Changes between Version 3 and Version 4 of Rajinder Singh Bedi

Timestamp:

Jun 10, 2013, 9:33:00 AM (11 years ago)

Author:

UshaR

Comment:

--

Rajinder Singh Bedi

@@ -1 +1 @@
 '''Rajinder Singh Bedi  (1915-84)'''
 
-Director born in Sialkot Dist. (now Pakistan). Major short-story writer in Urdu, seen with [[Krishan Chander]] and [[Sadat Hasan Manto]] as constituting a new radical literary generation in the context of WW2, Independence and Partition, following Premchand, who introduced khari boli style of ‘common man’s prose’ into the courtly idiom prevalent in Urdu literature. Focused on experience of being a cultural and political refugee (e.g. [[Garam Coat]], which he adapted to the screen in 1955) and peasant life (Ek Chadar Maili Si, his novel filmed by Sukhwant Dhadda with a Bedi script in 1986). 
+Director born in Sialkot Dist. (now Pakistan). Major short-story writer in Urdu, seen with [[http://en.wikipedia.org/wiki/Krishan_Chander|Krishan Chander]] and [[Sadat Hasan Manto]] as constituting a new radical literary generation in the context of WW2, Independence and Partition, following Premchand, who introduced khari boli style of ‘common man’s prose’ into the courtly idiom prevalent in Urdu literature. Focused on experience of being a cultural and political refugee (e.g. [[Garam Coat]], which he adapted to the screen in 1955) and peasant life (Ek Chadar Maili Si, his novel filmed by Sukhwant Dhadda with a Bedi script in 1986). 
 
-Opposed notion of creative ‘spontaneity’ asssociated with Krishan Chander and Manto, strongly asserting craftmanship (Bedi, 1989). Stories often overlay the everyday with references to the mythological (e.g. [[Grahan]], 1972). Entered film as scenarist and dialogue writer in late 40s, working with [[Sohrab Modi]] ([[Mirza Ghalib]], 1954), [[Bimal Roy]] ([[Devdas]], 1955; [[Madhumati]], 1958) and [[Hrishikesh Mukherjee]] ([[Anuradha]], 1960; Memdidi, 1961; [[Anupama]], 1966). Prolific scenario and dialogue writer, including [[Raj Khosla]]’s Milap (1955) and [[Bambai Ka Babu]] (1960), [[Nitin Bose]]’s Dooj Ka Chand (1964) and [[Raj Kapoor]]’s Ab Dilli Door Nahin (1957). Briefly director of the radio station Jammu and Kashmir Broadcasting Service. Directorial début in 1970 in the context of New Indian Cinema. His son, [[Narendra Bedi]], had débuted as a director one year earlier.
+Opposed notion of creative ‘spontaneity’ asssociated with Krishan Chander and Manto, strongly asserting craftmanship (Bedi, 1989). Stories often overlay the everyday with references to the mythological (e.g. [[Grahan]], 1972). Entered film as scenarist and dialogue writer in late 40s, working with [http://en.wikipedia.org/wiki/Sohrab_Modi|[Sohrab Modi]] ([[Mirza Ghalib]], 1954), [[Bimal Roy]] ([[Devdas]], 1955; [[Madhumati]], 1958) and [[Hrishikesh Mukherjee]] ([[Anuradha]], 1960; Memdidi, 1961; [[Anupama]], 1966). Prolific scenario and dialogue writer, including [[Raj Khosla]]’s Milap (1955) and [[Bambai Ka Babu]] (1960), [[Nitin Bose]]’s Dooj Ka Chand (1964) and [[Raj Kapoor]]’s Ab Dilli Door Nahin (1957). Briefly director of the radio station Jammu and Kashmir Broadcasting Service. Directorial début in 1970 in the context of New Indian Cinema. His son, [[Narendra Bedi]], had débuted as a director one year earlier.
 
 '''