‘Dadamoni: The Life and Times of Ashok Kumar’ review: Biography of an accidental actor – Online News Azi

‘Dadamoni: The Life and Times of Ashok Kumar’ Review: Biography of Accidental Actor – Online News Azi, #Dadamoni #Life #andTimes #Ashok #Kumar #reviewBiography #accidental #actor #Online News #Azi Welcome to 50 Mind BlogHere is our latest breaking news and trending broadcast for you today: :

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The 1936 Hindi film Jeevan Naiyya begins with a telephone conversation. It’s not quite the sweet, light-hearted romance of “Jalte hain jiske liye” (probably the most iconic phone conversation on screen in Hindi), but it’s a landmark scene in its own way.

Because it was the first time on the screen for a reluctant young actor who went on to become one of the big stars of Hindi cinema: Ashok Kumar Ganguly, better known as Ashok Kumar.

Kumar abandoned his legal studies in early 1934 to pursue a career in film. Not as an actor; he wanted to be a director. He found his brother-in-law, Sashadhar Mukherjee (who went on to become one of the greatest filmmakers in Hindi cinema), and then teamed up with The Bombay Talkies, the premier film studio founded by Himanshu Rai and Devika Rani.

Filmmaker, writer and actor Nabendu Ghosh (who also wrote the screenplays for classics such as Sujata, Bandini, Devdas and Parineeta) in his “Dadamoni: The Life and Times of Ashok Kumar”, documents The rise of the legendary actor, from his childhood to this is the first role in Jeevan.

The story follows Dadamoni in the early days of “talkie movies,” when playback singing hadn’t caught on and Kumar had to sing his own songs on screen. Those years he studied performing arts and crafts in an attempt to create his own natural style; and beyond – rapidly gaining popularity, seeing great success in films like “Kissmet” (1943); various roles, and the occasional offbeat one .

Over the years as a hero, when Kumar stepped into character actor roles—comedy, poignant, elder—he was always as natural and as believable as the characters he played. Ghosh discusses some of Ashok Kumar’s major films, how they were made, and what Dadamani brought to them, with a brief synopsis. But before that, Ghosh offers some interesting insights into the history of the Ganguly family and the home where the brothers (Ashok, Anoop, and Kishore) grew up.

The trivia about Dadamoni’s initial foray into film is equally interesting. How his relationship with The Bombay Talkies has changed over time; even how he’s carried the nickname “Dadamony,” which his fans use to refer to the actor affectionately and respectfully words, even long after his death in 2001.

The hobbies and talents that Kumar cultivated are also mentioned in Dadamoni. Some, like his proficiency in homeopathy, are not well known; others, like his ease with languages ​​(he knows at least eight languages) and his adeptness at making up interesting rhymes, he will be happy to help Children say it out loud together and may be less well known. Together, they create characters that transcend actors. This is reinforced by the many interesting anecdotes in the book.

From Daddamoni’s early bumbling (thanks to him, one of Jeevan Naiyya’s actors broke his leg) to Himanshu Rai’s advice on female co-stars; from his confidence in fans, during the Manto Division next to him, Shown in a late-night drive through a tense Muslim neighborhood, to his dedication to his work, as shown in the memorable behind-the-scenes moments in Humayun (1945)—all of which somehow portray the man’s Characters, not just actors.

Perhaps because Nabundu Ghosh is a screenwriter, he chose to use dialogue to narrate some of the plots in the book.

While it’s not a technique that often works, Ghosh managed to pull it off and produce a captivating, riveting biography of Dadamoni. However, one would be surprised if this wasn’t totally unbiased: barring a brief reference to Kumar’s tantrum (also mentioned, which turns into humor), there’s nothing about the actor’s failure here.

He didn’t, or was Ghosh looking at him through rose-tinted glasses?
The book is sandwiched between a foreword by Bharti Jaffrey (Ashok Kumar’s daughter) and an afterword by Ratnottama Sengupta (Nabendu Ghosh’s daughter).

Taking these into account, and the final film catalogue selected, Ghosh’s entire text is only about 125 pages long: probably not enough to write a detailed biography. But Ghosh still manages to cover a lot of ground and give readers a satisfying glimpse of Ashok Kumar enough.

Likewise, he’s able to provide an interesting snapshot of filmmaking in the ’30s and ’40s, a period and style very different even from the ’90s when Ghosh originally wrote Dadanoi.

A very readable book about a very noteworthy actor.

Dadamoni: The Life and Times of Ashok Kumar

Author: Nabundu Ghosh

Posted by: Talking Tiger

Pages: 190

Price: INR 499

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