Sulochana chatterjee biography of abraham
Sunehra Sansar
1975 Indian film
Sunehra Sansar is a 1975 Bollywoodfilm directed by Adurthi Subba Rao. It stars Rajendra Kumar, with Mala Sinha as his wife, and Hema Malini as his past love, who has re-entered his life to seek vengeance for abandoning her years ago.
The film is a remake of a Telugu film titled Pandanti Kapuram (1972).
In the annals of Hindi cinema, this movie, though not a commercial success, is unique for three reasons. First, it features music by Naushad, collaborating for the first time with the lyricist Anand Bakshi. Secondly, this picture has for the only time Kishore Kumar singing a song (in a duet with Asha Bhosle), for which music was composed by Naushad. Thirdly, the movie has the leading lady Hema Malini playing a rare negative role. Hema Malini's role, like in 'Lal Patthar', has negative shades to it, though in both movies, the character played by her becomes positive in the end.
Plot
Chandrashekhar (Rajendra Kumar), younger brother of Shankarlal (Om Prakash), marries an orphan named Laxmi (Mala Sinha) on insistence of Shankarlal's dying wife. Chandrashekhar and Laxmi soon have three children, a girl and two boys. Chandrashekhar's elder brother, Madhu (Ramesh Deo), returns home as the local District Collector, and marries wealthy Shobha (Seema Deo), daughter of Chamanlal (David), while Ravi is romancing his beautiful neighbor, Neelu. All is going well till when the mill where Chandrashekhar is employed goes on strike. The mill-owner sells the mill to Rani Padmavati, who first of all wants Chandrashekhar to be fired before she can consider the workers' demands. The workers go on an indefinite hunger strike until Chandrashekhar decides to quit his job and re-locates to the city to look for work. In the meantime, misunderstandings crop up between Shobha and the rest of the family, and she and Madhu leave the house to live with Chamanlal. Chandrashekhar is unable to find any employment as Rani Padma
Shalom, Bollywood: Resurrecting the Jewish heritage of Hindi cinema
May 28, 2017 08:38 AM IST
An Australian professor, Danny Ben-Moshe, is working on a documentary on the forgotten Indian Jews who left their mark on the world’s largest film industry
In February 2006, Florence Ezekiel Nadira died in a Mumbai hospital. That same week, thousands of miles away in Melbourne, Danny Ben-Moshe chanced upon her obituary. The interest it sparked would drive an 11-year search and culminate in a documentary on Hindi cinema’s once-lauded — and since forgotten — Jewish celebrities.
Ben-Moshe, an adjunct professor at Melbourne’s Deakin University, is also a documentary filmmaker and recipient of the Walkley Award, Australia’s top prize for documentaries. For his current baby, Shalom Bollywood: The Untold Story of Indian Cinema, he’s seeking $20,000 through an crowdfunding campaign on indiegogo.com.
“Given the times we live in today, Shalom Bollywood needs all the help it can get,” says Ben-Moshe. “As opposed to Hollywood, where Jews mostly worked behind the camera or as producers and played down their heritage in a then-increasingly anti-Semitic world, Indian Jews had no such compulsions. The name changes were more to induce familiarity with Indian audiences rather than religious anxiety.”
So Florence Ezekiel was popularly known as Nadira. She was a staple in most Raj Kapoor productions and is one of many Jewish actresses who feature in Shalom Bollywood.
Others include silent film doyenne Sulochana (real name Ruby Myers), Pramila (Esther Victoria Abraham, also the first Miss India), Arati Devi (Rachel Sofaer) and Rose (who went by only one name). There’s also David Abraham Cheulkar, one of Indian cinema’s most popular character actors ever, best known for Boot Polish (1954) and Gol Maal (1979), and Raj Kapoor’s publicist, Bunny Reuben.
“David was also a prominent presenter at the Filmfare awards,” says film columnist and historian Deepak Mahaan. “While Amee ramamurthy, priti. "All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s". The Modern Girl Around the World: Consumption, Modernity, and Globalization, edited by Alys Eve The Modern Girl around the World Research Group, Alys Eve Weinbaum, Lynn M. Thomas, Priti Ramamurthy, Uta G. Poiger, Madeleine Yue Dong and Tani E. Barlow, New York, USA: Duke University Press, 2008, pp. 147-173. https://doi.org/10.1515/9780822389194-008 ramamurthy, p. (2008). All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s. In A. The Modern Girl around the World Research Group, A. Weinbaum, L. Thomas, P. Ramamurthy, U. Poiger, M. Dong & T. Barlow (Ed.), The Modern Girl Around the World: Consumption, Modernity, and Globalization (pp. 147-173). New York, USA: Duke University Press. https://doi.org/10.1515/9780822389194-008 ramamurthy, p. 2008. All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s. In: The Modern Girl around the World Research Group, A., Weinbaum, A., Thomas, L., Ramamurthy, P., Poiger, U., Dong, M. and Barlow, T. ed. The Modern Girl Around the World: Consumption, Modernity, and Globalization. New York, USA: Duke University Press, pp. 147-173. https://doi.org/10.1515/9780822389194-008 ramamurthy, priti. "All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s" In The Modern Girl Around the World: Consumption, Modernity, and Globalization edited by Alys Eve The Modern Girl around the World Research Group, Alys Eve Weinbaum, Lynn M. Thomas, Priti Ramamurthy, Uta G. Poiger, Madeleine Yue Dong and Tani E. Barlow, 147-173. New York, USA: Duke University Press, 2008. https://doi.org/10.1515/9780822389194-008 ramamurthy p. All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s. In: The Modern Girl around the World Research Group A, Weinbaum A, Thomas L, Ramamurthy P, Poiger U, Dong M, Barlow T (ed.) The M .All-Consuming Nationalism: The Indian Modern Girl in the 1920s and 1930s