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- Duration: 5:48
- Published: 18 Aug 2009
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- Author: IzlamzRebirth
Name | Bengali |
---|---|
Nativename | বাংলা Bangla |
Caption | The word "Bangla" written in Bengali script |
States | Bangladesh, India and significant communities in UK, USA, Saudi Arabia, Malaysia, Singapore, United Arab Emirates, Australia, Myanmar, Canada |
Region | Bangladesh,Nepal, West Bengal, Tripura, Andaman and Nicobar Islands, Assam, Jharkhand, Orissa, Bihar. Widely spoken in New Delhi, Mumbai and Bangalore. Prominent speakers in Pune, Hyderabad and Chennai. |
Speakers | 230 million |
Rank | 6 |
Familycolor | Indo-European |
Fam2 | Indo-Iranian |
Fam3 | Indo-Aryan |
Fam4 | Eastern Group |
Fam5 | Bengali-Assamese |
Script | Bengali script |
Nation | , (West Bengal, Tripura and Barak Valley) (comprising districts of south Assam- Cachar, Karimganj and Hailakandi), Sierra Leone (to honour Bangladesh's contributions to UN Peacekeeping Mission in Sierra Leone) |
Agency | Bangla Academy (Bangladesh)Paschimbanga Bangla Akademi (West Bengal) |
Iso1 | bn|iso2=ben|iso3=ben|map= |
With a long and rich literary tradition, Bengali binds together a culturally diverse region and is an important contributor to Bengali nationalism. In Bangladesh, the strong linguistic consciousness led to the Bengali Language Movement, during which on 21 February 1952, several people were killed during protests to maintain the writing of Bengali in the Bengali script and to gain its recognition as a state language of the then Dominion of Pakistan. The day has since been observed as Language Movement Day in Bangladesh, and was proclaimed the International Mother Language Day by UNESCO on 17 November 1999.
Like other Eastern Indo-Aryan languages, Bengali arose from the eastern Middle Indic languages of the Indian subcontinent. Magadhi Prakrit and Pali, the earliest recorded spoken languages in the region and the language of the Buddha, evolved into Ardhamagadhi ("Half Magadhi") in the early part of the first millennium CE. Ardhamagadhi, as with all of the Prakrits of North India, began to give way to what are called Apabhramsa languages just before the turn of the first millennium. The local Apabhramsa language of the eastern subcontinent, Purvi Apabhramsa or Apabhramsa Abahatta, eventually evolved into regional dialects, which in turn formed three groups: the Bihari languages, the Oriya languages, and the Bengali-Assamese languages. Some argue that the points of divergence occurred much earlier—going back to even 500 but the language was not static: different varieties coexisted and authors often wrote in multiple dialects. For example, Magadhi Prakrit is believed to have evolved into Apabhramsa Abahatta around the 6th century which competed with Bengali for a period of time.
Usually three periods are identified in the history of Bengali: # Old Bengali (900/1000–1400)—texts include Charyapada, devotional songs; emergence of pronouns Ami, tumi, etc.; verb inflections -ila, -iba, etc. Assamese branch out in this period and Oriya just before this period (8th century-1300). # Middle Bengali (1400–1800)—major texts of the period include Chandidas's Srikrishnakirtan; elision of word-final ô sound; spread of compound verbs; Persian influence. Some scholars further divide this period into early and late middle periods. # New Bengali (since 1800)—shortening of verbs and pronouns, among other changes (e.g. tahar → tar "his"/"her"; koriyachhilô → korechhilo he/she had done).
Historically closer to Pali, Bengali saw an increase in Sanskrit influence during the Middle Bengali (Chaitanya era), and also during the Bengal Renaissance. Of the modern Indo-European languages in South Asia, Bengali and Marathi maintain a largely Pali/Sanskrit vocabulary base while Hindi and others such as Punjabi, Sindhi and Gujarati are more influenced by Arabic and Persian.
, or the Martyr's monument, in Dhaka, commemorates the struggle for the Bengali language.]] Until the 18th century, there was no attempt to document Bengali grammar. The first written Bengali dictionary/grammar, Vocabolario em idioma Bengalla, e Portuguez dividido em duas partes, was written by the Portuguese missionary Manoel da Assumpcam between 1734 and 1742 while he was serving in Bhawal. Nathaniel Brassey Halhed, a British grammarian, wrote a modern Bengali grammar (A Grammar of the Bengal Language (1778)) that used Bengali types in print for the first time. also wrote a "Grammar of the Bengali Language" (1832).
During this period, the Choltibhasha form, using simplified inflections and other changes, was emerging from Shadhubhasha (older form) as the form of choice for written Bengali.
Bengali was the focus, in 1951–52, of the Bengali Language Movement (Bhasha Andolon) in what was then East Pakistan (now Bangladesh). Although the Bengali language was spoken by the majority of Bangladesh's population, Urdu was legislated as the sole national language. On February 21, 1952, protesting students and activists were fired upon by military and police in Dhaka University and three young students and several other people were killed. Later in 1999, UNESCO decided to celebrate every 21 February as International Mother Language Day in recognition of the deaths of the three students. In a separate event on May 19, 1961, police in Silchar, India, killed eleven people who were protesting legislation that mandated the use of the Assamese language.
The national anthems of both India and Bangladesh were written by the Bengali Nobel laureate Rabindranath Tagore. In 2009, elected representatives in both Bangladesh and West Bengal called for Bengali to be made an official language of the United Nations.
Regional variation in spoken Bengali constitutes a dialect continuum. Linguist Suniti Kumar Chatterjee grouped these dialects into four large clusters—Rarh, Banga, Kamarupa and Varendra; The south-western dialects (Rarh) form the basis of standard colloquial Bengali, while Bangali is the dominant dialect group in Bangladesh. In the dialects prevalent in much of eastern and south-eastern Bengal (Barisal, Chittagong, Dhaka and Sylhet divisions of Bangladesh), many of the stops and affricates heard in West Bengal are pronounced as fricatives. Western alveolo-palatal affricates চ , ছ , জ correspond to eastern , ছ় , ~. The influence of Tibeto-Burman languages on the phonology of Eastern Bengali is seen through the lack of nasalized vowels. Some variants of Bengali, particularly Chittagonian and Chakma Bengali, have contrastive tone; differences in the pitch of the speaker's voice can distinguish words. Rajbangsi, Kharia Thar and Mal Paharia are closely related to Western Bengali dialects, but are typically classified as separate languages. Similarly, Hajong is considered a separate language, although it shares similarities to Northern Bengali dialects.
During the standardization of Bengali in the late 19th century and early 20th century, the cultural center of Bengal was in the city of Kolkata, then Calcutta, founded by the British. What is accepted as the standard form today in both West Bengal and Bangladesh is based on the West-Central dialect of Nadia, an Indian district located on the border of Bangladesh. There are cases where speakers of Standard Bengali in West Bengal will use a different word than a speaker of Standard Bengali in Bangladesh, even though both words are of native Bengali descent. For example, nun (salt) in the west corresponds to lôbon in the east. Two styles of writing, involving somewhat different vocabularies and syntax, have emerged: # Shadhubhasha (সাধু shadhu = 'chaste' or 'sage'; ভাষা bhasha = 'language') was the written language with longer verb inflections and more of a Pali/Sanskrit-derived (তৎসম tôtshôm) vocabulary. Songs such as India's national anthem Jana Gana Mana (by Rabindranath Tagore) and national song Vande Mātaram (by Bankim Chandra Chattopadhyay) were composed in Shadhubhasha. However, use of Shadhubhasha in modern writing is negligible, except when it is used deliberately to achieve some effect. # Choltibhasha (চলতিভাষা ) or Cholitobhasha (চলিত cholito = 'current' or 'running') , known by linguists as Manno Cholit Bangla (Standard Colloquial Bengali), is a written Bengali style exhibiting a preponderance of colloquial idiom and shortened verb forms, and is the standard for written Bengali now. This form came into vogue towards the turn of the 19th century, promoted by the writings of Peary Chand Mitra (Alaler Gharer Dulal, 1857), Pramatha Chowdhury (Sabujpatra, 1914) and in the later writings of Rabindranath Tagore. It is modeled on the dialect spoken in the Shantipur region in Nadia district, West Bengal. This form of Bengali is often referred to as the "Nadia standard" or "Shantipuri bangla".
While most writing is in Standard Colloquial Bengali, spoken dialects exhibit a greater variety. South-eastern West Bengal, including Kolkata, speak in Standard Colloquial Bengali. Other parts of West Bengal and western Bangladesh speak in dialects that are minor variations, such as the Medinipur dialect characterised by some unique words and constructions. However, a majority in Bangladesh speak in dialects notably different from Standard Colloquial Bengali. Some dialects, particularly those of the Chittagong region, bear only a superficial resemblance to Standard Colloquial Bengali. The dialect in the Chattagram region is least widely understood by the general body of Bengalis. Some examples of lexical alternation between these two forms are:
The Bengali writing system is not an alphabetic writing system (e.g. the Latin alphabet), rather an abugida, i.e. its consonant graphemes in general represent a consonant followed by an "inherent" vowel. The script is a variant of the Eastern Nagari script used throughout Bangladesh and eastern India (Assam, West Bengal and the Mithila region of Bihar). The Eastern Nagari script is believed to have evolved from a modified Brahmic script around 1000 CE and is similar to the Devanagari abugida used for Sanskrit and many modern Indic languages (e.g. Hindi, Marathi and Nepali). The Bengali script has particularly close historical relationships with the Assamese script, the Oriya script (although this relationship is not strongly evident in appearance) and Mithilakshar (the native script for Maithili language).
The Bengali script is a cursive script with eleven graphemes or signs denoting nine vowels and two diphthongs, and thirty-nine graphemes representing consonants and other modifiers. There are no distinct upper and lower case letter forms. The letters run from left to right and spaces are used to separate orthographic words. Like Devanagari, Bengali script has a distinctive horizontal line running along the tops of the graphemes that links them together.
Since the Bengali script is an abugida, its consonant graphemes usually do not represent phonetic segments, but carry an "inherent" vowel and thus are syllabic in nature. The inherent vowel is usually a back vowel, either as in মত "opinion" or ), as in মন "mind", with variants like the more open . To emphatically represent a consonant sound without any inherent vowel attached to it, a special diacritic, called the hôshonto (্) (cf. Arabic sukūn), may be added below the basic consonant grapheme (as in ম্ ). This diacritic, however, is not common, and is chiefly employed as a guide to pronunciation. The abugida nature of Bengali consonant graphemes is not consistent, however. Often, syllable-final consonant graphemes, though not marked by a hôshonto, may carry no inherent vowel sound (as in the final ন in মন or the medial ম in গামলা ).
A consonant sound followed by some vowel sound other than the inherent is orthographically realized by using a variety of vowel allographs above, below, before, after, or around the consonant sign, thus forming the ubiquitous consonant-vowel ligature. These allographs, called kars (cf. Hindi matras) are dependent, diacritical vowel forms and cannot stand on their own. For example, the graph মি represents the consonant followed by the vowel , where is represented as the diacritical allograph ি (called i-kar) and is placed before the default consonant sign. Similarly, the graphs মা , মী , মু , মূ , মৃ , মে ~, মৈ , মো and মৌ represent the same consonant ম combined with seven other vowels and two diphthongs. It should be noted that in these consonant-vowel ligatures, the so-called "inherent" vowel is first expunged from the consonant before adding the vowel, but this intermediate expulsion of the inherent vowel is not indicated in any visual manner on the basic consonant sign ম.
The vowel graphemes in Bengali can take two forms: the independent form found in the basic inventory of the script and the dependent, abridged, allograph form (as discussed above). To represent a vowel in isolation from any preceding or following consonant, the independent form of the vowel is used. For example, in মই "ladder" and in ইলিশ "Hilsa fish", the independent form of the vowel ই is used (cf. the dependent form ি). A vowel at the beginning of a word is always realized using its independent form.
In addition to the inherent-vowel-suppressing hôshonto, three more diacritics are commonly used in Bengali. These are the superposed chôndrobindu (ঁ), denoting a suprasegmental for nasalization of vowels (as in চাঁদ "moon"), the postposed onushshôr (ং) indicating the velar nasal (as in বাংলা "Bengali") and the postposed bishôrgo (ঃ) indicating the voiceless glottal fricative (as in উঃ! "ouch!") or the gemination of the following consonant (as in দুঃখ "sorrow").
The Bengali consonant clusters (যুক্তব্যঞ্জন juktobênjon in Bengali) are usually realized as ligatures (যুক্তাক্ষর juktakkhor), where the consonant which comes first is put on top of or to the left of the one that immediately follows. In these ligatures, the shapes of the constituent consonant signs are often contracted and sometimes even distorted beyond recognition. In Bengali writing system, there are nearly 285 such ligatures denoting consonant clusters. Although there exist a few visual formulas to construct some of these ligatures, many of them have to be learned by rote. Recently, in a bid to lessen this burden on young learners, efforts have been made by educational institutions in the two main Bengali-speaking regions (West Bengal and Bangladesh) to address the opaque nature of many consonant clusters, and as a result, modern Bengali textbooks are beginning to contain more and more "transparent" graphical forms of consonant clusters, in which the constituent consonants of a cluster are readily apparent from the graphical form. However, since this change is not as widespread and is not being followed as uniformly in the rest of the Bengali printed literature, today's Bengali-learning children will possibly have to learn to recognize both the new "transparent" and the old "opaque" forms, which ultimately amounts to an increase in learning burden.
Bengali punctuation marks, apart from the downstroke daŗi (|), the Bengali equivalent of a full stop, have been adopted from western scripts and their usage is similar.
Several conventions exist for writing Indic languages including Bengali in the Latin script, including "International Alphabet of Sanskrit Transliteration" or IAST (based on diacritics), "Indian languages Transliteration" or ITRANS (uses upper case alphabets suited for ASCII keyboards), and the National Library at Calcutta romanization.
In the context of Bangla Romanization, it is important to distinguish transliteration from transcription. Transliteration is orthographically accurate (i.e. the original spelling can be recovered), whereas transcription is phonetically accurate (the pronunciation can be reproduced). Since English does not have the sounds of Bangla, and since pronunciation does not completely reflect the spellings, being faithful to both is not possible.
Although it might be desirable to use a transliteration scheme where the original Bangla orthography is recoverable from the Latin text, Bangla words are currently Romanized on Wikipedia using a phonemic transcription, where the pronunciation is represented with no reference to how it is written. The Wikipedia Romanization scheme is given in the table below, with the transcriptions as used above.
{| style="align:center; width:60%;" style="margin: 1em auto 1em auto" |- valign="top" | {|class="wikitable" |+Vowels ! ||Front||Central||Back |-style="text-align:center" !Close |i|| ||u |-style="text-align:center" !Close-mid |e|| ||o |-style="text-align:center" !Open-mid |ê|| ||ô |-style="text-align:center" !Open | ||a|| |} | {|class="wikitable" |+Consonants !colspan="2"| !Labial !Dental !Alveolar !Retroflex !alveolo-palatal !Velar !Glottal |-align="center" !colspan="2"|Nasal |m|| ||n|| || ||ng|| |-align="center" !rowspan="2"|Plosive ! voiceless |pph||tth|| ||ţţh||chchh|| kkh|| |-align="center" !voiced |bbh||ddh|| ||đđh||jjh||ggh|| |-align="center" !colspan="2"|Fricative | || ||s||ṣ||sh|| ||h |-align="center" !colspan="2"|Liquid | || ||l, r|||ŗ|| || || |} |}
{|class="wikitable" align="right" |+Diphthongs !IPA !Transliteration !Example !English |-style="text-align:center" | |ii |nii |I take |-style="text-align:center" | |iu |biubhôl |upset |-style="text-align:center" | |ei |nei |there is not |-style="text-align:center" | |ee |khee |having eaten |-style="text-align:center" | |eu |đheu |wave |-style="text-align:center" | |eo |kheona |do not eat |-style="text-align:center" | |êe |nêe |she takes |-style="text-align:center" | |êo |nêo |you take |-style="text-align:center" | |ai |pai |I find |-style="text-align:center" | |ae |pae |she finds |-style="text-align:center" | |au |pau |sliced bread |-style="text-align:center" | |ao |pao |you find |-style="text-align:center" | |ôe |nôe |she is not |-style="text-align:center" | |ôo |nôo |you are not |-style="text-align:center" | |oi |noi |I am not |-style="text-align:center" | |oe |dhoe |she washes |-style="text-align:center" | |oo |dhoo |you wash |-style="text-align:center" | |ou |nouka |boat |-style="text-align:center" | |ui |dhui |I wash |}
Adding prefixes to a word typically shifts the stress to the left. For example, while the word shob-bho "civilized" carries the primary stress on the first syllable [shob], adding the negative prefix [ô-] creates ô-shob-bho "uncivilized", where the primary stress is now on the newly added first syllable অ ô. In any case, word-stress does not alter the meaning of a word and is always subsidiary to sentence-stress. In a simple declarative sentence, most words and/or phrases in Bengali carry a rising tone, with the exception of the last word in the sentence, which only carries a low tone. This intonational pattern creates a musical tone to the typical Bengali sentence. This intonation with low and high tones alternating until the final drop in pitch to mark the end of the sentence.
In sentences involving focused words and/or phrases, the rising tones only last until the focused word; all following words carry a low tone.
Sanskrit (তৎসম tôtshômo) words borrowed into Bengali, however, possess a wide range of clusters, expanding the maximum syllable structure to CCCVC. Some of these clusters, such as the mr in মৃত্যু mrittu "death" or the sp in স্পষ্ট spôshţo "clear", have become extremely common, and can be considered legal consonant clusters in Bengali. English and other foreign (বিদেশী bideshi) borrowings add even more cluster types into the Bengali inventory, further increasing the syllable capacity to CCCVCCCC, as commonly used loanwords such as ট্রেন ţren "train" and গ্লাস glash "glass" are now even included in leading Bengali dictionaries.
Final consonant clusters are rare in Bengali. Most final consonant clusters were borrowed into Bengali from English, as in লিফ্ট lifţ "lift, elevator" and ব্যাংক bêņk "bank". However, final clusters do exist in some native Bengali words, although rarely in standard pronunciation. One example of a final cluster in a standard Bengali word would be গঞ্জ gônj, which is found in names of hundreds of cities and towns across Bengal, including নবাবগঞ্জ Nôbabgônj and মানিকগঞ্জ Manikgônj. Some nonstandard varieties of Bengali make use of final clusters quite often. For example, in some Purbo (eastern) dialects, final consonant clusters consisting of a nasal and its corresponding oral stop are common, as in চান্দ chand "moon". The Standard Bengali equivalent of chand would be চাঁদ chãd, with a nasalized vowel instead of the final cluster.
Bengali nouns are not assigned gender, which leads to minimal changing of adjectives (inflection). However, nouns and pronouns are highly declined (altered depending on their function in a sentence) into four cases while verbs are heavily conjugated.
As a consequence, unlike Hindi, Bengali verbs do not change form depending on the gender of the nouns.
Yes-no questions do not require any change to the basic word order; instead, the low (L) tone of the final syllable in the utterance is replaced with a falling (HL) tone. Additionally optional particles (e.g. কি -ki, না -na, etc.) are often encliticized onto the first or last word of a yes-no question.
Wh-questions are formed by fronting the wh-word to focus position, which is typically the first or second word in the utterance.
Bengali has as many as 100,000 separate words, of which 50,000 are considered tôtshômo (direct reborrowings from Sanskrit), 21,100 are tôdbhôbo (native words with Sanskrit cognates), and the rest being bideshi (foreign borrowings) and deshi (Austroasiatic borrowings) words.
However, these figures do not take into account the fact that a large proportion of these words are archaic or highly technical, minimizing their actual usage. The productive vocabulary used in modern literary works, in fact, is made up mostly (67%) of tôdbhôbo words, while tôtshômo only make up 25% of the total. Deshi and Bideshi words together make up the remaining 8% of the vocabulary used in modern Bengali literature.
Due to centuries of contact with Europeans, Mughals, Arabs, Turks, Persians, Afghans, and East Asians, Bengali has incorporated many words from foreign languages. The most common borrowings from foreign languages come from three different kinds of contact. Close contact with neighboring peoples facilitated the borrowing of words from Hindi, Assamese and several indigenous Austroasiatic languages (like Santali). of Bengal. After centuries of invasions from Persia and the Middle East, numerous Persian, Arabic, Turkish, and Pashtun words were absorbed into Bengali. Portuguese, French, Dutch and English words were later additions during the colonial period.
.|Bengali in Transcription|faithful to pronunciation}}
.|Bengali in IPA}}
* Category:Bengali literature Category:Eastern Indo-Aryan languages Category:Languages of Bangladesh Category:Languages of India Category:SOV languages
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Soumitra Chatterjee সৌমিত্র চট্টোপাধ্যায় |
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Caption | Soumitra Chatterjee |
Birthdate | January 19, 1935 |
Birth place | Krishnanagar, India |
Occupation | Actor |
Nationalfilmawards | Best Actor(2007) Padakshep Special Jury Award (2001) Dekha |
Soumitra Chatterjee ( Shoumitro Chôṭṭopaddhae; born 19 January 1935) is an iconic Bengali actor from India, known among other things for his frequent collaborations with the great Bengali film director Satyajit Ray and his constant comparison with the Bengali screen idol Uttam Kumar.
Chatterjee was cast in diverse roles by Ray and some of the stories and screenplays that Ray wrote were said to be written with him in mind. Soumitra featured as Feluda/Pradosh Chandra Mitter, the famous private investigator from Calcutta in Ray's Feluda series of books, in two films in the 1970s Sonar Kella and Joy Baba Felunath. Ghare Baire, an adaptation of Rabindranath Tagore's novel of the same name and one of Ray's major ventures of the 1980s, featured Chatterjee in a leading role in the character of a radical revolutionary in a love triangle with his friend's wife. These roles showcased Chatterjee's versatility in playing diverse characters, especially in an urban setting. In Shakha Proshakha, Chatterjee turns out a moving performance in the role of a mentally handicapped son of an aging patriarch on his deathbed and the only source of his father's solace, as his siblings squabble between them.
In a gesture of protest against the National Film Awards committee's bias in awarding popular and mainstream cinema, he turned down the 2001 special jury award for best actor. However, on 9 June 2008, he was selected for the 2007 National Film Award for Best Actor by the Government of India.
Category:Indian actors Category:Recipients of the Padma Shri Category:1935 births Category:Living people Category:Recipients of the Padma Bhushan Category:Bengali actors Category:Bengali film actors Category:University of Calcutta alumni Category:National Film Award winners
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Rachana Banerjee |
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Rachana Banerjee () is a Bengali actress in calcutta based Bengali Cinema at Tollywood. She has been getting accolades for her Oriya, Telugu & Hindi films in Bombay.
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Birthdate | September 30, 1962 |
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Birthplace | Kolkata, India |
Spouse | Debashree RoyAparna Arpita Pal (present) |
Homepage | http://www.prosenjit.in/ |
Nationalfilmawards | . |
Bfjaawards | Best Actor2007 Dosar |
Prasenjit Chatterjee (also Prosenjit Chatterjee or Proshenjit Chattopadhyay ( Proshenjit Chôṭṭopaddhae) ( Born : September 30, 1962), professionally known as Proshenjit, is a Bengali film actor. His fans affectionately called him Bumba Da. In rural Bengal he is addressed as Poshenjit. His rural fan base led him to do many films which had rustic storylines, Films from which intellectuals shied away.But his popularity was undeniable. Since 2003 with Rituparno Ghosh's Choker Bali (Co starring Aishwarya Rai & Raima Sen) he has acted in numerous films that had won critical acclaim . In 2007 he received the National Award Silver Lotus for his performance in Dosar. He has acted in over 279 films as on October 2009. The only son of Biswajeet, the actor from Tollygunge who carved a niche in Hindi cinema in the 1960s, Prosenjit made his debut when he was just four years old in his father’s production Chhotto Jignasa (The Tiny Question.) The film was a big hit and little Boomba’s fresh and natural performance warmed the cockles of every heart in house-full theatres way back in 1967. It was back to school after that. In between, his parents split, Biswajeet settled in Mumbai and at age of Sixteen, Prosenjit was left with the responsibility of his family consisting of his mother and little sister Pallavi Chatterjee, now an actress in her own right.
Prasenjit has been the leading star of Bengali (West Bengal) commercial cinema for the past two decades.
He has had two previous failed marriages. His first wife was Debashree Roy,Aparna Guhathakurta.
He considers the character of Koushik, the husband in Rituparno Ghosh’s Dosar (2006) as his most challenging role. “The story begins with Koushik cheating on his wife, spending a weekend with another woman and then running into a near-fatal accident. He sustains severe injuries and most of the time, I was horizontal and had to emote only through my eyes. None of my body parts moved except my eyes. It was extremely exhausting in a physical sense. It was also challenging because the Indian audience does not generally accept such characters.”
Omor Shongi (1987) opposite Vijayeta Pandit, Apon Amaar Apon(1990) directed by Tarun Majumdar and Buddhadeb Dasgupta’s Ami, Yaseen Aar Amaar Madhubala (2007) are the three outstanding films of his career. The song Chirodini Aami Je Tomaar from Omor Shongi remains a hot favourite among lovers of Bengali music. In fact, Omor Shongi was his turning point film. Prosenjit did not have to look back after that.
Among the 50 odd leading ladies he has acted with, he rates Debashree Roy, the woman he was once married to, as the best. “She is outstanding and completely dedicated to her work. I have worked with her in more than 25 films. It is a pleasure to be cast opposite her in any film and I would welcome the opportunity any time she agrees to act with me. Many talented young women faded away into oblivion, constantly throwing up the challenge of creating new and talented leading ladies in the Bengali film industry.” Says Prosenjit. Satabdi Roy takes top place as his heroine, having acted with him in more than 50 films. He has done 35 films with Rachana Banerjee, 50 with Rituparna Sengupta, around 16 with Indrani Haldar and four with his wife Arpita.
Prosenjit did make an attempt to make it in Bollywood. He played the role of Mumtaz's son in her disastrous comeback film Aandhiyaan in 1989. The film was directed by David Dhawan. The story revolve aspirations where his ordinary wife would be a disturbing factor. The son grows up to take revenge and finally unite his parents. The film disappeared without a trace. But this did not stop Prosenjit from playing the hero in the Mehul Kumar-directed Meet Mere Man Ke (1991). This film too, was a disaster and the intelligent Prosenjit came back to his roots, choosing to become numero uno in his home state rather than becoming a bit-star doing secondary roles in Bollywood films.
|- ! colspan="3" style="background: #DAA520;" | BFJA Awards |- |-
Category:1962 births Category:Living people Category:Bengali film actors Category:Bengali actors Category:Indian actors Category:Indian film actors Category:Bengali people Category:University of Calcutta alumni
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Nitin Sawhney |
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Landscape | Nitin Sawhney (Left) |
Background | solo_singer |
Born | 1964 in England |
Origin | Rochester, Kent, England |
Genre | Jazz, Drum and bass, Hip Hop, Orchestral |
Occupation | Producer, Songwriter, Multi-instrumentalist, DJ, Orchestral Composer |
Url | NitinSawhney.com |
Nitin Sawhney (born 1964) is an Indian-British musician, producer and composer. His critically-acclaimed work combines Asian and other worldwide influences with elements of jazz and electronica and often explores themes such as multiculturalism, politics and spirituality. Sawhney is also active in the promotion of arts and cultural matters, and is a patron of numerous film festivals, venues, and educational institutions.
It was during this period that Sawhney met up with an old school friend, acid-jazz keyboard-player James Taylor. Sawhney then toured as part of The James Taylor Quartet. This experience led to him forming his own band, The Jazztones. He also joined forces with tabla player and DJ/producer Talvin Singh to form the Tihai Trio.
After dropping out of university, Sawhney took up a position with a firm of accountants called Day Smith and Hunter in Maidstone, Kent. He trained to become a chartered accountant but found that his music was proving too much of a distraction and quit after about two years. Sawhney moved to London, where he met Sanjeev Bhaskar; together they created the comedy team The Secret Asians. The pair were given a show on BBC Radio, which eventually grew into the award-winning BBC TV sketch show Goodness Gracious Me. Refocusing on music, Sawhney's solo career began in 1993, when he released his debut album, Spirit Dance on his own label.
2007 saw the release of In the Mind Of… Nitin Sawhney, the first release in District 6's new compilation series.
Nitin Sawhney's latest album, London Undersound, was released on October 13, 2008.
This work for film and television has led to recognition within the classical world as well. In 2001, Sawhney composed "Neural Circuits" for the Britten Sinfonia, a collaboration that has continued in the years since. In 2002, he worked with Akram Khan and Anish Kapoor, scoring the music to Khan’s choreographed work Kaash, which toured worldwide between 2002–2003. In 2004, Sawhney was commissioned by the City of Birmingham Symphony Orchestra to compose a new piece for their Harmony Project. His most recent scores include the new adaptation of Mahabharata by Olivier-award winning writer Stephen Clarke, Simon McBurney's A Disappearing Number for Complicite, and first-time theatrical director Jonathan Holmes' Fallujah.
Sawhney produced the music for the Ninja Theory video games Heavenly Sword and (both starring Andy Serkis) and will also score Fifth Beatle, a major studio film currently in production.
Category:1964 births Category:Living people Category:English composers Category:English DJs Category:Asian Underground musicians Category:People from Rochester, Kent Category:English people of Indian descent
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Nandana Sen |
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Birthname | Nandana Dev Sen |
Birth date | August 19, 1967 |
Birth place | Kolkata, West Bengal, India |
Film industry | Bollywood |
She spent her growing years in various cities across Europe, India and America. She studied drama at the Lee Strasberg Theatre and Film Institute, the Royal Academy of Dramatic Art, and studied literature at Harvard University.
Category:Bengali people Category:Bengali actors Category:Indian film actors Category:Living people Category:1967 births Category:Lee Strasberg Theatre Institute alumni Category:Alumni of the Royal Academy of Dramatic Art
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Name | Indraneil Sengupta |
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Spouse | Barkha Bisht Sengupta (2008 - present) |
Birthname | Indraneil Sengupta |
Birth place | Assam, India |
Occupation | Model, Actor |
Yearsactive | 1999-Present |
Indraneil Sengupta is an Indian model and actor, born in Assam and schooled and brought up in Ahmedabad. He was a finalist in the Gladrags Manhunt Contest 1999. In 2000 he moved to Mumbai to pursue modelling. He modelled for designers like Rohit Bal and also worked for choreographers like Marc Robinson and Achala Sachdev. He did commercials for the Tata Indigo Marina car, VIP Frenchie and Aquafina.
Then came the transition to music videos: one each for Falguni Pathak-pal pal tere yaad sataye and Jagjit Singh; one for the south Indian singer Yesudas's Hindi album; and a remix of the old film song Koi diya jale kahin (rum pum bum) sung by Asha Bhosle from the movie Bees Saal Baad. He also appeared in a television show on STAR Plus, which was called Pyaar ke do Naam.. Ek Radha Ek Shyaam.
He has done a movie called Shukriya which was to have starred Aftab Shivdasani, Shriya Saran and Anupam Kher. He was to act in the movie Dus but the project got shelved.
He played a Negative role in 1920 an Indian horror film written and directed by Vikram Bhatt as Mohan Kant, the British Indian armyman who betrayed his revolting pro-independence military regiment.
He also starred as Tushaar in the hit Zee TV serial Banoo Main Teri Dulhan.
On 2 March 2008, he tied the knot with Barkha Bisht Sengupta who was his co-star in Doli Saja Ke and Pyaar ke do naam...Ek Radha Ek Shyaam. The couple also appeared in Nach Baliye 3 as a late entrant.
He starred in a Bollywood movie Mumbai Salsa. Of late, he has also done four Bengali films. In 2008, he did 'Janala' opposite Swastika Mukherjee and directed by Buddhadev Dasgupta. He started 2009 with 'Anshumaner Chhobi' opposite Indrani Haldar and directed by first time filmmaker Atanu Ghosh. The film. which released in 2009, was critically acclaimed and was the only Bengali entry in the competitive section of the Indian Panorama in Goa in 2009. In 2009, he also starred as a bisexual lover in Kaushik Ganguly's 'Arekti Premer Golpo'. His love interest in this yet to be released film is the acclaimed director Rituparno Ghosh. 'Arekti Premer Golpo' incidentally was Rituparno's first movie as an actor. In 2010, he did his first commercial Bengali film 'Jodi Ekdin', directed by Riingo. 'Jodi Ekdin' is to release in March 2010. Indraneil also received the Anandalok Fresh Face of the Year (male) award in 2009 for 'Anshumaner Chobi'.
Indraneil starred as a young aspiring director in bengali movie Autograph with Prasenjit Chatterjee and Nandana Sen. The movie is a humble tribute to both Satyajit Ray and to Uttam Kumar as it is on the lines of film Nayak.
Shukriya
Category:Indian television actors Category:People from Assam Category:Indian male models Category:Living people
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.