Changes between Version 15 and Version 16 of Bombay Talkies


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Timestamp:
Jun 13, 2013, 6:41:19 AM (11 years ago)
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UshaR
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  • Bombay Talkies

    v15 v16  
    11== Bombay Talkies == 
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    3 Film studio set up by Himanshu Rai in 1934. Among the biggest pre-WW2 talkie studios, it was the only major one launched as a fully fledged corporate body with a board of directors including F.E. Dinshaw, Sir Chimanlal Setalvad, Sir Chunilal Mehta, Sir Pheroze Sethna and Sir Cowasji Jehangir as some of the ‘dozen individuals who, by their control over banks, insurance companies and investment trusts, occupy commanding positions in the industrial life of Bombay’ (A.R. Desai, 1948). It was one of the first studios with backing from major financial institutions, paying a regular dividend from the third year onwards.  
     3Film studio set up by [[Himanshu Rai]] in 1934. Among the biggest pre-WW2 talkie studios, it was the only major one launched as a fully fledged corporate body with a board of directors including F.E. Dinshaw, Sir Chimanlal Setalvad, Sir Chunilal Mehta, Sir Pheroze Sethna and Sir Cowasji Jehangir as some of the ‘dozen individuals who, by their control over banks, insurance companies and investment trusts, occupy commanding positions in the industrial life of Bombay’ (A.R. Desai, 1948). It was one of the first studios with backing from major financial institutions, paying a regular dividend from the third year onwards.  
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    55[[Image(Bombay_Talkies.jpg)]]          [[Image(Bombay-Talkies-Studios.jpg)]] 
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    77[[Embed(youtube=mlV5gzLTv2I)]] 
    88 
    9 The resident star was [[Devika Rani]]. The scenarists were Niranjan Pal and J.S. Casshyap. The technical team was imported from Europe, including director [[Franz Osten]], cameraman Josef Wirsching, set designer Carl von Spreti (later Count Carl von Spreti, the West German ambassador murdered in Guatemala in 1970) and soundman Len Hartley. The studio had three major phases. The first, the Rai-Osten era (Achhut Kanya, 1936; Kangan, 1939) ended with Osten’s arrest at the beginning of WW2 and, later, Rai’s death (1940). The second saw Devika Rani, as production controller, split the studio into two production groups, one led by Amiya Chakravarty (best-known film of this period: Jwar Bhata, 1944, introducing Dilip Kumar) and the other led by S. Mukherjee with Rai Bahadur Chunilal.  
     9The resident star was [[Devika Rani]]. The scenarists were [[Niranjan Pal]] and J.S. Casshyap. The technical team was imported from Europe, including director [[Franz Osten]], cameraman Josef Wirsching, set designer Carl von Spreti (later Count Carl von Spreti, the West German ambassador murdered in Guatemala in 1970) and soundman Len Hartley. The studio had three major phases. The first, the Rai-Osten era (A[[chhut Kanya]], 1936; [[Kangan]], 1939) ended with Osten’s arrest at the beginning of WW2 and, later, Rai’s death (1940). The second saw Devika Rani, as production controller, split the studio into two production groups, one led by [[Amiya Chakravarty]] (best-known film of this period: [[Jwar Bhata]], 1944, introducing Dilip Kumar) and the other led by S. Mukherjee with Rai Bahadur Chunilal.  
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    1111[[Embed(youtube=-hcBNk9fhd4)]] 
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    2929In 1944, Prithviraj Kapoor requested Devika Rani and Rajnarayan Dube for his son Raj Kapoor (Ranbir Raj kapoor) to give a chance to work in Bombay Talkies. Raj Kapoor's carrier was carved in Bombay Talkies. After failing in his matriculation examination, Raj Kapoor first joined Bombay Talkies and began to work as an attendant on the sets of Bombay Talkies. Later, Raj Kapoor assisted another movies of bombay Talkies under famous director Kedar Sharma as a clapper boy. Once Kedar Sharma, while shooting in his studio, found that young Raj Kapoor did not obey his orders, he slapped him on the sets. Slap on his face changed everything for Raj Kapoor. This was like a turning point of his life. Devika Rani and Rajnarayan Dube saw young man’s determination to make it big some day. Later on, He became the greatest show man of Hindi Cinema. 
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    31 The latter group broke away to start Filmistan (1942). The formal orthodoxy of Chakravarty’s work (Basant, 1942) is clearly counterposed by a series of influential films, from N.R. Acharya’s Naya Sansar (1941) to Kismet (1943), all direct precedents of the Filmistan signature style. This included the early films of Gyan Mukherjee, Nazir Ajmeri and the writer Manto.  
     31The latter group broke away to start [[Filmistan]] (1942). The formal orthodoxy of Chakravarty’s work ([[Basant]], 1942) is clearly counterposed by a series of influential films, from [[N.R. Acharya]]’s [[Naya Sansar]] (1941) to [[http://en.wikipedia.org/wiki/Kismet_%281943_film%29|Kismet]] (1943), all direct precedents of the Filmistan signature style. This included the early films of [[Gyan Mukherjee]], Nazir Ajmeri and the writer [[Manto]].  
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    33 The third phase began when star Ashok Kumar, who had moved to Filmistan, and sound recordist Savak Vacha returned and took over the studio (1947); it includes the early work of stars Dev Anand and Shyam, along with films by Kamal Amrohi, Shaheed Latif, Bimal Roy, Nitin Bose and Phani Majumdar. In the early 50s the studio declined despite efforts by the workers’ association to save it, and it made only one more film, Majumdar’s Baadbaan (1954). 
     33The third phase began when star [[Ashok Kumar]], who had moved to Filmistan, and sound recordist Savak Vacha returned and took over the studio (1947); it includes the early work of stars [[Dev Anand]] and Shyam, along with films by [[Kamal Amrohi]], Shaheed Latif, [[Bimal Roy]], [[Nitin Bose]] and [[Phani Majumdar]]. In the early 50s the studio declined despite efforts by the workers’ association to save it, and it made only one more film, Majumdar’s [[Baadbaan]] (1954). 
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    3535[[Studio]]