Ten Classics is an in-depth look into the intricacies that went into making of ten legendary Hindi movies−milestones in the history of Indian cinema. Surprising and intriguing facts, the filmmakers’ inspiration behind making them, the conceptualization and actual filming, dotted with anecdotes, incidents, events and trivia surrounding the process of making each of the films, are narrated as recalled by the actual people involved, or someone closely associated with these films. Painstakingly researched and fascinating to read, the book sheds light on factors that make these ten films the classics that they are today. A film journalist for over 23 years, Authors familiarity with the craft of filmmaking adds depth and colour to the perspective. Interesting facts like: Why Mughal-e-Azam took 16 long years to be completed and who the mystery financier was, who invested his trust and money in it, even though the delay had sent its budget skyrocketing; how Amitabh Bachchan bagged the role of Dr Bhaskar Banerjee in Anand, even though Zanjeer, which established him as an actor to reckon with, was yet to release...and many more curious questions like these are answered here. The author has selected one groundbreaking film made by each of the ten legendary directors that she had chosen to showcase. • Do Bigha Zamin • Mother India • Pyaasa • Do Aankhen Barah Haath • Mughal-e-Azam • Guide • Teesri Kasam • Pakeezah • Anand • Umrao Jaan

SD, or Sachin Dev Burman, the man who gave Hindi film music its grammar, is perhaps the most enigmatic figure in Indian cine history. As the young scion of the Tripura royal family, SD struck out into the world of cinema and popular music. The early years were difficult, professionally and personally. His unconventional choice of profession and marriage to a 'commoner' caused his family to ostracize him, and his formal training was not enough to stave off rejections. This well-researched biography is both a tribute to a great artist, and a deep inquiry into what made his music great. Going well beyond merely listing his greatest songs, it explores hitherto unknown stories about the creation of each gem: 'Mera sundar sapna beet gaya' (Do Bhai, 1948); 'Thandi hawaein' (Naujawan, 1951); 'Yeh raat yeh chandni' (Jaal, 1952); 'Babu samjho ishaare' (Chalti Ka Naam Gaadi, 1958); 'Meet na mila re mann ka' (Abhiman, 1973), and more. The book is packed with insights into SD's life, work and his astute understanding of Hindi cinema. Despite the fact that he was an outsider who spoke little Hindi or Urdu, SD was the man who introduced Sahir Ludhianvi to the world, and the one who gave Kishore Kumar's musical brilliance its due. His readiness to adapt to modern sounds and techniques, his unwavering faith in Lata Mangeshkar's virtuosity, his closeness to Dev Anand that was seen as nepotism, charges of plagiarism-S.D. Burman: The Prince-Musician provides unmatched insight into both the genius of one of India's most significant composers and a crucial aspect of its glorious cinematic history. An essential addition to every film music aficionado's library.

Although it is a somewhat underrepresented form of literature in popular sensibility, poetry finds relevance in the modern world through its appearance in cinema. Film adaptations of poems and depictions of poets on the screen date back to the silent era and continue to the present day. However, there have been few serious studies of how cinema has represented the world of poetic expression. In Verse, Voice, and Vision: Poetry and the Cinema, Marlisa Santos has compiled essays that explore the relationship between one of the world’s oldest art forms—poetry—and one of the world’s newest art forms—film. The book is divided into three sections: poets on film, poetry as film, and film as poetry. Topics include analyses of poet biopics (such as Mrs. Parker and the Vicious Circle), filmic representations of poets or poetic studies (including Pyaasa), films inspired by particular poems (such as Splendor in the Grass), and the avant-garde phenomenon of the “poem-film” (such as The Tree of Life). Poetic influences considered in this volume range from William Shakespeare to e.e. cummings, and the films discussed hail from several different countries, including the U.S., the U.K., India, China, Italy, and Argentina. Featuring a great diversity in the age, genres, and countries of origin of the films, these essays provide an in-depth look at how poetry has been interpreted on film over the years. By addressing a heretofore unexamined aspect of film studies, Verse, Voice, and Vision will appeal to fans and scholars of both literature and cinema.

Guru Dutt’s filmography has some names which have long been considered as some of the best films to have ever been made in India. His masterpiece Pyaasa (1957) was featured in TIME magazine's All-Time 100 Movies list in 2005. His films are still celebrated and revered by viewers, critics and students of cinema the world over, not only for their technical brilliance but also for the eternal romanticism and their profound take on the emptiness of life and the shallowness of material success. He was Indian cinema’s Don Juan and Nietzsche rolled into one. But while much has been said and written on the film-maker and his art, little is known about his life behind the screens. This richly layered account takes a deep dive into the journey of a lonesome, troubled genius who was endlessly being pulled in contrary directions throughout his life. A child prodigy, who actually began as a dancer learning from the great Uday Shankar, an unconventional film-maker who desired commercial success without ever compromising on artistic satisfaction, a self-made entrepreneur who hated numbers yet single-handedly ran a film studio juggling the roles of a producer, director, actor, financier — all this while struggling silently with a deeply troubled personal life, at the centre of which was his tumultuous marriage with Geeta Dutt. Guru had it all — love, family, money, fame and validation from his audience. His untimely death by suicide, that too after multiple failed attempts, had shocked the entire film industry. But what led to that fateful night when he tipped his hat and said his final goodbye? Best-selling Bollywood biographer Yasser Usman explores the man and the myth Guru Dutt in this definitive biography of a nonconformist star, uncovering the extraordinary lives of the rich and the famous as well the incredible toll it takes on the emotional and mental health of a human being. With cameos from close friends and colleagues Dev Anand, Waheeda Rehman, Johnny Walker, S.D. Burman and most significantly Dutt’s sister, noted painter Lalitha Lajmi, a short but compassionate, ambitious and ultimately tragic life reveals itself in the pages of this book. This is a gripping, meticulously researched and moving portrait of an unfinished life — a tale of unrequited love, unresolved relationships and unmatched cinematic talent.

In A Very Old Machine, Sudhir Mahadevan shows how Indian cinema's many origins in the technologies and practices of the nineteenth century continue to play a vital and broad function in its twenty-first-century present. He proposes that there has never been a singular cinema in India; rather, Indian cinema has been a multifaceted phenomenon that was (and is) understood, experienced, and present in everyday life in myriad ways. Employing methods of media archaeology, close textual analysis, archival research, and cultural theory, Mahadevan digs into the history of photography, print media, practices of piracy and showmanship, and contemporary everyday imaginations of the cinema to offer an understanding of how the cinema came to be such a dominant force of culture in India. The result is an open-ended and innovative account of Indian cinema's "many origins."

A spectacular collection that celebrates Bollywood’s most enduring superstars Hindi cinema has wielded a hypnotic charm over viewers for close to a century, with its melodious music, colourful drama and lively plotlines. But at the heart of its mystique is the galaxy of stars who continue to mesmerize audiences. Bollywood’s Top 20 is a definitive collection of original essays, paying tribute to the biggest stars of all time—from Ashok Kumar, Dilip Kumar, Dev Anand, Raj Kapoor, Nargis and Madhubala to Rajesh Khanna, Amitabh Bachchan, Aamir Khan, Shah Rukh Khan, Kajol and Kareena Kapoor. Each piece offers unique insights into the struggles and triumphs, downfalls and scandals, and the inscrutable X factor of these talented actors that turned them into demigods and divas.

The years between Indian independence (1947) and the dominance of colour cinema (early 1960s) saw the emergence and fruition of a distinct, confident, and nuanced black and white aesthetic in Hindi mainstream cinema. Shadow Craft is an ardent and immersive study of cinematic craftings that emblematise the oeuvres of Kamal Amrohi, Raj Kapoor, Nutan, Bimal Roy, Guru Dutt, and Abrar Alvi. Films such as Aag (1948), Mahal (1949), Seema (1955), Pyaasa (1957), Sujata (1959), Kagaz Ke Phool (1959), Sahib Bibi Aur Ghulam (1962), Bandini (1963) remain formative to the visual psyche of generations of South Asian viewers. This enduring visual language demonstrates a minutely attuned and sympathetic camera, evocative pools of shadow, affect-rich atmospheric composition, and the visual autonomy of performance. With seventy five rare and curated images from the archives, Shadow Craft offers for the first time a consolidated and intimate journey through this pioneering black and white cinema aesthetic at its most expressive and climactic moment.

From the Man Booker–short-listed author of The Northern Clemency, a family and a nation—Bangladesh—are forged through storytelling, conversation, jokes, feuds, blood, songs, bravery, and sacrifice In late 1970 a boy named Saadi is born into a large, defiantly Bengali family in eastern Pakistan. Months later the country splits in two, in what will become one of the most ferocious twentieth-century civil wars. Saadi tells the story of his childhood and of the ingenious ways his family survived the violence and conflicts: from his aunts stuffing him endlessly with sweets to stop marauding soldiers from hearing him cry, to street games based on American television shows; from the basement compartment his grandfather built to hide his treasured books, pictures, and music until after the war, to the daily gossip about each and every one of the relatives, servants, and neighbors. Scenes from Early Life is a beautifully detailed novel of profound empathy—an attempt to capture the collective memory of a family and a country. At once heartbreaking and surprisingly funny, Scenes from Early Life is based on the life of Philip Hensher's husband, and as such it is at once a memoir, a novel, and a history. As this remarkable writer brings the past to life, we come to feel, vividly and viscerally, that Saadi's family—and its struggles and triumphs—are our own. Scenes form Early Life is the winner of the 2013 Royal Society of Literature Ondaatje Prize for a distinguished work of fiction, non-fiction or poetry, evoking the spirit of a place.

This book is an anthology of essays, poems and one play by Chattopadhyay culled over a decade of writing. It delves into popular culture, literature, language, society, cinema, spirituality and matters of faith. It presents an alternate view on contemporary life and customs seen through the prism of his personal experience. The essential spirit is one of enquiry, and it deliberately steers clear of dogma. The text makes pertinent observations based on experience, study and interpretation of phenomena but does not propound any absolute theory. It is an informed Indian’s point of view in 2019. The book is reader-friendly with dollops of humor. Yet the discerning reader can also find insights from the subtly layered subtexts that propound the subaltern thought, albeit in a curious way. This book is essentially about myriad Indian thoughts, the mosaic of a complex civilization and an equally complex thought, constantly insightful and often bathetic and self-deprecatory. The nebula of Sudipto’s The Day I Stopped Lying is immense and immeasurable, forever expanding its arms in all directions… - Brahmanand S Siingh, National Award-winning filmmaker, author and speaker, based out of Mumbai. I’ve always wanted him to go, beyond movies into the world of literature because that where he truly belongs. I am so glad and proud that he has finally taken the plunge with his outstanding debut. - Sanjay Gupta, the veteran film-maker with superhits like Kaante, Zinda, Musafir and Kaabil to his credit

The Lure of the Image shows how a close study of camera movement challenges key assumptions underlying a wide range of debates within cinema and media studies. Highlighting the shifting intersection of point of view and camera position, Daniel Morgan draws on a range of theoretical arguments and detailed analyses across cinemas to reimagine the relation between spectator and camera—and between camera and film world. With sustained accounts of how the camera moves in films by Fritz Lang, Guru Dutt, Max Ophuls, and Terrence Malick and in contemporary digital technologies, The Lure of the Image exposes the persistent fantasy that we move with the camera within the world of the film and examines the ways that filmmakers have exploited this fantasy. In so doing, Morgan provides a more flexible account of camera movement, one that enables a fuller understanding of the political and ethical stakes entailed by this key component of cinematic style.