This actress has worked with father, son, grandson of same family, became famous for bold scenes, her name is..., husband is...
Ramya Krishna, primarily known for her work in South Indian cinema, was considered one of the highest-paid actresses in 90s. Throughout her career, she gave numerous hits and collaborated with some of the biggest superstars. Ramya made her acting debut with the film Pularumbol, however, it got delayed. She then went on to feature in few supporting roles in Tamil and Telugu films.
In 1993, Ramya made her Hindi film debut with Yash Chopra's Parampara alongside Sunil Dutt, Vinod Khanna, Ashwini Bhave, Aamir Khan, Saif Ali Khan, Raveena Tandon and Anupam Kher. In a career spanning over four decades, she has worked in over 200 films across five languages. Ramya confidently portrayed bold roles in Hindi films like Trimurti (1995), Bade Miyan Chote Miyan (1998), Wajood (1998) Chaahat (1996), where she starred in highly sensual scenes with prominent male actors like Anil Kapoor and Nana Patekar.
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Indian Express
4 minutes ago
- Indian Express
Guru Dutt's granddaughters remember Pyaasa, Kagaz Ke Phool, but want to watch the breezy Mr & Mrs ‘55
She's Gouri Dutt and the name is special because more than its mythological significance, it was her grandmother Geeta Dutt's favourite name. In fact, Geeta was to make her acting debut in a Bengali-Hindi film by the same name, being produced by Gouri's grandfather, Guru Dutt, who was playing a sculptor of Durga idols opposite her. The film remained incomplete, but Gouri was curious about it after learning its connection with her name. 'I haven't watched any rushes or read the script, but I saw some stills from my grandmother's look test,' she shares. She got a degree in interior designing, even worked as an architect, not wanting to pursue a career in films because so many from the family were associated with it. But having seen her father, Arun Dutt, experimenting with writing, lighting and editing since she was a child, filmmaking was familiar territory. 'And at one point, I decided to give it a shot, not wanting any regrets later. Besides, I had a back-up plan in case things didn't work out,' she laughs. Gouri was the first Assistant Director on a number of films, including Girls Will Be Girls, and web series like Tanaav Season 2. 'Being associated with a project from scratch and running the set is fun. There's another film this year,' she informs. Her sister, Karuna Dutt, also was, still is, first AD on many projects, but now has also moved to the creative side. 'I was the creative producer of Jubilee and now a creative director on an upcoming show by Applause Entertainment. But both of us consciously take a break between projects to focus on our writing and pitch ideas. We want to direct someday and the hustle continues,' says Karuna whose name is an amalgamation of her parents, Arun and Kavita. Applauding their father for archiving her grandparents' lives, the girls grew up with access to their pictures and film equipment, Guru Dutt's driving license and wallet, Geeta's purse, watching their films and listening to their songs. 'I'm told I've inherited my grandmother's personality since I'm social and outgoing too,' reveals Karuna, while Gouri admits that for decades, like Guru Dutt, she was the quiet one who rarely spoke. 'I was told I had a sad face and looked like I was about to cry, and even my writing was intense and depressing,' she chuckles. Also Read | Guru Dutt @ 100: Here's looking at the man behind the artist The earliest Guru Dutt films they recall watching was Kagaz Ke Phool and it affected them deeply. 'As a child, I never asked my parents how and grandfather had died, but in my mind, I had made up this story that he had passed away on a set perhaps because the film mirrored his life so closely,' Gouri reminisces, adding that since their father had exposed them to world cinema from a young age—she had watched Rosemary's Baby when she was 11 and was terrified—she could empathize with such dark films. 'Today, I understand the technicalities and nuances better, but at the core, the memories remain the same.' Karuna was equally affected by the 1959 film, confessing that whenever Kagaz Ke Phool played, she'd pretend to watch, but would shut her eyes because it felt so personal. Her favourite is Pyaasa, and in 2015, both sisters watched the digitally restored film on screen for the first time at the 17th MAMI Mumbai Film Festival after seeing it on TV for years. 'It was heartwarming, I could see how captivated everyone was through the screening, and revelled in the spontaneous applause at the end. Some were watching it for the first time, others had watched it several times, but the connection with the film was universal,' she recalls. NFDC recently announced that it would restore six of Guru Dutt's films, including Baazi and Chaudhvin Ka Chand. His granddaughters are grateful for such initiatives that keep his work alive, reconnecting it to a new audience. They haven't thought of reviving the family banner yet, but may in the future. Gouri points out that while they want to work together, they want to do things on their own first that will add to their legacy. 'Even without Guru Dutt Films, the association will always be there,' she says, admitting it's fun to see people's reaction when they discover the family connection since they don't go around proclaiming it. Karuna adds that by the time people find out, they have already formed their own equation with them. So, rather than take over the moment, it adds to their perception, with many admitting their parents were huge fans and they have grown up on their grandparents' work. 'One writer reached out to me on Instagram to confide that whenever he hits a rough patch professionally, he watches Pyaasa and it rejuvenates him,' she narrates. Gouri loves the fondness with which everyone speaks about her grandfather. 'It's always an exercise in empathy,' she asserts. The world lost Guru Dutt when he was 39 and Karuna believes that with him, we lost many interesting stories and a unique, personal voice. Also, a pioneer given that Kagaz Ke Phool was the first Indian film in CinemaScope and many such technical revolutions might have come earlier had he lived. Also Read | GURU DUTT @ 100: Granddaughters recall their grandfather's legacy It is also a huge personal loss because, unlike their friends, having lost both their paternal and maternal grandparents early, the sisters never had any grandparents' stories to share. 'I was often told my grandfather didn't belong to us alone, he was everybody's, and while I understood that he was a public figure, it would have been nice to have him around,' she sighs. Guru Dutt loved romping in his Lonavala farm with his children and his animals, once waiting for hours to watch a chicken hatch. They have inherited his love for animals and grew up with dogs, cats, birds and fishes, today having two pet cats. 'There was a light-hearted side to my grandfather, and occasionally, he would use his image of an introvert and a disciplinarian, pretend to be angry, then crack jokes,' says Gouri. Perhaps that's why, on his 100th birthday, both Karuna and she want to move away from the intense Pyaasa, Kagaz Ke Phool and Sahib Biwi Aur Ghulam and watch the breezy romcom Mr & Mrs '55. 'It would be a nice tribute,' they echo in unison, recalling how as children, they would run around the house with dupattas singing Geeta Dutt's 'Thandi hawa kali ghata' from this Guru Dutt-Madhubala starrer.
Scroll.in
4 minutes ago
- Scroll.in
‘The Mozhi Prize Anthology 1': Short stories with wide appeal are grounded in Tamil cultural milieu
The Mozhi Prize Anthology 1 begins with a short introductory note on Mozhi, an initiative that aspires to bring to the table literature from various Indian languages for critical analysis and appreciation of cultural nuances and aesthetics. Founded by translators Priyamvada Ramkumar and Suchitra Ramachandran, in its inaugural edition in the year 2022, the Mozhi Prize focused on Tamil-English translators. From a total of 91 submissions received for the prize, a shortlist of nine entries was finalised by a panel of judges – Tamil writer A Muttulingam, Tamil-English translator N Kalyan Raman, and Kannada-English translator Deepa Bhasthi. This shortlist (along with the three prize-winning entries, three special mention stories and three others) makes up The Mozhi Prize anthology 1: A House without Cats and Other Stories, published by South Side Books, an imprint of Hyderabad Book Trust. The stories and themes The titular story, written by Chandra, translated by Padmaja Anant (and also the winner of the 2022 Mozhi Prize), showcases a family's journey from testing times to brighter days. Here is a father who thinks that his children's education alone can restore the family's lost glory, a mother, a playmate and storyteller to her children, whose timely act and foresight secure the family's future, and there's a cat with her kittens who are almost like a part of the family. Jeyamohan's 'Filfilee', translated by Amruth Varshan, the first runner-up, takes us back in time to King Herod's regime when thousands of innocents were massacred. Set in a town called Ein Sheva, a stopover en route to Turkey from the East, dotted with taverns selling acrid yayin drink, has stories within a story. 'And what is poetry but history…', claims Thomas, a bard as he, a lady tavern-keeper, an ugly man with a swollen leg and an easterner nomad witness history unfold before their eyes. What happens when the cause of a serious affliction is prescribed as a source of alleviating it? 'Cotton Fever' by Senthil Jagannathan, translated by Anjana Sekhar, the second runner-up, is marked by astringent irony. The special mention entries and other stories in the collection are as engrossing as the prize winners. A crazy carpenter (kirukkan asari), known to ruin every piece of wood he touches, carves the most exquisite sculpture for a child on a sandalwood plank in 'Ammaiyappam' by Jeyamohan (translated by V Iswarya). Untold stories quietly tucked away in things in a trunk box tumble out gently in Vannadasan's 'A Brief Strain of Music', translated by Mayuravarshini M. The melancholy and nostalgia in this story reminded me of Ambai's 'In a Forest, a Deer' (translated by Lakshmi Holmstrom). The question 'Can man turn into an animal with rigorous meditation?' is answered by blending the real with surreal and magical with rational in Jeyamohan's story 'Beast', translated by Megana Kumar. There couldn't have been a better beginning to the collection than Jeyamohan's story 'Maadan's Deliverance', translated by Sherwin Rodriguez. The man's obsession with religion and caste supremacy, his dogmatic adherence to rituals, can even trounce gods themselves – a playful mockery and satire of current times. Both Senthil Jagannathan's 'Clarinet', translated by Darun Subramanian, and 'Resurrection' by Su Venugopal, translated by Vignesh Hariharan, are heartrending stories of relationships that aren't defined by blood. A melange of translation styles One of the standout aspects of this collection is how it offers readers a variety of translation styles. Each translator fashions the conduit between Tamil and English differently. Sherwin Rodriguez uses the pronoun 'it' to refer to the deity Sudalai Maadasamy in the story 'Maadan's Deliverance', probably to emphasise that he is the god of the lower castes. Though the Tamil title means 'Maadan's Salvation', the translator's choice of English title befits the irony in the climax. Anjana Sekhar resorts to using 'ter' and 'ma' respectively for 'to' and 'my' in the story 'Cotton Fever', making us wonder what aspects in the original led to this choice. ('We have got ter think about our boy's college admission; Ma hands won't harm ma own children'). While Mayuravarshini highlights Tamil words like 'ratchasan', 'komban' in italics, she leaves an entire line in Tamil describing the appearance of a deceased person in the story 'A Brief Strain of Music' as it is, without using italics, and Darun Subramanian carefully shares the meaning of many popular Tamil songs that feature in the story 'Clarinet'. This assortment of styles is a source of both delight and intrigue to readers. Sample these lines from 'Clarinet': 'With the clarinet supported on the right thumb, the remaining fingers danced on top of it like a flock of sparrows pecking at grain, while the little fingers bobbed up and down like their tails. The music sounded rich.' Meanwhile, in 'Ammaiyappam', the opening of a wooden trunk box with a waxy surface and handles embellished with floral craftwork is compared to handling a harmonium (in A Brief Strain of Music) and idlis slowly peeled off the warm cloth covering are compared to fluffy white chicks, newly hatched from their shells by a child. From a farmer's joy upon seeing a mature crop, a man's unconditional love for his cow, an idli with the dent left by the mother to check if it's cooked just right, a tape recorder or a shirt as caches of memories, the themes here though universal are grounded in Tamil cultural milieu. These stories are pen portraits of Tamil 'lived' experiences. Even when a reader can appreciate the meaning of Tamil songs like 'Veedu varai uravu', 'Nee illa deivam illai,' thanks to translation, their cultural significance goes beyond explanations in footnotes / glossaries. It is here that readers aware of the Tamil way of life/fluent in the language play a vital role. Discussing these stories with fellow readers who don't know Tamil paves the way for a deeper appreciation of the stories. After all, reading is an activity that is as solitary as it is social. And in this respect, the Mozhi Prize Anthology 1 is a wholesome collection, which is in tune with Mozhi's vision to 'talk about Indian literature in all its various manifestations.'
Time of India
9 minutes ago
- Time of India
'Don 3' update: Karan Veer Mehra to play the antagonist in the Ranveer Singh and Kriti Sanon starrer? Here's what we know
Bollywood has several action-thriller and spy drama franchises, but 'Don' has a fanbase of its own. Thus, as soon as 'Don 3' was announced, it simply added to the anticipation of the fans. On the one hand, where the cinema lovers can't wait to catch 'Don 3' (jisse pakadna mushkil hi nahi na mumkin hai), on the other hand, new reports are doing the rounds regarding the cast of the film. According to the latest update, following Vikrant Massey 's exit, 'Don 3' may feature Bigg Boss 18 winner Karan Veer Mehra as the antagonist. Karan Veer Mehra to play the villain in 'Don 3'? After the OG Amitabh Bachchan, Shah Rukh Khan stepped into the shoes of the don. And now, taking the legacy forward, Ranveer Singh will lead the threequel. Earlier, opposite him, Vikrant Massey was supposed to play the powerful negative force, but after his official exit, the makers started looking for a replacement. Sometime back, reports were doing the rounds that Vijay Devkrakonda, the dashing dapper from South, is being considered for the part, but nothing got finalised. Now, the latest IANS report states that a source close to the movie has confirmed Karan Veer Mehra is leading the contender's list for playing the antagonist in 'Don 3' "Nothing is confirmed yet, but Karan is definitely being considered. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 5 Books Warren Buffett Wants You to Read In 2025 Blinkist: Warren Buffett's Reading List Undo His recent transformation and screen presence in Silaa have impressed a lot of people in the industry," says the source. Kriti Sanon confirmed as the female lead Just a couple of days back, the confirmation of the female lead in 'Don 3' was announced. In a statement issued by the production, it was revealed that 'Farhan Akhtar is also preparing for his next directorial venture, Don 3, which is expected to go on floors in January 2026. The film will feature Ranveer Singh and Kriti Sanon in leading roles." 'Don 3' - About the film The action movie directed by Farhan Akhtar is expected to be released in December 2026. This film marks the third installment in the Don franchise, which began with the 1978 Hindi action thriller Don. A remake series started in 2006 with Don: The Chase Begins Again, followed by its sequel, Don 2, which came out in 2011.
