Changes between Version 1 and Version 2 of Pramthesh Chandra Barua


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Timestamp:
Jun 10, 2013, 9:14:17 AM (7 years ago)
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UshaR
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  • Pramthesh Chandra Barua

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    4 Major, still undervalued Bengali-Hindi director of Assamese origin, and one of the first major movie stars in India. Born into aristocratic family as the big game-hunting son of the Maharajah of Gauripur. Promising amateur sportsman and art-lover. Graduated from élite Presidency College, Calcutta (1924). Visited Europe and saw films (esp. René Clair and Lubitsch). Entered film as actor in silents; shareholder in Dhiren Ganguly’s British Dominion Films (1928). Spent a few months at Elstree to learn film-making and started Barua Pics in Calcutta (1929), producing e.g. Debaki Bose’s Aparadhi (1931) and Nishir Dak (1932). Joined Chittaranjan Das’ Swarajya Party (1928) which represented Hindu zamindar interests after the Hindu-Muslim riots of 1926. Prominent member of Assam Legislative Assembly (1928-36) when his Party piloted the anti-tenant and anti-Muslim Tenancy Act (1928) through Bengal Legislative Council. Joined New Theatres (1932-39), 
    5 freelanced thereafter. His Zindagi was remade  in Bengali (1943). Making melancholic love 
     4Major, still undervalued Bengali-Hindi director of Assamese origin, and one of the first major movie stars in India. Born into aristocratic family as the big game-hunting son of the Maharajah of Gauripur. Promising amateur sportsman and art-lover. Graduated from élite Presidency College, Calcutta (1924). Visited Europe and saw films (esp. René Clair and Lubitsch). Entered film as actor in silents; shareholder in [[Dhiren Ganguly]]’s [[British Dominion Films]] (1928). Spent a few months at Elstree to learn film-making and started Barua Pics in Calcutta (1929), producing e.g. [[Debaki Bose]]’s Aparadhi (1931) and Nishir Dak (1932). Joined Chittaranjan Das’ Swarajya Party (1928) which represented Hindu zamindar interests after the Hindu-Muslim riots of 1926. Prominent member of Assam Legislative Assembly (1928-36) when his Party piloted the anti-tenant and anti-Muslim Tenancy Act (1928) through Bengal Legislative Council. Joined [[New Theatres]] (1932-39), 
     5freelanced thereafter. His [[Zindagi]] was remade  in Bengali (1943). Making melancholic love 
    66stories set amid a nihilistically portrayed 
    77aristocracy, he evolved a unique melodramatic 
    88style, drawing from the literary traditions 
    9 against which Kallol defined itself. The static 
     9against which [[Kallol]] defined itself. The static 
    1010stories and the mask-like actorial postures are 
    1111counterpointed by the most mobile subjective 
    1212camera in the Indian cinema of his time, the 
    13 visual excess of his sweeping pans announcing 1986: Antony Mor Naam. the landscapes of later Bengal School painting. Wrote and starred in his productions, but remembered best for his Bengali version of Devdas (Saigal starred in the Hindi one), remade by Bimal Roy in 1955, and for Mukti. Died in Calcutta, leaving his last feature unfinished. 
     13visual excess of his sweeping pans announcing 1986: Antony Mor Naam. the landscapes of later Bengal School painting. Wrote and starred in his productions, but remembered best for his Bengali version of [[Devdas]] ([[Saigal]] starred in the Hindi one), remade by [[Bimal Roy]] in 1955, and for [[Mukti]]. Died in Calcutta, leaving his last feature unfinished. 
    1414 
    1515'''Filmography: