Changes between Version 1 and Version 2 of Pramthesh Chandra Barua

Timestamp:

Jun 10, 2013, 9:14:17 AM (11 years ago)

Author:

UshaR

Comment:

--

Pramthesh Chandra Barua

@@ -2 +2 @@
 
 
-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),
-freelanced thereafter. His Zindagi was remade  in Bengali (1943). Making melancholic love
+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),
+freelanced thereafter. His [[Zindagi]] was remade  in Bengali (1943). Making melancholic love
 stories set amid a nihilistically portrayed
 aristocracy, he evolved a unique melodramatic
 style, drawing from the literary traditions
-against which Kallol defined itself. The static
+against which [[Kallol]] defined itself. The static
 stories and the mask-like actorial postures are
 counterpointed by the most mobile subjective
 camera in the Indian cinema of his time, the
-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.
+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.
 
 '''Filmography: