| 6 | | Hindi and Marathi actor and director; born Bhagwan Abhaji Palav in Bombay, the son of a mill worker. After devoting himself to body- building, he started in the silent era with his long-term partner, Chandrarao Kadam, in G.P. Pawar-directed stunt movies. Co-directed first feature with Pawar (1938), then producer (1942) with Jagriti Pics and Bhagwan Art Prod.; eventually owner of Jagriti Studios, Chembur (1947). Success of Albela established him briefly as a major post-Independence producer. Starred as a dancer and naive simpleton in many stunt, adventure and comedy movies. Acting style associated mainly with the elaboration of a minimalist dance movement which arguably became a major behavioural influence on Hindi film audiences (e.g. Bachchan’s dances, which today determine how people move on the streets in wedding or religious processions, bear the mark of Bhagwan’s influence). Balraj Sahni wrote that while ‘Raj Kapoor and Dilip Kumar are [m]uch more popular than he is, they do not enjoy the popularity among the poorer classes that Bhagwan Dada does. [The working class] sees in him their own image and what endears him to them is that he, a fellow member of the proletariat, should make a beauty like Geeta Bali fall in love with him.’ (Sahni, 1979). Since the early 70s, he has been largely relegated to cameo roles and comedy routines. |
| | 6 | Hindi and Marathi actor and director; born Bhagwan Abhaji Palav in Bombay, the son of a mill worker. After devoting himself to body- building, he started in the silent era with his long-term partner, Chandrarao Kadam, in G.P. Pawar-directed stunt movies. Co-directed first feature with Pawar (1938), then producer (1942) with Jagriti Pics and Bhagwan Art Prod.; eventually owner of Jagriti Studios, Chembur (1947). Success of [[Albela]] established him briefly as a major post-Independence producer. Starred as a dancer and naive simpleton in many stunt, adventure and comedy movies. Acting style associated mainly with the elaboration of a minimalist dance movement which arguably became a major behavioural influence on Hindi film audiences (e.g. [[Bachchan]]’s dances, which today determine how people move on the streets in wedding or religious processions, bear the mark of Bhagwan’s influence). [[Balraj Sahni]] wrote that while ‘[[Raj Kapoor]] and [[Dilip Kumar]] are [m]uch more popular than he is, they do not enjoy the popularity among the poorer classes that Bhagwan Dada does. [The working class] sees in him their own image and what endears him to them is that he, a fellow member of the proletariat, should make a beauty like [[Geeta Bali]] fall in love with him.’ (Sahni, 1979). Since the early 70s, he has been largely relegated to cameo roles and comedy routines. |