Author
|
Tamal Bandyopadhyay
|
Publisher
|
Jaico
Books
|
Price
|
Rs 395/-
|
Pages
|
372
|
ISBN
|
978-81-8495-396-1
|

With words as our tools of thought, I feel one should keep the channel of communication open by reaching the minds of our readers.
Author
|
Tamal Bandyopadhyay
|
Publisher
|
Jaico
Books
|
Price
|
Rs 395/-
|
Pages
|
372
|
ISBN
|
978-81-8495-396-1
|
Ramesh Sippy's Sholay celebrates 37th year of success this year but very unlikely one can forget the character actor Avtar Kishan Hangal popularly known as A K Hangal who played the notable role of "Rahim Chacha" in the movie keeping great influence on the audiences even today with his famous one liner, "Itna sannata kyon hai, bhai". In Sholay, “I was given the character role of a blind man and to get this character right he used psycho-technique to get the feeling of blindness revealed the veteran actor, when I met him at his modest apartment at Santacruz.
What is creditable while watching the death sequence in Sholay is all eyes automatically focus on A K Hangal inspite of all the stars being present. It is Hangal Saab who has been instrumental in grabbing the viewer’s attention in that scene "Itna sannata kyon hai bhai".
As my conversation continued Hangal Saab's eyes brighten up. “When we were filming Sholay we never thought the film would go on to become such a sensation. Feels good that people still remember my character now more than 35 years after the film’s release". He also mentioned that he was simultaneously shooting for Dev Anand’s Ishq Ishq Ishq at Nepal. “Devsaab had arranged a special helicopter for me. I used to finish my work for Sholay and fly back to Nepal”.
A highly disciplined and humble man Hangal Saab never approached anyone for work. “I have been honest to my profession and have never troubled any filmmaker. All my co-actors respected me a lot and I feel proud about it”, said the actor.
Before coming to work in films Hangal Saab was known for his reputation and extensive work carried out with IPTA. Every role he has played he took pride in it and worked upon it very seriously. A K Hangal had once said this to Sanjeev Kumar, "If you start with a hero's role, that's all you'll remain. You'll never become an actor".
It’s sad that A K Hangal has left each one of us which indeed is a permanent loss for the industry which just cannot be replaced. Hangal Saab was conferred the Padmabhushan in 2006 and had also penned his autobiography titled "Life and Times of A K Hangal".
Everybody Wants A Hit
By Niilesh A Raje
Author Derek Bose
Publisher Jaico Books
Price Rs 195/-
Pages 200
ISBN 9798179925583
There was a time where movies used to be running in cinema halls to packed capacity followed by Golden Jubilee or Silver Jubilee celebrations. But, in today’s age of social media where attention span is very less one hardly gets to hear of movies running for several weeks followed by any jubilee celebrations. So, “Is there a secret recipe for a Bollywood hit?” or it’s just a mix and match one does that projects these thespians in a light that appeals the masses.
In the book titled, “Everybody Wants A Hit” published by Jaico Books the author Derek Bose shares with the readers 10 Mantras of Success in Bollywood Cinema. The ten mantras covered in this book touch on all aspects including, “Content is King”, “Honesty is the Best Policy”, Nothing Sells Like Sex”, “What’s in a Name” and much more.
Author, Derek Bose is a senior well-known author and journalist who specializes in Bollywood and other aspects of India's film industry. An alumnus of St Columba's, New Delhi, he has held senior editorial positions with India's premier news organizations, the Press Trust of India and the Indian Express.
In one of the chapter titled “What’s in a Name?” the author shares his observation citing examples that names do makes a lot of difference in show business regardless of the fact what Shakespeare had to say about roses. Heroines known with their better names include Sulochana (Ruby Mayers), Meena Kumari (Mehzabeen Begum), Rekha (Bhanurekha Ganesan) to name a few. The author’s observation also suggests that the use of the letter “K” is supposed to be “spiritually most potent” whereas “V” spells not for victory but doom unless it vibrates well. However, there have been people like V. Shantaram, Vinod Khanna, Vivek Oberoi and Vyjanthimala Bali amongst the exception. A name means a lot in Hindi Cinema. What might appear to be a casual allusion could actually serve to be the identity of an actor or would mark to be the new beginning for the director.
Where the chapter “Honesty Is The Best Policy” is concerned the author has given the example of Amitabh Bachchan. Even after he was voted as the Star of the Millennium and had a wax image to his name at Madame Tussauds in London he continued being his humble self, never questioned the judgment of his directors. Whatever role he played Bachchan did it with supreme confidence and complete conviction.
The readers get profited with relevant examples the author has supplemented against each of the 10 mantras covered in his book. To make one’s journey in Bollywood a rewarding experience the author says that success in Bollywood is not a matter of chance or luck but involves methodical approach coupled with analytical reasoning. If one adheres to this the journey would indeed prove to benchmark of success.