Tamil Actress Biography
Bhanu Priya (Telugu: భానుప్రియ ) is an Indian actress. She was a former leading actress of the Telugu, Tamil, Kannada and Malayalam film industries from 1980 to 1993. She also acted in few Bollywood films in the 1990s.
She was born in Rangampeta village, which is near to Rajamundry, Andhra Pradesh, on 15 January 1964 in a Telugu family and was settled in Chennai, Tamil Nadu at a very young age.
Her sister Nishanthi, known as Shantipriya (actress), has also acted in several films, including the biggest hit, Enga ooru paatukran (1988). She was also seen on national small screen TV sci-fi epic Aaryamaan - Brahmaand Ka Yoddha opposite Mukesh Khanna, in 2002. Her sister JyothiPriya is also a television and film actress.
[edit]Career
Bhanupriya has acted in over 111 films as a heroine in various languages. She made her debut in the Telugu movie Sitaara, directed by veteran Vamsy, which was a big hit.[citation needed] She has acted in over 55 Telugu films, about 40 Tamil films, 14 Hindi films and a few Malayalam and Kannada films.
Bhanupriya began her film acting career when she was just 19 years old. Her first film was Mella Pesungal (1983) in Tamil. In Telugu it was Sitaara (1983).
Trained in classical dance, all her critically acclaimed movies were based on the subject of classical dance, like Vamsy's Sitara and veteran K. Vishwanath's Swarnakamalam in Telugu and Sathyan Anthikkad's Kochu Kochu Santhoshangal in Malayalam. She is also part of Mani Ratnam's stage show Netru, Indru, Naalai. Banupriya's excellent Bharathanatyam dancing skills are much appreciated in her films.[citation needed]
Her performance were well appreciated by her senior artist and her co-stars. Tamil Cinema's ace actor, Sivaji Ganesan had mentioned in one of his interviews that Bhanupriya is the only actress from the younger generation with matchable acting ability as Savithri and Padmini. Telugu Superstar Chiranjeevi mentioned that he enjoyed the chemistry with other actresses while dancing but with Bhanupriya he missed out on that as she always concentrated on the technical aspects of her footwork and treated him as a competitor instead of a co-star. Khushboo had mentioned in an interview that one role that she would not be able to do justice would be the role Bhanupriya enacted in "Aararo Ariraro".
Bhanupriya is now based in Chennai and planning to direct a film, with classical dance as lead role[citation needed] She had also acted in a television serial, Shakthi, shown over in Sun Network channels. She is famous for her expressions using her eyes, which led her to a career in modelling. Her most famous ad was of Eyetex, a popular eyeliner. Cinematographer and director P.C.Sriram once described her as having the most beautiful and photogenic face among south Indian movie actresses.
[edit]Personal life
Bhanupriya married Adarsh Kaushal, an award-winning photographer based in the United States and son of famous Bharatanatyam artist Sumathi kaushal in United States. They have a daughter. Now, they are settled in Chennai.
Karpaga was born in a middle class family of Erode in western Tamil Nadu, an only child, and left home at 17 for Mumbai. Karpaga worked at a beauty parlour as a beautician after finishing schooling. After returning to her family, five years later, her family was shattered but eventually accepted her.[3][4]
[edit]Paal
Historically, transsexuals have been shown in poor light in Indian movies.[5] Karpaga acts as an intellectual woman who has difficulty in revealing her identity to her lover.[5] The film stresses on the need for families to accept transsexuals.[5][6]
In Hindu mythology, Devayani (Sanskrit: देवयानी, Devayānī) was the daughter of Shukracharya and his wife Jayanti, daughter of Indra.[1] In her early life, she was rejected by Kacha, the son of Brihaspati. Thus Devyani cursed him he will never be able to use his knowledge, in turn Kacha also cursed Devayani that she would not get married to any devas.
She later married Yayati, son of Nahusha whom she encountered when the princess Sharmishtha pushed her into a well. Devayani asked Yayati to marry her as he had clasped her hand while lifting her out of the well.[2] Yayati and Devayani had two sons, Yadu and Turvasu.[3] Devayani also means "main goddess" or "mastermind". Devayani is also like beautiful, faithful, trustworthy, kind, and many other wonderful things.
The name of Goddess Deivayanai, the wife of Lord Muruga, sounds similar to this name of the daughter of Shukracharya.
[edit]Notes
^ Pargiter, F.E. (1972). Ancient Indian Historical Tradition, Delhi: Motilal Banarsidass, pp.196, 196ff.
^ Rajagopalachari, Chakravarthy(2005). Mahabharata.Bharatiya Vidhya Bhavan. ISBN 81-7276-368-9
^ Pargiter, F.E. (1972). Ancient Indian Historical Tradition, Delhi: Motilal Banarsidass, pp.86-7.
In 1897, a European exhibitor first screened a selection of silent short films at the Victoria Public Hall in Madras. The films all featured non-fictional subjects; they were mostly photographed records of day-to-day events. In Madras (present-day Chennai), the Electric Theatre was established for the screening of silent films. It was a favourite haunt of the British community in Madras. The theatre was shut down after a few years. This building is now part of a post office complex on Anna Salai (Mount Road). The Lyric Theatre was also built in the Mount Road area. This venue boasted a variety of events, including plays in English, Western classical music concerts, and ballroom dances. Silent films were also screened as an additional attraction.[13] Swamikannu Vincent, an employee of the South Indian Railways in Trichy, purchased a film projector and silent films from the Frenchman Du Pont and set up a business as film exhibitor.[14] He erected tents for screening films. His tent cinema became popular and he travelled all over the state with his mobile unit.[15] In later years, he produced talkies and also built a cinema in Coimbatore.[16]
To celebrate the event of King George V's visit in 1909, a grand exhibition was organised in Madras. Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone megaphone, made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched dialogue. Raghupathy Venkiah Naidu, a successful photographer, took over the equipment after the exhibition and set up a tent cinema near the Madras High Court.[13] R. Venkiah, flush with funds, built in 1912 a permanent cinema in the Mount Road area named Gaiety Theatre. It was the first in Madras to screen films on a full-time basis. The theatre later closed for commercial developments.[17]
Samikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "Tent Cinema" in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in Madras, called "Edison's Grand Cinemamegaphone". This was due to the fact that electric carbons were used for motion picture projectors.[18]
[edit]Influences
A scene from the Tamil movie Chandralekha (1948)
Tamil cinema has been impacted by many factors, due to which it has become the second largest film industry of India. The main impacts of the early cinema were the cultural influences of the country. The Tamil language was the medium in which many plays and stories were written since the ages as early as the Cholas. They were highly stylized and nature of the spectacle was one which could attract the people. Along with this, music and dance were one of the main entertainment sources.[19]
The Bharata Natyam, a classical dance was the oldest performed dance form of India and so impacted the cultural heritage to a very great extent. Usually the kings sitting in the court were seen admiring dancers, and enjoying the music and dance along with the courtiers. These kind of themes were commonly found in the movies. The theory of rasa dating back to ancient Sanskrit drama is believed to be one of the most fundamental features that differentiate Indian cinema.[citation needed]
Along with the music and dance of ancient India, the novels and books written by many authors were used for making the movies and sometimes, the entire story was adopted from the book alone and made into films. The ancient Indian epics of Mahabharata and Ramayana which have exerted a profound influence on the thought and imagination of popular Indian cinema, particularly in its narratives. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots which branch off into sub-plots which were common in the early Tamil cinema.[20]
There is a strong Indian tradition of narrating mythology, history, fairy tales and so on through song and dance. Whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day to day lives in complex ways.[21] By the end of the 1930s, the State of Madras legislature passed the Entertainment Tax Act 1939.
[edit]Studios
AVM studios in Chennai, the oldest surviving studio in India.
The year 1916 marked the birth of Tamil cinema with the first Madras production and South Indian film release Keechaka Vaadham produced and directed by R. Nataraja, who established the India Film Company Limited.(English: The Destruction of Keechaka).[22] During the 1920s, silent Tamil language film were shot at makeshift locations in and around Chennai, and for technical processing, they were sent to Pune or Calcutta. Later, some films featuring M. K. Thyagaraja Bhagavathar were shot in those cities as well. In the 1930s AVM set up its makeshift studioIndependent Tamil film production in places outside of India, including Sri Lanka, Singapore, Canada, and Europe, took prominence over the late-20th century. The history of filmmaking of Tamil language films in Canada dates back to the early 1990s. It is primarily based in the metropolitan region of the Greater Toronto Area in Southern Ontario. Tamil films are also made in Sri Lanka where Tamil is one of the official languages since the ancient times. The film My Magic directed by Singaporean Eric Khoo became Singapore's first film to be nominated for the Palme d'Or at Cannes. Some of these films have involved one or more film personalities from the Chennai industry as well. in the town of Karaikudi, and during the same decade, full-fledged Movie studios were built in Salem (Modern Theatres Studio) and Coimbatore (Central Studios, Neptune, and Pakshiraja). By the mid 1940s, Chennai became the hub of studio activity with two more movie studios built in Chennai, Vijaya Vauhini Studios and Gemini Studios. Later, AVM Studios shifted its operations to Chennai. Thus, with the undivided Madras Presidency being the Capital to most of South India, Chennai became the center for Tamil- and Telugu-language films. Also, most of the pre-independence era drama and stage actors joined the film industry from the 1940s, and Chennai became the hub for South Indian–language film production and the cinema of Sri Lanka before independence.
[edit]Distribution
See also: List of Tamil-language films
The Chennai film industry produced the first nationally distributed film across India in 1948 with Chandralekha.[23] They have one of the widest overseas distribution, with large audience turnout from the Tamil diaspora alongside Hindi films. They are distributed to various parts of Asia, Africa, Western Europe, North America and Oceania.[24]
Keechaka Vadham (1918) was the first Silent film made in South India.[25] Kalidas (1931) was the first Tamil talkie film made in 1931.[26] Kalava was the first Full-length Talkie made entirely in Tamil.[27] Nandanar (1935) was the first film for American film director Ellis R. Dungan[28] Balayogini released in 1937 was considered to be first children's film of South India.[29] Marmayogi that starred M. G. Ramachandran was the first Tamil film to receive an "Adult" certificate from the film censor board.[30] It is estimated by the Manorama Yearbook 2000 (a popular almanac) that over 5,000 Tamil films were produced in the 20th century. Tamil films have also been dubbed into other languages, thus reaching a much wider audience. There has been a growing presence of English in dialogue and songs in Chennai films.
Tamil films have enjoyed consistent popularity among populations in South East Asia. Since Chandralekha, Muthu was the second Tamil film to be dubbed into Japanese (as Mutu: Odoru Maharaja[31]) and grossed a record $1.6 million in 1998.[32] In 2010, Enthiran grossed a record $4 million in North America.
M. K. Thyagaraja Bhagavathar was considered to be first most influential actor of South Indian cinema.[40] P. U. Chinnappa, another popular actor in Tamil cinema was slotted second only to Bhagavathar, died suddenly in 1952.[41] M. G. Ramachandran became a prominent actor in the mid 1950s and continued to be a popular actor till the late 1970s before stepping into politics.[42] On the other hand, Sivaji Ganesan, the media-built rival of Ramachandran, was considered to be one of the finest method actors in India of his time.[43][44] Kamal Haasan and Rajinikanth have been the biggest brands in Tamil Cinema for over twenty five years despite the arrival of the next generation of stars such as Joseph Vijay, Ajith Kumar, Vikram Kennedy and Surya Sivakumar. K. B. Sundarambal, a popular carnatic singer made her film debut with Nandanar in 1935 was considered to be one of the finest actresses of her time. She was paid a renumeration of 1 lakh (highest pay for a movie star in Tamil back then; amount not adjusted for inflation)for acting in her debut film.
source:http://en.wikipedia.org/w/index.php?search=tamil+actress&title=Special%3ASearch
Bhanu Priya (Telugu: భానుప్రియ ) is an Indian actress. She was a former leading actress of the Telugu, Tamil, Kannada and Malayalam film industries from 1980 to 1993. She also acted in few Bollywood films in the 1990s.
She was born in Rangampeta village, which is near to Rajamundry, Andhra Pradesh, on 15 January 1964 in a Telugu family and was settled in Chennai, Tamil Nadu at a very young age.
Her sister Nishanthi, known as Shantipriya (actress), has also acted in several films, including the biggest hit, Enga ooru paatukran (1988). She was also seen on national small screen TV sci-fi epic Aaryamaan - Brahmaand Ka Yoddha opposite Mukesh Khanna, in 2002. Her sister JyothiPriya is also a television and film actress.
[edit]Career
Bhanupriya has acted in over 111 films as a heroine in various languages. She made her debut in the Telugu movie Sitaara, directed by veteran Vamsy, which was a big hit.[citation needed] She has acted in over 55 Telugu films, about 40 Tamil films, 14 Hindi films and a few Malayalam and Kannada films.
Bhanupriya began her film acting career when she was just 19 years old. Her first film was Mella Pesungal (1983) in Tamil. In Telugu it was Sitaara (1983).
Trained in classical dance, all her critically acclaimed movies were based on the subject of classical dance, like Vamsy's Sitara and veteran K. Vishwanath's Swarnakamalam in Telugu and Sathyan Anthikkad's Kochu Kochu Santhoshangal in Malayalam. She is also part of Mani Ratnam's stage show Netru, Indru, Naalai. Banupriya's excellent Bharathanatyam dancing skills are much appreciated in her films.[citation needed]
Her performance were well appreciated by her senior artist and her co-stars. Tamil Cinema's ace actor, Sivaji Ganesan had mentioned in one of his interviews that Bhanupriya is the only actress from the younger generation with matchable acting ability as Savithri and Padmini. Telugu Superstar Chiranjeevi mentioned that he enjoyed the chemistry with other actresses while dancing but with Bhanupriya he missed out on that as she always concentrated on the technical aspects of her footwork and treated him as a competitor instead of a co-star. Khushboo had mentioned in an interview that one role that she would not be able to do justice would be the role Bhanupriya enacted in "Aararo Ariraro".
Bhanupriya is now based in Chennai and planning to direct a film, with classical dance as lead role[citation needed] She had also acted in a television serial, Shakthi, shown over in Sun Network channels. She is famous for her expressions using her eyes, which led her to a career in modelling. Her most famous ad was of Eyetex, a popular eyeliner. Cinematographer and director P.C.Sriram once described her as having the most beautiful and photogenic face among south Indian movie actresses.
[edit]Personal life
Bhanupriya married Adarsh Kaushal, an award-winning photographer based in the United States and son of famous Bharatanatyam artist Sumathi kaushal in United States. They have a daughter. Now, they are settled in Chennai.
Karpaga was born in a middle class family of Erode in western Tamil Nadu, an only child, and left home at 17 for Mumbai. Karpaga worked at a beauty parlour as a beautician after finishing schooling. After returning to her family, five years later, her family was shattered but eventually accepted her.[3][4]
[edit]Paal
Historically, transsexuals have been shown in poor light in Indian movies.[5] Karpaga acts as an intellectual woman who has difficulty in revealing her identity to her lover.[5] The film stresses on the need for families to accept transsexuals.[5][6]
In Hindu mythology, Devayani (Sanskrit: देवयानी, Devayānī) was the daughter of Shukracharya and his wife Jayanti, daughter of Indra.[1] In her early life, she was rejected by Kacha, the son of Brihaspati. Thus Devyani cursed him he will never be able to use his knowledge, in turn Kacha also cursed Devayani that she would not get married to any devas.
She later married Yayati, son of Nahusha whom she encountered when the princess Sharmishtha pushed her into a well. Devayani asked Yayati to marry her as he had clasped her hand while lifting her out of the well.[2] Yayati and Devayani had two sons, Yadu and Turvasu.[3] Devayani also means "main goddess" or "mastermind". Devayani is also like beautiful, faithful, trustworthy, kind, and many other wonderful things.
The name of Goddess Deivayanai, the wife of Lord Muruga, sounds similar to this name of the daughter of Shukracharya.
[edit]Notes
^ Pargiter, F.E. (1972). Ancient Indian Historical Tradition, Delhi: Motilal Banarsidass, pp.196, 196ff.
^ Rajagopalachari, Chakravarthy(2005). Mahabharata.Bharatiya Vidhya Bhavan. ISBN 81-7276-368-9
^ Pargiter, F.E. (1972). Ancient Indian Historical Tradition, Delhi: Motilal Banarsidass, pp.86-7.
In 1897, a European exhibitor first screened a selection of silent short films at the Victoria Public Hall in Madras. The films all featured non-fictional subjects; they were mostly photographed records of day-to-day events. In Madras (present-day Chennai), the Electric Theatre was established for the screening of silent films. It was a favourite haunt of the British community in Madras. The theatre was shut down after a few years. This building is now part of a post office complex on Anna Salai (Mount Road). The Lyric Theatre was also built in the Mount Road area. This venue boasted a variety of events, including plays in English, Western classical music concerts, and ballroom dances. Silent films were also screened as an additional attraction.[13] Swamikannu Vincent, an employee of the South Indian Railways in Trichy, purchased a film projector and silent films from the Frenchman Du Pont and set up a business as film exhibitor.[14] He erected tents for screening films. His tent cinema became popular and he travelled all over the state with his mobile unit.[15] In later years, he produced talkies and also built a cinema in Coimbatore.[16]
To celebrate the event of King George V's visit in 1909, a grand exhibition was organised in Madras. Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone megaphone, made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched dialogue. Raghupathy Venkiah Naidu, a successful photographer, took over the equipment after the exhibition and set up a tent cinema near the Madras High Court.[13] R. Venkiah, flush with funds, built in 1912 a permanent cinema in the Mount Road area named Gaiety Theatre. It was the first in Madras to screen films on a full-time basis. The theatre later closed for commercial developments.[17]
Samikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "Tent Cinema" in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in Madras, called "Edison's Grand Cinemamegaphone". This was due to the fact that electric carbons were used for motion picture projectors.[18]
[edit]Influences
A scene from the Tamil movie Chandralekha (1948)
Tamil cinema has been impacted by many factors, due to which it has become the second largest film industry of India. The main impacts of the early cinema were the cultural influences of the country. The Tamil language was the medium in which many plays and stories were written since the ages as early as the Cholas. They were highly stylized and nature of the spectacle was one which could attract the people. Along with this, music and dance were one of the main entertainment sources.[19]
The Bharata Natyam, a classical dance was the oldest performed dance form of India and so impacted the cultural heritage to a very great extent. Usually the kings sitting in the court were seen admiring dancers, and enjoying the music and dance along with the courtiers. These kind of themes were commonly found in the movies. The theory of rasa dating back to ancient Sanskrit drama is believed to be one of the most fundamental features that differentiate Indian cinema.[citation needed]
Along with the music and dance of ancient India, the novels and books written by many authors were used for making the movies and sometimes, the entire story was adopted from the book alone and made into films. The ancient Indian epics of Mahabharata and Ramayana which have exerted a profound influence on the thought and imagination of popular Indian cinema, particularly in its narratives. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots which branch off into sub-plots which were common in the early Tamil cinema.[20]
There is a strong Indian tradition of narrating mythology, history, fairy tales and so on through song and dance. Whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day to day lives in complex ways.[21] By the end of the 1930s, the State of Madras legislature passed the Entertainment Tax Act 1939.
[edit]Studios
AVM studios in Chennai, the oldest surviving studio in India.
The year 1916 marked the birth of Tamil cinema with the first Madras production and South Indian film release Keechaka Vaadham produced and directed by R. Nataraja, who established the India Film Company Limited.(English: The Destruction of Keechaka).[22] During the 1920s, silent Tamil language film were shot at makeshift locations in and around Chennai, and for technical processing, they were sent to Pune or Calcutta. Later, some films featuring M. K. Thyagaraja Bhagavathar were shot in those cities as well. In the 1930s AVM set up its makeshift studioIndependent Tamil film production in places outside of India, including Sri Lanka, Singapore, Canada, and Europe, took prominence over the late-20th century. The history of filmmaking of Tamil language films in Canada dates back to the early 1990s. It is primarily based in the metropolitan region of the Greater Toronto Area in Southern Ontario. Tamil films are also made in Sri Lanka where Tamil is one of the official languages since the ancient times. The film My Magic directed by Singaporean Eric Khoo became Singapore's first film to be nominated for the Palme d'Or at Cannes. Some of these films have involved one or more film personalities from the Chennai industry as well. in the town of Karaikudi, and during the same decade, full-fledged Movie studios were built in Salem (Modern Theatres Studio) and Coimbatore (Central Studios, Neptune, and Pakshiraja). By the mid 1940s, Chennai became the hub of studio activity with two more movie studios built in Chennai, Vijaya Vauhini Studios and Gemini Studios. Later, AVM Studios shifted its operations to Chennai. Thus, with the undivided Madras Presidency being the Capital to most of South India, Chennai became the center for Tamil- and Telugu-language films. Also, most of the pre-independence era drama and stage actors joined the film industry from the 1940s, and Chennai became the hub for South Indian–language film production and the cinema of Sri Lanka before independence.
[edit]Distribution
See also: List of Tamil-language films
The Chennai film industry produced the first nationally distributed film across India in 1948 with Chandralekha.[23] They have one of the widest overseas distribution, with large audience turnout from the Tamil diaspora alongside Hindi films. They are distributed to various parts of Asia, Africa, Western Europe, North America and Oceania.[24]
Keechaka Vadham (1918) was the first Silent film made in South India.[25] Kalidas (1931) was the first Tamil talkie film made in 1931.[26] Kalava was the first Full-length Talkie made entirely in Tamil.[27] Nandanar (1935) was the first film for American film director Ellis R. Dungan[28] Balayogini released in 1937 was considered to be first children's film of South India.[29] Marmayogi that starred M. G. Ramachandran was the first Tamil film to receive an "Adult" certificate from the film censor board.[30] It is estimated by the Manorama Yearbook 2000 (a popular almanac) that over 5,000 Tamil films were produced in the 20th century. Tamil films have also been dubbed into other languages, thus reaching a much wider audience. There has been a growing presence of English in dialogue and songs in Chennai films.
Tamil films have enjoyed consistent popularity among populations in South East Asia. Since Chandralekha, Muthu was the second Tamil film to be dubbed into Japanese (as Mutu: Odoru Maharaja[31]) and grossed a record $1.6 million in 1998.[32] In 2010, Enthiran grossed a record $4 million in North America.
M. K. Thyagaraja Bhagavathar was considered to be first most influential actor of South Indian cinema.[40] P. U. Chinnappa, another popular actor in Tamil cinema was slotted second only to Bhagavathar, died suddenly in 1952.[41] M. G. Ramachandran became a prominent actor in the mid 1950s and continued to be a popular actor till the late 1970s before stepping into politics.[42] On the other hand, Sivaji Ganesan, the media-built rival of Ramachandran, was considered to be one of the finest method actors in India of his time.[43][44] Kamal Haasan and Rajinikanth have been the biggest brands in Tamil Cinema for over twenty five years despite the arrival of the next generation of stars such as Joseph Vijay, Ajith Kumar, Vikram Kennedy and Surya Sivakumar. K. B. Sundarambal, a popular carnatic singer made her film debut with Nandanar in 1935 was considered to be one of the finest actresses of her time. She was paid a renumeration of 1 lakh (highest pay for a movie star in Tamil back then; amount not adjusted for inflation)for acting in her debut film.
source:http://en.wikipedia.org/w/index.php?search=tamil+actress&title=Special%3ASearch
Tamil Actress
Tamil Actress
Tamil Actress
Tamil Actress
Tamil Actress
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