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Book Review: In a Deeply Patriarchal World, Devika Rani Managed to Stay Her Course
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February 9, 2021
Vineet Kumar Singh Is “A Little Anxious” As Aadhaar’s Release Gets Postponed (Pic Credit: Instagram/vineet ksofficial)
The release date of the upcoming film Aadhaar has been postponed, and actor Vineet Kumar Singh, who toplines the cast, says he feels like a student who is feeling anxious knowing that the result has been postponed after an important exam.
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“For any actor, the release of a film is like waiting for the result in the form of audience and critics’ reaction. The film ‘Aadhaar’ is all the more special because it will be releasing in the theatres, and we travelled with the film and it received positive response from the audience there (abroad). Now I cannot wait for our audience to watch it, and that is why I feel a little anxious, with the release date being postponed,” Vineet told IANS.
The life and times of Devika Rani: Kishwar Desai on the fame, struggles of one of Hindi cinema s first heroines Devika Rani s contributions to the pioneering studio Bombay Talkies went beyond acting. She took full control of it following the death of Himansu Rai, her husband. Aishwarya Sahasrabudhe January 31, 2021 10:04:46 IST
Bombay Talkies, set up in 1934 by producer Himansu Rai and Devika Rani, was a pioneering film studio which revolutionised filmmaking in India. Apart from giving a space to actors and directors like Ashok Kumar, Leela Chitnis and Raj Kapoor to hone their skills, the studio also lent a sense of refinement to Indian cinema by bringing people from sophisticated quarters into the talkies.
Nayak in 1966.
Through the 1970s and 1980s, Mitra conducted regular workshops at the Film and Television Institute in India. Just like Ritwik Ghatak had fired the minds of direction students in a previous generation, Mitra laid open the secrets of the camera for a new breed of technicians. They included Virendra Saini, Anil Mehta, KU Mohanan, Dilip Varma, Sunny Joseph and Anoop Jotwani, who would go on to become eminent cinematographers in their own right.
“He was like an Impressionist painter who would concentrate on different tones on the face,” Virendra Saini said. “The background was as important as the foreground.”
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