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- Actor
- Director
- Additional Crew
Hugh Keays-Byrne was born in 1947 in Kashmir, India. In 1973, he moved to Australia, where he began an acting career. He is a well respected theater, film and TV actor in Australia. Hugh became noticed after roles in Stone (1974), Mad Dog Morgan (1976) and The Trespassers (1976). He landed his first leading role in TV film The Death Train (1978), and year later he became internationally well-known for his role of Toecutter in highly praised apocalyptic SF film Mad Max (1979).
Hugh has continued to work on TV, usually in smaller parts, and he is known for his performance as Mr. Stubb in the mini-TV series Moby Dick (1998) and TV series "Farscape".- Actress
- Producer
- Director
Joanna Lumley was born on 1 May, 1946 in Kashmir, India, to British parents, Thya Beatrice Rose (Weir) and James Rutherford Lumley. Her father was a major in the Gurkha Rifles, and she spent most of her early childhood in the Far East where her father was posted.
An aspiring actress, she first came to fame as a model in London's swinging 1960s, where she was photographed by the greats, including her friend, the late Patrick Lichfield. She was designer Jean Muir's muse and house model for several years before carving a career as a freelance model where she became one of the top ten most-booked models of the 1960s.
Lumley's breakthrough role was as Purdey in The New Avengers (1976), a role for which over 800 girls auditioned. Purdey propelled Lumley to instant fame and created one of the "must-have" hairstyles of the 1970s -- the Purdey bob. Lumley became a pin-up figure for a generation of British males who grew up watching her as the high-kicking action girl.
Other roles followed, most notably as Sapphire in Sapphire & Steel (1979) opposite David McCallum -- a sci-fi precursor to The X-Files (1993) and an under-rated gem of a series which has gained a cult following in recent years, despite the fact it has only ever been shown ONCE on terrestrial TV. During the 1980s, Lumley returned to the theater, making notable appearances as "Hedda Gabler" and as "Elvira" in "Blithe Spirit" -- a role that seems tailor-made for her. Lumley also made appearances in several films, including Trail of the Pink Panther (1982), Curse of the Pink Panther (1983), and a screen-stealing role in Shirley Valentine (1989).
It was her reinvention as a comic actress in Absolutely Fabulous (1992) that shot Lumley to wider international acclaim. Her role as Patsy in Absolutely Fabulous (1992) is regarded as one of the greatest female comic performances ever, earning Lumley a stream of awards, including several BAFTAs. Since Absolutely Fabulous (1992), Lumley has cemented her role as one of the UK's most-loved & respected actresses. She is rarely off UK TV screens and has also built a successful film career as a character/voice-over actress.
She recently teamed up with the writer/director Hugo Blick for the series of acclaimed monologues Up in Town (2002) which were critically regarded as the performance of a lifetime, and the recent Sensitive Skin (2005).
In 2007, she returned to the stage for the first time in over a decade in a production of Anton Chekhov's "The Cherry Orchard", directed by Sir Jonathan Miller.- Actress
- Additional Crew
- Soundtrack
Julie Christie, the British movie legend whom Al Pacino called "the most poetic of all actresses," was born in Chabua, Assam, India, on April 14, 1940, the daughter of a tea planter and his Welsh wife Rosemary, who was a painter. The young Christie grew up on her father's plantation before being sent to England for her education. Finishing her studies in Paris, where she had moved to improve her French with an eye to possibly becoming a linguist (she is fluent in French and Italian), the teenager became enamored of the freedom of the Continent. She also was smitten by the bohemian life of artists and planned on becoming an artist before she enrolled in London's Central School of Speech Training. She made her debut as a professional in 1957 as a member of the Frinton Repertory of Essex.
Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. Her true métier as an actress was film, and she made her debut in the science-fiction television series A for Andromeda (1961) in 1961. Her first film was a girlfriend part in the Ealing-like comedy Crooks Anonymous (1962), which was followed up by a larger ingénue role in another comedy, The Fast Lady (1962). The producers of the James Bond series were sufficiently intrigued by the young actress to consider her for the role that subsequently went to Ursula Andress in Dr. No (1962), but dropped the idea because she was not busty enough.
Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress originally cast in Billy Liar (1963). Christie's turn in the film as the free-wheeling Liz was a stunner, and she had her first taste of becoming a symbol if not icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute in Young Cassidy (1965). Charlton Heston wanted her for his film The War Lord (1965), but the studio refused her salary demands.
Although Amercan magazines portrayed Christie as a "newcomer" when she made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (1965), she actually had considerable work under her professional belt and was in the process of a artistic quickening. Schlesinger called on Christie, whom he adored, to play the role of mode Diana Scott when the casting of Shirley MacLaine fell through. (MacLaine was the sister of the man who would become Christie's long-time paramour in the late 1960s and early '70s, Warren Beatty, whom some, like actor Rod Steiger, believe she gave up her career for. Her "Dr. Zhivago" co-star, Steiger -- a keen student of acting -- regretted that Christie did not give more of herself to her craft.)
As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from immature sex kitten to jaded socialite. For her complex performance, Christie won raves, including the Best Actress Awards from the Academy of Motion Picture Arts and Sciences and the British Film Academy. She had arrived, especially as she had followed up "Darling" with the role of Lara in two-time Academy Award-winning director David Lean's adaptation of Boris Pasternak's Doctor Zhivago (1965), one of the all-time box-office champs.
Christie was now a superstar who commanded a price of $400,000 per picture, a fact ruefully noted in Charlton Heston's diary (his studio had balked at paying her then-fee of $35,000). More interested in film as an art form than in consolidating her movie stardom, Christie followed up "Zhivago" with a dual role in Fahrenheit 451 (1966) for director François Truffaut, a director she admired. The film was hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the the more-appropriate-for-the-role Terence Stamp. Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. The film is an interesting failure.
Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (1967), which also featured two great English actors, Peter Finch and Alan Bates. It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too "mod" and thus untrue to one of Hardy's classic tales of fate. Some said that her contemporary Vanessa Redgrave would have been a better choice as Bathsheba, but while it is true that Redgrave is a very fine actress, she lacked the sex appeal and star quality of Christie, which makes the story of three men in love with one woman more plausible, as a film.
Although no one then knew it, the period 1967-68 represented the high-water mark of Christie's career. Fatefully, like the Hardy heroine she had portrayed, she had met the man who transformed her life, undermining her pretensions to a career as a movie star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a "treadmill leading to more treadmills" and who was wealthy enough after Bonnie and Clyde (1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of "Madding Crowd" and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends four decades after their affair ended in 1974.
Christie's last box-office hit in which she was the top-liner was Petulia (1968) for Richard Lester, a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an "arch-kook" who was emblematic of the '60s. It is one of the major films of the decade, an underrated masterpiece. Despite the presence of the great George C. Scott and the excellent Shirley Knight, the film would not work without Julie Christie. There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.
And she walked away.
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or at maintaining herself as a top-drawer working actress (success at the box office being a guarantee of the best parts, even in art films.) She turned down the lead in They Shoot Horses, Don't They? (1969) and Anne of the Thousand Days (1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (1969), a critical and box office flop, to fulfill her contractual obligations, she spent her time with Beatty in Calfiornia, renting a beach house at Malibu. She did return to form in Joseph Losey's The Go-Between (1971), a fine picture with a script by the great Harold Pinter, and she won another Oscar nomination as the whore-house proprietor in Robert Altman's minor classic McCabe & Mrs. Miller (1971) that she made with her lover Beatty. However, like Beatty himself, she did not seek steady work, which can be professional suicide for an actor who wants to maintain a standing in the first rank of movie stars.
At the same time, Julie Christie turned down the role of the Russian Empress in Nicholas and Alexandra (1971), another film that won the second-choice (Janet Suzman) a Best Actress Oscar nomination. Two years later, she appeared in the landmark mystery-horror film Don't Look Now (1973), but that likely was as a favor to the director, Nicolas Roeg, who had been her cinematographer on "Fahrenheit 451," "Far From the Madding Crowd" and "Petulia." In the mid '70s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (1975) (which she regretted due to its depiction of women) and Heaven Can Wait (1978).
Christie was still enough of a star, due to sheer magnetism rather than her own pull at the box-office, to be offered $1 million to play the Jacqueline Kennedy Onassis character in The Greek Tycoon (1978) (a part eventually played by Jacqueline Bisset to no great acclaim). She signed for but was forced to drop out of the lead in Agatha (1979) (which was filled by Vanessa Redgrave) after she broke a wrist roller-skating (a particularly southern Californian fate!). She then signed for the female lead in American Gigolo (1980) when Richard Gere was originally attached to the picture, but dropped out when John Travolta muscled his way into the lead after making twin box-office killings as disco king Tony Manera in Saturday Night Fever (1977) and greaser Danny Zuko in Grease (1978). Christie could never have co-starred with such a camp figure of dubious talent. When Travolta himself dropped out and Gere was subbed back in, it was too late for Christe to reconsider, as the part already had been filled by model-actress Lauren Hutton. It would take 15 years for Christie and Gere to work together.
Finally, the end of the American phase of her movie career was realized when Christie turned down the part of Louise Bryant in Reds (1981), a part written by Warren Beatty with her in mind, as she felt an American should play the role. (Beatty's latest lover, Diane Keaton, played the part and won a Best Actress Oscar nomination.) Still, she remained a part of the film, Beatty's long-gestated labor of love, as it is dedicated to "Jules."
Julie Christie moved back to the UK and become the UK's answer to Jane Fonda, campaigning for various social and political causes, including animal rights and nuclear disarmament. The parts she did take were primarily driven by her social consciousness, such as appearing in Sally Potter's first feature-length film, The Gold Diggers (1983) which was not a remake of the old Avery Hopwood's old warhorse but a feminist parable made entirely by women who all shared the same pay scale. Roles in The Return of the Soldier (1982) with Alan Bates and Glenda Jackson and Merchant-Ivory's Heat and Dust (1983) seemed to herald a return to form, but Christie -- as befits such a symbol of the freedom and lack of conformity of the '60s -- decided to do it her way. She did not go "careering," even though her unique talent and beauty was still very much in demand by filmmakers.
At this point, Christie's movie career went into eclipse. Once again, she was particularly choosy about her work, so much so that many came to see her, essentially, as retired. A career renaissance came in the mid-1990s with her turn as Gertrude in Kenneth Branagh's ambitious if not wholly successful Hamlet (1996). As Christie said at the time, she didn't feel she could turn Branagh down as he was a national treasure. But the best was yet to come: her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man in Afterglow (1997), which brought her rave notices. She received her third Best Actress Oscar nomination for her performance, and showed up at the awards as radiant and uniquely beautiful as ever. Ever the iconoclast, she was visibly relieved, upon the announcement of the award, to learn that she had lost!
Christie lived with left-wing investigative journalist Duncan Campbell (a Manchester Guardian columnist) since 1979, first in Wales, then in Ojai, California, and now in London's East End, before marrying in January 2008. In addition to her film work, she has narrated many books-on-tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's "Old Times", which garnered her superb reviews.
In the decade since "Afterglow," she has worked steadily on film in supporting roles. Christie -- an actress who eschewed vulgar stardom -- proved to be an inspiration to her co-star Sarah Polley, the remarkably talented Canadian actress with a leftist political bent who also abhors Hollywood. Of her co-star in No Such Thing (2001) and The Secret Life of Words (2005), Polley says that Christie is uniquely aware of her commodification by the movie industry and the mass media during the 1960s. Not wanting to be reduced to a product, she had rebelled and had assumed control of her life and career. Her attitude makes her one of Polley's heroes, who calls her one of her surrogate mothers. (Polley lost her own mother when she was 11 years old.)
Both Christie and Polley are rebels. Sarah Polley had walked off the set of the big-budget movie that was forecast as her ticket to Hollywood stardom, Almost Famous (2000), to have a different sort of life and career. She returned to her native Canada to appear in the low-budget indie The Law of Enclosures (2000), a prescient art film in that director John Greyson offset the drama with a background of a perpetual Gulf War three years before George W. Bush invaded Iraq, touching off the second-longest war in U.S. history. Taking a hiatus from acting, Polley went to Norman Jewison's Canadian Film Centre to learn to direct, and direct she has, making well-regarded shorts before launching her feature film debut, Away from Her (2006), which was shot and completed in 2006 but held for release until 2007 by its distributor.
Polley, who had longed to be a writer since she was a child actress on the set of the quaint family show Avonlea (1990) wrote the screenplay for her adaptation of Alice Munro's short story "The Bear Went Over the Mountain" with only one actress in mind: Julie Christie. Polley had first read the short story on a flight back from Iceland, where she had made "No Such Thing" with Christie, and as she read, it was Julie whom she pictured as Fiona, the wife of a one-time philandering husband, who has become afflicted with Alzheimer's disease and seeks to save her hubby the pain of looking after her by checking herself into a home.
After finishing the screenplay, it took months to get Christie to commit to making the film. Julie turned her down after reading the script and pondering it for a couple of months, saying "No" even though she liked the script. Polley then had to "twist her arm" for another couple of months. But alas, Julie has a weakness for national treasures: Just like with Branagh a decade ago, the legendary Julie Christie could not deny the Great White North's Sarah Polley, and commit she did. Polley then found out why Christie is so reticent about making movies:
"She gives all of herself to what she does. Once she said yes, she was more committed than anybody."
According to David Germain, a cinema journalist who interviewed Christie for the Associated Press, "Polley and Christie share a desire to do interesting, unusual work, which generally means staying away from Hollywood.
"'It's been a kind of greed and a kind of egotism, but it's not necessarily wanting to avoid the Hollywood thing, but in fact, it incorporates wanting to avoid the Hollywood thing, because the Hollywood thing is so inevitably not original,' Christie said. 'It's avoiding non-originality, so that means you're really down to a very small choice.'"
The collaboration between the two rebels yielded a small gem of a film. Lions Gate Films was so impressed, it purchased the American distribution rights to the film in 2006, then withheld it until the following year to build up momentum for the awards season.
Julie Christie's performance in "Away From Her" is superb, and already has garnered her the National Board of Review's Best Actress Award. She will likely receive her fourth Academy Award nomination, and quite possibly her second Oscar, for her unforgettable performance, a labor of love she did for a friend.
We, the Julie Christie fans who have waited decades for the handful of films made by the numinous star: Would we have wanted it any other way? We are the Red Sox fans of the movies, once again rewarded with a world-class masterpiece by our heroine. Perhaps, like all human beings, we want more, but we have learned over the last thirty-five years to be content with the diamonds that are Julie's leading performances that she gives just once a decade, content to feel that these are a surfeit of riches, our surfeit of riches, so great is their luminescence.- Actress
- Writer
- Soundtrack
If a film were made of the life of Vivien Leigh, it would open in India just before World War I, where a successful British businessman could live like a prince. In the mountains above Calcutta, a little princess is born. Because of the outbreak of World War I, she is six years old the first time her parents take her to England. Her mother thinks she should have a proper English upbringing and insists on leaving her in a convent school - even though Vivien is two years younger than any of the other girls at the school. The only comfort for the lonely child is a cat that was in the courtyard of the school that the nuns let her take up to her dormitory. Her first and best friend at the school is an eight-year-old girl, Maureen O'Sullivan who has been transplanted from Ireland. In the bleakness of a convent school, the two girls can recreate in their imaginations the places they have left and places where they would some day like to travel. After Vivien has been at the school for 18 months, her mother comes again from India and takes her to a play in London. In the next six months Vivien will insist on seeing the same play 16 times. In India the British community entertained themselves at amateur theatricals and Vivien's father was a leading man. Pupils at the English convent school are eager to perform in school plays. It's an all-girls school, so some of the girls have to play the male roles. The male roles are so much more adventurous. Vivien's favorite actor is Leslie Howard, and at 19 she marries an English barrister who looks very much like him. The year is 1932. Vivien's best friend from that convent school has gone to California, where she's making movies. Vivien has an opportunity to play a small role in an English film, Things Are Looking Up (1935). She has only one line but the camera keeps returning to her face. The London stage is more exciting than the movies being filmed in England, and the most thrilling actor on that stage is Laurence Olivier. At a party Vivien finds out about a stage role, "The Green Sash", where the only requirement is that the leading lady be beautiful. The play has a very brief run, but now she is a real actress. An English film is going to be made about Elizabeth I. Laurence gets the role of a young favorite of the queen who is sent to Spain. Vivien gets a much smaller role as a lady-in-waiting of the queen who is in love with Laurence's character. In real life, both fall in love while making this film, Fire Over England (1937). In 1938, Hollywood wants Laurence to play Heathcliff in Wuthering Heights (1939). Vivien, who has just recently read Gone with the Wind (1939), thinks that the role of Scarlett O'Hara is the first role for an actress that would be really exciting to bring to the screen. She sails to America for a brief vacation. In New York she gets on a plane for the first time to rush to California to see Laurence. They have dinner with Myron Selznick the night that his brother, David O. Selznick, is burning Atlanta on a backlot of MGM (actually they are burning old sets that go back to the early days of silent films to make room to recreate an Atlanta of the 1860s). Vivien is 26 when Gone with the Wind (1939) makes a sweep of the Oscars in 1939. So let's show 26-year-old Vivien walking up to the stage to accept her Oscar and then as the Oscar is presented the camera focuses on Vivien's face and through the magic of digitally altering images, the 26-year-old face merges into the face of Vivien at age 38 getting her second Best Actress Oscar for portraying Blanche DuBois in A Streetcar Named Desire (1951). She wouldn't have returned to America to make that film had not Laurence been going over there to do a film, Carrie (1952) based on Theodore Dreiser's novel "Sister Carrie". Laurence tells their friends that his motive for going to Hollywood to make films is to get enough money to produce his own plays for the London stage. He even has his own theater there, the St. James. Now Sir Laurence, with a seat in the British House of Lords, is accompanied by Vivien the day the Lords are debating about whether the St James should be torn down. Breaking protocol, Vivien speaks up and is escorted from the House of Lords. The publicity helps raise the funds to save the St. James. Throughout their two-decade marriage Laurence and Vivien were acting together on the stage in London and New York. Vivien was no longer Lady Olivier when she performed her last major film role, The Roman Spring of Mrs. Stone (1961).- Actor
- Producer
- Writer
Amitabh Bachchan was born on October 11, 1942 in Allahabad, British India (present-day Prayagraj, Uttar Pradesh, India) to legendary poet Harivansh Rai Bachchan & Teji Bachchan. He also has a brother named Ajitabh. He completed his education from Uttar Pradesh and moved to Bombay to find work as a film star, in vain though, as film-makers preferred someone with a fairer skin, and he was not quite fair enough. But they did use one of his other assets, his deep baritone voice, which was used for narration and background commentary. He was successful in being cast in Saat Hindustani. He got his break in Bollywood after a letter of introduction from the then Prime Minister Mrs. Indira Gandhi, as he was a friend of her son, Rajiv Gandhi. This is how Bachchan made an entry in Bollywood, starting with Zanjeer, co-starred with his future wife Jaya Bhaduri, and since then there has been no looking back.
He married Jaya Bhaduri, an accomplished actress in her own right, and they had two children, Shweta and Abhishek. Shweta is married, lives a non-filmy life and has two children.
Being friends with Rajiv Gandhi, got him to decide to run for seat in the Indian National Congress (political party) from his home town but had to leave mid-term because of controversies, particularly after Rajiv and he were implicated in the now infamous "Bofors" case along with the U. K. based Hinduja Brothers.
After a four year break, he was back in the unsuccessful Mrityudaata (1997), a comeback which the actor wanted to forget. Critics written him off but his career was saved with Bade Miyan Chote Miyan (1998). But four flops in 1999 and incurring debt of over 90 crore rupees of his sinking company ABCL saw him at an all-time low. To make matters worse, after the defeat of the Congress party, Bachchan lost considerable political support, the opposition made him a target, and his credit rating deteriorated to such an extent that a leading nationalized bank, Canara Bank, sued him for outstanding loans. He did bounce back, presenting the Indian version of Who Wants To Be A Millionaire called Kaun Banega Crorepati? (2000). After a series of hits with Mohabbatein (2000), Kabhi Khushi Kabhie Gham... (2001) and Baghban (2003) and Khakee (2004), Bachchan is showing no signs of slowing down and proving the critics wrong once again.
Amitabh and Jaya were interested in getting their son Abhishek married to Karisma Kapoor, the daughter of Babita and Randhir Kapoor, they went through a formal engagement, but later broke it off.
The former Miss World and Bollywood actress, Aishwarya Rai and Abhishek, were formally engaged on Sunday January 14, 2007, at the Bachchan residence in Juhu, Bombay, with the marriage taking place at the Bachchan residence on April 20, 2007.
On November 16, 2011, he became a Dada (paternal grandfather) when Aishwarya gave birth to a daughter in a Mumbai Hospital. He is already a Nana (maternal grandfather) to Navya and Agastye - Shweta's children.
He continues to be one of the busiest actors and singers in Bollywood as well as on TV, as can be seen from the commercials that he appears on, especially on Sahara One. Looks like there are no limits for this super-star and once the "Angry Young Man" of Bollywood.- Actress
- Writer
- Soundtrack
Karachi-born Margaret Lockwood, daughter of a British colonial railway clerk, was educated in London and studied to be an actress at the Italia Conti Drama School. Her first moment on stage came at the age of 12, when she played a fairy in "A Midsummer Night's Dream" in 1928. She had a bit part in the Drury Lane production of "Cavalcade" in 1932, before completing her training at the Royal Academy of Dramatic Art.
Her film career began in 1934 with Lorna Doone (1934) and she was already a seasoned performer when Alfred Hitchcock cast her in his thriller, The Lady Vanishes (1938), opposite relative newcomer Michael Redgrave. The film was shot at Islington studios and was "in the can" after just five weeks in 1937 and released the following year. This was her first opportunity to shine, and she gave an intelligent, convincing performance as the inquisitive girl who suspects a conspiracy when an elderly lady (May Whitty) seemingly disappears into thin air during a train journey. Due to the success of the film, Margaret spent some time in Hollywood but was given poor material and soon returned home. Back at Gainsborough, producer Edward Black had planned to pair Lockwood and Redgrave much the same way William Powell and Myrna Loy had been teamed up in the "Thin Man" films in America, but the war intervened and the two were only to appear together in the Carol Reed-directed The Stars Look Down (1940). This was the first of her "bad girl" roles that would effectively redefine her career in the 1940s. In between playing femmes fatales, she had a popular hit in the 1944 melodrama A Lady Surrenders (1944) as a brilliant but fatally ill pianist and was sympathetic enough as a young girl who is possessed by a ghost in A Place of One's Own (1945). However, her best-remembered performances came in two classic Gainsborough period dramas. The first of these, The Man in Grey (1943), co-starring James Mason, was torrid escapist melodrama with Lockwood portraying a treacherous, opportunistic vixen, all the while exuding more sexual allure than was common for films of this period. The enormous popular success of this picture led to her second key role in 1945 (again with Mason) as the cunning and cruel title character of The Wicked Lady (1945), a female Dick Turpin. This was even more daring in its depiction of immorality, and the controversy surrounding the film did no harm at the box office. Some of Lockwood's scenes had to be re-shot for American audiences not accustomed to seeing décolletages. Margaret scored another hit with Bedelia (1946), as a demented serial poisoner, and then played a Gypsy girl accused of murder in the Technicolor romp Jassy (1947).
As her popularity waned in the 1950s she returned to occasional performances on the West End stage and appeared on television, making her greatest impact as a dedicated barrister in the ITV series Justice (1971), which ran from 1971 to 1974.- Actress
- Writer
- Producer
Estelle Merle Thompson was born in India on February 19, 1911 of Welsh and Ceylonese (now Sri Lankan) descent. She was educated in that country until the age of 17, when she left for London. She began her career in British films with mostly forgettable roles or bit parts. She appeared in an uncredited role in Alf's Button (1930), a pattern that would unfortunately repeat itself regularly over the next three years.
However, movie moguls eventually saw an untapped talent in their midst and began grooming Oberon for something bigger. Finally she landed a part with substance: the role of Ysobel d'Aunay in Men of Tomorrow (1932). That was quickly followed by The Private Life of Henry VIII (1933). After her portrayal of Lady Marguerite Blakeney in The Scarlet Pimpernel (1934), Hollywood beckoned and she left to try her hand in US films. American movie executives already had some idea of her talent due to her role in Vagabond Violinist (1934) (US title: Vagabond Violinist) was a success in that country. With her nomination for an Academy Award for Best Actress as Kitty Vane in The Dark Angel (1935), Oberon became a star in both the UK and the USA.
Her work in that film resulted in offers for more quality pictures, and she appeared in several well received films, such as These Three (1936), Over the Moon (1939) and The Divorce of Lady X (1938). Her most critically acclaimed performance--hailed by some critics as "masterful" -- was as Cathy Linton in Wuthering Heights (1939). The 1940s proved to be a very busy decade for her, as she appeared in no less than 15 films. After her role in Berlin Express (1948) she would not be seen on the screen again until four years later, as Elizabeth Rockwell in Pardon My French (1951). She was off the screen again for more than a year, returning in Désirée (1954).
Unfortunately, Oberon began appearing in fewer and fewer films over the ensuing years. There were no films for her in 1955, only one in 1956 and then none until Of Love and Desire (1963). In between she did appear on television to host Assignment Foreign Legion (1956). Her final film was Interval (1973). After her career finally ended she lived in quiet retirement until her death of a massive stroke on November 23, 1979, in Malibu, California. Oberon was 68 and had kept her beauty to the end.- Actress
- Soundtrack
Born in India to South African parents, Juliet studied to be a dancer from the age of 4. Attending the Royal Academy of Dance, by the time Juliet was 14, she was deemed too tall to enter the world of ballet. She signed as a chorus dancer with the London Palladium and then pursued a career as a dancer in European nightclubs. While dancing in Paris, she was spotted by Hollywood choreographer Hermes Pan and signed to a role in the movie Can-Can (1960). While rehearsing for the movie, Soviet Premier Khrushchev was invited to watch the then-unknown Prowse and others rehearsing their steps. The next day, he denounced the dance as immoral and it was Prowse's photo that accompanied the news across newspapers worldwide. An instant celebrity, Juliet shot to stardom with her acting and dancing and the tabloids filled with her romance with star Frank Sinatra. That same year, she also appeared with Elvis Presley in G.I. Blues (1960) and again the tabloids followed her.
She appeared in more films the next year but, as her celebrity status waned, so did her movie career. Her engagement to Sinatra in 1962 fueled her nightclub act, but did nothing for her movie career. In 1965, she moved to television with the series Mona McCluskey (1965), playing a nutty Hollywood starlet, but the show soon ended. Her big-screen career ended with Run for Your Wife (1965) and she, thereafter, appeared on the stage and on the nightclub circuit. Some of her stage shows included "Sweet Charity", "Kismet", "Irma La Douce", "Mame" and "The Pajama Game". She also appeared as a guest on Television but, most of the time, she worked in her nightclub act. In 1994, she was diagnosed with pancreatic cancer.- Writer
- Composer
- Director
Satyajit Ray was born in Calcutta on May 2, 1921. His father, Late Sukumar Ray was an eminent poet and writer in the history of Bengali literature. In 1940, after receiving his degree in science and economics from Calcutta University, he attended Tagore's Viswa-Bharati University. His first movie Pather Panchali (1955) won several International Awards and set Ray as a world-class director. He died on April twenty-third, 1992.- Gabrielle Drake was born March 30, 1944 in Lahore, Pakistan. Her father worked in an import/export company or as an engineer and she spent her first 8 years travelling around Burma, India, and the Orient. The family returned to England when Gabrielle was eight years old, after which they moved back near Stratford-upon-Avon. She was educated at Wycombe Abbey School for Girls in High Wycombe. After leaving school, she spent some time in Paris as an au pair girl looking after a family with four children. She then trained for several years at the Royal Academy for Dramatic Arts, then she joined a group of other recently graduated students to form the Everyman Theatre in Liverpool.
Gabrielle stayed at the Everyman for three years and then became the youngest acting member during the reopening season of the famed Malvern Theatre Company. Afterwards she joined the Birmingham Repertory Company and perfected her craft at Manchester's Royal Exchange, the Bristol Old Vic, the New Shakespeare Company and The Young Vic in productions as diverse as "The Cherry Orchard", "Titus Andronicus", "A Phoenix Too Frequent" and "Comedy of Errors".
Gabrielle made her television debut in Intrigue (1966) and then guested in "The Hidden Tiger", an episode of The Avengers (1961). She went on to appear in guest roles on Coronation Street (1960), The Saint (1962), The Champions (1968), Journey to the Unknown (1968), and Virgin of the Secret Service (1968) before landing the role of Lt. Gay Ellis in Gerry Anderson's UFO (1970). Then she made her feature film debut co-starring in Crossplot (1969), and also appeared in Connecting Rooms (1970).
After completing work on UFO, she appeared in a series of sex comedy films such as There's a Girl in My Soup (1970), Suburban Wives (1972), Au Pair Girls (1972) and Commuter Husbands (1972), but was also much seen on television, in particular as Jill Hammond in The Brothers (1972) which made her a household name. - Actor
- Music Department
- Soundtrack
For Amrish Puri, it was virtually the 'Summer of 42'. The actor's long simmering affair with acting found culmination when he reached his early 40s. And while his dream of playing the hero may have been thwarted, he went on to become the most loved villains of all time. He was also an artiste who redefined the dynamics for character actors. If he wowed the critics with his rough-edged portrayals in the art films of Shyam Benegal and Govind Nihalani, he won over the masala movie buffs with his louder-than-life histrionics. Puri with his reverberating baritone, piercing glance and dramatized dialogue delivery was a formidable figure against the hero. His costumes were all about prolific imagination and his one-liners ranging from, 'Mogambo khush hua' to 'Dong kabhi wrong nahin hota' are now part of cinema glossary. Puri even went ahead and worked in Steven Spielberg's Indiana Jones And The Temple Of Doom and Richard Attenborough's Gandhi, only to return and endorse the diversity that is Bollywood.
But behind the tough facade was a genteel person. "Upright and a true karma-yogi," as son and marine navigator Rajeev Puri describes him. "People from all walks of life loved him - even the police and the politicians." Rajeev adds, "A decade after his demise, some film or the other of his is constantly playing on channels - out of the 350 he did, 200 were hits!" And when people till date come up to him requesting for a photograph because he's the famed Mogambo's (Puri's character in Mr India) son, Rajeev realizes that Mogambo truly is larger than life, in fact beyond it.
Puri graduated from the BM College in Shimla, Himachal Pradesh. Puri was a leader of the RSS youth wing there and that explains why he remained a stickler for discipline and punctuality. In the '50s, he moved to Mumbai and found a job with the Employees' State Insurance Corporation (ESIC). There he met my mother Urmila, a Konkani, and married her. His elder brothers Chaman Puri and Madan Puri were also actors. In fact, we lived with Madanji at Kings Circle for a few years before we shifted to our Santacruz home. Puri passion was acting. He worked during the day and in the evening did amateur theatre with Ebrahim Alkazi, Satyadev Dubey, Vijay Tendulkar and Girish Karnad among others. In fact, Satyadev Dubey and he began Hindi theatre in Mumbai with plays like Hayavadana and Yugati winning him much applause. He became well known as a stage character actor, which led to him doing ads and finally films in the early '70s.
Believe it or not, Amrish Puri wanted to become a Bollywood movie star, but failed a screen test in 1953. And what a failure it was! Mr. Puri, went on to become one of the most renowned and credible villains in the history of Indian cinema. His most memorable and often quoted role is the character of 'Mogambo' (with the catchphrase "Mogambo Khush Hua"). It is still remembered fondly from Mr. India (1987).
On the silver screen, the very first time we felt that times were changing was when dad went to Jaisalmer to shoot Reshma Aur Shera (1971). It was an Ajanta Arts film directed by Sunil Dutt. A lot of new actors were being featured - Raakhee, Amitabh Bachchan, Ranjeet. Puri brought home pictures of the shoot. Puri's son must have been around 12 then and was excited watching them.
Another film, which was to change his life was Girish Karnad's Kannada film Kaadu (1973) where he played the villainous village headman. Girish Karnad handed his Filmfare Best Director trophy to Amrish as a gesture of appreciation. He was then noticed by Shyam Benegal, who featured him in his films Manthan, Nishant and Bhumika through the '70s. He also became part of Govind Nihalani's critically acclaimed films Party, Vijeta, Aakrosh and Ardh Satya. Dad had a flair for roles that betrayed authority and rode the crest of new wave cinema with his earthiness.
In 1980, director Bapu roped in dad to play Duryodhana in Boney Kapoor's Hum Paanch. Soon other filmmakers started offering him villainous roles in commercial films too. After Feroz Khan's Qurbani (1980) there was no looking back.
One film that took him to the acme of his career was Mr India (1987). As the part menacing part comical Mogambo, he won fans across audiences. Mogambo was a favorite with kids because he was a comic-strip like character. At every function he attended, dad was asked to say the Mogambo dialogue. First Amjad Khan as Gabbar Singh in Sholay (1975) and later dad as Mogambo gave villainy a new status. He went on to become the highest paid villain. Earlier character actors were paid paltry sums as compared to the hero.
Puri's career spanned three decades and around 300 films. Among these his favorites remained Koyla, Vidhaata, Pardes, Chachi 420, Ghatak, Ghayal, Damini, Meri Jung and Saza-E-Kala Pani.
Off camera, his children remember their father as someone who was larger than life, someone who was strict but never unreasonable. Someone who urged us to speak the truth. He urged us to follow the three Ps - patience, perseverance and persistence.
Puri was realistic and that's why he insisted that his children seek a secure profession. He once told his son, "See, acting is my first love. I've been polishing my act for years. It took me long to establish myself. There's no need for you to be awed by the profession. You needn't risk your future. You must complete your education." That's why, I joined the Merchant Navy in 1978. I sailed for 11 years. It used to be fun watching his films on the ship.
As an actor he had a great ability to switch on and off. He was not fond of smoking, drinking or parties. His idols were Dilip Kumar, Motilal, Balraj Sahni and Amitabh Bachchan. He worked with Raj Kumar, Dilip saab, Amitji... he was like a student in front of them and had absolutely no ego. Also, a lot of youngsters began their careers with him like Ajay Devgan in Phool Aur Kaante and Shah Rukh Khan in Deewana. He was easy to work with except that he had no patience with people who didn't respect time.
Puri was particular about having nutritious food. He was largely vegetarian but enjoyed fish. He practiced yoga and was an early riser. He was one of the first members of Talwalkars gym in Mumbai. Also, he preserved his vocal chords. He stayed away from fried stuff. He'd just have a piece of sev puri when we insisted. Once he happened to shave off his hair for a Rakesh Kumar film. He was told his personality looked better that way. The bald look appealed to Steven Spielberg, who then offered him Indiana Jones And The Temple Of Doom, where he played Mola Ram. Puri realized that with a shaved head, he could try different get ups. He was well-versed with the art of make-up and wigs. He knew the concentration of hair that a hairpiece for a 50-year-old character or a 60-year-old character would require. He also spent time with the tailors - in fact, directors often asked him to work on his costumes. He'd pick his own ties, bows, shirts for a role. He enjoyed observing people as he drove in his car. He'd keenly watch the hawaldar, the fit of his shirt, how worn out his shoes were which helped him play one in Gardish.
Puri loved watches. He owned all the possible brands. He was intrigued by its technology and the way each piece was assembled. Each time he'd go abroad, he'd visit a showroom and call me up excitedly, "Tikoo (my pet name) I've bought such a handsome looking watch!" Another fascination he had was for Mercedez Benz cars. He'd keep buying the latest editions. His family maintained his 1983 model in showroom condition.
Known for frequently portraying menacing, sadistic villains, Puri received a huge fan mail of around 50 to 60 letters a day. Some fans would constantly sit on the footpath outside our home to catch a glimpse of him. Women also wrote to him. Many were crazy about him. But he was not a young actor. By the time he got recognition he was 45. My mom did feel possessive with all the attention being showered on him. But she understood. He was at an age where he knew what to absorb and what to keep away from. He was cautious. He did have shades of romance in his role opposite Farida Jalal in Dilwale Dulhania Le Jayenge. That subtle equation suited his age. His female co-stars liked him because he was protective about them. He'd check with the production guys whether they were comfortable or not. While he was being pampered, he wanted them to enjoy those facilities too. He was like a father figure to junior artistes too. He'd call up the producers who defaulted on their payments.
Once they were shooting at Amritsar railway station for Gadar - Ek Prem Katha. Huge crowds had gathered and there was so much noise that the shooting couldn't proceed. Sunny Deol wanted to leave. Dad took over and in his baritone said, "Allow us to do our work. I want pin drop silence!" There was a hush and the shooting resumed.
Shyam Benegal cast him in movies such as Nishant (1975), Bhumika (1977), and Manthan (1976). Yash Chopra cast him in Mashaal (1984), the same year that Steven Spielberg cast him in his best-known role outside of India, as Mola Ram in Indiana Jones and the Temple of Doom (1984). His elder brother is none other than Bollywood actor Madan Puri.
Guddu Dhanoa's Jaal The Trap for (2003) was shot in Himachal Pradesh. Unfortunately, Puri met with an accident there. He suffered serious injuries on his face and eye. He lost a lot of blood and consequently had to undergo blood transfusion. Something went wrong there because in the coming years, he developed a blood disorder (myelodysplastic syndrome). It began with weakness and reduced appetite. When he came to know about the fatality of his illness he was shaken. But he had an iron will. He wanted to project a strong side to the world. Puri knew that at age 72 there was little that he could repair and that he was ailing. Jo hona hai woh hoga - that was his stance.
Puri was keen to complete the projects on hand, even though he was in pain. His terminal illness was detected in September 2003 and by December 15, 2004, he had finished all his films - Kachchi Sadak, Mujhse Shaadi Kaoroge, Hulchul, Ksna and Aitraaz despite looking emaciated, pale, frail . He was at home for a brief period. But he didn't want to remain bedridden. When asked how he was feeling he'd just say, "Kal se behtar hoon." Then one day he had a fall at home and suffered a massive brain hemorrhage. He passed away in Mumbai on January 12, 2005 due to a brain hemorrhage
Puri had served as the President of Cine and TV Artistes Association for six years before his demise. As a mark of respect the industry remained shut for two days. The whole road from our house in Juhu to the electric crematorium at Shivaji Park was full with people. There were onlookers perched on trees and buildings.
As a tribute to him the Times Of India carried a piece, which was titled, "No guns only roses." People recall his famous dialogue in Pardes, "What's the bottom line?" Well, for me it would be never doing anything that would disappoint him.- Actor
- Producer
- Additional Crew
Dharmendra is one of the biggest stars of Indian cinema. Dharmendra Deol played the romantic hero in woman Cedric films from 1960-1968 and became romantic hero from 1968-69 and played the role of action hero from 1971-1997. Dharmendra has appeared in 306 films.
He is known as 'Garam' Dharam in Bollywood. Had the looks of a real gentle man, masculine body of a he-man and when it came to his films, he had a very humorous touch in his dialog-delivery and the timing.
Dharmendra's original name is Dharam Singh Deol. He was born in a Jat Sikh family in Phagwara in Kapurthala district in the Indian state of Punjab to Kewal Kishan Singh Deol and Satwant Kaur. He spent his early life in village Sahnewal and studied at Government Senior Secondary School at Lalton Kalan, Ludhiana. He did his intermediate from Ramgarhia College, Phagwara in 1952.
The heroics in his films - Phool Aur Patthar (1966), Jugnu (1973), Raja Jani (1972) and Loafer (1973) - are all quite remarkable and unforgettable. He got nominated for Filmfare best actor 4 times in his career though he couldn't get one but got "The Life Time Achievement" award in 1997 from Filmfare for his achievements, splendid performance during his times and wonderful career in Bollywood. Dharmendra was fond of movies from a young age. He participated in the Filmfare new talent contest, which he won and came to Mumbai from Punjab looking for work. He made his debut with Arjun Hingorani's Dil Bhi Tera Hum Bhi Tere (1960). After which he got supporting roles in the film Boy Friend (1961) and was cast as the romantic interest in several woman oriented films from 1960-1967, where the story revolved around the heroine's character and, he was usually cast as a romantic hero opposite senior established leading actress of the time and later, from 1974 on-wards, as an action hero. His major breakthrough was playing supporting role to hero Rajendra Kumar in Aaye Milan Ki Bela, where his character was negative and supporting role in patriotic film Haqeeqat (1964) and playing romantic interest in woman oriented films from 1960-1967 and playing supporting roles to Balraj Sahni, Ashok Kumar, Biswajit in some films from 1960-67 like Soorat Aur Seerat, Bandini, Mamta, Ghar Ka Chirag.His sensitive side was explored by Hrishikesh Mukherjee in Anupama (1966) and Satyakam (1969), the latter is considered one of the best performances of his career. He got solo hero stardom with the blockbuster, Phool Aur Patthar (1966), which was his first action film but he became established action hero from 1971 film Mera Gaon Mera Desh. He projected himself as romantic hero with films like Pyar Hi Pyar, Aaya Sawan Jhoom Ke, Mere Humdum Mere Dost and Aaye Din Bahar Ke. He cemented his image as action hero with successful films like Seeta Aur Geeta (1972), Raja Jani (1972), Jugnu (1973), Kahani Kismat Ki and Yaadon Ki Baarat (1973). Dharmendra formed a popular onscreen pair with Hema Malini who later became his second wife. Hema Malini was the biggest female star of 1970s and they went on to star in hits such as Tum Haseen Mein Jawan, Sharafat (1970), Seeta Aur Geeta (1972), Raja Jani (1972), Jugnu (1973), Pratiggya (1975), Sholay (1975), Charas (1976), Azaad(1977), Dillagi (1978), among many others. Dharmendra proved his versatility and comic timing through Pratiggya, Chupke Chupke and Sholay. In Ramesh Sippy's Sholay (1975) he shared screen space with Amitabh Bachchan, Sanjeev Kumar and Amjad Khan and is still remembered for his inimitable portrayal of Veeru. His best romantic pairing was with the actress Asha Parekh with whom he had 5 hits - Shikhar, Aaya Sawan Jhoom Ke, Aaye Din Bahar Ke, Samadhi and Mera Gaon Mera Desh. His next best pairing was with Hema Malini, with whom he did 35 films of them 31 had them as a leading romantic pair and Dharam Hema had 20 hits and 15 flops. Dharm Hema married in 1980 and Dharm-Hema have 2 children together, Esha and Ahana and he has two sons, Sunny Deol and Bobby Deol from previous marriage with Prakash Kaur.
Often in 1960's till 1971 he played the romantic lead opposite female leading ladies in woman oriented films where the female protagonist's role overshadowed his roles with Dharam playing only supporting role in these films opposite Meena Kumari, Nutan, Mala Sinha, Sharmila Tagore. Phool Aur Paththar was the turning point in his career and established him as an action hero and as a solo lead hero.Artistically and popularity wise his peak period was the 1971-1979 where he did multi star as well as solo hero films in action and comedy genres and when his performances was appreciated by critics as well as audiences. Critics panned every film he did from 1985-2002 with exception being critically acclaimed films Burning Train, Ali Baba Aur 40 Chor, Jhutha Sach, Dharm Aur Qanoon, Rajput and Ghulami. He was the 2nd highest paid actor along with Vinod Khanna in Hindi films from 1976-1982 and Dharam alone was 3rd highest paid Hindi actor from 1987-1993 of A grade Hindi Films.
In the early 70s, Dharmendra became the first Indian actor to be voted among the most handsome men in the world. Through the 70s and 80s, Dharmendra worked with some of the biggest names in B'town such as Bimal Roy, Yash Chopra, Raj Khosla, Ramesh Sippy, Rajkumar Santoshi, Hrishikesh Mukherjee and Basu Chatterji. In 1983, Dharmendra diversified into production and launched his elder son Sunny in 'Betaab', which was produced by his banner Vijayta Films and was a huge hit. in 1990, he produced Ghayal starring Sunny Deol in lead. The film was the second biggest hit of the year and won 7 Filmfare Awards including Best Film award and the coveted National Film Award for Best Popular Film Providing Wholesome Entertainment. He would later go on to launch the successful careers of his younger son Bobby in 'Barsaat'(1995) and nephew Abhay Deol in 'Socha Na Tha'(2005) under the banner. He has also periodically made films in his native tongue of Punjabi, starring in Kankan De Ole (Special Appearance) (1970 ), Do Sher (1974), Dukh Bhanjan Tera Naam (1974), Teri Meri Ik Jindri (1975), Putt Jattan De (1982) and Qurbani Jatt Di (1990).
His commercial hits from 1981 included Ram Balram, Professor Pyarelal, Kaatilon Ke Katil, Naukar Biwi Ka, Jaani Dost, Samraat, Bhaghavat, Raaj Tilak, Jaagir, Qayamat, Insaaf Kaun Karega, Insaniyat Ke Dushman, Loha, Sone Pe Suhaga, Mardo Wali Baat, Khatron Ke Khiladi, Nafrat Ki Anandi, Batwara and Elaan E Jung. His film Hukumat in 1987 was highest grossing film of that year. He continued to be strong in 1990s as the best action hero even stronger than Sunny Deol, Sanjay Dutt and Jackie Shroff. His commercial hits in 1990s included Veeru Dada, Naka Bandi, Farishtay, Tehalka, Kshatriya, Maidan E Jung and Dharma Karma.
The low brow action films directed by likes of Kanti Shah damaged his action career in late 90s. Dharmendra was nominated 4 times for Best Actor Award at Filmfare Awards but never won. He was honored with Lifetime Achievement Award by Filmfare in 1997. He made a comeback to A grade films with a role in Pyar Kiya Toh Darna Kya (1998). He joined politics and was elected as a Member of the Parliament in the 2004 general elections, from Bikaner in Rajasthan, on a Bharatiya Janata Party ticket. He returned to acting in 2007 with films Life in a... Metro and Apne were acclaimed and successful. In the latter, he appears with both his sons, Sunny and Bobby for the first time. His other release was Johnny Gaddaar, where he played a villainous role. In 2011, he starred alongside his sons again in Yamla Pagla Deewana released on 14 January 2011 and was a success. A sequel Yamla Pagla Deewana 2 was released in 2013. His also acted with his daughter Esha in his wife Hema Malini's directorial venture Tell Me O Khuda in 2011. In 2011, Dharmendra replaced Sajid Khan as the male judge of the third series of popular reality show India's Got Talent. Dharmendra's first marriage was to Prakash Kaur at the age of 19 in 1954. From his first marriage, he has two sons, Sunny Deol and Bobby Deol both successful actors, and two daughters, Vijayta Deol Gill and Ajeeta Deol. He has 4 grand sons named Karan, Rajvir, Aryaman, and Dharam. Dharmendra fell in love with Hema Malini during the filming of Sholay. She eventually married him in 1980. As the Hindu Marriage Act forbade polygamy, he converted to Islam in 1979 to avoid protests and give legitimacy to his second marriage. The couple has two daughters, Esha Deol and Ahana Deol. Esha is an actress and Ahana is a dancer. Dharmendra has received several honors for his contribution to cinema and was awarded India's third highest civilian honor Padma Bhushan by the Government of India in 2012.- Actor
- Writer
Kabir Bedi is one of India's most famous international actors, with a career that spans from Bollywood to Hollywood and Europe, in films, television, theatre, and radio.
Kabir's Italian series "SANDOKAN" made him a major star across all of Europe.
He starred in one of the world's most-watched TV series, "THE BOLD AND THE BEAUTIFUL"
He acted in the James Bond "OCTOPUSSY".
He has been a voting member of the "Oscars Academy" (Academy of Motion Picture Arts & Sciences) since 1982.
In recent years, he has acted in 5 films in 5 languages: English, Italian, Hindi, Malayalam, and Telegu.
He is the Honorary Brand Ambassador for Sight Savers India, which performed over 5 million free eye operations across India.
He is the Honorary Brand Ambassador of Care & Share Italia, which educates children from kindergarten to university in the homes and centers in Andhra Pradesh and Telangana in India.
To top it all, he has been Knighted by the Italian Republic with its highest civilian honour, "Cavaliere".- Actor
- Writer
- Soundtrack
Sabu Dastagir (or Selar Shaik Sabu, depending on your resource) was born on January 27, 1924, in the little town of Mysore, India, which is nestled in the jungles of Karapur. The son of an elephant driver (mahout) in service for the Maharajah of his town, the young stable boy learned responsibility early in life when, at age 9, his father died and Sabu immediately became the ward of the royal elephant stables. As with many Hollywood success stories, good timing, and dumb luck allowed the impoverished youth a chance for a better life. By sheer chance the timid 12-year-old orphan was discovered by a British location crew while searching for a youth to play the title role (an elephant driver!) in their upcoming feature Elephant Boy (1937). Quite taken aback by his earnest looks, engaging naturalness and adaptability to wild animals and their natural habitat, the studio handed the boy a film career on a sterling silver platter and was placed under exclusive contract by the mogul Alexander Korda himself.
Sabu and his older brother (as guardian) were whisked away to England to complete the picture and became subsequent wards of the British government. They were given excellent schooling in the process and Sabu quickly learned the English language in preparation for his upcoming films. Elephant Boy (1937) was an unqualified hit and the young actor was promptly placed front and center once again in the film The Drum (1938) surrounded by an impressive British cast that included Raymond Massey and Valerie Hobson. With the parallel success of the Tarzan jungle movies in America, Hollywood starting taking a keen look at this refreshingly new boy talent when he first arrived in the U.S. for a publicity tour of the film. Again, his second film was given rave reviews, proving that Sabu would not be just a one-hit wonder.
His third film for Korda is considered one of the great true classics. In the Arabian fantasy-adventure The Thief of Bagdad (1940), Sabu plays Abu the Thief and is not only surrounded by superb actors -- notably June Duprez, John Justin, Rex Ingram (as the genie) and Conrad Veidt (as the evil Grand Vizier) -- but exceptional writing and incredible special effects. Sabu's name began stirring international ears. His last pairing with Korda was the excellent adaptation of Rudyard Kipling's classic book The Jungle Book (1942) playing Mowgli, the boy raised by wolves, who must adapt to the ways of mankind after being returned to his mother. The movie was directed by Alexander's brother Zoltan Korda.
Following this triumph, Sabu officially became the exotic commodity of Universal Pictures and he settled in America. Although initially rewarding monetarily, it proved to be undoing. Unfortunately (and too often typical), a haphazard assembly-line of empty-minded features were developed that hardly compared to the quality pictures in England under Korda. Saddled alongside the unexceptional Maria Montez and Jon Hall, his vehicles Arabian Nights (1942), White Savage (1943) and Cobra Woman (1944) were, for the most part, drivel but certainly did fit the bill as colorful, mindless entertainment.
Almost 20 years old by the time he became a citizen of the U.S. in 1944, he enlisted in the Army Air Force and earned WWII distinction in combat missions (Distinguished Flying Cross, Air Medal, among others) as a tail gunner. By the time Sabu returned to Universal and filming, the charm of his youth had worn off and the boyish stereotype impossible to escape.
Post-war audiences developed new tastes, but Sabu had no choice but to trudge on with retreads of his former glory. Films such as Tangier (1946) again opposite Ms. Montez, Man-Eater of Kumaon (1948) and Song of India (1949) opposite lovely princess Gail Russell did little to advance his career. While filming the last-mentioned movie, Sabu met and married actress Marilyn Cooper who temporarily filled in for an ailing Ms. Russell on the set. The couple went on to have two children.
Sabu actually fared better back in England during the late 40s, starring in the crime drama The End of the River (1947) and appearing fourth-billed as a native general in the exquisitely photographed Black Narcissus (1947). Daring in subject matter, the film had Deborah Kerr heading up a group of Anglican nuns who battle crude traditions, unexpected passions and stark raving madness while setting up a Himalayan order. By the mid-50s Sabu's career was rapidly approaching extinction, seeking work wherever he could find it - in low-budget Europe productions, public appearances, etc. An attempt to conjure up a TV series for himself failed. His life was further aggravated by unpleasant civil and paternity suits brought about against him. His last two pictures were supporting roles in Rampage (1963), which starred Robert Mitchum, and A Tiger Walks (1964), a thoroughly routine Disney picture which was released posthumously.
Sabu died unexpectedly at age 39 of a heart attack on December 2, 1963, at his home in Southern California and was buried at Forest Lawn Cemetery in the Hollywood Hills. Son Paul Sabu developed into an accomplished songwriter and even formed a rock band called Sabu; daughter Jasmine Sabu, who died in 2001, was a noted horse trainer whose skill was utilized occasionally for films. Although he went the way of too many of our former stars, Sabu continues to enchant and excite newer generations with his unmatched athletic skills and magnetic charm in those early adventure fantasies of yesteryear.- Actor
- Producer
- Director
One of the most beloved, charismatic and accomplished actors as well as one of the most imaginative and pathbreaking directors in the history of Indian cinema, Dev Anand was a leading man for more than five decades in over 110 motion pictures and continues to bestride Indian film fraternity even after his passing. He gave a new dimension to that magical state known as Stardom. And for his exemplary work he was awarded the Padma Bhushan in 2001 by the President of India. From the time he embarked on his career as a Film Actor in the mid-forties till his demise, his movies had been a journey filled with enriching experiences for the 'Evergreen Living Legend' of Indian Cinema. And he had always remained eternally youthful by his remarkable ability to live always in the present and the future; never in the past.
Also, as head of his film production company Navketan International Films, which was founded in 1949, Anand introduced a multitude of talent to the Indian Film Industry by way of actors, directors, music composers and cinematographers. He introduced new talent to cinema and experimented with new ideas for movies. He also headed one of the finest Film Sound Post-Production facilities in India - Anand Recording Studios - which has to its credit more than 3,000 Indian feature films that have been mixed/ surround mixed for worldwide release.
Anand won two Filmfare Awards - India's equivalent of the Oscars - in 1958 for his performance in the film "Kala Paani" (Black Water) and in 1966 for his performance in Navketan International Films' "Guide". "Guide" went on to win Filmfare Awards in five other categories including 'Best Film' and 'Best Director' and was sent as India's entry for the Oscars in the foreign film category that year. He co-produced the English Version of "Guide" with the Nobel Laureate Pearl S. Buck ("The Good Earth"). Eventually, his creative sensibilities got the better of him and he started writing and directing his own movies.
In 1993, he received a Filmfare 'Lifetime Achievement Award' and in 1996 he received a Screen Videocon 'Lifetime Achievement Award'. Then in 1997 he was given the Mumbai Academy of Moving Images Award for his Outstanding Services to the Indian Film Industry. In 1998, he was given a 'Lifetime Achievement Award' by the Ujala Anandlok Film Awards Committee in Calcutta. In 1999, he received the Sansui 'Lifetime Achievement Award' for his 'Immense Contribution to Indian Cinema' in New Delhi. In the year 2000, he was awarded the Film Goers' 'Mega Movie Maestro of the Millenium' Award in Mumbai. And then in July 2000, in New York City, he was honored by an Award at the hands of the then First Lady of the United States of America - Mrs. Hillary Rodham Clinton - for his 'Outstanding Contribution to Indian Cinema'. And again Anand was awarded the Indo-American Association 'Star of the Millennium' Award in the Silicon Valley, California. The President of India honored Anand with the prestigious Padma Bhushan Award on India's Republic Day - January 26th, 2001. And yet again, Donna Ferrar, Member New York State Assembly, honored him with a New York State Assembly Citation for his 'Outstanding Contribution to the Cinematic Arts Worthy of the Esteem and Gratitude of the Great State of New York' on May 1st, 2001.
Most recently, in April 2003, Anand was given a 'Lifetime Achievement Award' by the F.I.F.A. Committee in Johannesburg, South Africa. For an Indian Movie Icon who has hobnobbed with royalty, heads of State and celebrities, he did it all.
Anand passed away on December 3rd, 2011 in London's Washington Hotel, aged 88.
There are some who might remember Anand for not hanging his boots at the right time like his rival Dilip Kumar. But for millions of his admirers, both India and overseas, he shall remain the embodiment of someone who just never learnt to give up and being one of the pivotal figures who shaped the destiny of Indian Cinema in its formative years post independence and with his peerless intellect combined with his killer good looks gave it a footing on the map of world.- Michael Bates was born on 4 December 1920 in Jhansi, United Provinces of Agra and Oudh, British India. He was an actor, known for A Clockwork Orange (1971), Frenzy (1972) and Patton (1970). He was married to Margaret M. J. Chisholm. He died on 11 January 1978 in Chelsea, London, England, UK.
- Actor
- Writer
A native of New Delhi, India, British character actor of theater and film Roshan Seth honed the skills he learned at London's Academy of Music and Dramatic Arts in British repertory theater. His first break came in Peter Brook's production of A Midsummer Night's Dream, which toured in 1972. Seth entered feature films in Richard Lester's Juggernaut (1974), but because subsequent filmmakers only wanted Seth for ethnic roles, his career abruptly stalled. Discouraged, he abandoned acting and returned to India, where he worked as an editor and journalist until the early '80s, when Richard Attenborough asked Seth to play Pandit Nehru in Gandhi (1982). Shortly thereafter, Seth essayed Indian author Victor Mehta and toured the globe in playwright David Hare's biography A Map of the World. After the play's Broadway run, Seth's movie career took off, with roles in Steven Spielberg's Indiana Jones and the Temple of Doom (1984) and David Lean's A Passage to India (1984). Seth's subsequent film credits include Mississippi Masala (1992), Street Fighter (1994), The Journey (1997) and Such A Long Journey (1998).- Actor
- Music Department
- Producer
On Stats Alone, The Most Popular Actor In The History Of Cinema!
The only actor to enjoy near God-like status across the length and breadth of India for a quarter century!
Elected in several expert online polls, as The Greatest Actor In The History Of World Cinema !
With 100+ All-Time Blockbusters- 48 Platinum Jubilee hits + 27 Golden Jubilee hits + 26 Silver Jubilee Hits, & 17 average hits, over 25 yrs.
So these quite wonderful film business websites have come up with a inflation adjusted analysis of few of his random films, which I shall present about now, just to open the eyes of today's audiences, to just the massive quantum of collections, achieved by this one actor alone. They've done this chronologically for just few of his mildly to very successful (~42/125 ie 1/3rd) lead/parallel lead films leaving out vast sums of his other massively successful films , from late 60s to late 90s, & only inflation-adjusted worldwide collection numbers, so audiences of today can get a decent idea.
1. Raaz - 284 Crores 2. Bandhan - 437 Crores 3. Aradhana - 1092 Crores 4. Ittefaq - 266 Crores 5. Doli - 344 Crores 6. Do Raaste - 1014 Crores 7. Kati Patang - 540 Crores 8. Safar - 426 Crores 9. The Train - 284 Crores 10. Sachcha Jhutha - 781 Crores 11. Aan Milo Sajna - 710 Crores 12. Amar Prem - 387 Crores 13. Mehboob Ki Mehndi - 233 Crores 14. Anand - 220 Crores 15. Haathi Mere Saathi - 903 Crores 16. Andaz - 516 Crores 17. Maryada - 581 Crores 18. Dushman - 644 Crores 19. Apna Desh - 492 Crores 20. Shehzada - 223 Crores 21. Daag - 689 Crores 22. Namak Haraam - 212 Crores 23. Aap Ki Kasam - 311 Crores 24. Prem Nagar - 440 Crores 25. Ajnabee - 243 Crores 26. Roti - 388 Crores 27. Prem Kahani - 168 Crores 28. Maha Chor - 143 Crores 29. Mehbooba - 177 Crores 30. Chhaila Babu - 197 Crores 31. Aashiq Hoon Baharon Ka - 146 Crores 32. Muqabla - 175 Crores 33. Amar Deep - 139 Crores 34. Thodisi Bewafai - 143 Crores 35. Kudrat - 174 Crores 36. Fiffty Fiffty - 179 Crores 37. Rajput - 339 Crores 38. Ashanti - 217 Crores 39. Dharam Kanta - 272 Crores 40. Maqsad - 318 Crores 41. Swarg - 85 Crores 42. Aa Ab Laut Chalen - 153 Crores
Have a look at that. And we've just begun checking (a random 1/3rd of his films) !
He was born on 29 December 1942 in Amritsar, Punjab, India, and entered Hindi films in the year 1965 when began shooting for Raaz and did 180 films - 163 feature films and 17 short films. By 2011, he held the record for maximum number of films as solo lead hero and least number of multi star cast films in Hindi Cinema. Of the 163 films - 106 were solo hero films and 22 were multi star films and 29 films had him in special effective guest appearances(though only 97 solo and 20 two hero films only released and 11 unreleased from 1966 till 2013).He ranked first and won the United Producers All India Contest held in 1965 by beating 10000 candidates and the prize of it was acting in films Akhri Khat and Raaz. He first tasted success as an actor with 3 consecutive hit films like Aakhri Khat,Raaz and Aurat.His first brush with super-stardom was when outburst from his fans forced the director to change the story of Baharaon Ke Sapne's ending from a tragic one to a happy one after 1 week of its release. Though Baharon Ke Sapne was average in some centers it was declared flop in most places. In 1969 Rajesh Khanna achieved super-stardom with Shakti Samantha's 'Aradhana" (1969).He became the craze of the nation, and critics across India started calling him the First Superstar of both Indian Cinema (No. 1 Actor) and Hindi Films and remained so alone as the Superstar for 7 years (1969-1976) and had to share the status with Amitabh from 1977-1991 till he left films to join politics in 1991.He overtook his predecessors Dev-Dilip-Raj, Shammi Kapoor,Rajendra Kumar in terms of extreme popularity with audience and critics, quality of performances, variety of roles and films by doing quickly 47 films from 1966-75 which included 36 Golden Jubilee Hits(21 of the 36 were platinum) and 4 silver silver jubilee hits and only 7 flops in 9 years. He also made the world record of having 17 successive super-hits in 3 years from 1969-71 which included 15 consecutive solo super-hit films and 2 two hero films namely Andaz and Maryada. The main difference between him and his predecessors,successors, contemporaries was that Khanna's films ran successfully in whole of India and not just Hindi speaking areas and he did films of every genre simultaneously and has more critically acclaimed films to his credit than all other Hindi Actors of every generation. He stands out even by selection of his films as he regularly did both offbeat alternate cinema along with commercial potboiler films and had success in both.He introduced intelligent cinema to the masses with ease. Those 15 consecutive hit solo lead hero films from 1969-71 were Aradhana, Doli, Bandhan, Ittefaq, Do Raaste, Khamoshi, Safar, The Train, Kati Patang, Sachaa Jhutha, Aan Milo Sajna, Mehboob Ki Mehendi, Choti Bahu, Anand and Haathi Mere Saathi. His next release Maalik flopped ending thereby the record.
Anju Mahendru was his girl friend in 1968-1972, the then aspiring actress but they had breakup in 1972 when Anju was not ready for marriage while Khanna wanted to marry her, and Khanna married his fan Dimple Kapadia in March 1973, 8 months before Dimple's debut film Bobby released in theaters.
Khanna's pairing with Mumtaz always produced much success as they had all of their 8 films together as major platinum jubilee hits.His films with Sharmila Tagore, Asha Parekh, Tanuja, Hema Malini and Zeenat Aman was a favorite with audiences too in 70's.
From 1976 on-wards till 1978, he had 5 box office hits as lead hero(2 silver jubilee hits, 2 platinum hits, 1 average hit), 3 hits in guest appearances, 1 flop in guest appearance and 8 films of him as the main lead flopped unexpectedly although his performances and the film's music were praised by critics and thereby 76-78 is considered his bad phase.
K.Balaji wanted to establish himself in Hindi film industry as a producer and thereby wanted to remake his Tamil film Sivaji Ganeshan starer Dheepam in Hindi. At a time when Khanna's films were not working at the box office, Khanna got this film out of the blue and went on to become a big hit. Khanna bounced back with twin success of Amardeep and Prem Bandhan then again started giving many critically acclaimed and commercially successful films including 35 Golden Jubilee Hits(includes 25 platinum) and 14 SJH starting from 1979 till 1991 and had 9 average hits from 1976-1996. In the 80's his films opposite Tina Munim, Hema Malini, Reena Roy, Rekha, Shabana Azmi, Smita Patil and Poonam Dhillon were big hits.
He produced three films and co-produced 4 films. He had total 105 box office hits(91 as lead hero and 14 in guest appearance) from 1966-1991.He left film industry in 1991 and entered politics by joining the Congress Party in 1991 and became a member of parliament. Khanna was awarded Filmfare Special award in 1991 for having starred in 101 films as the solo lead hero(92 solo film released till 1992 and includes 7 unreleased solos and Anuraag) and having done just 21 two hero films(only 19 released till 1991) but having appeared in 153 films in short span of 25 years between 1966-1991. Has won most number of All India Critics Award for Best Actor for a record 7 times and was nominated for same 10 times.He holds record for being the actor to win maximum BJFA awards for Best Actor - 4 and was nominated the most for it - 25 times.He is still adored and fondly remembered by the masses. Songs from his films adorn the lips of youth and adolescents. He was the first mega-star and has left behind a storehouse of the finest moments in film history.- Actor
- Producer
- Director
Raj Kapoor was the son of well-known Indian actor Prithviraj Kapoor, who acted both in film and on stage. After apprenticing in the Bollywood production studios of the 1940's, at 24 years of age Raj Kapoor produced, directed and acted in Aag (1948), with his new company, RK Films. His next production, Barsaat (1949), was a smash hit. In 1951, he also produced, directed and starred in Awaara (1951), which was another megahit, and costarred Nargis, who had appeared in Aag and Barsaat. Awaara also gained popular acclaim in Russia, where the movie and songs were dubbed into Russian. The theme song, Awaara Hoon, was popular in the East for many years. Kapoor has been dubbed "a great showman," and a filmmaker in the purest Romantic tradition, as he strove to entertain as well as address social themes close to his heart. Awaara dealt with the question of what forms an individual's moral grounding, ("nurture or nature") while incorporating comedy and stirring love scenes; in Shree 420 (1955) he addressed issues of poverty, unemployment and national pride in the new Indian state at the same time maintaining the audience's interest in the romantic plot. While never revolutionary in tone, many of his films explore the ability of the individual to overcome economic and environmental injustice while maintaining his/her innocence and integrity. He is quoted as believing that the individual's struggles ultimately lead to the desire for love, to care and be cared for. This is consistent with his admiration of Charles Chaplin, and Kapoor's own "tramp" (Awaara, Shree 420, Mera Naam Joker (1970) is modeled somewhat on his mentor, though with a definite individual flair.
His films demonstrate an understanding of music and direction that continue to influence Bollywood filmmaking today. Also a musician, his understanding of the musical feel of his movies gives them a storytelling fluidity equal to that of the best American movie musicals. He surrounded himself with the foremost talents in filmmaking, acting, writing (Kwaja Ahmad Abbas'), music composition (Jaikishan Dayabhai Panchal, 'Shankarsinh Raguwanshi'), and playback singers, including Mukesh, 'Mohamed Rafi', and Lata Mangeshkar. Kapoor continued to make films of varying critical and popular success up until his death in 1988, and apparently considered Mera Naam Joker his personal favorite. He is still a well-known name not only in India, but in the Middle East, SE Asia, and Eastern Europe. His descendants have attempted to continue the RK Films banner.- Associated with gritty, flashy film villainy, veteran character actor Torin Herbert Erskine Thatcher was born in Bombay, India to British parents on January 15, 1905. The son of a police officer (who died when Torin was 10) and a voice/piano teacher, he was educated in England at the Bedford School and the Royal Academy of Dramatic Art.
A former schoolteacher, he appeared on the London stage, notably the Old Vic, in 1927 before entering British films in 1934. He would be notable for his stage prowess in the works of Shaw, Shakespeare, and the Greek tragedies. Among his earlier stage plays was a 1937 version of "Hamlet" which starred Laurence Olivier and Vivien Leigh. During World War II he served with the Royal Artillery and achieved the rank of lieutenant colonel. He was an extremely imposing, powerfully built specimen and it offered him a number of tough, commanding, often sinister roles over the years primarily in larger-than-life action sequences.
Thatcher began in minor roles and progressed to better ones in a number of classic British films in the late 1930s and 1940s as the years went on. They included Sabotage (1936), Dark Journey (1937), Night Train to Munich (1940), Major Barbara (1941), I See a Dark Stranger (1946), The Captive Heart (1946), Great Expectations (1946), as Bentley ("The Spider") Drummle, Jassy (1947) and The Fallen Idol (1948).
In Hollywood from the 1950s on, the actor's looming figure and baleful countenance were constantly in demand, gnashing his teeth in a slew of popular costumers such as The Crimson Pirate (1952), Blackbeard, the Pirate (1952) as reformed pirate Sir Henry Morgan, The Robe (1953), Helen of Troy (1956) as Ulysses, The 7th Voyage of Sinbad (1958) as the evil, shaven-domed magician Sokurah who shrinks the princess to miniature size, Witness for the Prosecution (1957) as the prosecuting attorney, The Miracle (1959) as the Duke of Wellington, the Marlon Brando/Trevor Howard remake of Mutiny on the Bounty (1962), and Hawaii (1966).
Thatcher returned to the stage quite frequently, notably on Broadway, in such esteemed productions as "Edward, My Son" (1948), "That Lady" (1949) and "Billy Budd" (1951). In 1959 he portrayed Captain Keller in the award-winning play "The Miracle Worker" with Anne Bancroft and Patty Duke.
Also a steady fixture on American TV from the mid-1950's on, Torin appeared in a number of quality TV anthologies ("Omnibus," "Playhouse 90, "Zane Grey Theatre") before making fairly steady guest appearances on such shows as "The Millionaire," "Ellery Queen," "Peter Gunn," "Wagon Train," "Bonanza," "Perry Mason," "The Real McCoys," "The Untouchables," "My THree Sons," "Voyage to the Bottom of the Sea," "Perry Mason," "Get Smart," "Lost in Space," "Star Trek," "Gunsmoke," "Daniel Boone," "Mission: Impossible," "Night Gallery," "Search" and "Petrocelli." He also showed up in support in the TV movies The Strange Case of Dr. Jekyll and Mr. Hyde (1968) starring Jack Palance and Brenda Starr (1976), his final on-camera appearance, starring Jill St. John.
Diagnosed with cancer, Thatcher died on March 4, 1981, in Thousand Oaks, California (near Los Angeles). The widower of TV actress Rita Daniel, he was long married to second wife, Anne Le Borgne, at the time of his death. - Googie Withers began her acting career at the age of 12. She was dancing in the chorus in a West End revue when she was spotted by a Warner Brothers casting director. She went to do a screen test for them at the Riverside Studios and was invited to become an extra. On her first day at the filming of The Girl in the Crowd (1934) she arrived on the set just after Michael Powell had just sacked the second lead, and she was enlisted to play one of the lead roles.
- Director
- Writer
- Producer
Michael Radford was born on 24 February 1946 in New Delhi, British India [now India]. He is a director and writer, known for 1984 (1984), The Postman (1994) and The Merchant of Venice (2004). He is married to Emma Tweed. They have two children. He was previously married to Iseult Teran.- Actor
- Additional Crew
- Soundtrack
Although he liked to sign his autographs, perhaps jokingly, "Milton Gaylord Reid" his real name was Milton Rutherford Reid and he was born in Bombay on 29 April 1917. His father Edgar William Reid was a Scottish-born Customs and Excise inspector who had married an Indian lady. Milton moved to London in 1936, settling in Shepherd's Bush, and during his early career worked as a commercial traveller.
In 1939 he married fashion artist Bertha Lilian Guyett (a marriage that lasted over 40 years), before war service as a cavalry trooper with the 22nd Dragoons. It was during this period that he first appeared on film, in the army propaganda feature The Way Ahead (1944). After the war he trained as a wrestler, turning professional in 1952, firstly as a Tarzan-like character called Jungle Boy wearing leopard skin trunks. He also continued to play small parts in films, usually as a tough guy or bodyguard, often as a cruel henchman such as the Japanese executioner in The Camp on Blood Island (1958).
His breakthrough came in 1959 when he was required to shave his head for the role of Yen the pirate in Ferry to Hong Kong (1959). He remained shaven-headed for the rest of his career, also changing his wrestling image to that of The Mighty Chang, an oriental giant. On stage he played in pantomime at the London Palladium as the Slave of the Lamp, and in the Italian epics he usually played exotic roles or menacing villains in adventures like The Wonders of Aladdin (1961) (The Wonders of Aladdin) and Spartacus and the Ten Gladiators (1964) (Spartacus and the Ten Gladiators) in which he had a memorable fight to the death with Dan Vadis. However, most people remember Milton Reid as the bodyguard sorting out pretty girls for his boss in a long-running pipe tobacco commercial. In 1964 Milton challenged The Great Togo (a.k.a. Harold Sakata) to a wrestling contest to decide who would play the coveted role of Odd-Job in Goldfinger (1964). Unfortunately, Milton had already been killed off as a henchman in the first Bond movie Dr. No (1962), so the producers were forced to pick Sakata and the "eliminator contest" wasn't needed, although Milton did land the part of Sandor in a later Bond adventure, The Spy Who Loved Me (1977).
Although he became a popular and familiar character actor in dozens of films and television shows, the work did not produce immense wealth and in 1965 Milton found himself in court for non-payment of a £52 car repair bill, incurred when he was in Rome shooting spy movie Desperate Mission (1965). The kindly judge, however, ordered the debt to be repaid at ten shillings (50 pence) per month, even inviting Milton to come back and see him again if he was in any difficulty!
Having retired from wresting and with film parts becoming fewer, Milton decided to try his luck in "Bollywood" and in 1980 returned to India. However, various problems arose and in 1981 he was arrested by Indian police for "trespassing, damaging furniture and disconnecting a telephone." The trouble started when he visited his mother and sister in Bangalore, and there was a dispute with tenants at his sister's bungalow. Police also complained of violence and abuse when they tried to detain him, and there were accusations of a manservant being assaulted.
The following year Milton was stated by some reference works to have died from a heart attack, but that was incorrect. The actor's son (same name) was still receiving correspondence sent by his father from Bangalore up to December 1986. Significantly, nothing was heard after that date, and the present assumption is that Milton Reid died in obscurity somewhere in India during the early part of 1987, although no death certificate or confirmation has been received by the family. Sadly, Bertha died in England in 1997, at the age of 90, still not knowing what had become of her husband. However, research continues.
Special thanks to Milton Reid (junior) for his kind help in the preparation of this biography.- Actor
- Director
- Music Department
Victor Banerjee Early life Banerjee was born to a Zamindari Bangali Hindu family and is a descendant of The Raja Bahadur of Chanchal and the Raja of Uttarpara. He received his schooling at St. Edmund's School, Shillong, and graduated in English Literature from St. Xavier's College, Calcutta and did Post Graduate studies in Comparative Literature at Jadavpur University. He turned down a scholarship to the Trinity College in Dublin who had offered,through the Irish Christian Brothers, to admit him as an Operatic Tenor. He was the lead tenor in the the "Calcutta Light Opera Group" production of the "Desert Song" and even played "Jesus" in Bombay Theatre's first ever musical production, "Godspell". Career Victor Banerjee (born 15 October 1946) is an Indian actor who appears in Hindi, Bengali and English language films. He has worked for prominent directors such as Roman Polanski, James Ivory, Sir David Lean, Jerry London, Ronald Neame, Mrinal Sen, Shyam Benegal, Satyajit Ray and Ram Gopal Varma. In 1984, he acted as Dr. Aziz Ahmed in David Lean's film A Passage to India, bringing him to the attention of Western audiences. Victor was nominated for BAFTA award for this role in 1986. He won two other awards for this role: Evening Standard British Film Award and NBR Award (National Board of Review, USA). In April 1985, at a special event in Louisiana, where John Travolta and Loretta Swit were also honoured, Banerjee was given the "SHOWARAMA AWARD" by the Motion Pictures Association of America as "New International Star". He acted in Merchant Ivory Productions Hullabaloo Over Georgie and Bonnie's Pictures, Satyajit Ray's Shatranj Ke Khilari and Ghare Baire and in Mrinal Sen's Mahaprithivi. Though in recent years he has been involved with Bollywood, he is affiliated with the Bengali film industry. He also plays 'character actor' roles from time to time in the British cinema. He was also cast in the critically acclaimed role of "Jesus" in the 1988 production of the York Mystery Plays, by director Steven Pimlott. He is the only person in India who has won the "National Award" in three separate categories. As a Cinematographer for his documentary called "Where No Journeys End" which, in competition with 3100 entries from 27 countries, also won the "Gold Award" at the Houston International Film Festival. He won an award for Direction with the best documentary on Tourism called "The Splendour of Garhwal and Roopkund" and he won the "Best Supporting Actor" award for his work in Satyajit Ray's "Ghare Bairey".
Life When not in Calcutta, he is to be found in the hill station of Landour in the Lower Western Himalaya in northern India. He has written short stories and is a regular contributor of articles to magazines, periodicals and newspapers in India, on diverse and eclectic topics. His nonchalance to be politically incorrect and write with a bold and satirical pen, has been respected and admired widely. He has involved himself from time to time in human rights and labor issues. He helped form the Screen Extras Union of India and campaigned for the rights of Garhwali farmers. He also campaigned for the creation of Uttarakhand in a speech entitled "Uttarakhand: A People Denied" and has been credited with starting the movement that eventually led to the creation of the Uttarakhand Solidarity Network. For almost forty years, he has run a Blind School in Upper Assam, called the "Moran Blind School", where over seventy boys and girls from the families of tea garden workers and the poorest of villagers,receive free board and lodging and an education till they leave for junior college. He is the "Brand Ambassador" for the Srimanto Shankardev Movement, that is reviving the culture of neo-Vaishnavites that was first introduced in the 15th Century, in Assam. He is the "Brand Ambassador" for the "Dimasa Tribe" of the Cachar Hills of Northeast India, one of the most cultured peoples of the northeast tracts, one the earliest Sino-Tibetan tribes to inhabit the eastern Himalaya. He is the Brand Ambassador of the "Bird Watchers Association of Uttarakhand". He has for several years been the "Goodwill Ambassador" for "MENTAID" an organization that cares for the mentally challenged in Calcutta.- Anna Kashfi has appeared in a number of films including The Mountain (1956) (with Spencer Tracy) and Battle Hymn (1957) (with Rock Hudson) but is best known for being Marlon Brando's first wife. Kashfi is often thought of as being Indian but several newspapers have said that she is, in fact, the daughter of a Welsh factory worker, William Callaghan, and simply reinvented herself to increase her screen appeal. In her 1979 memoir, Kashfi still held onto the claim that she is Indian by insisting that she is the product of an "unregistered alliance" between Selma Ghose and an Indian architect named Devi Kashfi, and that William Callaghan is her stepfather. She met Brando in 1955 in the Paramount commissary and after an on-off relationship (mainly due to Brando's relentless womanizing) married him in 1957. (Brando claimed that he married her only because she had become pregnant.) She gave birth in May 1958 to their son, Christian, who became notorious in 1990 for shooting dead Dag Drollet, a crime that earned him a ten-year jail sentence. Kashfi divorced Brando in 1959. She remarried a Los Angeles businessman named James Hannaford in 1974, but he died in 1987. She also outlived her first husband Marlon Brando (who died in 2004) and their son Christian (who died in 2008). She died on August 16, 2015 of natural causes at the age of 80 in Washington State, USA.