Journal of Indian Cinema

Vol. 1. Iss. 21 | September 2020

Film Critics Circle of India

Dev Anand — yesterday was another day

Amit Khanna | Sep 26

Dev Anand was Dorian Gray, Peter Pan and matinee idol all rolled into one. There may only be a handful of actors or filmmakers anywhere in the world whose career spanned 7 decades. Dev Saab, as he is still remembered, was one of the most pos­itive persons I have ever met… He was also that rare star in India who replied to letters and answered phone calls.


Mysskin — missing the forest for the trees

S Viswanath | Sep 20

While  films of the genre of Mysskin’s may make handsome material for contemporary critical discourses on flawed individuals and society at large, raising false hopes of acceptance of judiciously unpardonable crimes committed by the protagonist who in real life has to pay the price for such heinous acts, in reality they cannot be so easily dismissed and one needs to take a very strong stand against such films, the nature of their on-screen violence, and the absurd play of narratives that they bring into their equally trite and mundane tales.


Sarat Chandra Chattopadhyay — vagabond messiah

Amborish Roychoudhury | Sep 15

 Sarat Chandra Chattopadhyay was discovered in the guise of a sanyasi, standing in the Muzaffarpur office of a popular magazine those days, called Bharatvarsha. In flawless Hindi, he requested to be furnished with writing materials. He was out of pen and paper. He was carrying a notebook, and the pages of that notebook were filled with countless stories. He was shipped back to his hometown…

… Sarat Chandra stands tall in the Indian literary pantheon. He wrote only in Bengali, but his translated works are so native to North India that many of his works are considered a part of Hindi literature.


Shabana Azmi

Darshana Goswami | Sep 18

Shabana Azmi belongs to the clan of those handful of artists whose performance, even within the limited space allotted to an actor (for it is commonly believed that cinema is the director’s space), asserts the unlimited possibilities that cinema can explore—cinema as art, as philosophy, as an intellectual movement or a weapon for social change, as entertainment, or cinema as life is—unchanging and unchangeable.



Journal of Indian Cinema

Vol. 1. Iss. 01–29.

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