Changes between Version 6 and Version 7 of Dharmendra Deol

Timestamp:

Jul 1, 2013, 5:44:41 AM (11 years ago)

Author:

UshaR

Comment:

--

Dharmendra Deol

@@ -12 +12 @@
 committed to upholding the honour of the
 family or of the village. Since the mid-70s, after
-Bachchan’s impact, mainly in action films,
+[[Bachchan]]’s impact, mainly in action films,
 occasionally using complicated gadgetry but
 always emphasising peasant simplicity and
 beating the villain in physical combat. Since
-mid-80s, notably in T. Rama Rao’s films but
+mid-80s, notably in [[T. Rama Rao]]’s films but
 also in other Madras-based Hindi productions,
 his presence is used mainly to ensure a film’s
 nationwide distribution in a respectable
 economic category. His early 60s films, in sharp
-contrast to his current post-Sholay image,
+contrast to his current post-[[Sholay]] image,
 presented a secularised Hindustani version of
 Bengali literary stereotypes, launched by
-Bimal Roy’s Bandini and continued in
-Hrishikesh Mukherjee’s 60s socials
-(Anupama, Manjhli Didi, Satyakam) and in
-Phani Majumdar’s Akashdeep. Early 70s work
+[[Bimal Roy]]’s [[Bandini]] and continued in
+[[Hrishikesh Mukherjee]]’s 60s socials
+([[Anupama]], Manjhli Didi, [[Satyakam]]) and in
+[[Phani Majumdar]]’s Akashdeep. Early 70s work
 transposed this image into tales of existential
-suffering (Mohan Segal’s Raja Jani) and into
-Mukherjee’s whimsical comedies (Guddi,
+suffering ([[Mohan Segal]]’s Raja Jani) and into
+Mukherjee’s whimsical comedies ([[Guddi]],
 Chupke Chupke) made alongside Pramod
 Chakravarty and Arjun Hingorani thrillers and
-films like Vijay Anand’s Blackmail. Currently
+films like [[Vijay Anand]]’s Blackmail. Currently
 promoting his son Sunny Deol (e.g. Sunny;
-Ghayal, 1990); best-known performances of
-the 90s in J.P. Dutta films.
+[[Ghayal]], 1990); best-known performances of
+the 90s in [[J.P. Dutta]] films.
 
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