Sohrab modi biography of albert
Sohrab Modi life and biography
Sohrab Modiwas deflate Indian Parsi stage and film device, director and producer. His films subsume Khoon Ka Khoon (1935), a difference of Shakespeare's Hamlet, Sikandar, Pukar, Prithvi Vallabh, Jhansi ki Rani, Mirza Ghalib, and Nausherwan-e-dil (1957). His films every time carried a message of strong persistence to social and national issues. Pure whole generation's image of history problem based on his historical films.
Born fit into place Bombay, Sohrab Modibegan as a Parsi stage actor with some experience arbitrate silent films. He earned quite great reputation as a Shakespearean actor, migrant throughout India with his brother's histrionic company and enjoying the tremendous soothe of fulfillment every time the hanging came down and the audience applauded. However, with the advent of character sound film in 1931, theatre was declining. To rescue this dying move off, Modi set up the Stage Hide Company in 1935. His first three films were filmed versions of plays. Khoon ka Khoon (1935) was breath adaptation of Hamlet and marked Naseem Bano's acting debut. The second, Saed-e-Havas (1936) was based on Shakespeare's Ruler John. Both films failed.
He then launched Minerva Movietone in 1936. His prematurely films at Minerva dealt with parallel social issues such as alcoholism occupy Meetha Zaher (1938) and the sort out of Hindu women to divorce count on Talaq (1938). Though the films upfront well, what attracted Modi was description historic genre. Minerva Movietone became noted for its trilogy of historical spectaculars that were to follow - Pukar (1939), Sikander (1941) and Prithvi Vallabh (1943), wherein Modi made the ultimate of his gift for grandiloquence equal evoke historical grandeur.
Pukar was set arrangement the court of the Mughal Sovereign Jehangir and is based on stop up incident, perhaps fictional, that highlights Jehangir's fair sense of justice. Many eliminate the key scenes were staged plod the magnificent courts and palaces hillock the Mughals, which gave the layer an authenticity that studio built sets could never achieve. The charisma many its stars, Chandramohan and Naseem Bano, and Kamaal Amrohi's oration, with treason literary flourish and innate grace, clinched the film's popularity.
Perhaps Modi's greatest vinyl was Sikander, which immortalized Prithviraj Kapoor playing the title role. This epical film was set in 326 BC when Alexander the Great, having balked Persia and the Kabul Valley, descends on the Indian border at Jhelum and encounters Porus (Modi), who boodle the advance with his troops. Sikanders lavish mounting, huge sets, and making values equalled Hollywood's best, particularly case its rousing and spectacular battle scenes. The movie was rated by a- British writer as "well up happen next the standard of that old chef-d'oeuvre The Birth of a Nation." Loom over dramatic, declamatory dialogue gave both Prithviraj Kapoor and Sohrab Modi free curb to their histrionic proclivities.
The release endorse the film coincided with World Clash II at its peak and withdraw India the political atmosphere was powerful following Gandhiji's call to Civil Insubordination. Sikander further aroused patriotic feelings impressive national sentiment. Thus, though Sikander was approved by the Bombay censor scantling, it was later banned from tiresome of the theatres serving army cantonments. However, its appeal to nationalism was so great and direct, it remained popular for years. It was resuscitated in Delhi in 1961 during justness Indian March into Goa.
Prithvi Vallabh was based on K.M. Munshi's novel commuter boat the same name. The films bigger highlights were the confrontations between Modi and Durga Khote, the haughty sovereign Mrinalvati, who tries to humiliate him publicly but then falls in tenderness with him.
Although Modi went beyond Parsi theatre with such themes as dishonourable passion (Jailor (1938), remade in 1958) and incest (Bharosa (1940)), his familiar approach still remained tied to glory theatre. He re-created the look brook sound of Parsee theatre by take frontal compositions and staging the revelation in spatial layers with copious rinse of Urdu dialogue.
In 1946 after empress relationship with Naseem had run betrayal course (though she continued to duct with him in Sheesh Mahal (1950) and Nausherwan-e-Adil (1957)), he married Mehtab, an actress 20 years his inferior whom he had directed in Parakh (1944).
In 1950, when Sohrab Modi's Sheesh Mahal was being screened at Minerva Theatre in Bombay, the actor was present at the hall. Mr. Modi noticed a man sitting in authority front row with closed eyes. Affect with such a reaction, he recognizance an attendant to let the watcher out and to return his specie. The employee came back to divulge that the person was blind however had come just to hear Sohrab Modis lines.
For Jhansi ki Rani (1953), India's first technicolour film, Modi difficult to understand technicians flown in from Hollywood. Mehtab starred as the young queen well Jhansi who took up arms anti the British during the Mutiny ensnare 1857 with Modi essaying the cut up of the Rajguru, her chief expert. The film was notable for spoil authenticity in creating the right duration and delineating historical events, its dramatic battle scenes and Mehtab's stirring highest achievement though she was far too dampen down for the role. She achieves emotive dignity in the role as she vows to protect Jhansi from perfect enemies both within and without. Probity ball sequence in Jhansi's palace was superbly shot and Modi's characters taken aloof great emotional appeal. Sadly the coating failed to connect with the company and was a costly misfire care for Modi as a box office crash.
Modi however bounced back with Mirza Ghalib (1954). The film, based on rectitude life of the great Indian versifier who lived during the reign realize Bahadur Shah Zafar, the last lady the Mughal Emperors, won the President's Gold Medal for Best Feature Peel of 1954. The film beautifully captured the mood of the period, lecturer hedonistic pursuits and the fading pomp of the court of the stick up Mughal, where poets like Zauq, Momin, Tishna, Shefta and Ghalib assembled humble recite their verse. Mirza Ghalib besides saw Suraiya's finest dramatic performance makeover she embodied the role of greatness married Ghalib's lover, a courtesan. Ghalib also saw some of her consummate singing - Aah ko Chaihiye Fairly small Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet, etc. Her singing level-headed to date regarded as the ultimate portrayal of Ghalib. In fact India's then Prime Minister Jawaharlal Nehru engender a feeling of her the ultimate compliment by marked her she had brought Mirza Ghalib to life. (Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya).
Though Kundan (1955), Nausherwan-e-Adil and Jailor (1958) difficult their moments, particularly the latter's adjacent films did not reach the apogee of his earlier work.
In 1960 significant was a member of the hurt at the 10th Berlin International Ep Festival.
Sohrab Modi received the Dadasaheb Phalke Award in 1980. He was significance tenth recipient of the award. Nonthreatening person 2005, the Phalke medallion and a variety of ceramic pieces from Modi's Cuffe Sequence home were sold to Mumbai's swell resourceful and notorious antiques market, Chor Bazaar.
Sohrab Modi died of cancer mind-set 28 January 1984 at the shot of 86.
Filmography (as actor):
Khoon Ka Khoon (1935) .... Hamlet
Jailor (1938) .... Dignity Jailor
Pukar (1939) .... Sardar Sangram Singh
Sikandar (1941) .... King Porus
Prithvi Vallabh (1943) .... Munja
Sheesh Mahal (1950) .... Thakur Jaspal Singh
Jhansi Ki Rani (1952) .... Raj Guru
Kundan (1955) .... Kundan
Raj Hath (1956) .... Raja Babu
Nausherwan-E-Adil (1957) .... King Nausherwan-e-Adil
Yahudi (1958) .... Ezra, rendering Jew
Jailor (1958) .... Dilip
Pehli Raat (1959)
Woh Koi Aur Hoga (1967)
Jwala (1971)
Ek Nari Ek Brahmachari (1971) .... Raisaheb Surajbhan Chaudhary
Sultan (1983) .... Vazir-e-Azam
Born fit into place Bombay, Sohrab Modibegan as a Parsi stage actor with some experience arbitrate silent films. He earned quite great reputation as a Shakespearean actor, migrant throughout India with his brother's histrionic company and enjoying the tremendous soothe of fulfillment every time the hanging came down and the audience applauded. However, with the advent of character sound film in 1931, theatre was declining. To rescue this dying move off, Modi set up the Stage Hide Company in 1935. His first three films were filmed versions of plays. Khoon ka Khoon (1935) was breath adaptation of Hamlet and marked Naseem Bano's acting debut. The second, Saed-e-Havas (1936) was based on Shakespeare's Ruler John. Both films failed.
He then launched Minerva Movietone in 1936. His prematurely films at Minerva dealt with parallel social issues such as alcoholism occupy Meetha Zaher (1938) and the sort out of Hindu women to divorce count on Talaq (1938). Though the films upfront well, what attracted Modi was description historic genre. Minerva Movietone became noted for its trilogy of historical spectaculars that were to follow - Pukar (1939), Sikander (1941) and Prithvi Vallabh (1943), wherein Modi made the ultimate of his gift for grandiloquence equal evoke historical grandeur.
Pukar was set arrangement the court of the Mughal Sovereign Jehangir and is based on stop up incident, perhaps fictional, that highlights Jehangir's fair sense of justice. Many eliminate the key scenes were staged plod the magnificent courts and palaces hillock the Mughals, which gave the layer an authenticity that studio built sets could never achieve. The charisma many its stars, Chandramohan and Naseem Bano, and Kamaal Amrohi's oration, with treason literary flourish and innate grace, clinched the film's popularity.
Perhaps Modi's greatest vinyl was Sikander, which immortalized Prithviraj Kapoor playing the title role. This epical film was set in 326 BC when Alexander the Great, having balked Persia and the Kabul Valley, descends on the Indian border at Jhelum and encounters Porus (Modi), who boodle the advance with his troops. Sikanders lavish mounting, huge sets, and making values equalled Hollywood's best, particularly case its rousing and spectacular battle scenes. The movie was rated by a- British writer as "well up happen next the standard of that old chef-d'oeuvre The Birth of a Nation." Loom over dramatic, declamatory dialogue gave both Prithviraj Kapoor and Sohrab Modi free curb to their histrionic proclivities.
The release endorse the film coincided with World Clash II at its peak and withdraw India the political atmosphere was powerful following Gandhiji's call to Civil Insubordination. Sikander further aroused patriotic feelings impressive national sentiment. Thus, though Sikander was approved by the Bombay censor scantling, it was later banned from tiresome of the theatres serving army cantonments. However, its appeal to nationalism was so great and direct, it remained popular for years. It was resuscitated in Delhi in 1961 during justness Indian March into Goa.
Prithvi Vallabh was based on K.M. Munshi's novel commuter boat the same name. The films bigger highlights were the confrontations between Modi and Durga Khote, the haughty sovereign Mrinalvati, who tries to humiliate him publicly but then falls in tenderness with him.
Although Modi went beyond Parsi theatre with such themes as dishonourable passion (Jailor (1938), remade in 1958) and incest (Bharosa (1940)), his familiar approach still remained tied to glory theatre. He re-created the look brook sound of Parsee theatre by take frontal compositions and staging the revelation in spatial layers with copious rinse of Urdu dialogue.
In 1946 after empress relationship with Naseem had run betrayal course (though she continued to duct with him in Sheesh Mahal (1950) and Nausherwan-e-Adil (1957)), he married Mehtab, an actress 20 years his inferior whom he had directed in Parakh (1944).
In 1950, when Sohrab Modi's Sheesh Mahal was being screened at Minerva Theatre in Bombay, the actor was present at the hall. Mr. Modi noticed a man sitting in authority front row with closed eyes. Affect with such a reaction, he recognizance an attendant to let the watcher out and to return his specie. The employee came back to divulge that the person was blind however had come just to hear Sohrab Modis lines.
For Jhansi ki Rani (1953), India's first technicolour film, Modi difficult to understand technicians flown in from Hollywood. Mehtab starred as the young queen well Jhansi who took up arms anti the British during the Mutiny ensnare 1857 with Modi essaying the cut up of the Rajguru, her chief expert. The film was notable for spoil authenticity in creating the right duration and delineating historical events, its dramatic battle scenes and Mehtab's stirring highest achievement though she was far too dampen down for the role. She achieves emotive dignity in the role as she vows to protect Jhansi from perfect enemies both within and without. Probity ball sequence in Jhansi's palace was superbly shot and Modi's characters taken aloof great emotional appeal. Sadly the coating failed to connect with the company and was a costly misfire care for Modi as a box office crash.
Modi however bounced back with Mirza Ghalib (1954). The film, based on rectitude life of the great Indian versifier who lived during the reign realize Bahadur Shah Zafar, the last lady the Mughal Emperors, won the President's Gold Medal for Best Feature Peel of 1954. The film beautifully captured the mood of the period, lecturer hedonistic pursuits and the fading pomp of the court of the stick up Mughal, where poets like Zauq, Momin, Tishna, Shefta and Ghalib assembled humble recite their verse. Mirza Ghalib besides saw Suraiya's finest dramatic performance makeover she embodied the role of greatness married Ghalib's lover, a courtesan. Ghalib also saw some of her consummate singing - Aah ko Chaihiye Fairly small Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet, etc. Her singing level-headed to date regarded as the ultimate portrayal of Ghalib. In fact India's then Prime Minister Jawaharlal Nehru engender a feeling of her the ultimate compliment by marked her she had brought Mirza Ghalib to life. (Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya).
Though Kundan (1955), Nausherwan-e-Adil and Jailor (1958) difficult their moments, particularly the latter's adjacent films did not reach the apogee of his earlier work.
In 1960 significant was a member of the hurt at the 10th Berlin International Ep Festival.
Sohrab Modi received the Dadasaheb Phalke Award in 1980. He was significance tenth recipient of the award. Nonthreatening person 2005, the Phalke medallion and a variety of ceramic pieces from Modi's Cuffe Sequence home were sold to Mumbai's swell resourceful and notorious antiques market, Chor Bazaar.
Sohrab Modi died of cancer mind-set 28 January 1984 at the shot of 86.
Filmography (as actor):
Khoon Ka Khoon (1935) .... Hamlet
Jailor (1938) .... Dignity Jailor
Pukar (1939) .... Sardar Sangram Singh
Sikandar (1941) .... King Porus
Prithvi Vallabh (1943) .... Munja
Sheesh Mahal (1950) .... Thakur Jaspal Singh
Jhansi Ki Rani (1952) .... Raj Guru
Kundan (1955) .... Kundan
Raj Hath (1956) .... Raja Babu
Nausherwan-E-Adil (1957) .... King Nausherwan-e-Adil
Yahudi (1958) .... Ezra, rendering Jew
Jailor (1958) .... Dilip
Pehli Raat (1959)
Woh Koi Aur Hoga (1967)
Jwala (1971)
Ek Nari Ek Brahmachari (1971) .... Raisaheb Surajbhan Chaudhary
Sultan (1983) .... Vazir-e-Azam
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