'A literary masterpiece . . . at once erudite and intimate, reflective and funny . . . it has the grit and pace of a thriller' Daily Telegraph A novel of high adventure, great storytelling and moral purpose, based on an extraordinary true story of eight years in the Bombay underworld. 'In the early 80s, Gregory David Roberts, an armed robber and heroin addict, escaped from an Australian prison to India, where he lived in a Bombay slum. There, he established a free health clinic and also joined the mafia, working as a money launderer, forger and street soldier. He found time to learn Hindi and Marathi, fall in love, and spend time being worked over in an Indian jail. Then, in case anyone thought he was slacking, he acted in Bollywood and fought with the Mujahedeen in Afghanistan . . . Amazingly, Roberts wrote Shantaram three times after prison guards trashed the first two versions. It's a profound tribute to his willpower . . . At once a high-kicking, eye-gouging adventure, a love saga and a savage yet tenderly lyrical fugitive vision.' Time Out
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He immortalized movies on celluloid… An authentic, heartfelt, insightful and comprehensive account of one of India’s most respected and eminent filmmakers, who was an institution in himself… V. Shantaram (1901–90) stands out as a colossus in Indian cinema. As one of the pioneers in this field, he honed his skills not only as a producer and director but also as an actor, writer, cameraman, technician and editor. He effectively used the medium of cinema as a vehicle for creating awareness about numerous social problems (such as communalism, dowry and the cycle of debt and poverty) and tried to bring about a change in society. This riveting biography – penned by his daughter – brings alive the life and times of Shantaram and his contemporaries, while simultaneously throwing light on a bygone era of Indian cinema marked by struggles, uncertainties and difficulties but yet infused with hope, perseverance and determination. Among Shantaram’s prominent creations in Hindi are Ayodhya Ka Raja (1932), Sairandhari (1933; India’s first colour film), Amrit Manthan (1934), Duniya Na Maane (1937), Aadmi (1939), Padosi (1941), Dr Kotnis Ki Amar Kahani (1946), Dahej (1950), Janak Janak Pyal Baaje (1955), Do Aankhen Barah Haath (1957), Navrang (1959), Sehra (1963), Geet Gaya Pattharon Ne (1964) and Pinjra (1972)
Read the fascinating story of this legendary filmmaker and also discover many forgotten tales of the history of moving images in India. Some of the most indelible images of Indian cinema came from his sensitive imagination. From the days of the black and while silent films to the advent of sound and color, the films of V Shantaram stood out for their originality and a passionate commitment to human values.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Sandhya Shantaram (commonly known as Sandhya) is an Indian actress. She is best known for her appearances in various Hindi and Marathi films directed by her husband V. Shantaram. Sandhya was discovered by V. Shantaram after he became involved with her sister Jayashree. She later married him after Jayashree left him. In 1952 Sandhya debuted as an actress in his Marathi film Amar Bhoopali in the role of a vocalist, the object of poet Honaji Bala's desire. She went on to feature in most of Shantaram's films. In her next film Teen Batti Char Raasta she played an impoverished girl who is considered unattractive because of her dark skin, but who is secretly a radio star with a beautiful singing voice.
The Encyclopaedia Which Brings Together An Array Of Experts, Gives A Perspective On The Fascinating Journey Of Hindi Cinema From The Turn Of The Last Century To Becoming A Leader In The World Of Celluloid.