The Uttam Kumar mania, or craze, has not waned even after forty-four years since his demise in 1980. Dubbed at one time the “Mahanayak”, his presence is still felt in the hearts of cinephiles in Bengal even in this new millennium. His film premiere, Oti Uttam, directed by Srijit Mukherji, was screened on Wednesday, 24 March.
Oud and its exotic aromas have enchanted humanity for aeons. It’s today, back with a bang.
One of the biggest follies of Indian cinema is its tendency to stretch—and stretch beyond. Director Blessy's Aadujeevitham (The Goat Life) in Malayalam (although it is also available in Tamil, Hindi, etc.) is a classic example of this.
The aesthetically designed studio-theatre of Chidakash Kalalaya, an Ashram-like institution founded by the Sangeet Natak Akademi Award recipient scholar-guru Piyal Bhattacharya, is a haven of research, restoration, and practical application of music, dance, and drama as scripted in Bharatmuni's Natyashastra and its precious commentaries by scholars of yore.
We have seen films in which stories are narrated through songs. The classical examples of this are Hamilton, Cats and Tommy, among others. There are others, like My Fair Lady, that are not completely devoid of dialogue.
City dwellers were enthralled by the creative dance drama that was aesthetically executed at a soiree recently.
A new show aims to explain a few conspiracy theories related to disappearances in the Bermuda Triangle.
Although one of the most powerful writers in Indian literature, her works have seldom made it to big screen, barring a few notable exceptions.
Actor, director and activist, Nandita Das is a voice to reckon with. In this freewheeling conversation, she speaks on what has shaped her aesthetic sensibilities and the overt bias against dark skin in our culture and cinema, among a plethora of other issues.
Both the brothers stood with each other in difficult times and have amazing bonding.
