| 3 | | Bengali and Hindi director born in Faridpur (now Bangladesh). Noted novelist and playwright, author of many books including compilations of short stories, essays (e.g. on silent film, cf. Atorthy, 1990) and plays. Best- known literary work: Mahasthavir Jatak (1922), a fictional autobiography in four volumes noted for its irreverent portrayal of Calcutta’s early 20th C. élites. Associated with literary journal Bharati; edited Nachghar, one of the first performing arts journals to take film seriously, with Hemendra Kumar Roy and film- maker Pashupati Chatterjee. Founded Betar Jagat, the journal of the AIR, Calcutta (1929). Started as scenarist and actor, using the pseudonym Krishna Haldar, at Indian Kinema Arts (Punarjanma, 1927; Chasher Meye, 1931). Remade Punarjanma in 1932. Joined B.N. Sircar’s International Filmcraft as writer and assistant to Prafulla Roy (Chasher Meye is based on Atorthy’s novel and script). Also scripted Nitin Bose’s Buker Bojha (1930). First film, Dena Paona, was New Theatres’ first talkie, made in direct competition with Madan Theatres’ Jamai Sasthi (1931). Made several Urdu films as part of New Theatres’ effort to enter the North Indian market, including the classic film of Aga Hashr Kashmiri’s play Yahudi Ki Ladki. His film versions of literary classics, e.g. from Saratchandra Chattopadhyay (Dena Paona), Rabindranath Tagore (Chirakumar Sabha) and Bankimchandra Chattopadhyay (Kapal Kundala), established the élite literary film genre intended to distinguish New Theatres’ films from routine stage adaptations and remained important signifiers of high art in Bengali cinema. First Bengali film-maker to work in Western India, e.g. for Kolhapur Cinetone (1935) and for Imperial (1936). Credited with the supervision of H.K. Shivdasani’s Yasmin (1935), made by the Krishna Studio. |
| | 3 | Bengali and Hindi director born in Faridpur (now Bangladesh). Noted novelist and playwright, author of many books including compilations of short stories, essays (e.g. on silent film, cf. Atorthy, 1990) and plays. Best- known literary work: Mahasthavir Jatak (1922), a fictional autobiography in four volumes noted for its irreverent portrayal of Calcutta’s early 20th C. élites. Associated with literary journal Bharati; edited Nachghar, one of the first performing arts journals to take film seriously, with Hemendra Kumar Roy and film- maker [[Pashupati Chatterjee]]. Founded Betar Jagat, the journal of the AIR, Calcutta (1929). Started as scenarist and actor, using the pseudonym Krishna Haldar, at [[Indian Kinema Arts]] (Punarjanma, 1927; Chasher Meye, 1931). Remade Punarjanma in 1932. Joined B.N. Sircar’s International Filmcraft as writer and assistant to Prafulla Roy (Chasher Meye is based on Atorthy’s novel and script). Also scripted [[Nitin Bose]]’s Buker Bojha (1930). First film, Dena Paona, was New Theatres’ first talkie, made in direct competition with [[Madan Theatres]]’ Jamai Sasthi (1931). Made several Urdu films as part of [[New Theatres]]’ effort to enter the North Indian market, including the classic film of [[Aga Hashr Kashmiri]]’s play [[Yahudi Ki Ladki]]. His film versions of literary classics, e.g. from Saratchandra Chattopadhyay (Dena Paona), [[Rabindranath Tagore]] (Chirakumar Sabha) and Bankimchandra Chattopadhyay (Kapal Kundala), established the élite literary film genre intended to distinguish New Theatres’ films from routine stage adaptations and remained important signifiers of high art in Bengali cinema. First Bengali film-maker to work in Western India, e.g. for [[Kolhapur Cinetone]] (1935) and for [[Imperial]] (1936). Credited with the supervision of H.K. Shivdasani’s [[Yasmin]] (1935), made by the [[Krishna]] Studio. |