Aparna Sen is an Indian filmmaker, screenwriter and actress who is known for her work in Bengali cinema. A leading actress of the late 1960s and 1970s she has received eight BFJA Awards, five for best actress, two for best supporting actress and one for lifetime achievement. She is the winner of nine National Film Awards and nine international film festival awards for her direction in films. She was awarded the Padma Shri, the fourth highest civilian award, by the government of India in 1987.
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Sen made her debut in Teen Kanya (1961) . She went on to establish herself as a leading actress of Bengali Cinema with the films Ekhane Pinjar (1971), Ekhoni (1971), Jay Jayanti (1971), Memshaheb (1972), Jiban Saikate (1972), Basanta Bilap (1973), Sonar Khancha (1973), Sujata (1974), Alor Thikana (1974), Kajallata (1975), Raag Anuraag (1975), Jana Aranya (1976), Ajasra Dhanyobad (1977), Proxy (1977), Mohonar Dike (1984), Ekanto Apon (1987), Swet Patharer Thala (1992). She also garnered critical acclaim for her work in Indira (1984), Kari Diye Kinlam (1989), Ek Din Achanak (1999), Mahaprithibi (1991), Unishe April (1995), Paromitar Ek Din (2000), Titli (2001), Antaheen (2009), Chatushkon (2014).
In addition to acting in films, Aparna Sen has also been directing films since 1981, starting with 36 Chowringhee Lane for which she won National Film Award (India) for Best Director. She went on to achieve further success in direction with films Paroma, Sati, Yugant, Paromitar Ek Din, Mr. and Mrs. Iyer, 15 Park Avenue, The Japanese Wife, Iti Mrinalini and Goynar Baksho. She won her second National Film Award as a director for Mr. and Mrs. Iyer.
Films as an actress[edit]
Year | Film | Role | Notes |
---|---|---|---|
1955 | Mejo Bou | ||
1961 | Teen Kanya | Mrinmoyee | 'Samapti' segment |
1965 | Akash Kusum | Monica | |
Baksa Badal | Minu | ||
1968 | Hangsa-Mithun | ||
1969 | Vishwas | ||
The Guru | Ghazala | ||
Aparichito | Sunita | ||
1970 | Padmagolap | ||
Aranyer Din Ratri | Hari's former lover | ||
Kalankita Nayak | |||
Bombay Talkie | Mala | ||
1971 | Khunjey Berai | ||
Ekhoni | |||
Ekhane Pinjar | |||
Jay Jayanti | Jayanti | ||
1972 | Nayikar Bhumikay | ||
Jiban Saikate | |||
Memsaheb | |||
1973 | Ali Baba | Marjina | |
Shesh Pristhay Dekhun | |||
Epaar Opaar | |||
Bilet Pherat | |||
Nakal Sona | |||
Sonar Khancha | |||
Kaya Hiner Kahini | |||
Basanta Bilap | Anuradha | ||
Rater Rajanigandha | |||
1974 | Sujata | ||
Jadu Bansha | |||
Asati | |||
Alor Thikana | |||
Sagina | Secretary Vishaka Devi | ||
1975 | Kajallata | ||
Chhutir Phande | |||
Raag Anurag | |||
Nishimrigaya | |||
1976 | Jana Aranya | Somnath's ex-girlfriend | |
Asamay | |||
Janeman | |||
Nidhiram Sardar | |||
1977 | Immaan Dharam | Shyamlee | |
Ajasra Dhanyabad | |||
Kotwal Saab | |||
Proxy | |||
1978 | Hullabaloo Ovrer Georgie and Bonnie's Pictures | Bonnie | |
1979 | Naukadubi | Kamala | |
1981 | Thee | Anita | Tamil remake of Deewaar starring Rajinikanth & Suman |
Bandi Balaka | |||
1982 | Bijoyini | ||
Amrita Kumbher Sandhane | |||
1983 | Bishabriksha | Suryamukhi | |
Abhinoy Noy | |||
Arpita | |||
Indira | Indira | ||
1984 | Paroma | Sheela | |
Pikoo | |||
Mohanar Dike | |||
1985 | Neelkantha | ||
1986 | Shyam Saheb | ||
1987 | Debika | ||
Ekanta Apan | |||
Jar Jey Priyo | |||
1989 | Kari Diye Kinlam | ||
1990 | Ek Din Achanak | Professor's student | |
Sankranti | |||
1991 | Mahaprithibi | Daughter-in-law | |
1992 | Shwet Patharer Thala | Bandana | |
Ananya | |||
1995 | Amodini | ||
1996 | Unishe April | Sarojini | |
Abhishapta Prem | |||
2000 | Paromitar Ek Din | Sanaka | |
Ghaath | Suman Pandey | ||
2002 | Titli | Urmila | |
2009 | Antaheen | Paromita | |
2011 | Iti Mrinalini | Old Mrinalini Mitra aka Mili | |
2014 | Chotushkone | Trina Sen | |
2018 | Ek Je Chhilo Raja | Anupama Basu | |
2019 | Basu Poribar | Mandira Basu |
Writer and director[edit]
Year | Film | Language | Notes |
---|---|---|---|
1981 | 36 Chowringhee Lane | English, Bengali | Won, National Film Award for Best Direction Won, National Film Award for Best Feature Film in English |
1984 | Paroma | Bengali | Won, National Film Award for Best Feature Film in Bengali Won, BFJA Award for Best Director. |
1989 | Sati | Bengali | Released: 23 November 1989 |
1989 | Picnic | Bengali | TV Movie |
1995 | Yugant | Bengali | Won, National Film Award for Best Feature Film in Bengali |
2000 | Paromitar Ek Din | Bengali | Won, National Film Award for Best Feature Film in Bengali, Won, Bombay International Film FestivalFIPRESCI Prize , Won, Karlovy Vary International Film Festival Award of Ecumenical Jury – Special Mention , Nominee,Crystal Globe , Won,Kalakar Awards for Best Director. |
2002 | Mr. and Mrs. Iyer | English | Won, National Film Award for Best Direction Won, Nargis Dutt Award for Best Feature Film on National Integration Won, National Film Award for Best Screenplay |
2005 | 15 Park Avenue | English | Won, National Film Award for Best Feature Film in English |
2010 | The Japanese Wife | English, Bengali, Japanese | Released: 9 April 2010[1] |
2011 | Iti Mrinalini | Bengali | Won-Kalakar Awards-Best Director Award |
2013 | Goynar Baksho | Bengali | Nominated, Filmfare Awards East for Best Director |
2015 | Saari Raat | Hindi | Premiered at the London Film Festival, 2015 |
2015 | Arshinagar | Bengali | Released: 25 December 2015 |
2017 | Sonata | English and Hindi | Released: 21 April 2017 |
2019 | Ghawre Bairey Aaj | Bengali | Released: 15 November 2019 |
References[edit]
- ^'Aparna Sen's 'The Japanese Wife' to be released on April 9'. Outlook India. 24 February 2010. Archived from the original on 18 July 2011. Retrieved 25 February 2010.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Aparna_Sen_filmography&oldid=1028601398'
Time takes a tottering ride back to the early 90s in Hungama 2, a comedy directed by Priyadarshan. The film is a remake of Minnaram, his 1994 Malayalam superhit comedy. Yunus Sajawal’s screenplay earnestly duplicates Minnaram in its scene order, tweaking it slightly to give a faint impression that the year is 2019.
The film has a lavish setting and a large cast. Johnny Lever appears in a cameo role, winking at the generation of movie-goers who enjoyed his over-pronounced caper. The hero, Meezan Jaffrey, is 29 years old, but Rajpal Yadav, the best friend of 90s’ Bollywood heroes, plays his friend. Shilpa Shetty hangs around unsolicited in the film except for the song sequence where she fabulously dances to the song from Mein Khiladi Tu Anari (1994).
![Jay Jay](https://content.hungama.com/audio%20album/display%20image/300x300%20jpeg/83638829.jpg)
But the actors are fine and earnest despite the frivolity of their characters. The dramatic devices Priyadarshan uses in the narrative hark back to an era in Bollywood that was buried and mourned over a long time ago. The characters’ wardrobe is in vogue, but their spoken language and worldview are archaic.
The central plotline is derivative. A young woman with bold views on life enters a wealthy household overseen by an authoritarian patriarch. She befriends the family’s unruly children and brings laughter into the members’ lives. This modest plotline from The Sound Of Music, Robert Wise’s 1965 Hollywood classic, made its way into Indian cinema through multiple films in different decades, including Jay Jayanti, a 1969 Bengali drama starring Aparna Sen and Uttam Kumar, and Minnaram.
In Hungama 2, Vaani (Pranati), arrives in a mansion in a hill station with a toddler in tow. She claims that the house’s scion, Aakash Kapoor (Meezan Jaffrey), is the child’s father. Although Aakash vehemently denies her claim, his father (Ashutosh Rana), a straightforward retired colonel, and other family members are not convinced. Her arrival leads to bizarre situations that the film tries to pass as comedy.
The only way to enjoy this film is by imagining that the characters are time-travellers from the 90s, who do not know that science has gifted the world marvels such as the Internet and state-of-the-art smartphones with cameras and audio recorders. Perhaps it is easier to assume that the film is the world of a time-traveller who imagines it is alright to insert a scene of attempted rape in a comedy, who is oblivious to the fact that the audience in the country has moved on from loud tomfoolery and stories set in insular mansions.
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