Dilip Kumar is Just a method Actor and not any King

It is really very sad that Film Actor Dilip Kumar has received the Padam Shri just before two days back or this year whereas the most junior in terms of age and experience and also level of acting has received the Padam Shri long long back . Anyway it is always better late then never 

But one thing which has been spreaded by the Media , film Critique film writers and Industry Itself that Dilip Kumar is a tragedy King . and after film Devdas he received that title though in many film he has played the beautiful role and left the impression as a Tragedy King , But if we analyze his films it look really very stupid on the part of Film industry , film Writers , Film Critique to call him as a Tragedy King as he has performed in many film but it dsnt mean he should be conferred this type of title very well whereas he has played very sensitive and pappy role of in Cinema . Like film Bairag , “ saare sahar me aapsa koi nahi , Koi Nahi , Gopi , gentleman Gentalman , Mai hu Baabu Gentleman . so by calculating hits , by calculating his roles , analyzing his ability he can be a good actor and not the tragedy King if we compare same time we can find GuruDutt most suitable for this title 

Before we proceed to highlight Dilip Kumar (born Muhammad Yusuf Khan on 11 December 1922) is an Indian film actor also known as Tragedy King] and described as "the ultimate method actor" by Satyajit Ray He debuted as an actor in the film Jwar Bhata in 1944 produced by Bombay Talkies. His career has spanned over six decades and with over 60 films. He starred in films of a variety of genres such as the romantic Andaz (1949), the swashbuckling Aan (1952), the dramatic Devdas (1955), the comical Azaad (1955), the historical Mughal-e-Azam (1960) and the social Ganga Jamuna (1961). 
In fact Bollywood is the place where some bunch of fools and stupid people rules , they have their own ideology , own gang and trend 

If one Director of a Boss gang call someone King , that person Becomes King , if a person play the role of Inspector whole life that actor play the role of Inspector in Indian Cinema , you will hardly find a person who after doing the certain type of role also get the chance to get to play different type of Role . Not Many . 
So in Summation we can say Dilip Kumar is a very Good Actor and not any King 

Raj Kapoor : A false God of Hindi Cinema

this is misfortune of this Country that even today after 65 years of freedom India is not fully litrated / educated though slow process still on even after the so many obstacle created by the feudal classes 

In this proud these feudal classes have shaped the some kind of ideology which will serve their purpose . same condition is in Cinema world Specially Hindi Cinema . some people had a influence on the financial and ideological influence they learned the art of film making and crafting and some how they managed to craft it little beautifully as compared to their contemporary 


It is all about Mr. raj Kapoor whom Indian Film Industry sorry Hindi Film Industry worship like the God of Cinema , But does Rajkapoor really deserved this honor and revere ?? 

Perhaps no Never . even though ghe has produced some good films based on Social problems like Prem Rog , on teenage love , Boby , on Love and selfishness of woman . Satyam Shivam Sundram on Inner beauty and ugliness . 

But in his all film he every time praised and glorified the caste system and feudalism despite the some part he criticize the some of its rituals . 

He was so influenced by the caste and birth he made a film DHARAM KARAM in which he claimed that person born in a certain environment caste and family will remain same as it was shown in film that son of a dacoit become scroundal and the son of singer and decent person higher caste of higher caste will never be influenced by bad conditions . 

Rajkapoor’s this Ideology was condemned and criticized by another film maker in the film Parvarish starring Amitabh Bachhan and Vinod Khanna

3 idiots , PK ,Munnabhai MBBS a Castist Politics in Hindi Cinema , Film Support Castism

 A film carry a message  an ideology  a politics or one can  say a conspiracy in overtone , undertone or in general way , in a comedy , in formula film , in art film or in a documentary  in any case film is never away or be detached from a message i.e a shaped ,sized, designed message .

In Hindi Cinema there are   very few films which has shown epical success , tremendously praised and loved  , 3ideots ,  PK ,Munnabhai MBBS  are the film made by a famous Director, producer  Raju Hirani  and Vidhu  Vind Chopra .

Apart from stolen Idea /story there are  one more thing which need to be discussed about these films  which reflect the ilfeeling of duo   that is Caste Angle .

In three idiots  Protagonist Ranchod Chhanchad  is in love with Priya  But  she is worried about her Surname as she dosnt like  surname Chhanchad  which give an indirect message to the girls to be conscious  about surname

Second thing in Munnabhai MBBS  where  Munnabhai  a  Brahman goon  who is Bhai / Don  by the circumstances otherwise he is  very nice , very human and good person  in terms of helping people  So in the film there was a scene where Don / Munna Bhai  has to hug a sweeper “”Hug/jadu Ki jhappi”

It was to show that  Munna Bhai  don’t see any difference among the people  But the question was can a Brahmin Hug a Dalit or vice versa   So Vidhu Vinod Chopra  change the Character  and took a Muslim who is working as a sweeper in the Hospital .  Hugging this Muslim would give very good message as Hindu hugged the Muslim and Munna Bhai / Brahmin don’t see any difference among the People  and  don’t give space to Caste based profession .

Now Come to PK where  Wrong Number campaign started by the people itself  one scene orthodox Muslim girl I.e Wearing Burqa protest the order of Muslim Clergies who oppose the girl education   Second thing a poor farmer is  giving jerk to Christian Missionary by saying “ if God would  want me to be christen he would give me Birth in  Christen Family only “  though the context  purpose of the scene was to oppose the people who play the game in the name of God . But the solution Director Give is totally based on faith , belief on caste system  as one should not change the caste  and it is the wish of God that one is born in one particular caste  . to show Christian missionary work  Director Could  have Show the Rich People , But he did Not as he feels Christian Missionary target only poor Low Caste Dalit People  Like RSS

Hindi Cinema Industry is the Biggest Industry in India  But people don’t know  they are drinking poison in the name of Entertainment . Indian Society is changing   and  Director  of these type want to stop its wheel 

Cinema from the North East finds a special place C K Nayak Senior Journalist

The International Film Festival of India (IFFI)   entered into its 46th Edition this year. Organized by the Directorate of Film Festivals, Ministry of Information & Broadcasting, in association with the State Government of Goa, the International Film Festival of India is an endeavour to understand the various social and cultural ethos through the eyes of cinema. Moving from the artistic centres of Asia to the cinematic arena of the world, the festival’s founding principles focus on discovery, promotion and support of filmmaking of all genres, thus bringing together the diversity of the forms, aesthetics and contents. The festival has gained huge popularity amongst the global cinema lovers.

IFFI is a mega event of the film world which also features special sections highlighting particular aspects/segments. After featuring in the last two IFFIs, the North-east section this year remained in prominent focus. The festival which this year saw a special retrospective on ace filmmaker Padma Sri Aribam Shyam Sharma of Manipur who is also recipient of 15 National Film Awards. Sharma, who was the Chairman of the Feature Jury of the Indian Panorama section, received a “Red Carpet” reception while coming to attend the screening of the “Imagi Ningthem” at the Maquinez Palace theatre. The film was being screened as a part of IFFI’s Focus on North East Cinema.

"I am delighted and feel honoured. It is a long journey from 1972 onwards to this stage,” said Syam Sharma while addressing the audience. His films, ImagiNingthem (My Son, My Precious) had received the ‘Grand Prix’ at the Festival des Trios Continents in 1982 and Ishanou (The Chosen One) was the Official Selection (Un Certain Regard) for the Cannes Film Festival, 1991 while the British Film Institute declared his film Sangai - the Dancing Deer of Manipur as the Outstanding Film of the Year 1989.

There were 14 films in the retrospective- Orchids of Manipur, Imagi Ningthem,Yelhou Jagoi Ishanou (Cannes selection),Olangthagee Wangmadasoo Paari,Manipuri,Pony Koro Koshii - the Gate The Deer, on the Lake The Monpas of Arunachal Pradesh Meitei, Pung Lai Haraoba and The Marams. The IFFI this time introduced a unique section featuring next generation film-makers from the North East. In the second section, films of the new generation filmmakers from the North East including ten films were showcased.

The films are- M Maniram’s “Xandhikhyon” (Assamese) from Assam • Suraj Duara’s “Orong” (Rabha) from Assam • Jadumani Dutta’s “Pani” (Assamese) from Assam • Sange Dorjee Thongdok’s “Crossing Bridges” (Sherdukpen) from Arunachal Pradesh • Napolean RZ Thanga’s “MNF” (English/Mizo) from Mizoram • Kivini Shohe’s “Oh My Soul” (English/Ao) from Nagaland • Wanglen Khundongbam’s  “Pallepfam” (Manipuri) from Manipur• Dominic Meham Sangma’s “Rong’kuchak” (Garo) from Meghalaya • Tiainla Jamir’s “The Honey Hunter and Maker” (English) from Nagaland and Sanjib Das’ “On a Roll” (Tripura).

North East also came into focus with the Women Director’s section having Bobby Sarma Barua’s “Adamya” (Assamese). Homage was paid to Indra Bania (Halodhiya choraye Baodhan Khai) and Bidyut Chakravarty Dwaar. Directed by Nilanjan Datta, The Head Hunter Arunachali film was screened in the Indian Panorama, along with Dau Huduni Methai, a Bodo film directed by Manju Bora. These two films were among the 26 films in the selected feature category of the Indian Panorama from the North East. In the Non-Feature Film category, English, Ao Nagamese film Every Time You Tell a Story directed by Ruchika Negi and Amit Mahanti and Phum Shang a Manipuri film directed by Haobam Paban Kumar were selected.

Informatively, Utpal Borpujari from the North East, a renowned film Critic and now into film making  curated the section this year like in the previous two years. Winner of the Swarna Kamal (Golden Lotus) Award for the Best Film Critic at the 50th National Film Awards of India, 2003 Borpujari has many national and international cine awards to his credit.

The legendary filmmaker Shyam Sharma rightly brought out the paradox within the film industry on its regional bias. “Are Indian film only the films made in Hindi or Bollywood and What is after all an Indian Film?”, Sharma questioned , “When I represent the country in many international film festivals, I am called an Indian Filmmaker, but here in India I am called a Regional Filmmaker. Sometimes we get offended.” “We are small but seriously and honestly film makers,” he quipped.

During the inauguration ceremony, Sharma, Manju Borah along with emerging directors M Maniram and Jadumani Dutta were felicitated by Festival Director, C Senthil Rajan and CEO, Entertainment Society of Goa (ESG) , Ameya Abhyankar.

"The North-east cinema is growing by leaps and bounds and with international platforms like IFFI, I am confident that more films from the region would reach out to a large audience," Sharma said. Borah added it was a positive thing that North-east cinema is being focused at IFFI and it has got a special section at IFFI 2015.

Speaking at a press conference later, Aribam Shyam Sharma and other Directors explained the bottlenecks being faced by the cinema from the North-east. Cost is a crucial factor in production of North east films and financial help is required in this regard for the sustainability of the North East cinema, said Sharma. Government can play and should play a big role in giving financial support to the directors from the north-east, elaborated Aribam. Aribam recollected that some of his best works were financially supported by Doordarshan.

"The North-east film industry is lagging behind in terms of number of production of films but with the screening of films in the festival will expose the audience to the culture and ethnic value of the region." The emerging filmmakers Maniram and Dutta shared their experience at the festival and interacted with media and audience.

Talking about his film, Maniram said, "It is an honour that my film is opening the special North East section. The film festival has a wide reach in terms of national and international audience and I see it as a lifetime opportunity for me to showcase my work to diverse audience, he said.

In a curtain raiser press conference in New Delhi earlier, the Union Information and Broadcasting Minister Arun Jaitley had rightly said that ‘Focus on North East Cinema’ has emerged as a great platform to showcase the best of films and film-makers from the region to the world. Mr Jaitley said that International Film Festival of India held a special significance and had become a global brand in the world of cinema. It promoted excellence and provided an opportunity to showcase the best domestic and international talent.