Amrish Puri (часть 1)

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Amrish Puri (часть 1)

Иранчик: И это всё о нём. Полная фильмография Полная фильмография. [more]1. Солнце (Surya) (2006) – тхакур 2. Purab Ka Laila Paschim Ka Chaila (2006) 3. Идиот. (Idiot) (2006) 4. Трудная дорога.(Kachchi Sadak) (2006) – (начальник тюрьмы Хансрадж Кайрави) 5. Кисна. (Kisna) (2005) - Бхайро Сингх 6. Netaji Subhas Chandra Bose – The forgotten hero (2005) 7. Господин Чанакья. (Shreeman Chanakya) (2005) 8. Суперкар Тарзан. (Taarzan - The Wonder Car) (2004) – Картар Сингх/Бааджи 9. Ab Tumhare Hawale Watan Sathiyo (2004) – читает текст за кадром 10. Mohabbat Pehli Nazar Mein (2004) 11. Mr. Phandebaaz (2004) 12. Это было твое имя. (Woh Tera Naam Tha) (2004) – Самад Кхан 13. Наш Кашмир (Kashmir Hamara Hai) (2004) 14. Mera Hindustan (2004) 15. Полицейская история (Police Force) (2004) – комиссар Пандей. 16. Выходи за меня замуж. (Mujhse shaadi karogi) (2004) – полковник Дурградж Сингх 17. Противостояние (Aitraaz) (2004) - Ранджит Рой 18. Woh Koun Thi? (2004) 19. Честь (Garv) (2004) – инспектор Самар Сингх 20. Переполох. (Hulchul) (2004) – Ангарчанд 21. Цель жизни (Lakshya) (2004) – бригадный генерал Гаутам Пури 22. Наставник (Dev) (2004) – министр штата Бхандаркер 23. Dil Pardesi Ho Gayaa (2003) – Сарфероз Кхан 24. Вне контроля (Out of Control) (2003) 25. Из воспоминаний (The Hero) (2003) – Исхак Кхан 26. В ловушке (Jaal) (2003) - майор госбезопасности Амриш Каул 27. Как трудно признаться в любви. (Khushi) (2003) – Вир Бхандра Сингх 28. Родная кровь (Rishtey) (2002) – Яшпал Чаудхари 29. Вечные ценности (Sharaarat) (2002) – Праджапати 30. От ненависти до любви (Badhaai Ho Badhaai) (2002) – мистер Чадда 31. Проклятие (Jaani Dushman) (2002) – садху 32. Baba (2002) - тантрик 33. Негодяй №1 (Badmaash #1) (2002) – тхакур Ранджит Сингх 34. Беглецы (Gadar) (2001) - Ашраф Али 35. Очарование любви. (Mujhe Kucch Kehna Hai) (2001) – Балрам Сингх 36. Цензор (Censor) (2001) 37. Чужой ребенок (Chori Chori Chupke Chupke) (2001) – Кайлашнатх Мальхотра 38. Роковая любовь (Zubeidaa) (2001) - Сулейман Сетх 39.Воспоминания (Yaadein) (2001) - Джагдиш Кумар Малхотра 40. Лидер (Nayak) (2001) – министр Балрадж Чаухан 41. Sixer (2001) 42. Несколько слов о любви. (Dhaai Akshar Prem Ke) (2000) – Ягвиндер Гаревал 43. Влюбленные (Mohabbattein) (2000) – генерал Кханна. 44. Shaheed Uddham Singh (2000) 45. Ek Ajooba (2000) 46. Убийца поневоле (Badal) (2000) - комиссар полиции 47. Огненная река (Aag Ka Darya) (2000) 48. Брошенный (Gair) (1999) – Сурадж К. Оберой 49. Ритмы любви (Taal) (1999) – Джагмохан Мехта 50. Славься Индия. (Jai Hind) (1999) - Мугамбо 51. Zulmi (1999) – тхакур Балрадж Датт 52. Черное правление (Kaala Samrajya) (1999) - Калкешвар 53. Красный падишах (Lal Baadshah) (1999) – тхакур Дхайял Сингх 54. Подготовка к свадьбе. (Doli Sajha Ke Rakhna) (1999) – Джордж Пинто 55. Под дулом пистолета (Thakshak) (1999) – Нахар Сингх 56. Не каркай! (Jhoot Bole Kauwa Kate) (1998) – мистер Абхъянкар 57. Salaakhen (1998) 58. Душа (Jaan) (1998) – комиссар Сурья Дев Сингх 59. Бадшах (Badshah) (1999) – Сурадж Сингх Тхапар 60. Вершитель правосудия (Kiladi №1) (1998) 61. Шам и Ганшам (Sham Ghansham) (1998) – Бхим Сингх 62. Dhoondhte Reh Jaoge (1998) - Voice on the phone with Tiger 63. Месть и закон 2 (China Gate 2) – полковник Кевал Кришен Пури) 64. Месть сына (Barood) (1998) - мистер Сейгхал 65. Любовь без слов (Koyla) (1997) - Раджа сахаб 66. Тетя 420 (Chachi 420) (1997) – Дурга Прасад 67. Dhaal (1997) - пилот Баба 68. Воин Гималай (Himalaya Putra) (1997) - спецприглашение 69. Горькая правда (Itihaas) (1997) - Бальвант 70. Любовь и месть (Mahaanta) (1997) - Кедар Натх 71. Справедливый (Nirnayak) (1997) 72. Сардари Бегам (Sardari Begum) (1997) - Хемрадж 73. На чужбине (Pardes) (1997) - Кишор Лал 74. Правосудие (Taraazu) (1997) - Аппа Рао 75. Желание (Aarzoo) (1997) - Дайяшанкар 76. Контрабандисты (Smuggler) (1996) 77. Жаркая схватка (Tu Chor Mein Sipahi) (1996) - тхакур Гаджендра Сингх 78. Vijeta (1996) – комиссар Джагдиш Чаудхари 79. Beqabu (1996) – комиссар Амритлал Бакши 80. Арест (Diljale) (1996) – главарь террористов Дакка 81. Разочарование (Ghatak) (1996) - Шабхунатх 82. Любовь преступника (Jeet) (1996) – Гаджрадж Чаудхари 83. Черная вода (Kala Pani) (1996) – Мирза Кхан 84. Не похищенная невеста (Dilwale Dulhania Le Jayenge) (1995) - Балдев Сингх 85. Drohkaal (1995) - Патхак 86. Подставленный (Goondaraj) (1995) - комиссар полиции 87. Суматоха (Hulchal) (1995) - Шубхрадж 88. Prem (1995) – Ванраджа 89. Реальность (Haqeeqat) (1995) - Шивчаран 90.Каран и Арджун (Karan Arjun) (1995) – тхакур Дурджан Сингх 91. Сыновний долг (Kartavya) (1995) – тхакур Угранарайян Сингх 92. Поле битвы (Maidan-E-Jung) (1995) – Дата Гуру/тхакур 93.О, дорогая это Индия (Oh Darling Yeh Hai India) (1995) - Дон Киджот 94. Pappi Devta (1995) 95. Каменистый путь. (Pathreela Raasta) (1995) 96. Ravanraaj (1995) 97. Джай Викранта (Jai Vikranta) (1995) – тхакур Джасвант Сингх 98. Кровопролитная схватка (Elaan) (1994) - комиссар полиции Рамакант Чаудхари 99. Maha Shaktishali (1994) 100. Святая душа. (Parmatma) (1994) 101. Самая первая любовь (Phela Phela Pyar) (1994) – Хукам Сингх 102. Теджасвини (Tejasvini) (1994) 103. Выбор (Virasat) (1994) - тхакур Раджа 104. Свидетельница (Damini) (1993) - адвокат Индраджит Чадха 105. Неукротимый дух (Divyashakti) (1993) – главарь мафии Тау 106. Gardish (1993) (инспектор Парашуттам Сатхе) 107. Kundan (1993) 108. Седьмая лошадь в колеснице солнца. (Sooraj Ka Saatwan Ghoda) (1993) – Махесар Далал. 109. Кровавая вражда (Sangram) (1993) – отец Раджа 110. Nippu ravva (1993) – (фильм телугу) 111. I Love You (1992) 112. Ashwamedham (1992) 113. Улыбка (Muskurahat) (1992) – Гопичанд Верма 114. Путешествие в некуда (Tahalka) (1992) - генерал Донг 115. Vansh (1992) 116. Машина времени (Time Machine) (1992) 117. Души вселенной (Vishwatma) (1992) - Аджгар Джуррат 118. Жизнь – азартная игра (Zindagi Ek Jua) (1992) - Бхолла 119. Безумная любовь (Deewana) (1992) – дядя Рави 120. Черный принц Аджуба (Ajooba) (1991) – великий визирь 121. Безымянный король (Benaam Badshah) (1991) - Джейкал 122. Трудный выбор (Dharam Sankat) (1991) - Джагира 123. Iraada (1991) 124. Thalapathi (1991) – Каливардхан 125. Aditya 369 (1991) – Раджа Варма 126. В одиночку (Jigarwala) (1991) – тхакур Рана Викрам Сингх 127. Расправа. (Kohram) (1991) 128. Mast Kalandar (1991) 129. Заступник (Numbri Aadmi) (1991) - мистер Рана 130. Шипы и розы (Phool Aur Kaante) (1991) - Нагешвар 131. Saudagar (1991) - Чунья 132. По закону джунглей (Shikari) (1991) - Нахар 133. Сила третьего глаза (Trinetra) (1991) - мистер Сингхания 134. Tujhe Nahin Chhodunga (1991) 135. Человек и нимфа (Aadmi Aur Apsara) (1991) 136. Aaj Ka Arjun (1990) – тхакур Бхупендра Сингх 137. Молочный долг (Doodh Ka Karz) (1990) – тхакур Рагху Вир Сингх 138. Ghar Ho To Aisa (1990) 139. Jeene Do (1990) – заминдар 140. Karnama (1990) 141. Кишан и Канхайя (Kishen Kanhaiya) (1990) – Лала Гендемал 142. Muquaddar Ka Badshah (1990) – Викрал Сингх 143. Храбрый Хатим (Hatim tai) (1990) – волшебник Джаллад 144. Nakka-Bandi (1990) 145. Ночь перед концом света. (Qayamat Ki Raat) (1990) 146.Теджа (Tejaa) (1990) 147. Ghayal (1990) – Бальвант Рай 148. Kondaveeti Donga (1990) 149. Jagadeka Veerudu Attilokasundari (1990) – Махадрашта 150. Сурья (Suryaa) (1989) - тхакур Викрам Сингх 151. Трое разгневанных мужчин (Tridev) (1989) - Бхуджанг/Бхайрав Сингх 152. Сын учителя (Daata) (1989) – Гопал Дас 153. Yateem (1989) – Dacoit Porkhiya 154. Agent 123 (фильм телугу) 155. Двое заключенных (Do Qaidi) (1989) - господин Кей Кей 156. По зову долга (Farz Ki Jung) (1989) - Джай Кишан 157. Кровавый счет (Hisaab Khoon Ka) (1989) 158. Хозяин квартала (Ilaaka) (1989) - господин Нагар 159. Волшебник (Jaadugar) (1989) Джанак Сагар Джагат Нарайян Чинтамани 160. Jurrat (1989) 161. Я достигну цели (Mil Gayee Manzil Mujhe) (1989) 162. Приговоренный (Mujrim) (1989) - Кхан 163. Na-Insaafi (1989) 164. Nafrat Ki Aandhi (1989) 165. Рам и Лакхан (Ram Lakhan) (1989) - Вишвамбар Сетх 166. Batwara (1989) – Ханумант Сингх 167. Играть с огнем (Aag Se Khelenge) (1989) - Закка 168. Коммандо (Commando) (1988) - мистер Марсалони 169. Смелость (Dayavan) (1988) - полицейский инспектор Ратан Сингх 170. Ганга, Джамна, Сарасвати (Gangaa Jamuna Saraswathi) (1988) - тхакур 171. Наша династия (Hamara Khandan) (1988) - тхакур Чандра Пратап Сингх 172. Мы не ангелы (Hum Farishte Nahin) (1988) Парашуттам Дас/Дин Дайял 173. Janam Janam (1988) 174. Смертельная битва (Mar Mitenge) (1988) – Аджит Сингх 175. Mera Farz (1988) 176. Любовь врага (Mohabbat Ke Dushman) (1988) 177. Прощание (Rukhsat) (1988) 178. Ловушка (Saazish) (1988) 179. Шахеншах (Shahenshah) (1988) - Джей Кей 180. Наследник (Warris) (1988) – Дулла 181. Aakhari Poratam (1988) – Анантананда Свами 182. Waqt ka sikandar (1988) 183. Bharat ek khoj (1988) 184. Dadagiri (1987) 185. Танцуй танцуй (Dance Dance) (1987) - махараджа Бахадур Сингх 186. Отдаю тебе сердце (Dil Tujhko Diya) (1987) 187. В борьбе за справедливость. (Hawalaat) (1987) – Дхарам Дас 188. Вознаграждение в 10 миллионов. (Inaam Dus Hazaar) (1987) 189. Кто свершит правосудие. (Insaaf Kaun Karega) (1987) 190. Jawab Hum Dengee (1987) - Дханрадж 191. Сталь (Lohaa) (1987) - Шера 192. Madadgaar (1987) 193. Мистер Индия (Mr. India) (1987) - Могамбо 194. Param Dharam (1987) – Шамшера 195. Kaun jeta kaun haara (1987) 196. Уличный бродяга. (Sadak Chhap) (1987) – М. П. Дхарамдас 197. Sher Shivaji (1987) 198. Aap Ke Saath (1986) – тхакур Перша 199. Asli Naqli (1986) – Дурджан Сингх 200. Begaana (1986) 201. Dosti Dushmani (1986) 202. Ek Aur Sikander (1986) 203. Храбрец (Jaanbaaz) (1986) - тхакур Рана Викрам Сингх 204. Стеклянная стена (Kaanch Ki Deewar) (1986) 205. Преступление и наказание (Khoon Aur Sazaa) (1986) - полицейский инспектор 206. Мой долг (Mera Dharam) (1986) – тхакур Дигвиджай 207. Волшебный бриллиант (Nagina) (1986) – Бхайро Натх 208. У каждого своя судьба (Naseeb Apna Apna) (1986) - Бхим Сингх 209. Pyar Ho Gaya (1986) 210. Ricky (1986) 211. Океан (Samundar) (1986) - Нарсингх 212. Султанат (Sultanat) (1986) - Раза Али 213. Темнота (Tamas) (1986) 214. Insaaf ki pukar (1986) 215. Невинная жертва (Meri Jung) (1985) - адвокат Тхакрал 216. Aaj ka sholay (1985) – Балбир Гупта 217. Любовь (Mohabbat) (1985) – Чаудхари 218. Paisa Yeh Paisa (1985) - Джуггал 219. Phaansi Ke Baad (1985) – Дамодар Сетх 220. Prem Yudh (1985) 221. Patthar dil (1985) – Рана Сураджбхан Сингх 222. Teri Meherbaniyan (1985) - тхакур Виджай Сингх 223. Могущественный (Zabardast) (1985) 224. Преследующий с мечем. (Chasing the Sword) (1985) 225. Aaj Ke Sholey (1985) 226. Wafadar (1985) 227. Nishan (1985) 228. Karm Yudh (1985) – Сохан Лал Пури 229. Aaghaat (1985) 230. Begaana (1985) 231. Jhutha Sach (1984) 232. Материнская клятва (Kasam Paida Karne Wale Ki) (1984) - тхакур Удайбхан 233. Факел (Mashaal) (1984) - С. К. Вардхан 234. Знак (Nishaan) (1984) 235. Голос (Awaaz) (1984) – Мулчанд Малхотра 236. Duniya (1984) - Бальвант Сингх 237. Gangvaa (1984) - спецприглашение 238. Эта страна. (Yeh Desh) (1984) - Дхулия 239. Раненый тигр (Zakhmi Sher) (1984) – Кашинатх Сингх 240. Как три мушкетера (Jagir) (1984) - Лакхан/Кумар 241. Индиана Джонс и храм Судьбы. (Indiana Jones and Temple of Doom) – Мола Рам 242. Партия (Party) (1984) – доктор 243. Слепой закон (Andhaa Kaanoon) (1983) – мистер Рам Гупта 244. Pyar Ka Pehla Sawan 245. Полуправда (Ardh Satya) (1983) - отец Ананта 246. Be-Khabar (1983) 247. Ганди (Gandhi) (1983) - Кхан 248. Встреча (Haadsaa) (1983) 249. Рыночная площадь (Mandi) (1983) - дервиш 250. Заложница (Hero) (1983) – паша 251. Носильщик (Cooly) (1983) –Джон де Коста. 252. Satta (1983) 253. Wings of fire (1983) (English) 254. Taqdeer ka badshaah (1983) 255. Subi subakka suvalali (1983) – (фильм на языке kannada) 256. Победитель (Vijeta) (1983) - инструктор Варгис 257. Всемогущий (Vidhaata) (1982) - Джагавар Чаудхари 258. Apna Bana Lo (1982) – мистер Джоши 259. Я отомщу (Main Inteqam Loonga) (1982) – Говердхан Дас 260. Беспокойство (Ashanti) (1982) - тхакур 261. Ek Aur Sangraam (1982) 262. По привычке (Aadat se majboor) (1982) – Джогвиндер Сингх/Агнихотри 263. Джонни я люблю тебя (Johny I Love You) (1982) 264. Шакти (Shakti) (1982) - Джей Кей Варма 265. Ayyash (1982) 266. Simhada mari sainya (1982) – (фильм на языке kannada) 267. Без сомнений (Be-Shaque) (1981) 268. Обида (Krodhi) (1981) - Мадхаван 269. Глубина (Gehrayee) (1981) - тантрик 270. Мы впятером (Hum Paanch) (1981) - тхакур Вир Пратап Сингх 271. Железный век (Kalyug) (1981) - Кишан Чанд 272. Candabherunda (1981) – (фильм на языке kannada) 273. Жертвуя собой (Qurbani) (1981) – Ракка 274. Судьба (Naseeb) (1981) – Дон 275. Крик раненого (Aakrosh) (1980) - прокурор Дуссане 276. Чужая луна (Chaan pardesi) (1980) – тхакур Джагирдар Сингх. 277. Dostana (1980) - Бальвант Сингх 278. Patthar Se Takkar (1980) 279. Aahat (1979) 280. Hamare Tumhare (1979) – главный менеджер 281. Ikraar (1979) 282. Jaani Dushman (1979) – человек в трамвае 283. Лакхан (Laakhan) (1979) 284. Naiyya (1979) 285. Saawan Ko Aane Do (1979) – отец Чандрики 286. В плену дворцовых интриг. (Bandee) (1978) 287. Hangama Bombay ishtyle (1978) 288. Душа и гордость (Maan abhiman) (1978) 289. Gyanji (1977) 290. Честь и долг (Imaan Dharam) (1977) – мистер Пандей 291. Благодеяние. (Kondra) (1977) 292. Грех (Paapi) (1977) - Михаель 293. Ali Baba Marjina (1977) 294. Трудная роль. (Bhumika) (1977) – Винайяк Кале 295. Пробуждение (Manthan) (1976) – Мишра-джи 296. Phalithamsha (1976) - (фильм на языке kannada) 297. Разбойник (Daaku) (1975) 298. Конец ночи (Nishant) (1975) - старший заминдар 299. Salaakhen (1975) - мастер 300. Божественный план (Chhatrabhang) (1975) 301. Aahat (1974) 302. Клятва Индии (Hindustan Ki Kasam) (1973) 303. Sone Ke Haath (1973) 304. Тишина. Суд находится на совещании. (Shantata! Court Chalu Aahe) (1973) 305. Лес (Kaadu) (1973) - тхакур Чандра Говда – (фильм на языке kannada) 306. Nai imaarat (1972) – zameendar 307. Путаница (Hulchul) (1971) – прокурор 308. Верующие любви. (Prem Pujari) (1971) - Джерри 309. Решма и Шера (Reshma Aur Shera) (1971) - Рехмат Кхан 310. The sun risesin the East (1970) 311. Khilonewala (1970) 312. Maya adventures (1967) TV series 313. Amar Milan (unreleased) 314. Wattan (unreleased) 315. Band Honth (unreleased) 316. Garjana (unreleased) 317. Pehli nazar mein (unreleased) 318. Aag aur toofan (unreleased) 319. Akhri kartoos (unreleased) 320. Devaa (unreleased) 321. Hissedar (unreleased) 322. Rudra (unreleased) 323. Atal iraada (unreleased) 324. Bajrang (unreleased) 325. Chalo memsahib (unreleased) 326. Takrao (unreleased) 327. Mohabbaton ka safar (unreleased)[/more]

Ответов - 101, стр: 1 2 3 All

Jee: http://ww1.mid-day.com/smd/play/2006/may/138193.htm Иранчик,кажется-ты любитель?Тогда это для тебя!

Иранчик: Jee пишет: Иранчик,кажется-ты любитель? Не то слово, он занимает большую часть моего сердца и души...Это уже неизлечимо

Иранчик: Jee Огромное спасибо тебе за ссылочку, некоторые из этих фоток я видела, но не все, а за инфу отдельное шукрия

Иранчик: The Act Of Life: Deconstructing Amrish Puri Megha Mahindru (HT Style) Mumbai, May 26, 2006 A year after his chilling eyes took leave of the big screen; he is still remembered and adored for his dauntingly perfect portrayals of both villainous and endearing gruffness. The Act Of Life, an autobiography of Amrish Puri, written with Jyoti Sabharwal, encapsulates the rich repertoire of artistic capacities that Puri possessed. Felicitating the launch of the book were renowned director Shyam Benegal and actor Anupam Kher at the Oxford Bookstore in Churchgate. While Benegal recounted stories about the star, who had acted in some of his pathbreaking films, Kher spoke of the camaraderie he had enjoyed with his fellow actor. “We were both from the same area in Shimla. Settled in Mumbai, in the same industry, we had a lot in common. Our casual conversations in Punjabi were absolute fun,” said Kher. Reading passages from the book, he added, “It’s very nostalgic for me to think of all this. He was a dear friend. I still haven’t deleted his number from my phone book, it just looks nice there.” Detailing dialogue exchanged between George Harrison and Amrish Puri on the sets of Indiana Jones and the Temple of Doom, the book traces Puri’s evolution from villain to lovingly stern patriarch to Richard Attenborough’s Gandhi. Going by the audience’s reactions, Mogambo would have been pleased.

Иранчик: Puri zindagi By: The Sunday MiD DAY Team May 28, 2006 -------------------------------------------------------------------------------- Growing up I WAS born a very dark child... in a small dark room lit up with a kerosene lamp, on June 22, 1932, in Naushahr, at seven in the morning in the house of my maternal grandfather Modumal Sabharwal. This was a village in the district of Jalandhar, and now a town with fairly good civic amenities. But way back in the ‘30s, there was no electricity, let alone other facilities. A midwife helped biji in bringing me to this world. In fact, I was the darkest in my family and gathered later from my grandmother Radha that biji was so upset about my complexion. Bauji was informed about my birth through a postcard in Delhi, where he was in a government job as the head cashier in civil supplies. Perhaps, this consciousness of being dark made me gulp a lot of milk in the hope that I would become fair. And I was fondly nicknamed dudhiadhari, as up to the age of four, I was only fed on milk, for that’s what I wanted whether I was thirsty or hungry. I was a 10-year-old roly-poly ... with cat-like eyes, and thus became the butt of ridicule of the bullies in school, as I was nicknamed mota billa (fat kitten). All the kids chanted this name loudly in unison, whenever they fancied. I was not a clear or sharp child, nor too intelligent in my studies — just an average boy, who was slow-paced. I would get very angry and upset but couldn’t bring myself to react. After all, they were many and I, alone. So I put up with the ragging silently. At home too, nobody paid any heed to my complaints. One day, I was surrounded by four of these bullies at the Simla Ridge. They snatched my school bag, chucked out my books and stamped on them crooning, mota billa, mota billa. When they started hitting me, I managed to dodge a couple of times, but when a blow landed on my head, I lost my temper and began swinging my satchel in all directions. I managed to freeze the smiles on their faces, and they were completely taken aback least expecting me to retaliate. A few minutes later all that the passers-by could see were four whimpering boys, holding their black eyes and bleeding noses. And I was back home calmly eating makkai di roti. I became a member of the RSS ... Perhaps, bauji’s bias against the film industry rubbed off on me too, more so, since those days I had also become a member of Rashtriya Swayam Sewak Sangh (RSS) and aspired for high ideals. This turned me off completely and I was up against ever stepping into this profession. As I got involved with the activities of RSS, I would be honest enough to say I was drawn to their ideology of Hindutva — the fact that we are Hindus and we have to protect our Hindustan from the alien forces, and throw out those forces, so that we may govern our own country. It had nothing whatsoever to do with religious fanaticism, but sheer patriotism. We sang songs in chorus. I do not remember those numbers but I do recall our prayer: Namaste sada vatsalye matrabhoomi... (Greetings, the ever-loving motherland...) This prayer is still chanted in the evening at the RSS shivirs and shakhas. Obviously swayed by those feelings of nationalism, I was fairly certain and clear about what to do and what not to do. I was just 14 and given the charge of yuvak vibhag (youth wing). As a vibhag adhikari, I had the responsibility to train other youngsters like army soldiers. We only thought in terms of hamara Bharat Varsh. This training in the RSS made me responsible. I was responsible not only in the sense of the word, but practically doing everything, and it made me more disciplined. I was also given the drill, learning how to deal with an emergency and respond to a gathering of hundreds of people at one go. The sole purpose was to make a better India, notwithstanding the propagation of Hindutva. And I was experiencing this strange joy of becoming self-dependent, and if you achieve that in your teens, it’s a heady feeling. Working with the legends I cried on the sets of Govind Nihalani’s Aakrosh Govind Nihalani made his directorial debut with a hard-hitting Aakrosh. It was shot in Alibagh and partly in a real jail. Playing a public prosecutor in the film, I want to send Om Puri to the gallows, his crime being that he’s allegedly killed his wife. Naseeruddin Shah is his defence counsel, who’s also my protege. Though Naseer is a greenhorn in law, he is very bright and competent. He comes to my house to seek advice on how to fight the case; more so, how would he fight it against me. I tell him to just fight it out as the opponent lawyer. He does it so brilliantly and beats me in this contest. I recall how I was made to smoke expensive cigars since my character demanded it. In one scene, the smoke went to my head. I got confused and muddled up the dialogues. I had to give almost 25 retakes. It was very humiliating and that night I cried in my bed. Please don’t disturb me, I am trying to concentrate — Ben Kingsley in Gandhi In one of the scenes, we were sitting on the dais in a public meeting, and I tried to have a casual chat with Ben Kingsley in between the shots, thinking we could cut fast jokes with each other, which we normally do while shooting. Now the camera was quite far away and we were not supposed to be heard since it was not recording. Ben was actually memorising his dialogues. He got upset and looked at me with piercing eyes. I was told sternly, “Please don’t disturb me, I am trying to concentrate. Only talk what is relevant for the scene. Will you please mind your own business?” And then he reminded me that he was also from theatre where lines where always delivered and not dubbed. I apologised later. I felt rebuffed but realised Ben was so right. That was a lifelong lesson for me and it again taught me that never ever try to make fun or trifle with the work you are doing. You work with people and learn in different ways. What I also learnt from this actor and our director was how much it means to be absorbed and concentrate. Many of our over-confident actors very often keep doing that to other co-actors, thereby diluting the whole mood of a serious scene. And if people remember my punchline, Mogambo khush hua, in Mr India, perhaps it was a bigger fantasy than Indiana Jones. I gave a form to that character by my own personality and learning. It surpassed my own expectations playing one of the most interesting characters I have ever portrayed, and the audience loved it. And Mogambo, in turn, made me a household name; it even echoed across the Indian diaspora to the extent that this image got permanently etched. Ironically, I was not in the film to begin with. Producer Boney Kapoor and director Shekhar Kapur got in touch with me when I was shooting for Loha in Ooty. Not many people know that 60 per cent of the film was already shot; my portions were filmed later and then sneaked in. Mogambo was conceived as a Hitler-like character. He was vicious and so very eccentric, because he wanted to rule the world and build his empire. Since his nationality wasn’t clear and the foreign origins weren’t specified, though he definitely looked like an invader, the name had to be unusual, mysterious and hard-hitting. And Mogambo was derived from a 1953 Hollywood film of the same name, starring Clark Gable. It sounded lyrical and the character was just fantastic — the evil, underworld, all rolled into one. It had the right ring to it, so writer Javed Akhtar zeroed in on it. The grand sets of Mr India were put up at RK Studios. I never saw daylight for 15-20 days since Mogambo existed and died inside his den. His ornate throne had a rounded globe on the armrest. I remember I was sitting on this throne, while the lights were being adjusted. Now just to get the feel of the character, I started tapping my fingers on the throne, wearing all those rings. It seemed like an eerie gesture and a very sinister sound emerged. Shekhar is very observant, he noticed it and said, “Hold it — this is what I want.” And it became one of Mogambo’s trademark gestures in the film. At the end of the day, I think if Mr India helped Mogambo, then Mogambo also helped Mr India! It further enhanced my star status and turned me into the most khatarnaak villain of our times. Steven Spielberg I was introduced to Steven, and while I was trying to gauge him, he stopped in his tracks and looked at me, rather gaped at me from top to bottom and screamed, “Fantastic! You are my Mola Ram, 100 per cent. I thought of this villain only.” I found him to be very boyish, a very unassuming kind of a person in his mid-30s or probably less. He extended the courtesy of asking me about the long haul, and that I must be tired. Without losing a minute, he instructed his guys to get me coffee, hand over the script and take me to the attic. “Read your portion. Within two hours we will meet again.” And he proceeded to his work. I read the script half-heartedly over this cup of coffee, as I thought it was just like some jadugari in an ordinary, masala Hindi flick. My role didn’t seem to be significant. I was convinced it was not a serious script and why had they called me all the way? What was so great about it? I was caught in two minds whether to take up the role or not. To resolve my dilemma, I called up Attenborough for guidance. I said, “I have this offer but I’m not too pleased about the script. What should I do?” Interestingly, Spielberg and Attenborough were sort of competing at that time, as both Star Wars and Gandhi were vying for the Oscars. They were rivals and yet Attenborough asked me to go ahead. He proved how fair he was rendering sane, professional advice, “Don’t be a fool. I consider him to be one of the greatest filmmakers at the moment, so don’t miss out on whatever opportunity he is giving you. Don’t underestimate the capacity of a world-class director. I know you as an actor and if Steven has approached you, he has something in mind. And believe me, that man creates magic out of nothing!” First day of shoot I arrived in Colombo on a Sunday afternoon in April and was driven to Suisse Hotel in Kandy. It was my first schedule with them and I did not know most of the crew members. I had only met Spielberg and Robert Watts and producer. As I entered the hotel premises, I found about fifty people in their trunks and bikinis sprawled near the swimming pool. Not knowing who was who, I stood gazing at all of them, so that someone would know who I was. Then suddenly I heard, “Hello and welcome”. That was Spielberg himself, very casual and simple in his approach. After asking whether my journey was comfortable, he suggested I joined them. I went to my room, changed into my swimming trunks and mingled with the crowd. Thereafter, I had no problem or difficulty in mixing or dealing with an all-American crew. And I must say, none of them had any ego problems or reservations about my being an Indian. On the contrary, when they got to know I was an established actor in India and that I was busy shooting in over a dozen films, they were quite impressed. Sanjay Dutt reacts to Indiana Jones Even Sanjay Dutt called me up from New York. He had gone to see the film along with his friends on learning that I was in it too. As I appeared on the screen, he whistled in the theatre shouting, “He is my uncle Amrish, and I am so proud of him.” His friends had to calm him down. He personally narrated the whole incident when he got back. With permission from The Act of Life by Stellar Publishers. Price Rs 595

Иранчик: Если уж выдержки из книги-воспоминаний начали поступать в прессу...видимо скоро выйдут и долгожданные мною мемуары.... Скорее бы...

Женя: Иранчик пишет: Если уж выдержки из книги-воспоминаний начали поступать в прессу...видимо скоро выйдут и долгожданные мною мемуары.... Скорее бы... Да, к сожалению, когда я была в Мумбаи, книга ещё не вышла в продажу.. Но я честно искала!

Иранчик: Женя пишет: Да, к сожалению, когда я была в Мумбаи, книга ещё не вышла в продажу.. Но я честно искала! Д я Женечка ж тебе верю, её говорит Анупам только в конце мая сего года презентовали в Англии...

Jee: http://ww3.mid-day.com/smd/play/2006/june/139633.htm Иранчик,держи еще новостишки!

Иранчик: Jee Солнышко, и где ты их разыскиваешь... огромное тебе спасибо вновь.... С удовольствиекм прочитала...

Jee: Иранчик пишет: Солнышко, и где ты их разыскиваешь... огромное тебе спасибо вновь.... С удовольствиекм прочитала... Привычка рыться везде по задворкам,и вот такие жемчужинки накапываются Рада тебя порадовать

Иранчик: Jee пишет: Рада тебя порадовать А я то как рада, не представляешь, ведь об Амришике уж не так много инфы...

wichy: А вот знаете, какая у меня любимейшая сцена с Амришем? Самая-самая, которая ассоциируется у меня с ним? Из Dilwale Dulhaniya Le Jayenge - когда во время песенки MEHNDI LAGA KE RAKHNA появляется грозный с виду Амриш, все затихают, и он начинает петь кусочек песенки Ay Meri Zohrajabeen... У него так меняется лицо, и вообще - очень подходит песня к ситуации, и очень трогательный момент, отыгранный им классно :-)

Иранчик: wichy пишет: А вот знаете, какая у меня любимейшая сцена с Амришем? Самая-самая, которая ассоциируется у меня с ним? Из Dilwale Dulhaniya Le Jayenge Я каждый раз при виде этой сцены дико верещу от восторга....писк в округе на версту по радиусу слышно....и песня мне нравится очень (я имею ввиду MEHNDI LAGA KE RAKHNA ) и Шах и Каджолка и Амришик с Фаридой.....

nelke: Смотрела сравнительно недавно "Вечные ценности" / Shararat, очень мне там Амришик приглянулся. Как-то по-особенному Не яркий злодейчик, а такой себе тиранчик, который, опять же, не так прост и понятен с первого взгляда. Он мне понравился больше всех в фильме

wichy: Иранчик пишет: песня мне нравится очень (я имею ввиду MEHNDI LAGA KE RAKHNA А я обожаю и Мехнди, но та, которую Амришик поет - Meri Zohrajabeen - это вообще улет, слезы наворачиваются аж...

Иранчик: wichy пишет: А я обожаю и Мехнди, но та, которую Амришик поет - Meri Zohrajabeen Только мало очень и жаль что не своим замечательным баритончиком.....я вот кстати выложила капсы из этих песенок в темку «Песни в картинках»... (этакая ненавязчивая рекламка)

Иранчик: nelke пишет: Смотрела сравнительно недавно "Вечные ценности" / Shararat, очень мне там Амришик приглянулся. Как-то по-особенному Ну да он там крепкий орешик для Абхи оказался....Люблю его там тоже (как впрочем и везде, он у меня во всякой чуши СУПЕР....)

wichy: Иранчик пишет: Только мало очень Угу :-( Я помнится долго эту песню целиком искала, когда нашла - протащилась по полной, на на последнем диске от Сонии даже клипик на нее есть. Очень, очень трогательно - даж захотелось фильм посмотреть, из которого она, тем более, что вроде как он считается классикой

Иранчик: wichy пишет: на последнем диске от Сонии даже клипик на нее есть. Это что за диск (полная версия DDLJ что ли?) У меня вот есть кассета с презентацией фильма и с вырезанными сценами, но там нет полного варианта песни...хотелось бы тож послушать, да и клипик заценить...

wichy: Иранчик пишет: Это что за диск Не, я про исходную песенку, кусочек которой поет Амриш в Мехнди. Сама песня из старого фильма Waqt (не тот, который новый с Амитом и Акшаем, а старенький), песня классная... но Амришика там нет, конечно

Иранчик: wichy пишет: Не, я про исходную песенку, Ах, вон оно что тады понятно...а что за фильм «Waqt» (старенький) - не видела, к сожалению, там кто играет....

wichy: Иранчик пишет: а что за фильм «Waqt» (старенький) - не видела, к сожалению, там кто играет.... А я тож не видела. Фильм шестидесятых годов, играют там, если правильно помню, Сунил Датт, Радж Кумар, Шаши Капур - кто еще не знаю. Считается классикой индийского кино и одним из самых популярных фильмов за всю историю. Сама посмотрела бы - у нас его выпускал Формат под названием Испытание временем.

Нино-МучаЧА: У Амриша есть племянница Бхумика, фотомодель и начинающая актриса. Она достигла значительного успеха и завоевала много поклонников за довольно короткий промежуток времени. Она снялась 8 видео клипах и принимала участие в съемках самых популярных хитов Индийской сцены, среди них - 'Soni lag di', 'Jaan' с Сону Нигамом, 'Aisa bhi kabhi hota hai' и другие. Она участвует в радиопередачах таких, как Toyota Qualis, Dabur Vatika, Close up and.

Нино-МучаЧА: Амриш Пури Амриш Пури - один из лучших и уникальный актеров Болливуда, с яркой, индивидуальной и выразительной внешностью. Родился 22 июня 1932 г. в семье среднего достатка. У него был старший брат, в своё время очень популярный актёр - Мадан Пури (он снимался в таких фильмах как "Всемогущий", "Мститель" и многие другие). Амриш женат (не на актрисе). У него есть сын - Раджив, и дочь - Намрата. Сын занимается бизнесом, связанным с морскими перевозками, а дочь - врач. Также у него есть четыре внука. В своих интервью Амриш говорит: "Я стараюсь больше времени проводить с семьей, у меня четыре внука двое сыновей Раджива и двое Намраты. Я стараюсь быть примерным семьянином и хорошим дедушкой". Амриш окончил университет, (экономический факультет) длительное время работал в правительстве Индиры Ганди. В кино пришёл поздно, в 38 лет. Сначала Амриш играл в театре, где получил популярность и известность (он является постоянным членом компании - Театры Бомбея). Но он хотел сниматься в кино. К сожалению, ему не нравились предлагаемые роли. Удача улыбнулась ему, когда режиссер Сухдев выбрал его для роли в фильме "Решма и Шера" (1971г.). Там он сыграл самого старого персонажа за всю свою кинематографическую карьеру. А затем играл в основном роли отрицательного плана. Некоторые из его коммерческих фильмов имели огромный успех и просто заставили людей влюбиться в этого злодея. "Я счастлив, играть злодеев. Как актер, я должен хорошо вжиться в роли, которые получаю. К сожалению, я получаю больше отрицательных ролей, чем положительных" говорит Амриш. Талантом Амриша восхищаются во всем мире. Режиссер Голливуда Стивен Спилберг был так увлечен игрой и способностями Амриша, что предложил ему роль в фильме Индиана Джонс и Храм Судьбы. Амриш снимался также и в "параллельном кино" - у таких прославленных мэтров как Шьям Бенегал, Говинд Нихалани, Гириш Карнад. У Шьяма Бенегала он сыграл почти во всех фильмах, особенно можно отметить фильмы Nishaant, Bhumika и Manthan. "Я - подарок для режиссера. Я всегда следую их советам. Это, наверно, и стало причиной моего долгого пребывания в киноиндустрии. Я - подобно кирпичу. Вы можете использовать кирпич в мечети, храме или церкви. Я могу работать с любым режиссером и играть роли согласно его требованию. Но не думайте, что я совершенен. Я продолжаю совершенствовать свое мастерство, пробую новые роли и образы" добавляет он. Фильмы подобно Мистер Индия, Зов земли (Выбор), Роковая любовь или Беглецы дают представление о многосторонности Амриша, как актера. Но если вы попросите, чтобы он назвал одну роль, которая дала ему огромное творческое удовлетворение, он говорит, "Сыграно много ролей и я удовлетворен именно этим. Некоторые фильмы имели большой успех, некоторые его совсем не имели и я не могу точно определить, какая роль меня главная". Когда его спрашивают, в скольких фильмах он сыграл, он признает, что он потерял им счет: "Не знаю, я перестал их считать. Но один из моих поклонников сказал мне, что я играл в более чем 300 фильмах". В последнее время он в основном играет роли положительного плана ("Не похищенная невеста", "На чужбине", "Выбор", "Родная кровь" и другие). В новом фильме, Gary: Pride & Honour (Гордость и Честь) у него положительная роль. "Для разнообразия можно сыграть роль не побитого героя" - шутит Амриш. В этом году в английском издательстве выходит его книга "Воспоминания многоликого Могамбо". Его награды: Filmfare - 1985 (за фильм Meri Jung (hindi)) Filmfare - 1996 (за фильм Ghatak (hindi)) Filmfare - 1997 (за фильм Viraasat (hindi)) Screen - 1996 (за фильм Ghatak (hindi)) Screen - 1997 (за фильм Viraasat (hindi))

Иранчик: Вот она Бхумика (дочь младшего брата Амришика - Хариша)

Иранчик: Нино-МучаЧА пишет: Его награды: Награды не все..... 1 1985 MERI JUNG НЕВИННАЯ ЖЕРТВА 1987 За лучшее исполнение роли отрицательного плана. Filmfare - 1985 Best Supporting Actor 2 SOORAJ KA SATWAN GHODA Седьмая лошадь колесницы солнца. на 7 Сингапурском международном фестивале фильмов 39-ый Фестиваль Фильмов Азии и стран Tихоокеанского блока в Сиднее 3 GHATAK РАЗОЧАРОВАНИЕ Best Supporting Actor Filmfare Awards Screen Weekly Awards 4 1998 VIRASAAT ВЫБОР Best Supporting Actor ( премия Filmfare - 1997 и Screen - 1997) 5 1996 GHATAK РАЗОЧАРОВАНИЕ Премия Screen - 1996 6 2002 Gadar: Ek Prem Katha (2001) Беглецы Performance in a Negative Role Awards of the International Indian Film Academy 7 2002 Gadar: Ek Prem Katha (2001) Беглецы Best Villain Zee Cine Awards 8 2002 Gadar: Ek Prem Katha (2001) Беглецы Best Villain/Villainess Filmfare Awards 9 2004 Hero, The (2003/I) Герой Best Performance in a Villainous Role Zee Cine Awards

Нино-МучаЧА: Иранчик пишет: Вот она Бхумика нечего так семпотяшка на индианку она не очень смахивает Иранчик пишет: Награды не все..... теперь все

Иранчик: Нино-МучаЧА пишет: теперь все Теперь все, кроме театральных... с одной них он на аватарке моей...

Персик: Прекрасный актёр. Всем злодеям злодей. Но, как ни странно, не менее хорош и в положительных ролях, а уж его старые добрые дедушки вызывают у меня неизменную улыбку. Светлая память.

Иранчик: Персик пишет: Прекрасный актёр. Всем злодеям злодей. Но, как ни странно, не менее хорош и в положительных ролях Потому-что универсал он у меня, везде великолепен...

Иранчик: How Purisaab created Mogambo August 23, 2006 There has been a massive, Mogambo-shaped hole in the Bollywood universe since the great Amrish Puri passed away last year. Purisaab continues to live on in our hearts and on our screens, and now his legacy has been immortalised in a posthumously published autobiography. The Act of Life, (Stellar Publishers, Rs 595) an Amrish Puri autobiography authored with Jyoti Sabharwal, is now on the stands. The following excerpt features Purisaab delving into that most iconic of villains, Mogambo: "And if people remember my punchline, Mogambo khush hua, in Mr India, perhaps it was a bigger fantasy than Indiana Jones. I gave a form to that character by my own personality and learning. It surpassed my own expectations playing one of the most interesting characters I have ever portrayed, and the audience loved it. And Mogambo, in turn, made me a household name; it even echoed across the Indian diaspora to the extent that this image got permanently etched. Ironically, I was not in the film to begin with. Producer Boney Kapoor and director Shekhar Kapur got in touch with me when I was shooting for Loha in Ooty. Not many people know that sixty per cent of the film was already shot; my portions were filmed later and then sneaked in. As per my information, another actor was supposed to have played that role, but things apparently didn't work out and it fell into my lap. I was a bit apprehensive because more than half the film was complete and now they had come to me. I thought to myself, Inhe ab jaakar meri yaad aayi? (Now they remember me?) Maybe because of Indiana Jones, they had approached me. And I thought it would be fun after I had extensive discussions on this comic-strip villain, and the real import of the character lay in his get-up, his mannerisms, and the way he was to be presented. конецформыначалоформыMogambo was conceived as a Hitler-like character. He was vicious and so very eccentric, because he wanted to rule the world and build his empire. Since his nationality wasn't clear and the foreign origins weren't specified, though he definitely looked like an invader, the name had to be unusual, mysterious and hard-hitting. And Mogambo was derived from a 1953 Hollywood film of the same name, starring Clark Gable. It sounded lyrical and the character was just fantastic - the evil, underworld, all rolled into one. It had the right ring to it, so writer Javed Akhtar zeroed in on it. I thought he should have a regal bearing as a ruler. Hence those royal, embroidered jackets and long boots were part of his ensemble. Initially, I thought he should be bald, but after some thought we decided to give him a look of a foreigner with duke-like blonde wigs. The grand sets of Mr India were put up at RK Studios. I never saw daylight for 15-20 days since Mogambo existed and died inside his den. His ornate throne had a rounded globe on the armrest. I remember I was sitting on this throne, while the lights were being adjusted. Now just to get the feel of the character, I started tapping my fingers on the throne, wearing all those rings. It seemed like an eerie gesture and a very sinister sound emerged. Shekhar is very observant, he noticed it and said, "Hold it - this is what I want." And it became one of Mogambo's trademark gestures in the film. Shekhar made an immense contribution to my performance. конецформыначалоформыAnil Kapoor and Sridevi did their best to make me a loving, bad Mogambo. Sridevi's sense of timing, her emoting and her comic streak are incomparable, as she displayed in Mr India too. Also, the film created a buzz in Bollywood. For one, Shekhar had already proved himself with Masoom, besides, the lead star pair of Anil and Sridevi was also fresh at the time. And now having acted as one of the most evil characters in Indian cinema, I wondered if I was seized with the evil spirit. I think I was, as I had imagined the character in my own way. What this character looks like, how he speaks and what kind of force and energy drives him to think of destroying India? Honestly, I did try to invoke the spirit and I do not know how it happened. Even in Jaani Dushman, I was playing the evil spirit. And when I turn into a devil hair grows on my body. For this, I had to wear a costume full of hair in the middle of May. It was terrible. I shudder when I think of it now, but at that time I did not. Kyonki mere oopar kaam ka bhoot sawaar tha! I was also given the liberty to choose the costume of Mogambo. My outfits for the film were designed by Madhav Agasthi's Men's Mode. He has been my special designer and draper for all my costumes since 1980. Once the appearance or the look is decided, I start imagining how this character would operate. Every bit of observation is fed into the computer of the mind. And this time round I picked a black and shocking pink, and black and striking golden yellow contrasts, because the character was outlandish. One thing was sure that black is associated with negative and garish colours embellished with golden embroidery would have a shocking value. So the outcome was regality and regality of evil. My makeup was not heinous, but I suggested that the moustache should be removed and the eyebrows should be arched in a particular way. Just with this slight permutation, Mogambo's face acquired a peculiar look. ОбычныйТерминСписокопределенийАдресЦитатыФорматированныйконецформыначалоформыAnother important aspect is that you're a villain, and still your presence on the screen should generate that loving feeling; it could only be created with a special get-up. All this helps to create the entire aura of the character. It's just that when producers sign me, I ask them what kind of a look I would have. And I have always done it myself with some exceptions where a special designer is required. The get-up does accentuate the character and makes it look grotesque, mean or horrifying and helps the film commercially. If a character has to inspire horror, he had better look it. If the get-up frightens the audience, then so much the better! And there is a certain audience that wants to be scared, that's why you have horror films and horror shows. Why do people see these kinds of films? Because some people get a kick from this genre and they want to be jolted from time to time. So, this is how the nature of villainy changed, becoming weird and grand to the extent of startling opulence. People admired this character, because he is the epitome of confidence and stands for achieving perfection, even if it is of evil; for evil allures, it has a hypnotic effect on the human psyche. In that sense, the villain is the new hero, for he evokes envy for his worldly riches. And I had to overact at times, but that was part of the oeuvre. At the end of the day, I think if Mr India helped Mogambo, then Mogambo also helped Mr India! It further enhanced my star status and turned me into the most khatarnaak villain of our times. I had to cram up my days with triple shifts of shooting and inaugurations of various Mogambo toyshops. Life is strange indeed. There are times when you hang around the fringes of stardom, then comes a time when you enjoy the fringes of stardom. Every time I do some good work I add two-three extra marks in my report card. This is how I calculate that I have reached a certain degree of excellence. Though I must say that for the effectiveness of the character, I have my own terminology. I ask the director to tell me what should be the temperature of a character. And then I ask what would be the effect of the character before I accept it. I must say I got this chance to do an author-backed role, which was so well written. Even if Mogambo had been played by any other good actor, he probably would have got the same ovation, fame, and applause, though the performance would have looked different. Well, some people even sought parallels between Mogambo and Gabbar. The stories of both Sholay and Mr India are by Salim-Javed. However, by the time Mr India went on the floor this duo had parted ways. Gabbar's one-liner 'Kitne aadmi the?' was matched by Mogambo's refrain, 'Mogambo khush hua.' While Gabbar was an unkempt, ruthless sadist, Mogambo was a funny and genial caricature. It's all about the versatility of an actor. It is imperative for the villain to change his appearance, even though the hero looks repetitively the same with the same agreeable appearance. And that becomes un-exciting. It is the character actor who has to make the effort of bringing variety into his performances. I'm sure people like characters who look and behave differently. So this trend of different get-ups came into vogue.

Иранчик: Villains and vamps of Indian cinema The typical plot of Bollywood's three-hours plus bonanza runs according to a predictable formula- two young lovers find their chances of marriage threatened by a nafarious villain or a seemingly insurmountable social barrier, but after several songs, a long car chase and a cliff hanging fight, all obstacles are suddenly removed just in time for a whirlwind wedding before "The End". Just as songs and dances are important in a Bollywood movie, so are the villains and the vamps, without whom the story would literally fall apart. However, even in this typical plot, the role of the villain has varied according to the time-frame of the film and more importantly, the personality of the actor playing the villain. In the early years, the villain was usually the wicked 'zamindar' or the blood-sucking 'bania' in the village. Kanhayalal, one of the earliest villains of the Hindi cinema, excelled in the role of the 'bania', as no other villain ever matched his mastry of the charecter. The cunning, cruel and conniving 'bania' of Mehboob's Aurat (1940) was so powerfully played by Kanhayalal that the director could not think of any other actor to play the character in his famous remake of the movie, Mother India, and repeated him after nearly twenty years for another great performance in his greatest movie of all times. Jeevan was another well-known villain of early years who played the proverbial village moneylander in several movies of the 40s and 50s, besides playing his signature role of Narad Muni in almost all the mythological movies. There was one similarity between the two players, they had both mastered the art of converting their villainy into comedy. Another villain of yester years who displayed similar ability was Yaqub, who played the vagabond son in Aurat, and was as popular a villain as he was a comedian- Lal Haveli (1944). In later years this quality is bundently displayed by Shakti Kapoor who became immensely popular playing comedian-cum-villain in 300-plus movies. With the change of scenerio from the village to the city, the villain became the big time smuggler or the smart operator in the business of black-marketing and underworld. K. N. Singh- Baazi (1951), Hulchal (1951), Awara (1951), Jaal (1952), C.I.D. (1956), Howra Bridge (1958) and nearly hundred other movies he acted in- was one of the most dreaded villains in this catagory, because of his very dominent personality and great dialogue delivery. With the proverbial pipe in mouth and dress-code to match the occasion, he was the first to bring a sort of sophistication to the role of a villain. Madan Puri, the veteran villain of 200 plus movies, was another city-brand baddie who dominated the Cinema of the late 40s and 50s. His most notable movies were, Ahinsa (1946), Vidya (1948), Nau Do Gyarah (1957), Howra Bridge (1958). The run-away hit of the Seventies, Dulhan Wohi Jo Piya Man Bhai, changed his career from a villain to a lovable elderman, which left an idelible mark in the hearts of his fans. It is ironical that the famous villain, Amrish Puri, entered the industry introducing himself as Madan Puri's younger brother but in later years, the veteran Madan Puri was often referred to as Amrish Puri's elder brother. Post independence period saw the rise of many renowned villains of the new generation- Prem Nath (Barsaat, Aan, Teesri Manzil, Johny Mera Naam, Tere Mere Sapne, Bobby, Amir Garib, Janeman and hundred-plus movies), Ranjeet (Sawan Bhadon, Sharmili, Reshma Aur Shera, Victoria No. 203 and nearly 200 more films), Danny Denzongpa- Padmshree 2003 (Sanam Bewafa, Khuda Gawah, Zaroorat, Mere Apne, Dhund, Kala Sona and over 150 films), Manmohan, known for enacting rape scenes with extraordinary perfection (Railway Platform, Yeh Raaste Hein Pyar Ke, Gumnam, Mera Saya, Upkar, Shikar, Poorab Aur Pachhim and 60-plus films), Gulshan Grover- pencilled in to play the villain in the next James Bond flick, Casino Royale, the villain of 350 films, seen in Hollywood, French, German, Canadian and British films in recent years, is currently awaiting release of his latest Hollywood movie, The Aftermath; Mohnish Bahl, son of famous leading lady Nutan (Bekrar, Raja Hindustani, Koyla, Dulhe Raja, Ek Rishta and nearly 100 more movies). In recent years two actors of exceptional talent gave memorable performance as villain- Kulbhushan Kharbanda, the Shakal of Ramesh Sippy's Shaan, who looked no less forceful than a villain straight out of the best of the Bond flicks, and Manoj Bajpai, Bhiku Mhatre of Satya, that made a star out of a 'no body'. Amongst the vamps of the Hindi cinema, the early years saw them as the Monster-in-Laws or the step mothers(Manorma) or the extra-stiff Mausi (Leela Mishra), but the real vamps are the loose women dressed in revealing western outfits, who attempt to entice the hero with their seductive eyes. Three vamps of exceptional talent made the heroins run for their money dominated the cinema for many decades. Kuldeep Kaur (Kaneez, Samadhi, Afsana, Anarkali, Pyar Ki Rahen and over two dozen hit films) was the first female villain who created hell for the heroin and her family in the 40s and 50s. Shashikala (Jugnu, Doli, Arzoo, Nau Do Gyarah, Sujata, Kanoon, Junglee, Waqt and over 100 other films), with her innocent charm and attractive looks could easily be the leading lady in films. The producers somehow, preferred to cast her as the cunning other woman, bent upon breaking the relationship of the love birds, which she could accomplish with astounding success almost till the climax. The tables are turned against her, to give a happy ending to the film. Bindu, popularly known as Mona Darling after her classic portrayal of the 'bad girl' in Zanjeer (1973), defined the Bollywood cabaret dance numbers and the role of the vamp. She acted in about 150 movies, many of them super hits which made her the most saught after actress next only to the top heroins of her time. Both Shashikala and Bindu, like their contemporary counterparts in the world of male villains, switched over to character roles after giving stunning performances as vamps, their latest appearances being Bindu in Mein Hun Naa and Shashikala in Mujh Se Shadi Karoge. Kuldeep Kaur passed away early in her career, in whose shoes entered Nadira, though making her character more sophisticated. Starting her career with Aan (1952), she acted in 60-plus movies, including Raaj Kapoor's super hit Shri 420. Padma Khanna followed the foot steps of Bindu, becoming a very popular 'oomph girl' of the 70s. She worked in over 70 films with the most memorable performance in Johny Mera Naam. Evergreen Helen, the queen of cabaret, deserves a special mention, though she was never really a vamp in the true sense of the word. She remained for more than three decades an essential part of almost all first-rate movies, with at least one hot dance and song scene, now a days popularly known as 'item number', that was invariably the star attraction of the movie. Her role in Don will ever be remembered for the depth of emotion and the height of characterization the 'vamp' could reach in a movie. She has worked in over 200 films, starting from Awara (1951) to the presently under production Marigold. Dancing all the way to unprcidented heights of popularity in her half a century of career in Bollywood has baffled many, including the renowned producer director of documentaries in Canada, Eisha Marjara, who has produced a full length movie on Helen, Desparately Seeking Halen (1999). Amongst all the villains of the Indian cinema, old and new, male and female, the following could be rated as the top-5 on account of their popularity, performance and legendary legacy: Pran: The 'Villain of the Century' has had marathon six decades long career in Hindi cinema and is one of the most celebrated actors in the industry. The story of the most famous 'bad man' of Indian cinema began in Lahore (Yamla Jatt, Chaudhary, Khandan, Sahara, Ragni etc.) before destiny brought him to Bombay after the Partition. After Ziddi (1948) became a super hit, there was no looking back for him and he became the star attraction of hits (Apradhi, Badi Behen, Afsana, Bahar, Pehli Jhalak, Azad, Devdas, Kundan, Munimji, Chori Chori, Madhumati, Chhalia, Jis Desh Mein Ganga Behti Hei, Raaj Kumar, Ram Aur Shyam, Milan and so on). He worked extensively with the 'Trimurti' of the golden era, Dilip Kumar, Dev Anand and Raaj Kapoor and won several awards- Filmfare (1967, 1969, 1972, 1997), Stardust (Villain of the Millaneum-2000), Screen (Lifetime Achievement Award-2000), Zee TV (Lifetime Achievement Award-2000) and Government of India (Padmbhushan-2001). Amrish Puri: He was truly among the greatest villains in the history of Hindi cinema, second perhaps, only to Pran. Following the footsteps of his elder brother Madan Puri, already a wellknown villain, tried his luck testing for a film actor albeit a leading man in 1950s. Rejection turned him towards the world of theatre where he showed his histreonics abilities. It was after a struggling period of nearly twenty years when he was offered a role in Sunil Dutt's Reshma Aur Shera (1971). However, much of his role ended on the editing table. It was his association with Shyam Benegal that led to Amrish Puri being noticed as an actor of substance. His menacing act as Mogambo in Shekhar Kapur's Mr. India was not just a turning point in his career but also the most memorable comic-book-villain-acts in Hindi cinema. He was finally a star when well into his 50s. What more, he even got called by the Hollywood great, Steven Spielburg, to play villaneous Mola Ram in Indiana Jones and the Temple of Doom (1984). His unstoppable super hits (Ram Lakhan, Tridev, Dilwale Dulhania Le Jayenge, Saudagar, Pardes, Taal, Gadar etc.), made him as big a star as the leading actors in the movies. Amjad Khan: Shole will ever be remembered for the heights it took villainy to in Indian cinema. Unlike earlier villains who were content to be pain in the neck for the lovers in the film, Amjad Khan's Gabbar seems to pursue evil as an end in itself. He, who can boast of being the most imitated character of Hindi cinema, is the villain that people love to hate. He was unarguably the most legendary character of tinsel world. His dialogues are now folk-lore and the trademark ferocity, Amjad Khan as Gabbar Singh is a true blue-cult figure. What better tribute can be paid to this legendary villain that Director Ram Gopal Verma could not think of any other actor to play Gabbar Singh in his modern day version of Shole than the all time greatest actor, Amitabh Bachchan. Ajit: The Indian actor whose charming villainy and most lapped up one-liners made him a national folk hero during a film career that spanned several decades in Bollywood. His Mona Darling (Zanjeer) and Loin (Kalicharan) have stuck together as inseparable part of his villaneous support system. His penchant for Christian named cronies, ranging from Michael and Peter to Robert and Lily is legendary. His one liner from Kalicharan, "Sara shahar mujhe loin ke naam se janta hei", drew instant applaud from masses and then multiplied into hundreds of more such whacked out lines, especially as the real and made-up dialogues between him (the boss) and his dumb assistant Robert. He found ample support from his overly made-up sexy assistant, Mona (Bindu). Together they epitomized the smuggler/ villain and his dumb/sexy moll of the 70s, he delighted his fans by making a complete mockery of his mean act. Prem Copra: The cold-blooded demon of Bollywood, was destined to continue the legacy of the legendary villain Pran, on the latter's switching over from villainy to character roles. He got his first break in Chaudhry Karnail Singh (1962), a National Award winning film, and there was no looking back ever since. He showed his skill in spine chilling films as the super villain who could deceive, kill, rape and maim with an ease with which an ordinary mortal goes about his daily chores. After the runaway success of Upkar and blockbusters like Kati Patang, Woh Kaun Thi, Teesri Manzil, Poorab Aur Paschim, Jheel Ke Us Paar, Dream Girl, Des Pardes etc., Prem Chopra was on the peak of his career, shining in every aspect of the role of a villain. With the inimitable tinge of humour, Chopra added a new dimension to his devlish roles. A veteran of 400 films, the celebrated author of the famous line of Bobby, "Prem naam hei mera, Prem Chopra", he has been decorated with many awards. With the sad demise of Amrish Puri this year, Ajit and Amjad Khan earlier, and self retirement from villainy by Pran and Prem Chopra, the typical villain is almost extinct from the Indian cinema, though not the villainy. Their place has been taken by the leading actors taking to negative roles for a change- John Ibrahim (Dhoom) and Hritik Roshan (Dhoom 2), Abhishek Bachchan (Yuva) and the legendary Amitabh Bachchan (RGV's Shole) for example. How far their fans will go to accept them as villains remains to be seen. As of now, the traditional villains and the vamps in Indian cinema are nearing extinction, with heroes and heroins assimilating such roles into their own characters. However, the memory of the veteran villains and the vamps will remain for ever in the history of Indian cinema. Tilak Rishi

Anna A: Девочки,спасибо за статьи,для меня кладезь информации о нем

Иранчик: Amrish Puri's last film to hit screens Sep 12, 2006 Nearly 20 months after the death of actor Amrish Puri, Bollywood's favorite villain, his last film is ready for release in Indian theaters, a newspaper report said Tuesday. Puri plays a jail superintendent in "Kachchi Sadak," or "Rough Road," shot against the backdrop of an 18th century fort in the desert town of Jodhpur in western India, the Asian Age newspaper reported. "In the film, Amrish Puri fights crime both inside and outside the jail," said Sanjay D. Singh, the movie's director. The film also stars Bollywood actors Rahul Dev, Aman Verma and Madhoo, an actress who uses one name. Puri died In January 2005 in Mumbai, earlier known as Bombay, which is the hub of India's entertainment industry popularly known as Bollywood. He had been suffering from a neurological disorder and died from a brain hemorrhage. He was 72. Puri acted in some 220 Bollywood movies after his 1971 debut in Hindi films, often in a villain's role. He was one of several Indian actors to land roles in British and American movies. He played a minor role in Richard Attenborough's Oscar-winning 1982 movie "Gandhi" as Khan, the nonviolent leader's Muslim sponsor in South Africa, where Mahatma Gandhi began his fight against injustice. Puri shaved his head for the part of the villain Mola Ram in Steven Spielberg's "Indiana Jones and the Temple of Doom" in 1984. Before joining the Hindi film industry, Puri had acted in Indian theater and did voiceovers for advertising campaigns.

Иранчик: Amrish Puri I have worked a lot with and am still working with him. Every director has his own formula, but Subhash Ghai's quality is that his formula always seems to succeed. He is very thoughtful, very convinced that what he is doing is right. It does turn out to be right. His capability shows in his work. He has that cinematic touch which is popular as well as elitist. He can make both kinds of films. That is why 90 per cent of his films are successful. He is very affectionate, very caring. He looks after his junior artistes as much as he does his stars. That quality of personalising relationships gives a soothing touch to all his interactions with people. He is never confrontational. If he finds somebody acting smart, he changes tracks, but he is never aggressive. But he does mean business and doesn't waste time. All my work with him has been special. He once told me, "Amrish, I am going to do a film with you in which you will play the head of a hierarchy. It will be a memorable role." He kept his word in Pardes. His pace of making films is not hurried. In 25 years of Mukta Arts, he has made 12 or 13 films, which shows an average of one film in two years. You can see the thought that goes into his films. Ultimately, his films will enter the archives. He is classic material. If you ask which of his films are worth seeing. I think all of his films are movies that will stand the test of time.

Иранчик: Mogambo: «Испытанный кровью» Говинд Нихалани, Раджкумар Сантоши и Приядаршан вот те режиссёры, кто вынудил Амриша Пури прекратить вкушать кровь своих жертв. Мы думали, что нет никакой, власти, чтобы остановить его брожения, из фильма в фильм в поисках очередных жертв, для творимых им преступлений на экране. Амриш постепенно от фильма к фильму превращался в людоеда, монстра, Mogambo, изрекающего ужасные диалоги и делающего мясной фарш из героев (некоторые из них размером с пинту в сравнении с ним) Он продолжил бы играть своих злобных персонажей, этот «чудовищный» Амриш Пури, сколотивший на своей игре мешки денег, а затем после изматывающих съёмок шел домой, чтобы проводить бессонные ночи, задаваясь вопросом, что ему сделать в основном очень хорошему актеру, человеку, кто дал действию на экране новую линию, новое определение, новое измерение в театре чтобы избавится от проклятого клейма «злодея». Именно, в то время как он шел подобно роботу Mogambo от фильма к фильму, он встретил директоров подобно Говинду, Раджкумару Сантоши и Приядаршану. Они поняли, что существует другой Амриш Пури ожидающий положительную роль и Они предоставили ему такую возможность. Он захватил их сердца. Именно поэтому мы видим очень разного, очень динамичного, даже очень смелого Амриша Пури в фильмах подобно Ardh Satya, Droh Kaal, Ghayal, Damini, Gardish, Muskurahat и Virasat. Это фильмы, которые позволили нам наслаждаться игрой Амриша, этого удивительного актера, они дали ему новую жизнь. Это - роли, зрители запомнят надолго и актер, для них останется живим в своих персонажах. Khabardar Mogambo bhookha hai!

Иранчик: Amrish Puri Должно быть трудно представить себе 71- летнего актера Амриша Пури, злого Могамбо из фильма «Мистер Индия», в роли любящего деда. Его сын Раджив и дочь Намрата имеют по двое детей каждый: Sachi (16 лет) и Харшивардхан (13 лет), и Krish (13 лет) и Shantanu (7 лет). Для них, он и является славным Dadu. «Мои образы в фильмах не являются помехой в наших отношениях»,-говорит Амриш Пури усмехаясь при этом своей дьявольской усмешкой являющейся его торговой марки. Впервые он стал дедом в возрасте 55 лет. «Сегодня, я бы не удивился что стал дедом я уже достаточно стар, чтобы быть дедом, но ни тогда!» улыбается он. Сегодня, он сообщает что его внуки принесли радость в его дом. «Со своими собственными детьми вы не испытываете столько радости, у вас существуют обязанности по их воспитанию, по содержанию семейства и строительства вашей карьеры», говорит он. «В занятии всем этим, многие важные моменты Вы упускаете из вашего виду. Но когда вы становитесь дедом, вы смотрите на вещи полностью по-иному. Вы можете отвлечься и наблюдать как они растут, видеть каждую новый их шаг, которую они предпринимают, и как гордятся своих достижений.» Несмотря на свою занятость, он убеждает что все чаще находит время для своих внуков. Он смотрит ТВ с ими и отвечает на все их вопросы, тогда как они радуют его со своими достижениями в школе. " Отношение dada (дед по отцу) и pota (внук), иногда прочнее чем те же самые отношения сына и отца," говорит Амриш. «Дети способны более легко выразить свои желания своему деду. Очень важно для внуков иметь рядом с собой плечо деда, чтобы двинуться в большой путь!" Jasmine Shah Varma, Mumbai

Иранчик: Натальная карта гороскопа Амриша.... В скором времени переведу описание.....

Елена3: А почему нет перевода последних статей?

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