| 4 | | Actor-director born in Kirkee. Usually described as the highest-paid silent star in India. Formed the celebrated lead couple with Sulochana esp. at Imperial. Introduced in stunt movie-derived historicals and mythologicals adapting Maratha legends at N.D. Sarpotdar’s United Pics. First two films at Imperial, Bhavnani’s Wildcat of Bombay and Choudhury’s Anarkali, were massive hits for him and Sulochana. His John Barrymore- style image was born in elaborate costume fantasies opposite Sulochana’s Orientalised ‘Queen of Romance’, a reference elaborated later by some of the biggest directors of the silent era, e.g. Choudhury, Chandulal Shah, Homi Master, Jaswantlal and Nanubhai Vakil. Several of his silent hits were remade as sound films, notably Indira MA and Anarkali. Acted in some films at Ranjit. Azadi-e-Watan (1940), advertised as directed by him, is probably a dubbed version of an American import. |
| | 4 | Actor-director born in Kirkee. Usually described as the highest-paid silent star in India. Formed the celebrated lead couple with [[Sulochana]] esp. at [[Imperial]]. Introduced in stunt movie-derived historicals and mythologicals adapting Maratha legends at [[N.D. Sarpotdar]]’s United Pics. First two films at [[Imperial]], [[Bhavnani]]’s [[Wildcat of Bombay]] and [[Choudhury]]’s Anarkali, were massive hits for him and Sulochana. His John Barrymore- style image was born in elaborate costume fantasies opposite Sulochana’s Orientalised ‘Queen of Romance’, a reference elaborated later by some of the biggest directors of the silent era, e.g. Choudhury, [[Chandulal Shah]], [[Homi Master]], [[Jaswantlal]] and [[Nanubhai Vakil]]. Several of his silent hits were remade as sound films, notably [[Indira MA]] and Anarkali. Acted in some films at [[Ranjit]]. Azadi-e-Watan (1940), advertised as directed by him, is probably a dubbed version of an American import. |