| 13 | | Ziddi, at [[Bombay Talkies]]. Launched Navketan (1949) with Chetan Anand, later (1953) joined by younger brother and star director [[Vijay Anand]] (e.g. Guide). Produced Guru Dutt’s directorial début, [[Baazi]]. Navketan spawned much new talent: directors Guru Dutt, Vijay Anand, [[Raj Khosla]], composers [[S.D.]] and [[R.D. Burman]], Jaidev, lyricists [[Sahir Ludhianvi]] and Neeraj, cameramen Fali Mistry, V. Ratra and D.K. Prabhakar, actors [[Johnny Walker]], [[Zeenat Aman]], Ekta Sharma, Tina Munim. Top star at [[Filmistan]]; made several of his most famous hits with [[Subodh Mukherjee]] ([[Munimji]], [[Paying Guest]]) and other Filmistan-trained directors like [[Nasir Hussain]] and [[Shakti Samanta]]. Turned director in 1970. Directed, produced and starred in film launching his son, Suneil Anand (Anand Aur Anand). Now mainly produces and directs own starring vehicles deploying a more conventional heroic persona. Together with [[Raj Kapoor]] and [[Dilip Kumar]], he ushered in the dominant acting idiom of post- Independence Hindi cinema. His style is demarcated from the naturalist method-acting modes of [[Motilal |
| | 13 | Ziddi, at [[Bombay Talkies]]. Launched Navketan (1949) with Chetan Anand, later (1953) joined by younger brother and star director [[Vijay Anand]] (e.g. Guide). Produced Guru Dutt’s directorial début, [[Baazi]]. Navketan spawned much new talent: directors Guru Dutt, Vijay Anand, [[Raj Khosla]], composers [[S.D.]] and [[R.D. Burman]], Jaidev, lyricists [[Sahir Ludhianvi]] and Neeraj, cameramen Fali Mistry, V. Ratra and D.K. Prabhakar, actors [[Johnny Walker]], [[Zeenat Aman]], Ekta Sharma, Tina Munim. Top star at [[Filmistan]]; made several of his most famous hits with [[Subodh Mukherjee]] ([[Munimji]], [[Paying Guest]]) and other Filmistan-trained directors like [[Nasir Hussain]] and [[Shakti Samanta]]. Turned director in 1970. Directed, produced and starred in film launching his son, Suneil Anand (Anand Aur Anand). Now mainly produces and directs own starring vehicles deploying a more conventional heroic persona. Together with [[Raj Kapoor]] and [[Dilip Kumar]], he ushered in the dominant acting idiom of post- Independence Hindi cinema. His style is demarcated from the naturalist method-acting modes of [[Motilal Rajvansh|Motilal]], [[Balraj Sahni]] and the [[Ashok Kumar]] of [[Kismet]] (1943). Amit Khanna noted: ‘Dev Anand’s forte was the boy next door, part lover, part clown and part do- gooder.’ Although never the reviewers’ favourite, he claimed that filming ‘should be brought as close as possible to the making of a newspaper’. His deliberately awkward pastiches invoke various sources (e.g. Cary Grant, Gregory Peck). With directors Chetan and Vijay Anand, Guru Dutt and Subodh Mukherjee, along with playback singer [[Kishore Kumar]], he satirised and reconstituted generic styles such as Capra’s ([[Nau Do Gyarah]]), John Huston’s ([[Jaal]]), the thriller ([[Jewel Thief]],[[ CID]]), the love story ([[Tere Ghar Ke Saamne]], Paying Guest) and the Hollywood epic in [[Guide]]. Directorial concerns include the alleged aimlessness of today’s youth contrasted with the civilisational glory of the freedom struggle (e.g. [[Hare Rama Hare Krishna]]). Acted in the films he directed. Married actress Kalpana Kartik in 1954. |