mansoor; Pear Brothers* (Sh); 1 9 3 5 : Devdas; Dhoop Chhaon/Bhagya? Chakra; Inquilab; 1 9 3 6 : Karodpati; Grihadah/Manzil?; Maya; 1937: Barababu; Anath Ashram; Didi/President?; Bidyapati/Vidyapati?; 1938: Abhigyan/ Abhagin; Street Singer/Saathi?; 1939: Sapurey/Sapera?; Jawani Ki Reet/Parajay?; Rajat Jayanti; 1940: Abhinetri/Haar? Jeet; 1 9 4 1 : Parichay/Lagan?; Pratisruti; 1 9 4 2 : Nari; Saugandh; 1 943: Daabi; Wapas; 1 944: Udayer Pathey/Hamrahi?; 1 9 4 5 : Vasiyatnama; 1946: Biraj Bou; 1948: Anjangarh; 1949: Bishnupriya; Mantramughda; Swami/Swami? Vivekananda; 1 950: Bara Bou; Pehla Admi; 1 951 : Sparshamani; Paritran; 1952: Maa; 1953: Dard-e-Dil; Shri Chaitanya Mahaprabhu; 1 955: Amar Saigal; 1 957: Neelachaley Mahaprabhu; 1 959: Sagar Sangamey; 1 960: Natun Fasal. Bordoloi, Atul (b. 1938) Assamese playwight and director born in Jorhat; initially a teacher after graduating from Gauhati University (1962). Author of 15 full- length and about 20 one-act plays in Assamese. 1 979: Megh; 1 990: Grahan; Drishti; 1 991 : Sinyor. Bose, Debaki Kumar (1898-1971) Bengali and Hindi director born in Akalpoush, Burdwan Dist., West Bengal; also worked in Tamil and in Marathi. Son of a noted solicitor, Madhusudhan Bose. Influenced by Sisir Bh adur i, his teacher at Bidyasagar College, Calcutta (1920). Left university to join non-co- operation movement after Calcutta Congress (1920). Edited journal, Shakti, from Burdwan (1927-8).HiredbyDhiren? Ganguly asactor and scenarist for Dinesh Ranjan Das’ Kamaner Aagun (1930). Devotee of Vaishnava evangelical movement. Joined Br itish Dominion Films (1927) as scenarist, then director. Joined P.C. Bar ua’s Barua Pics (1930), thenenteredNew Theatres (1932-4)together with Barua, directing the studio’s first hit, Chandidas. Its cinematic validation of a major stage genre - the quasi-legendary biographical - helped lessen Bengali cinema’s dependence on the Calcutta Theatres for its themes as well as its literary, musical and acting talent. Early work known mainly for his free and inventive approach to established genres, esp. the mythological and the Saint film, creating a Bengali quality cinema (e.g. Aparadhi and Chandidas). Went to East India Film (1934-6) where he made the lyrical Seeta which launchedPrithviraj Kapoor andDurga Khote asastarduo.ReturnedtoNewTheatres? (1937-41), making the classic Bidyapati. His independent Debaki Bose Prod. (1945) with stars from the Hindi and Marathi cinemas paved the way for other Calcutta cineastes after the decline of New Theatres in the early 40s. Made Arghya, a documentary on the caste system, based on four narrative poems by Tagore to celebrate the centenary of his birth.

FILMOGRAPHY: 1930: Kamaner Aagun (only act); Panchasar (also act); 1 9 3 1 : Aparadhi; Shadows of the Dead; 1 9 3 2 : Nishir Dak (all St); Chandidas; 1 9 3 3 : Puran Bhakt; Meerabai/Rajrani? Meera; Dulari Bibi; 1934: Seeta; 1935: Inquilab; Jeevan Natak; 1936 : Sonar Sansar/Sunehra? Sansar; 1937 : Bidyapati/Vidyapati?; 1939: Sapurey/ Sapera; 1 940: Nartaki; Abhinav; 1 942: Apna Ghar/Aple? Ghar; 1943 : Shri Ramanuja; 1945: Meghdoot; Swarg Se Sundar Desh Hamara; 1 9 4 6 : Krishna Leela; 1 9 4 7 : Chandrasekhar; 1 9 4 8 : Sir Shankarnath; 1 9 4 9 : Kavi; 1 9 5 1 : Ratnadeep/Ratnadeepam; 1 953: Pathik; 1 954: Kavi; Bhagwan Shri Krishna Chaitanya; 1955 : Bhalobasha;

Director