Nishi Padma This Bengali film is directed by Aravinda Mukherjee and is an adaptation of the short story named ‘Hinger Kochuri' written by renowned writer Bibhutibhushan Bandopadhyay. The film starred the superstar of that era, Uttam Kumar and the much-talented actress, Sabitri Chatterjee. The music of the movie by Nachiketa Ghosh was a notable one and bagged several awards for it. It was later remade in Hindi by Shakti Shamanta as "Amar Prem". Well, the remake needs no introduction in the minds of Hindi film lovers as it is one of those classic Hindi films starring yesteryear superstar Rajesh Khanna.
The first chapter begins with Drishya meeting Palpasa, an American- Nepali concealing a dream of making a documentary in Goa. They both leave without exchange of their contact number. But the sparks between them are shared. Palpasa’s eyes description as fresh, juicy was in the first meeting of them. Later Drishya writes a letter to Palpasa along her grandma, saying “The happiest day of my life is when I saw you dancing.
After this controversial statement some conservative Indians try to kill him but he is saved. Later on, reactionary Hindus threaten to kill him if he supports the Pakistan-India friendship. Also the movie shows the unbearable and severe conditions of Pakistani prisoners who are arrested due to taking the name of Pakistan. Overall, the movie presents a wish for peace on both sides of the borders and highlights that few miscreants within India want
Another concern raised from the video is the notion that bhangra has turned into a commodity, having moved far beyond its original location. However, it should not be dismissed that this could actually be a folk revival and cultivation of modern music, making it a hybrid. Bollywood has become transnational, and the film as a whole represents a level of globalization. The song “Pretty Woman” is a good example of Bollywood cinema that has not repelled influences of the West, not resented them, but embraced and included them. This is how bhangra appeals to a diverse audience, not confining it to one culture.
In order to understand this representation of women, one must first know the history and general themes prevalent in the Bollywood film industry, as well as the role of women in traditional Indian culture, and how both the traditional and unconventional Indian women are portrayed in films. Talking specifically about movies that centred on women, most early Indian films in the pre-independence era explored traditional culture, folk culture and mythology. These would employ foreign actresses because Indian women were hesitant to expose themselves to the camera. Though women were ubiquitous in popular cinema, they were inevitably denied depth or dimension. This could be attributed to the fact that the audience was pre dominantly male and so were the filmmakers and technicians.
Some scholars are of opinion that it is a different work which is lost. Sridhara (1000AD) wrote an elaborate commentary on padārthadharma samgraha called Nyāya Kandali (113 śak year) Udayana (1000AD) wrote a commentary on it called Kiraṇāvali Vyoma-Sivacarya (1000AD) wrote a commentary on it called Vyomavali, which is partly published. It is probably older than the two commentaries mentioned above or at least equally old Padmanābhamiśra (1600AD) wrote a commentary on it called setu jagadisa. Tarkalankāra (1700AD) wrote a commentary on it called Sukti. Vardhamāna (1400AD) Gangeśaś son wrote a commentary on Kiraṇāvali called Kraṇāvali Bhāskara Bhatta.
Nowadays, movies portray stories in which either a male or a female character can assume the leading role. Unfortunately, this was not the case on the year 1975 as most movies and TV shows targeted a masculine audience. The Bollywood film, Jai Santoshi Maa, might be considered as an early representation, in media, of feminism. There are many factors that might influence one’s decision in categorizing this film as feminist. Some of the elements present in the movie, which confirm the previous claim, are: relatable characters, the establishment of a role model for women to see as their guide and symbol of Female empowerment.
Most watch Nepali Movies ever Balidan(1996) Coordinated by a standout amongst the best Nepali film chief Tulsi Ghimire, the movieBalidan is one of the effective motion pictures of now is the ideal time. The film featured a portion of the outstanding and veteran on-screen characters like Nir Shah, Haribansa Acharya, Madan Krishna Shrestha and Ram Krishna Bamjanin the lead parts. The innovation of the story and it being founded on the general population 's development for majority rule government was additionally one of the numerous purposes behind its prosperity. The story being identified with the Nepali society furthermore an equitable storyline made it unique in relation to a large portion of the other Nepali films, particularly of that time, along these lines, the motion picture was cherished by mass too. The story depicts the Nepali
His poems, novels and short stories are widely read throughout Bangladesh and India. Some of his famous short stories are Kabuliwala and The Ruined Nest. On the other hand, R.K Narayan is most known as one of the first leading Indian writers in English. He is an eminent figure in Indian literature due to his simple, unpretentious styles of writing. His works have given people outside Indian nations to peek into the cultures which revolve a fictitious South Indian town, Malgudi.
During the 1980s, there was the beginning of the action era; this is an era that brought a lot of changes. The Bollywood Hindi films heroines have lost their strength and space to the hero. According to R. Agarwal (2014), she stated that, “She was reduced to being a glamorous component of the films, dancing around trees, being kidnapped, raped or killed.” In the recent history of Bollywood Hindi films, the body became an essential part of a success of an actress. To make their bodies fit, and be attractive they are spending lots of time in gyms and in beauty parlor. Actresses deal with the villains by herself, defeating them for example- in film Baaghi (2016) where Shraddha Kapoor is performing martial arts and is fighting for her freedom.