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Among the titans of the Indian film industry, his forte was the grand epic that brought various phases of the subcontinent’s history – ancient, medieval, and early modern – to vivid life and enabled him to use his booming baritone, which even drew blind people to cinema theatres just to hear his grandiloquence.

Be it as the Rajput nobleman Sangram Singh in “Pukar” (1931) set in the times of Mughal Emperor Jahangir, Raja Porus in “Sikandar” (1941), in the title role of the Parmar king in “Prithvi Vallabh” (1943), as the Rajguru of Rani Lakkshmibai in “Jhansi ki Rani” (1952), or the bitter persecuted Jew Ezra in “Yahudi” (1958), Sohrab Modi strode the silver screen with his imposing presence, boundless histrionic abilities, and thunderous voice.

He delivered a trailblasing performance as a kind and rational man turned domestic tyrant – and twice over- in “Jailor”, made first in 1938 and remade in 1958, with totally different casts save him in the title role.

Among the titans of the Indian film industry, his forte was the grand epic that brought various phases of the subcontinent’s history – ancient, medieval, and early modern – to vivid life and enabled him to use his booming baritone, which even drew blind people to cinema theatres just to hear his grandiloquence.

Be it as the Rajput nobleman Sangram Singh in “Pukar” (1931) set in the times of Mughal Emperor Jahangir, Raja Porus in “Sikandar” (1941), in the title role of the Parmar king in “Prithvi Vallabh” (1943), as the Rajguru of Rani Lakkshmibai in “Jhansi ki Rani” (1952), or the bitter persecuted Jew Ezra in “Yahudi” (1958), Sohrab Modi strode the silver screen with his imposing presence, boundless histrionic abilities, and thunderous voice.

He delivered a trailblasing performance as a kind and rational man turned domestic tyrant – and twice over- in “Jailor”, made first in 1938 and remade in 1958, with totally different casts save him in the title role.

New Delhi, Sep 26 (Ians) One of Hindi films’ most talented and versatile actresses – and still going strong, the exquisite and enchanting Waheeda Rehman, who caps a remarkable stint with the prestigious Dadasahab Phalke Award, carved out a niche with confident renditions of unconventional roles, including some very bold for the era – and could have spelled doom to her career.

Starting with Telugu and Tamil films in 1955 before switching over to Hindi cinema the following year, she did the usual roles expected of Hindi film actresses but also went on to play a prostitute, a gangster’s moll, a nautanki actress, a woman who walks out of a marriage without regrets, et al – but with such innate grace that she has always been a byword for refined sensibility.

Born in fairly comfortable circumstances – her father was a Deputy Commissioner – on February 3, 1939 in what was Chingalpet town of the Madras Presidency, Waheeda...

In his youth, he had gone from his home in Gurdaspur to Amritsar to get medicines for his ailing mother. To quench his thirst, he ordered a glass of sugarcane juice from a stall near the Golden Temple. When the vendor took a closer look at him, he exclaimed that Dev Anand had the sun on his forehead, foretelling greatness.

The prediction did come true Dev Anand did become a star that burnt bright across an over six-decade-long career.

With his undeniable charm, fast diction, the slight lopsided gait, trademark nodding to add emphasis, the winning winsome smile, and the flamboyant sartorial style, Dev Anand sparkled in a career that began before Independence and lasted into the second decade of the 21st century.

Included in the pantheon of the top three heroes of Hindi cinema in the 1950s, he not only outpaced his peers Dilip Kumar and Raj Kapoor, who did around 70-odd films each,...

In his youth, he had gone from his home in Gurdaspur to Amritsar to get medicines for his ailing mother. To quench his thirst, he ordered a glass of sugarcane juice from a stall near the Golden Temple. When the vendor took a closer look at him, he exclaimed that Dev Anand had the sun on his forehead, foretelling greatness.

The prediction did come true Dev Anand did become a star that burnt bright across an over six-decade-long career.

With his undeniable charm, fast diction, the slight lopsided gait, trademark nodding to add emphasis, the winning winsome smile, and the flamboyant sartorial style, Dev Anand sparkled in a career that began before Independence and lasted into the second decade of the 21st century.

Included in the pantheon of the top three heroes of Hindi cinema in the 1950s, he not only outpaced his peers Dilip Kumar and Raj Kapoor, who did around 70-odd films each,...

On the occasion of the 63rd anniversary (5th August) of epic historical drama ‘Mughal-e-Azam’, veteran actress Saira Banu penned a heartfelt note, saying that the “mesmerising” portrayal of Prince Salim by late actor Dilip Kumar “added an extra layer of brilliance to the magnum opus.” Produced and directed by K Asif ‘Mughal-e-Azam’ is a 1960 film, which starred Prithviraj Kapoor, Dilip Kumar, Madhubala, and Durga Khote in the lead.

The story follows the love affair between Mughal Prince Salim (who went on to become Emperor Jahangir) and Anarkali (played by Madhubala), a court dancer. Salim’s father, Emperor Akbar (played by Prithviraj) disapproves of the relationship, which leads to a war between father and son.

Saira Banu and Dilip Kumar _ pic courtesy instagram

Saira took to Instagram and shared a video, wherein we can see glimpses of the cult movie. The Reel video shows both black and white, and coloured snippets from the film.

Yusuf Khan aka Dilip Kumar – the intense, multi-faceted actor who rose to be not just a superstar but a supergiantstar – and inspired generations of future actors and filmmakers with the art and science of his acting talents, remains glowing brightly in the starry film galaxy. On his 100th birth anniversary on Sunday, here’s a quick view of a few of his top, timeless, superhit films which still enthrall movie buffs, now mostly on the small screen.

In his acting career spanning 55 years, Dilip Kumar performed in an estimated 57 films with an awesome success rate of around 65 per cent.

The eternal mega-blockbuster was, of course, “Mughal-e-Azam” (1960), directed by the legendary Asif Karim (better known as K Asif), which shattered records and created new ones, many which still stand unbroken today.

In the film, Dilip Kumar essayed the role of a bohemian Prince Salim, who later became fourth Mughal Emperor Jahangir,...

Kalank has unfortunately turned into an ?epic? disappointment, the author feels that if the story of Kalank - the mega budget multi star period drama helmed by the 2 States fame Abhishek Varman that boasted names like Madhuri Dixit, Sonakshi Sinha, Alia Bhatt, Varun Dhawan, Aditya Roy Kapur, Sanjay Dutt and Kunal Kemmu would have been the way re imagined, retold over here by taking liberties after watching the original in theatres, things could have been different.

Here goes the re-imagined Kalank

Opening scene

A dying Satya (Sonakshi Sinha) makes her last wish and asks her younger sister Roop (Alia Bhatt) to marry her husband Dev (Aditya Roy Kapur), (keep reading for more) the period is the same 1945 and it?s Lahore in Pakistan.

(Read More:?Kalank: Major flaws that destroyed the movie)

Roop gets married to Dev

It?s a grand event in Lahore, The Chaudhry?s are a respected aristocratic family,...

In a poll conducted in the UK to decide the greatest piece of cinema that Bollywood has offered in its 100 years of existence, the 1960s classic Mughal –e-Azam emerged as the winner. The poll was conducted by a British Asian weekly newspaper named Eastern Eye. Mughal-e-Azam had a narrow victory over Bollywood’s take on Western movies – Sholay.Mughal-e-Azam, which translates to ‘The Greatest of the Mughals’ was directed by K. Asif and produced by Shapoorji Pallonji. The movie had a star cast comprising of Prithviraj Kapoor, Dilip Kumar, Madhubala and Durga Khote. It revolves around the life of the Mughal Prince Salim, who eventual...

It would be wrong of us to celebrate one hundred years of Indian Cinema if we did not acknowledge one of the greatest epics to have ever been made. Directed by K. Asif, Mughal-e-Azam (1960) is a film oozing with grandeur, romance and drama. Starring Dilip Kumar, Prithviraj Kapoor and Madhubala in central roles, it is based on the 16th century mythical love tale between a Mughal prince named Saleem (Dilip Kumar) and the court’s maidservant Anarkali (Madhubala). After seeing the two lovers together, Emperor Akbar (Prithviraj Kapoor) attempts to separate them, as he does not want a commoner to become the future Queen of India. Without a doubt, you are not a true fan of Indian Cinema until you have seen the phenomenal beauty that is Mughal-e-Azam.

Initially having received a lukewarm response from the critics, Mughal-e-Azam rapidly became one of the biggest hits in Indian box office history...

Out of all the characters that you will come across in an Indian film, one that you will rarely see go astray is a mother. That too, the hero’s mother. She is an entity that restrains him with no physical bounds, gives him strength like no other energy drink, drives him to lengths beyond imagination (all within 2.5 hours) and without her, teaches him lessons universities worldwide have yet to discover. From being a sari clad soap opera box drama queen to a sophisticated career driven business magnet, she has transformed in front of us but one thing remains. The positive energy one feels from our filmi “Ma”. It may be a scene or a song, but she is there and her love unconditional. Yes, there may be some stories that forget about her, yet there is no denying, our cinematic mothers have sometimes been the saving grace for our films.

Pran Kishan Sikand

Pran Kishan Sikand dreamt of becoming a professional photographer. Little did he know that a measly, humble ‘paan’ (betel leaf) would change his life and set him on his destined path. It was 1939 or thereabouts. Pran was at a ‘paan’ shop at Lahore, enjoying a munch with his friends when a stranger approached him and asked whether he wanted to act in films. Pran was amused and asked his name. Stranger introduced himself as Muhammad Walli, a renowned film maker in the flourishing film district of Lahore. He said he was making a Punjabi film and Pran looked a perfect fit for the role of a villain in the film. Pran just brushed him off. Walli kept insisting that he pay a visit to the studio, and pushed a piece of paper with his address into Pran’s hands. The film was Yamla Jat (1940), a runaway hit that year.

Everyone loves a Cinderella story and one that has a ghastly family, a spunky heroine, and one Prince Charming who can be a bit of a dope some of the time! The film, which introduced the lovely Sadhana to the screen, is one of the most fun and charming romances of the 60s. Love in Simla was one of the biggest hits of 1960 and deservedly so, the sparkling repartee and gorgeous cinematography makes it a gem to enjoy even now.

Unlike most Cinderellas who are the docile type, Sadhana plays the plucky and feisty heroine Sonia. She’s the unlucky orphan living with her genial uncle (Kishore Sahu), his tart-tongued wife (Shobhana Samarth), and their beautiful but vain daughter Sheela (Azra). They live in luxury in their Simla mansion, while relying on Sonia as their servant and as a burden. Simla was once the summer playground during the colonial period,...

To mark the centenary of the Indian film industry falling May 3, 2012, a fitting tribute will be paid to its legendary founding father, Dhundiraj G. Phalke, famous as Dadasaheb Phalke, an official said here Friday.A full-size wax statue of Dadasaheb Phalke will be created and installed at the Celebrity Wax Museum (Cwm) in Lonavala, according to a trustee of the Dadasaheb Phalke Academy.A Memorandum of Understanding was signed here late Thursday with Cwm.s managing director Sunil Kandalloor, commissioning the statue, which will be ready by May 3, the trustee said here.The occasion was to mark the 68th death anniversary of Dadasaheb Phalke yesterday at the Dadasaheb Phalke Chitranagari, in which a host of Bollywood personalities paid homage to the father of Indian cinema.Born on April 30, 1870, at Trimbakeshwar, near Nashik, Dadasaheb Phalke made his debut with India.s first full-length silent movie .Raja Harishchandra. in 1913.In a career spanning nearly 25 years,...

The always tired woman in white slaving over a sewing machine, the sacrificing one wracked by coughs but lifting load after load at a construction site or the doughty worker who won.t stop at even murder to save her child. The mother figure was for long an enduring cornerstone of Hindi cinema, but not any more. From Nargis and Nirupa Roy to Rakhee and Jaya Bachchan, actors down the ages have played powerful mother roles in hallmark films. Can anyone forget cop Shashi Kapoor.s famous .Mere pas maa hai. to his smuggler brother Amitabh Bachchan in .Deewar., where Nirupa Roy as mother was the pivot the film revolved around. The most iconic film till date is perhaps Nargis in Mehboob Khan.s .Mother India. (1957) as the fiery single mother who brings up two sons in the face of near impossible odds and doesn.t hesitate to fire a...

The always tired woman in white slaving over a sewing machine, the sacrificing one wracked by coughs but lifting load after load at a construction site or the doughty worker who won.t stop at even murder to save her child. The mother figure was for long an enduring cornerstone of Hindi cinema, but not any more.From Nargis and Nirupa Roy to Rakhee and Jaya Bachchan, actors down the ages have played powerful mother roles in hallmark films. Can anyone forget cop Shashi Kapoor.s famous .Mere pas maa hai. to his smuggler brother Amitabh Bachchan in .Deewar., where Nirupa Roy as mother was the pivot the film revolved around.The most iconic film till date is perhaps Nargis in Mehboob Khan.s .Mother India. (1957) as the fiery single mother who brings up two sons in the face of near impossible odds and doesn.t hesitate to fire a...

Rekha

Rekha has turned down the Dada Saheb Phalke Award; Asha parekh will receive it instead

The Dada Saheb Phalke Academy is all set to host their 11th award function on May 3 and had pitched in the legendary Rekha for the Legendary Icon Cine Artiste Award. However, Rekha did not accede to the proposition. Rekha, who is famous for her onscreen mujras, wanted to perform at the event. Unfortunately, owing to space constraints, Rekha’s desire to perform at Bhaidas hall could not be fulfilled.

Asha Parekh

The hall has a 1000 seater capacity and a rather small stage. Ashok Shekhar, director of events of the Dadasaheb Phalke Academy, confirmed, “She (Rekha) wanted to perform at the awards but then the stage at Bhaidas is too small. Rekhaji will give away the Phalke Ratna award to Dharamji (Dharmendra).”

It has been decided that the event will be organized at Filmcity next year,...

Of the many exhibits and shows at the Kalaghoda Arts Festival 2011, what caught one’s eye was the array of compendiums of posters, booklets and other visual material on cinema.

The exhibit was an effort to showcase the history of Indian cinema through some rare visuals- and rare, in the true sense of the term indeed. After all, not every day does one come across a picture of the first screen-test given by Dev Anand.

Similar surprises were a part of this collection by Mr. Arun Puranik. A private collector who is used as source by the National Film Archive of India at times, Mr. Puranik has a 40 year old collection of booklets, film song recordings, radio recordings, posters, showcards, lobby cards and photographs- all dating back to an era when the talkies had started.

Some rarities are photographs of the famous actresses Durga Khote, Nadia, Devika Rani, Sulochana, and...

It has been half a century since Mughal-e-Azam first enchanted audiences with its majestic sets, elaborate dance sequences and soulful music. But K Asif's magnum opus continues to inspire Bollywood directors and technicians.The epic, which was released Aug 5, 1960, chronicles the love story of Prince Salim, who went on to become Mughal emperor Jahangir, and Anarkali, a court dancer.The film took almost a decade to complete and the attention paid to intricate details such as the 'sheesh mahal', or palace of mirrors, were proof enough of the labour that went into creating the masterpiece.Actor Prithviraj Kapoor's royal sketch of Akbar, Naushad's music, Shakeel Badayuni's unforgettable lyrics and the sizzling chemistry between the lead pair Madhubala and Dilip Kumar are part of film legend in India now.Filmmaker Subhash Ghai feels a movie like Mughal-e-Azam can never be repeated. " Mughal-e-Azam is an all-time classic and...

'Mughal-e-Azam' (1960)

Starring Dilip Kumar, Madhubala, Prithviraj Kapoor, Durga Khote

'Mughal-e-Azam' is a history-making Indian film about some of the most fascinating figures in Indian history: the Mughal Emperor Akbar the Great, who ruled India in the 16th century, his eldest son Salim, and Salim's lover Anarkali.

The legend of Anarkali is a beloved tale in India and the subject of paintings, literature, and films. Given the disputable history of her existence, there are different versions of her life story. Many believe she was Akbar's concubine and possibly even the mother of his youngest son, Daniyal. As the story goes, Salim, the future Emperor Jahangir, fell in love with Anarkali, the couple had a scandalous affair, and the outraged Akbar buried her alive behind a palace wall.

The purported liaison aside, there's no question that Akbar and Salim had a highly contentious relationship. Salim was born...