4/14/2020 Sara Akash Tv Serial Cast
15 TV Actresses Who Are Not So Famous Despite Working For More Than 10 Years! They are talented and can also be seen in most TV serials, but somehow are yet to arrive. The Sara Akash girl.
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Sensorium and Weavers Studio Centre for the Arts is presenting a week-long archival exhibition of film stills and film memorabilia of the legendary director, title ‘Basu Chatterji, A Manzil of Memories’.A political cartoonist at Blitz, one of India’s biggest weeklies in the early 1960s, Basudeb Chatterji or ‘Basu Chatterji’ stepped into the world of celluloid as assistant director to Basu Bhattacharya for the latter’s debut film Teesri Kasam in 1965. Four years later he made his first film Sara Akash, starting off on an illustrious journey.Interestingly, despite being a flag bearer of the Indian New Wave cinema movement, Basu Chatterji made films that were in a genre of their own – the stories were about characters drawn from everyday life and yet the films did have songs woven into the story (unlike the usual Hindi film tradition of fitting in some songs more as a musical relief).
The narrative structure was simple and uncomplicated. Yet his films touched a chord with the audience so deeply that they are still remembered, cherished and celebrated.‘ Basu Chatterji, A Manzil of Memories’Sensorium and Weavers Studio Centre for the Arts is presenting an archival exhibition of film stills and film memorabilia of the legendary director, title ‘Basu Chatterji, A Manzil of Memories’.The inauguration of the exhibition will be held on 26 April 2014, Saturday, at 6:00 p.m at Weavers Studio Centre for the Arts, Kolkata. It will witness the presence of cinema luminaries such as filmmakers Goutam Ghosh and Sandip Ray, writer Bani Basu, singer Sabita Chowdhury (wife of Salil Chowdhury who scored music for several Basu Chatterji films) and artist Shuvaprasanna. Actor Prosenjit Chatterji will be present on 27 April, Sunday.Conceived and curated by art presenter and independent curator Sounak Chacraverti, the exhibition will showcase rare film stills, posters, booklets and other memorabilia of Basu Chatterji’s films. Says Sounak, “I had been chasing this as a dream since 2009 to do an exhibition on Basu Chatteji, when I first discussed the idea over coffee with Basu Chatterji’s daughter Rupali Guha in Bandra. It has taken 5 years to give it a final shape. But every act comes with a date.
We have grown up watching his films and I am delighted the dream is finally close to realization.”. Hindi booklet of Basu Chatterjee’s Baton Baton MeinWay back in 2008, Sounak had curated Sensorium’s debut exhibition – a unique and first-of-its-kind exhibition on photographs, films stills and memorabilia on film maestro in Kolkata’s then newly opened Indian Council for Cultural Relations ICCR. The huge success of the exhibition, which Sounak subsequently took to Pune’s Film and Television Institute of India (FTII), set him on course for planning an exhibition on Basu Chatterji.There had been multiple exhibitions in Kolkata on filmmaker Satyajit Ray and Bengal’s king of hearts Uttam Kumar. After the success of the Tapan Sinha exhibition, Sounak himself had received offers of hosting exhibitions on Kanan Devi, the legendary actress of the 1930s and 40s, sitar maestro Pt. Ravi Shankar and even one on Rabindranath Tagore’s association with cinema.But he says, curating an exhibition involves collecting rare memorabilia which is not always accessible.
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And so he waited till he had roped in film historians and collectors such as SMM Ausaja and Basu Chatterji’s daughter Rupali Guha to conceptualize an exhibition on Basu Chatterji. The title ‘A Manzil of Memories’ includes the name of Chatterji’s well-known film Manzil, the Amitabh Bachchan-Moushumi Chattejee starrer.Rare posters of Basu Chatterji’s films mounted on ceramic tilesFor the first time in India, rare posters and stills from Basu Chatterji’s films transferred on (“limited edition”) ceramic tiles, produced by Art Inn, will be launched at the exhibition. The Parsi community served as the social milieu for Khatta MeethaBasu Chatterji cast Amitabh Bachchan in a tricky role of an ambitious entrepreneur who lies about his social status to woo a rich girl in Manzil, an adaptation of Mrinal Sen’s Bengali film Akash Kusum.Jeetendra and Neetu Singh starred in the light romance Priyatama which looked at challenges of a domestic life in Mumbai.and Rupali Guha would be exhibiting collections of rare film stills and posters of Basu Chatterji’s films. Also on view will be 16 original vinyl LPs of the films. Among the contributors are Supratik Roy, Mahiruha Mukherjee, Bipinchandra Naria and National Film Development Corporation (NFDC) who have lent posters, stills and LP covers for the show.Says, “ I have lent some of his posters stills and LP covers for the exhibition. My favorite being the stunning poster of Rajnigandha.” A turntable will also be available at the show for visitors to play the LP record of their choice since the records are in good working condition.One of the rare exhibits on view will be a poster of Sara Akash, the film that had hailed the arrival of a filmmaker with a difference.
And Basu Chatterji consciously chose to remain that way, throughout his rich repertoire of films.Transporting literature onto celluloidBasu Chatterji chose stories that were either based on celebrated literary works, or on the everyday trials and tribulations of the ordinary people. The characters in his films were not larger than life, in all probability you will find them living next door, working in your office, waiting with you at the bus stop or humming a tune as you ride your two-wheeler to office.Says SMM Ausaja, “Basuda’s films were identifiable. The masala action films were larger than life fantasy stories. While his films handled life as lived by millions in teeming metros.”If we look at the literary interpretations, we find Sarat Chandra Chattopadhyay to be a regular favourite. Basu Chatterji made three films based on Sarat Chandra’s novellas – Apne Paraye (based on Nishkriti), Swami (based on the novel with the same name) and Zevar (based on Darpachurna).While Apne Paraye looked at how the bonhomie of a large joint family can be broken by just a couple of narrow mindsets injecting friction into relationships, Swami explored the anguish of a young rustic girl who is pushed into marriage with a mature and placid middle-aged man and is forced to ignore her love for her suave, town-educated childhood sweetheart. Both these films had Girish Karnad and Shabana Azmi in stellar roles.Apart from Sarat Chandra, Basu Chatterji picked stories from celebrated short story writer Subodh Ghosh and Prabhat Kumar Mukhopadhyay, among others.
Subodh Ghosh’s short story Chittochawkor was adapted into Chitchor, a film still watched and admired by movie buffs for its simplicity, innocence, spontaneous performances by Amol Palekar, Zarina Wahab and Vijayendra Ghatge and its delectable music score by Ravindra Jain. Basu Chatterji directing Hema Malini on the sets of RatnadeepGoing through his diary, he discovers that this man, a scion of a rich zamindar family, had been returning to his family after years of self-imposed exile and he decides to impersonate the dead man to enjoy his riches.
Hema Malini, with her classical beauty, perfectly matched the character of the abandoned and frustrated wife of the zamindar who swallows her grievances towards her truant husband and discovers a new affection for him, unaware that he is an imposter.Exploring the beauty in human relationshipsRatnadeep (1979), Piya Ka Ghar (1972), Jeena Yahan, Hamari Bahu Alka (1982) – in all these films Basu Chatterji explored the various nuances of the man-woman relationship in the context of the larger Indian extended family. Piya Ka Ghar probed into how a newly-wed couple must balance its still fledgling relationship in harmony with a large joint family clustered in a small one-room tenement in the city of Mumbai, where paper-thin wooden partitions serve as rooms and nothing can be said in privacy.Movie still of Piya Ka Ghar.“Based on a Marathi play, it is one of the most poignant films on the space problem in Mumbai. Whenever you have a retrospective on Jaya Bhaduri, this movie must feature. It is one of her best,” says SounakPiya Ka Ghar is a remake of Raja Thakur’s Marathi film Mumbaicha Javai.Piya Ka Ghar probed into how a newly-wed couple must balance its still fledgling relationship in harmony with a large joint family clustered in a small one-room tenement in the city of Mumbai, where paper-thin wooden partitions serve as rooms and nothing can be said in privacy.“Based on a Marathi play, it is one of the most poignant films on the space problem in Mumbai. Whenever you have a retrospective on Jaya Bhaduri, this movie must feature.
It is one of her best,” says Sounak. The haunting number “Yeh jeevan hai” is one of the best compositions of Laxmikant-Pyarelal and certainly one of Kishore Kumar’s best renditions. Poster of Manzil mounted on ceramic tile and framedManpasand was adapted from the celebrated George Bernard Shaw play Pygmalion. Of course, the play had been adapted in cinema multiple times, including the award-winning Audrey Hepburn-Rex Harrison starrer My Fair Lady. But Basu Chatterji gave it his own Indian touch, casting the relatively new Tina Munim against Dev Anand.Shaukeen (1982) did have an adult theme but was a rib-tickling comedy about three young-at-heart old men looking for some flirtatious fun in their advancing years.Looking at the darker side of life.
The launch of Filmunit’s Manpasand on 26th August 1978 at Mehboob Studios with the Mohd Rafi-Tina Munim duet ‘Logon ka dil agar jeetna ho jo tumko.’ Amit Khanna produced the film and wrote the lyrics. The film had outstanding music by Rajesh RoshanAfter all these breezy films, Basu Chatterji took a sharp turn for the serious cinema, picking up stories that looked at the darker side of life. Sheesha, Kamla Ki Maut (1990), Triyacharittra (1997) and Ek Ruka Hua Faisla (1986) were all grim films. Sheesha had the most unusual star cast with Mithun Chakraborty, Moon Moon Sen and dancer Mallika Sarabhai caught in a web of doubts and allegations.Ek Ruka Hua Faisla was an adaptation of the award winning 12 Angry Men (1957), an American drama that exposed the prejudices in the American legal system. Basu Chatterji transplanted it into the Indian social context, etching out the characters as reflections of the prevalent cynicism towards the Indian legal system. Triyacharitra is a must-watch Basu Chatterji film for the serious audience.Making TV mirror burning social issuesBasu Chatterji’s foray into TV serials was just as path-breaking as his films.
TV serials made by Basu Chatterji reflect the same kind of variety that he explored in cinema. The iconic TV serial Rajni became a mirror to the ills plaguing the ordinary man in society and the character played brilliantly by Priya Tendulkar became a household name.
The serial touched the pulse of the audience and viewers even wrote to Rajni to focus on particular problems.The political satire Kakkaji Kahein, where Om Puri gave a stellar performance, was a hilarious tongue-in-cheek look at the murky world of Indian politics. Byomkesh Bakshi, the detective serial, introduced the talented Rajit Kapoor as a dhoti-clad detective who uses his brains more than brawns to crack mysterious crimes. And then Darpan was a delightful episodic serial built around celebrated short stories from Indian literature.Basu Chatterji’s vast repertoire of films has an everlasting quality that is not likely to age with time. Filmmaking norms have changed and technology has carved out a bigger role for itself in cinema today. But these films with their true-to-life stories, realistic characters and hummable music are going to be remembered as they connect directly with the lives of ordinary people.Basu Chatterji’s films are available on and.More to read on Learning and Creativity. We have a small favour to ask. More people are reading and supporting our creative, informative and analytical posts than ever before.
And yes, we are firmly set on the path we chose when we started our twin magazines Learning and Creativity and Silhouette Magazine (LnC-Silhouette) will be accessible to all, across the world.We are editorially independent, not funded, supported or influenced by investors or agencies. We try to keep our content easily readable in an undisturbed interface, not swamped by advertisements and pop-ups.
Our mission is to provide a platform you can call your own creative outlet and everyone from renowned authors and critics to budding bloggers, artists, teen writers and kids love to build their own space here and share with the world.When readers like you contribute, big or small, it goes directly into funding our initiative. Your support helps us to keep striving towards making our content better. And yes, we need to build on this year after year. Editor in Chief,; Consulting Editor, As a professional business journalist, Antara spent 14 years covering business stories but alongside kept alive her passion for writing on cinema.
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She writes extensively on the changing trends of music, direction and filmmaking in cinema and her articles aim to provide well-researched, complete and accurate information on the legends of cinema for the movie enthusiast. She is also the Founder-Editor of, a New Delhi-based publishing house and recently edited and published, the biography of SD Burman written by HQ Chowdhury. Her articles have also been published in Dearcinema.com and Du-kool.com.
Antara is Editor-Creative Director of. Silhouette Magazine publishes articles, reviews, critiques and interviews and other cinema-related works, artworks, photographs and other publishable material contributed by writers and critics as a friendly gesture. The opinions shared by the writers and critics are their personal opinion and does not reflect the opinion of Silhouette Magazine. Images on Silhouette Magazine are posted for the sole purpose of academic interest and to illuminate the text. The images and screen shots are the copyright of their original owners. Silhouette Magazine strives to provide attribution wherever possible.
Images used in the posts have been procured from the contributors themselves, public forums, social networking sites, publicity releases, YouTube, Pixabay and Creative Commons. Please inform us if any of the images used here are copyrighted, we will pull those images down. Editor in Chief,; Consulting Editor, As a professional business journalist, Antara spent 14 years covering business stories but alongside kept alive her passion for writing on cinema. She writes extensively on the changing trends of music, direction and filmmaking in cinema and her articles aim to provide well-researched, complete and accurate information on the legends of cinema for the movie enthusiast.
She is also the Founder-Editor of, a New Delhi-based publishing house and recently edited and published, the biography of SD Burman written by HQ Chowdhury. Her articles have also been published in Dearcinema.com and Du-kool.com. Antara is Editor-Creative Director of.
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