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Hachette’s The Bollywood Pocket Book Series, A 4-in-1 Set, by Diptakirti Chauduri: Get set

Hachette’s The Bollywood Pocket Book Series, A 4-in-1 Set, by Diptakirti Chauduri: Get set Yes, it’s a pun. I mean you should get the set, buy the book, or rather, books. They look deceptively thin when ensconced in the hardcover box, but provide a substantial reading once you pull them out. Book one is about Iconic Dates, with Raj Kapoor and Nargis on the cover, under an umbrella. The author reminds us about the calendar of events that begin with Raja Harishchandra’s releas...

IFFI 51, 16-24 January, 39: Street artiste Shantabai, at 85, performs high-risk acts

IFFI 51, 16-24 January, 39: Street artiste Shantabai, at 85, performs high-risk acts “Our film Shantabai explores the journey of street artiste Shantabai Pawar, who continues to perform even at 85 years of age, and thus helps keep the legacy of Dombari community, in Maharashtra, alive. It is a documentary film on a dying art form, from which the lead actor Shantabai makes a living in her real life as well”. Director Pratik Gupta said this, while addressing a press conference in Go...

IFFI 50: A.K. Bir, chairing IFFI’s Technical Committee for over 12 years

IFFI 50: A.K. Bir, chairing IFFI’s Technical Committee for over 12 years To enjoy a film in the way the maker meant it to be enjoyed is a blessing. We, who are attending the 50th International Film Festival of India, Panaji, Goa, know how important it is to enjoy a film in the right ambience. A small error, and the joy could be ruined. To make sure no such thing happens, IFFI has a Technical Committee in place, headed by A.K. Bir, himself a renowned cinematographer, screen-writer and fi...

Life in Metaphors-Portraits of Girish Kasaravalli, by O.P. Srivastava: Well framed!

Life in Metaphors-Portraits of Girish Kasaravalli, by O.P. Srivastava: Well framed! A banker with a passion of cinema, Om Prakash Srivastava hung up his ATM to pursue his dream. In 2012, he attended a course in Film Appreciation at Goa, organised by the Film and Television Institute of India (FTII), where an ex alumnus and India’s most decorated film-maker, Girish Kasaravalli was taking a master class on film-making. OP was so impressed with the demeanour and erudition of his teacher an...

Prabhat Nagari — Film 1

The reunion of the last living workers of the erstwhile Prabhat Studio becomes a reflection on celluloid dreams, fathers and sons, and the cyclical universe.

Prabhat Nagari — Film 1

The reunion of the last living workers of the erstwhile Prabhat Studio becomes a reflection on celluloid dreams, fathers and sons, and the cyclical universe.

Prabhat Nagari — Film 1

The reunion of the last living workers of the erstwhile Prabhat Studio becomes a reflection on celluloid dreams, fathers and sons, and the cyclical universe.

Prabhat Nagari — Film 1

The reunion of the last living workers of the erstwhile Prabhat Studio becomes a reflection on celluloid dreams, fathers and sons, and the cyclical universe.

Prabhat Nagari — Film 1

The reunion of the last living workers of the erstwhile Prabhat Studio becomes a reflection on celluloid dreams, fathers and sons, and the cyclical universe.

Prabhat Nagari — Film 1

The reunion of the last living workers of the erstwhile Prabhat Studio becomes a reflection on celluloid dreams, fathers and sons, and the cyclical universe.

Prabhat Nagari — Film 1

Part memoir, part reflection, the film celebrates life at the erstwhile Prabhat Studio (now Film and Television Institute of India), tracing the brief reunion of some of its oldest workers.

Prabhat Nagari — Film 1

Part memoir, part reflection, the film celebrates life at the erstwhile Prabhat Studio (now Film and Television Institute of India), tracing the brief reunion of some of its oldest workers.

Prabhat Nagari — Film 1

Part memoir, part reflection, the film celebrates life at the erstwhile Prabhat Studio (now Film and Television Institute of India), tracing the brief reunion of some of its oldest workers.

Prabhat Nagari - Film 1

Director: Aman Wadhan.

The reunion of the last living workers of the erstwhile Prabhat Studio becomes a reflection on celluloid dreams, fathers and sons, and cyclicity of the universe.

 

Director's Note: On the lush premises of the Film and Television Institute of India, under the long shadow of the erstwhile Prabhat Studio, an important chapter in the history of Indian cinema quietly passes on from one generation of studio workers to the next. Stories galore, a few of them already legendary — some are slipping away into oblivion, countless others beg recall. This student film humbly started with a wish to bring together some of the oldest witnesses from the Prabhat era, but in the course of its making, after sifting through historical documents and personal chronicles, what has emerged is just this: What is it that truly lives on?
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