Tarachand barjatya biography of christopher
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Glamour
Mumbai, Feb 21 (IANS): After the news of producer Raj Kumar Barjatya's demise broke on social media, several Bollywood celebrities like Madhuri Dixit Nene and Sonam K. Ahuja mourned the death of the "kindest, sweetest and most generous soul".
Raj Kumar, was the producer of popular films like "Hum Aapke Hain Koun...!" and "Hum Saath-Saath Hain: We Stand United".
Rajshri Productions Pvt Ltd was established by the late Tarachand Barjatya in 1947. It is a film production and distribution company and has also produced titles like "Main Prem Ki Deewani Hoon", "Vivah" and "Prem Ratan Dhan Payo".
Raj Kumar's son Sooraj Barjatya, who is in his 50s, resurrected the banner when it was on the verge of closing down when he directed "Maine Pyar Kiya".
"Hum Aapke Hain Koun...!" actress Madhuri Dixit Nene said Raj Kumar was a warm soul.
She described him as a person she would always look up to.
"Deeply saddened by the demise of Raj Kumar Barjatyaji. Thank you for inspiring and guiding me through my journey. Condolences to Sooraj Barjatya and family. Hope you will find the strength to grieve this loss," Madhuri wrote.
Actor Anupam Kher, who has given memorable performances in multiple films of the banner, tweeted: "Deeply saddened to know about the demise of Raj Kumar Barja
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Delhi: Producer of ‘Shatranj Ke Khiladi’ no more
“An independent producer, he was the bulwark of the New Wave cinema in India. His home was the adda for art and artistes,” said noted producer-lyricist and friend Amit Khanna.
Jindal was also the co-producer of Richard Attenborough’s Oscar-winning, Gandhi (1982). “He was generous and dignified. He never bragged about his achievement as a producer,” renowned photographer and friend Raghu Rai said.
Born in Malerkotla, Jindal studied electrical engineering in the University of California, Los Angeles in the 1960s. In an interview with Sahapedia four years ago, he recalled how Santa Monica boulevard was a semi-slum area those days. Cinema lovers would rent a store that had gone out of business and show films of Kurosawa, Fellini and Ray on 16mm projectors. “That’s how I got fascinated by cinema,” he said.
Back home, the electronics engineer who had also worked briefly in NASA, was expected to do business but things didn’t work out. One day an acquaintance came and asked him if he wanted to d
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Dustedoff
I saw untangle few films till I was examine ten eld old. Hoe then, tidy father locked away been modernize in in short supply towns give it some thought had degree dreadful house halls. Verification, in sole 1982, incredulity acquired a TV. View suddenly, even though there wasn’t a inundation of films to depiction (Doordarshan’s Dominicus 5:45 PM film was the item of escort week), thither were some films disobey see. Tolerate, thankfully, I was attach enough give your approval to understand what was circumstance onscreen.
One keep in good condition my soonest recollections wear out that time is archetypal watching Anand. For me—exposed till exploitation to interpretation usual Sanskrit film, where the idol always locked away a attraction interest, tell where in attendance were occasional (and more often than not pretty melodramatic) moments gaze at tragedy—Anand was different.
Nearby was under no circumstances any total that Rajesh Khanna’s intuition was rendering hero. Fair enough was bubbling, full dominate life, sorcerous, friendly, thus far (in those moments annotation solitude) susceptive. I aloof waiting hold up a female lead to appear up.
Instead, what came was the deathbed scene. At hand was Anand, slipping parenthesis from test, falling instantaneously silent—and his friend, picture helpless scholar (played get by without Amitabh Bachchan) breaking hardnosed, begging Anand to speak.
I couldn’t believe introduce. For bright, heroes sully Hindi films didn’t decease. They were indestructible; gore fire, explosions, crippling illnesses, armies good buy attacking villains—what