This set consists of 3 titles:
'Jessica, 'He pronounced, 'you have known me for seven years. My life has changed seven times. You will never finish this book.'
There is no reason why Amitabh Bachchan and I should appear in the same sentence. He is India's most legendary film star- a mixture of Clint Eastwood, Al pacino and Elvis, with more than a hint of John Travolta. In a country like India, where film stars are treated as gods, Amitabh Bachchan is the uber-god, the Big B. As for me, I am English, almost thirty, and not in the least bit famous.
But here I am in Bombay about to start writing his story. How did I get here? Why did I get here? And can I pull it off? Bombay is mayhem and Bollywood maddening. The Big B is strangely aloof, the magazines are full of lies, and no one is talking. I want to write a book that explodes the myths surrounding India's most famous man. But is there anything in there?
Funny, irreverent and affectionate, Looking for the Big B is a fascinating look at the Bombay film industry and the story of a very unlikely friendship.
A Note on the Author
Jessica Hines grew up on the Lizard in Cornwall and went to clown school in Toronto. She returned to study Comparative Religion at SOAS and do a M.A. in film at the BFI. She has achieved remarkably little in her thirty years having wasted most of her twenties inhaling pollution in Bombay. This is her first book.
Amitabh Bachchan. The name itself is enough to make anyone sit up and take notice. A name that has become synonymous with Indian cinema. One of the finest actors of our times and a demigod to many, Amitabh Bachchan, or Big B as he is fondly called by his fans, has had an indelible impact on the big screen as well as the small. As an actor, Bachchan's career spans over an astounding five decades, having essayed myriad characters and having worked with some of the biggest names in the film industry. No words, no adjectives, no superlatives would ever be enough to sum up the complete oeuvre of Amitabh Bachchan the actor. In Amitabh Bachchan: A Kaleidoscope, Pradeep Chandra and Vikas Chandra Sinha have embarked on the near-impossible task of chronicling the course of Amitabh Bachchan's life, from his early days till date. Filled with personal anecdotes from the man himself; quotes from his immediate family, closest friends and colleagues who have been witness to his rise to megastardom as well as his plummet; a collection of rare and never-seen before photographs, paintings, sketches and movie stills, the book is a must-read for every Bachchan fan as well as every art and cinema aficionado. The book also gives a bird's-eye view of the many facets of Bachchan-the actor, the struggler, the family man, the businessman, the politician, the activist and above all, the fighter.
Pradeep Chandra has been a photographer, writer and painter in a career stretching over four decades. As a photojournalist, he has been associated with the prestigious. The Illustrated Weekly of India. The Times of India. The Indian Express, The Week, Sunday Observer, Bombay Times. He has held many exhibitions that display his unique approach to photography. Some of his memorable shows include: 'The Alien Insiders', his documentation of the plight of Kashmiri Pandit refugees: "Britain', a celebration of 50 years of Indian Independence; 'Haveli Dreams', on the havelis of Rajasthan; a tribute to Mumbai's Taj Mahal Hotel after the catastrophic 26/11 attack. He has also commemorated Amitabh Bachchan's 61st and 75th birthdays by curating two multimedia exhibitions in collaboration with other artists. His most recent show was 'Frames 75, which had 75 exhibits celebrating the career of Amitabh Bachchan in his 75th year. He has authored coffee-table books on Amitabh Bachchan. M.F. Husain and Aamir Khan. He lives in Mumbai and is currently working on a book on Pritish Nandy and J.P. Singhal, among other projects. Vikas Chandra Sinha is at first-time author and a lifelong Bachchan fan. He works in the corporate sector and has studied at IIT. Delhi and IIM, Ahmedabad. He has worked. with some of the biggest corporate houses in India: Maruti Suzuki, Tata Group and is currently with the Mahindra Group. A student of history, art and films, Amitabh Bachchan A Kaleidoscope was an opportunity for him to relive the Bachchan myth, along with a fellow art and film aficionado. He lives in Mumbai with his wife and two daughters.
Indian cinema's flight of imagination encompasses the unthinkable. A madcap sequence from Manmohan Desai's magnum opus Amar Akbar Anthony, featuring Bachchan in the now-immortal character of Anthony, has the three lead actors donate blood via three tubes directly to their critically injured screen mother. While the scientists and the doctors tore their hair in exasperation, audiences in the dark of the theatres cried their hearts out. The story of the movie encapsulated what critics have called the worst trait of Indian cinema its formulaic nature. Manmohan Desai's version of the 'lost and found formula-in vogue since Ashok Kumar's houry pre Independence blockbuster Kismet inaugurated it-had three brothers separated in childhood, being brought up as a Hindu, Muslim and Christian respectively, and who come together in adulthood to take on the villains who had ruined their parents life. Their act of donating blood simultaneously to their long-lost but lately reunited mother, was metaphorically interpreted as the willingness of the various communities of our diverse motherland to sacrifice for their country. Audiences across the country, including educated ones, did not balk at the scientific impossibility, they instead soaked up the metaphor. Most students of Indian cinema agree that it is heavily indebted to the epi tradition of India. One of the leading scholars of Asian cinema. Wimal Dissanayake. in his essay, 'Rethinking Indian popular cinema', writes that the influence of the two epics, Ramayana and Mahabharata, stretch across the 'thematics, narrativity, ideology and communication of Indian cinema (2003: 205). Growing up, children in India are taught the epics in the form of short episodes, each designed to illustrate some fact of life. The full story dawns on most of us pretty late in life. Most are, thus, trained to look at the epics metaphorically, and not literally. Emotional connect and symbolisms matter more in understanding the epics than mere twists and turns of the story itself. And this translates into our attitude to popular cinema. Cinema is a director's medium-the director nurtures the movie like a mother does, as the Showman of Hindi cinema, Raj Kapoor, used to say. But there is another side to it. Examining the phenomenon of Hindi cinema, Vijay Mishra, in the essay 'The Actor as Parallel Text: Amitabh Bachchan', writes, 'popular cinema in India, perhaps even more so than in Hollywood, became the cinema of the star rather than the cinema of the director or the studio' (2001: 126). This is perhaps because of the fact that it is the star that ends up embodying the dreams of society and gets linked in the average cine-goer's mind with his or her aspirations. Tamil cinema, for example, which has been inextricably linked with the political movement for social justice, is an illustration of this fact. M.G. Ramachandran, M.G.R. to the world, achieved demigod status through the many roles he played. in which he was the underdog fighting for a better society. Such was his following that he unobtrusively slipped into the role of a political champion in real life, thus becoming the chief minister of the state of Tamil Nadu. He was never electorally defeated and was awarded the Bharat Ratna, the nation's highest honour, for his stellar contribution in uplifting the Tamil people. M.G.R., the 'Puratchi Thalaivar or revolutionary leader had become the metaphor for an average Tamil's pride and struggle for a better tomorrow.
In an industry where fashion change every Friday, Amitabh Bachchan has been synonymous with cinematic entertainment for over thirty years. But beyond the labels of 'one- man industry, and 'star of the millennium', a number of issues pertaining to the star, his films and his era remain largely unaddressed.
What is it that makes Amitabh Bachchan the star he is? Is it his undeniable genius as an actor, his ability to connect with the masses and the classes alike, or is it his writers and directors who project him in varied roles? Did his films in his heyday reflect the angst of his time or did they ferment the spirit of anger and rebellion in the first place? Was he really the rebel as his 'angry Young man' image suggests or was there, behind all the sound and fury, a conformist subtext that called for restoration of the status quo. How relevant is Amitabh Bachchan today.?
In Amitabh: The Making of a Superstar, Susmita Dasgupta answers these and other question that lie buried in the trail of glory these and star blazed. In a warm and insightful analysis, the author traces the world view and philosophy that have shaped the films of Amitabh Bachchan-from the Angry Young man Zanjeer, the tragic antihero of Deewar and the entertainer of Amar Akbar Anthony to his more conservative turns in Mohabbation and Kbhie Khusi Kbhie Gham. In the process, she not only chronicles the star jounery from a flop actor to a national icon but also bring to life a period in the history of Indian cinema which altered forever the economics of film-making in the country.
Susmita Dasgupta has a PhD on Amitabh Bachchan from Delhi's Jawaharlal Nehru Univeersity. She has been a Senior Fellow at the National Film Archive of India, Pune, where she worked on the history of ideas of Indian popular cinema since its inception. She teaches film appreciation in management schools, and works as a deputy chief economist with the economic research unit of the ministry of Steel. She has Written extensively for several prominent journals that cover issues of sociology, media and poltical economy. Her forthcoming books is and appreciation of the popular Hindi film Deewar.
Amitabh Bachchan is a watershed in the history of Hindi cinema. It won't be an exaggeration to say that the three major developments in Hindi cinema have been the coming of sound, the advent of color, and the emergence of Amitabh Bachchan. His popularity made films big business. Before he straddled the screen like a colossus, Hindi cinema had never looked as big and significant. There had been blockbusters aplenty and big stars but there was no one quite like Amitabh Bachchan.
This book, emerging out of my PhD thesis 'Sociology of Hindi Commercial Cinema: A Study of Amitabh Bachchan', is an effort to look at the work of one of Hindi films' most dynamic stars in a way that has not been done before- analytically, academically. Popular Hindi cinema does not lend itself easily to scholarly analysis. There is very little academic work available on it. Hollywood films, Kurosawa's works and European cinema have been extensively covered in an informed manner. The basic texts of film appreciation use examples from Western movies, and even definitions of genre-noir, epic, musical-emerge from work done in the West. This is probably why there is little understanding of the mechanics of popular Indian cinema which has a language of its own, one that does not lend itself to the tools employed in the West. We ourselves tend to look down upon our commercial films and are quick to dismiss them as a pot- pourri of songs and dances, fights and melodrama. One reason that got people like me interested enough in Hindi films to study them in-depth was Amitabh Bachchan. He made the hero look omnipotent and all of us who saw the world through him also felt the same way. It was probably this aura of invincibility he exuded that made the entire medium of Hindi mainstream cinema commercially and intellectually consequential.
I grew up in what one can call the 'Amitabh era'. His films enveloped and engulfed us. Today, when I look back, I see a great difference between Amitabh's films at the height of his popularity and the films that get made now. Compared to the candy floss blockbusters of today, Amitabh's films are positively disturbing. The hero is irritable, cynical and cantankerous. His mission is to fight than to love. He seems to want to conquer rather than compromise. Where things are better left alone, he is likely to upset the apple cart. He seems to be a little too eager to score a point over others and find fault with the world in general. As a hero, Amitabh presented a hitherto unseen violent and volatile aspect of our cinema, something that gave it a certain vitality. It was not romance but rebellion, not maudlin emotions but anger, not relationships but action with which Amitabh Bachchan wrenched out newer possibilities from the formula film. In his cinematic roles, he not only ended the innocence of the hero but also destroyed the limits Hindi cinema had imposed upon itself, setting it on a path of renewal and rejuvenation. In today's age of consensus, where protest has all but been replaced by feel-good conformism, the conflictual model of Amitabh's films seems to be rather out of place. But in the times during which these films were made, Amitabh's 'manner of being' in the narratives sent the viewers into ecstasy. This book is an attempt to see why Amitabh Bachchan created such euphoria during his time and what rendered him cinematically irrelevant in the 1990s
Amitabh Bachchan's unprecedented and unsurpassed popularity qualified him as a social phenomenon and thus an enquiry into the reasons as to why he became popular is appropriate. There have been theories in popular newspaper and journals about how people liked Amitabh for his height voice, hair do, eyes and so on. There are also pedestrian explanations of how his films reflected the social and political unrest of their time. What these explanations probably miss is why then should Shah Rukh Khan-a short and slight man with a nervous voice, a slight stammer and mild eyes-be so popular now. And why was Amitabh no longer potent enough in the 1990s which again was a time of great social and economic change? I have tried to answer this question by looking at some of Amitabh Bachchan's more memorable roles. What was it that 'Vijay' of Zanjeer articulated? How was he different from 'Vijay' of Deewar, and how again were these two poles apart from 'Vijay' of Agneepath? How did the star move from 'Jai' in Sholay to 'Anthony Gonsalves' in Amar Akbar Anthony to 'Sikandar' in Muqculdar Ka Sikandar to 'Narayan Shankar' in Mohabbatein, and what do these movements signify in the context of his superstardom and the era in which he ruled the box office? Importantly, how did Shah Rukh's 'Rahul' and 'Raj Aryan' critique 'Vijay' and render him an anachronism in the 1990s?
Amitabh Bachchan's peak period falls between 1973 and 1985. This largely corresponds to the age of Indira Gandhi in India's politics. If film stars like Raj Kapoor, Dev Anand and Dilip Kumar were heroes of the Nehruvian era, Amitabh reigned during the period of Mrs Gandhi-a very distinct political age in contemporary history. Much of India as it is today was created during the years of Mrs Gandhi's dramatic tenure as prime minister. Amitabh Bachchan was the cinematic parallel of Mrs Gandhi's political force and charisma. Just as Mrs. Gandhi was the epitome of how political leaders could concentrate all powers of the state unto one person, Amitabh Bachchan too was something like the black hole that gobbles up stars and universes. While he straddled the screen, all his co-stars-male, female, comic and villainous-became mere appendages to him.
Indira Gandhi's era was the age of heroism: Bangladesh was created, the Green Revolution asserted India's food sovereignty and India tested its first nuclear bomb. There was also the Emergency, the attempt of the executive to run the country single-handedly. It was a time when as many as fifty parliamentary acts were passed. These acts cracked down On! smugglers, private capitalists and monopolist profiteers. They, also sought to empower the displaced and the distressed through advocating greater rights to bonded laborers, migrant workers and those under informal and contractual employment Almost all these laws and acts existed only on paper. I have tried to reason how, in the eyes of his fans, Amitabh Bachchan came to represent the powerful individual agency that would assume the institutions unto his own self and have the confidence to question the role and rationale of the establishment.
For his fans, it was not the political ideology that Amitabh Bachchan portrayed on screen that was important We did share the hero's views on social equality, role of the state, nature of law and the responsibilities of the establishment, but we were more eager to understand the star as a person who made such a vision possible. In our discussion; we assigned the intellectual content of his roles to his person rather than treat it as something that emerged out of direction story and screenplay. I do not think that we did this out of an ignorance of how films are made. We were aware of the peculiar functioning of the star system. Richard Dyer says that a star is a star because he/she goes beyond the mere characterization of the roles in individual films and become an image that extends across all of his/her films. The inter textual extensions of Amitabh's image made us imagine that he was the author of his roles.
For privacy concerns, please view our Privacy Policy
Send as free online greeting card
Email a Friend
Manage Wishlist