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Filmmaker <keyword id="56295" type="General" weightage="100" keywordseo="pradeep-sarkar" source="Orion">Pradeep Sarkar</keyword>, best known for the movie "<keyword id="14522" type="General" weightage="20" keywordseo="Parineeta" source="Orion">Parineeta</keyword>", passed away at a hospital early on Friday, his wife Panchali said. He was 67. The director was admitted to the ICU of Lilavati hospital in suburban Bandra following a fever. "He passed away between 3.10 am and 3.30 am at Lilavati hospital," his wife told PTI. He had viral fever on March 22. After administering some medicines his fever subsided but not completely. So he was rushed to the hospital, she said. "By the time we reached the hospital, his vitals started dropping. He was put on a ventilator in the ICU and was diagnosed with pneumonia. The infection attacked his lungs," the director's wife said. "According to doctors, he had many comorbidities which weakened his immunity. His blood pressure was fluctuating. Since COVID-19 hit him in July 2022, he was quite weak," Panchali said. Sarkar made his directorial debut with "Parineeta" in 2005. Some of his other directorial ventures include "Laaga Chunari Mein Daag" (2007), "Lafangey Parindey" (2010), "Mardaani" (2014), and "Helicopter Eela" (2018). Many celebrities offered their condolences through social media. Ajay Devgn said he is unable to fathom the news about Sarkar's demise. "The news of Pradeep Sarkar's demise, 'Dada' to some of us, is still hard to digest. My deepest condolences. My prayers are with the departed and his family. RIP Dada," Devgn wrote. Filmmaker <keyword id="4684" type="General" weightage="50" keywordseo="hansal-mehta" source="Orion">Hansal Mehta</keyword> shared a picture of the director on Twitter and wrote, "Pradeep Sarkar. Dada. RIP." Responding to Mehta's tweet, actor Manoj Bajpayee said he was shocked. "Ohh! That's so shocking! Rest in peace Dada!!," he said. Filmmaker Kunal Kohli remembered him as a sweet man. He shared the clip from the song 'Pihu Bole' from the movie "Parineeta" on social media. "Shocked and sad to hear about Dada Pradeep Sarkar. Really sweet man. Had lovely conversations about cinema with him. RIP Dada. Here's a song from your film to celebrate you and your cinema," he said in the post.

Parineeta director Pradeep Sarkar passes away at 67

New Delhi, Films should serve as a catalyst of change and not a business model, believes filmmaker <keyword id="7936" type="General" weightage="20" keywordseo="vidhu-vinod-chopra" source="Orion">Vidhu Vinod Chopra</keyword> as he returns to the big screen after three years with "<keyword id="15771130" type="General" weightage="20" keywordseo="12th-fail" source="Orion">12th Fail</keyword>", a story of ambition, dedication and overcoming setbacks. The ace director, known for films such as "Khamosh", "Parinda", "1942: A Love Story" and "<keyword id="3897" type="General" weightage="20" keywordseo="Mission-Kashmir" source="Orion">Mission Kashmir</keyword>", said money has never dictated his creative decisions. "My job as an artist or a filmmaker is to make the world slightly better than what it was when I came. So, if I can make a film that can make a slight difference to people's lives, it inspires me. "Money has never driven me. I could have made 'Munnabhai' 3, 4, 5, 6... and be a multi-millionaire, which I'm not. I chose to make '12th Fail', with <keyword id="189215" type="General" weightage="50" keywordseo="vikrant-massey" source="Orion">Vikrant Massey</keyword>," Chopra told PTI in an interview here. Not only his directorial efforts, the 71-year-old said he makes sure even his production ventures, which include acclaimed titles such as "Munna Bhai" franchise, "3 Idiots" and "Parineeta", have something important to convey. "In 'Parinda', I talked about violence. '1942' was about patriotism and 'Mission Kashmir' was about religious divide.... In all my films, it is important that they say something," he added. "12th Fail" is based on Anurag Pathak's best-selling novel about the incredible journey of IPS officer Manoj Kumar Sharma and IRS officer Shraddha Joshi. The movie stars Massey in the lead along with Medha Shankar. Though inspired by Sharma's life, Chopra said "12th Fail" is a story of "each one of us" coming to big cities with aspirations and dreams. "I started writing this film when I was 66 and now I'm 71. You can't write a film like this in months. It takes years because every character has a story. It's not a biopic. It's each one of us... There is a lot of me and you in the film." Integral to the movie's storyline is the idea of "restart". As inspirational and motivational it may sound, the concept stemmed from a personal tragedy, said Chopra. "My brother was the closest person to me in the world, apart from my wife and kids. During the pandemic, when I was developing this film, he was in Maldives. He delayed coming to Mumbai and couldn't survive. It hit me very hard. "Within a week or so, I realised it is not fair to the people who are around me. I was already in the story and the whole concept of restart took place in my head. It didn't come from a happy place. It came from a tragedy that struck me," the director recalled. Chopra said somewhere while healing through the personal loss, he realised that life was much like a video game -- "you lose, you press a button and move on". "I told myself why can't we do that in life. We have setbacks, we fall, and then we lose everything. Life is a game too. The thought is inspirational but not easy. It is about the way you look at life," he added. Chopra said through "12th Fail", which released on Friday, he wants to address that nothing is impossible to achieve, but if one faces a setback, the goal should always be to "restart". "When I read about the suicides in Kota and anywhere else. I want to tell those kids.... It's tough, I understand. I lost the man I loved the most in my life. (But) you got to restart. And UPSC is not just one thing, you can explore so much in life." Apart from Massey, who has established himself as a dependable performer with projects such as "A Death in the Gunj", "Haseen Dillruba" and "Criminal Justice", the film features an impressive supporting cast in Anant V Joshi, Anshumaan Pushkar, Sanjay Bishnoi and Priyanshu Chatterjee. Chopra said ever since he decided to make a film on the subject, he was sure about casting "real people". "I didn't want filmy heroes pretending to be these people. Most of the cast are new actors, first time actors or not very famous. But they are real people. I rehearsed with them for one year," the director said, adding that he is currently writing a film for which he would be needing movie stars. "I will cast a movie star, if it is a movie star role. Like I'm writing a film for which I need big movie stars. I made 'Eklavya' and I wouldn't have made that movie without Mr Bachchan. Every film has its own demand, so to say. '12th Fail' demanded me to be very real." Produced by <keyword id="3415325" type="General" weightage="50" keywordseo="zee-studios" source="Orion">Zee Studios</keyword>, "12th Fail" has been released worldwide in Hindi, Tamil, Telugu, and Malayalam.

Could have made Munnabhai 3, 4, 5 ... and be a multi-millionaire: Vidhu Vinod Chopra

He was the alt superstar of Bangla cinema in its glory years, the affable Bhadralok icon who crafted a towering stature ironically banking on down-to-earth, believable characters that represented middle-class Bengal. The brand of stardom was in stark contrast to the other shining luminary of contemporary cinema in the state -- Uttam Kumar -- whose position as Mahanayak in the Bengali psyche was primarily cemented in idol worship and mass hysteria. Soumitra Chattopadhyay -- Chatterjee to anglicised India -- answers to the term ‘phenomenon' as absolutely as few actors do, for the sheer ease with which he defied the cliches of image. His stardom was sensational, and yet born out of realism. He was the mascot of the peerless <keyword id="14969" type="PERSON" weightage="20" keywordseo="Satyajit-Ray">Satyajit Ray</keyword>'s oeuvre, having worked with the maestro in 14 films, and yet he scored with the same assuredness in works of contemporary commercial powerhouses as Ajoy Kar and Tarun Mazumdar. He is the Dadasaheb Phalke Award (2012) and Padma Bhushan (2004) recipient who was also honoured with the Legion d'Honneur (2018) in France for his contribution to world cinema. Importantly, Soumitra Chattopadhyay's greatness as a screen icon will survive the test of time in Bengali pop lore because he had something for everyone. For, he was not just Satyajit Ray's Apu. Beyond such a nuanced portrayal, he could also simply become Ray's Feluda and reach out to every audience, eight to 80. It took a Ray to bring to life Soumitra's greatness, and yet the account of their first meeting is a well-known story in Bengal. Ray was looking for his adult Apu in "Apur Sansar", final part of the Apu trilogy that started with "Pather Panchali". A friend introduced Soumitra to the master filmmaker who promptly declared the budding actor looked too old to be Apu, a college student according to his script. Soumitra would eventually bag the role opposite Sharmila Tagore, of course, and the rest is history. Soumitra's cinematic fate is overwhelmingly dictated by the great cinema of Satyajit Ray, so much so the maestro's filmography through his most important phase outlines the actor's career graph. Soumitra made his debut with "Apur Sansar" (1959) and, over the next three decades, would work in Ray projects as "Devi" (1960), "Teen Kanya" (1961), "Abhijan" (1962), "Charulata" (1964), "Kapurush O Mahapurush" (1965), "Aranyer Din Ratri" (1969), "Ashani Sanket" (1973), "Sonar Kella" (1974), "Joy Baba Felunath" (1978), "Hirak Rajar Deshe" (1980), "Ghare Baire" (1984), "Ganashatru" (1989) and "Shakha Proshakha" (1990). It was a filmography that Ray, one of the world's greatest filmmakers ever, shared with his chosen on-screen emissary. But if Ray worked with Soumitra 14 times, almost every major filmmaker the actor collaborated with also tended to repeat him. If anything, beyond underlining his credential as an artiste that fact stands a testimony to his professionalism and disposition as a human being. Consider a few other diversely prolific filmmakers beyond Ray who worked with Soumitra, and you get the picture. Mrinal Sen, another global icon of Bangla cinema of the era, directed Soumitra for the first time in "Punascha" (1961), and then again returned to collaborate with the actor in "Pratinidhi" (1964), "Akash Kusum" (1965), and "Mahaprithibi" (1991). The iconic Tapan Sinha directed him in projects as "Kshudhita Pashan" (1960), "Jhinder Bandi" (1961), "Atanka" (1984) and "Antardhan" (1992). Mainstream titans of his era loved working with the affable Soumitra, too. Asit Sen directed him in "Swayambara" (1961) and Swaralipi (1961), while Ajoy Kar made "Otol Joler Ahoban" (1962), "Saat Pake Baandha" (1963), "Barnali" (1963), "Kaanch Kata Heere" (1965) and "Parineeta" (1969). Tarun Mazumdar directed the actor over the years in "Ektuku Baasha" (1965), "Sansar Simante" (1975), "Ganadevata" (1978), "Agomon" (1988) and "Path O Prasad" (1991). Most of his directors have often spoken about the insatiable passion he had for his craft. It was something that ensured he would stay busy as ever till his last days, essaying character roles with the same enthusiasm with which he executed starring roles in his heydays. His 300-plus film career probably can be explained by his highly adaptable quality as an actor. He was at home working with new-age Bengali filmmakers as Atanu Ghosh ("Mayurakshi"), Suman Ghosh ("Podokkhep", "Peace Haven", "Dwando", "Basu Paribar"), Partha Chakraborty ("Samantaral") and Nandita Roy and Shiboprosad Mukherjee ("Posto"). He did move outside Bengal into Bollywood domain twice. In 1986, he acted opposite Roopa Ganguly in the Hindi short film "Nirupama", based on Tagore's story "Dena Paona". He also had a role in the 2002 release, "Hindustani Sipahi", based on Utpal Dutt's renowned Bangla play "Pherari Fauj". These though were temporary departures. For most parts, his staggering career is based on his Bengali filmography. It is a body of work that has given him recognition beyond the National Award as Best Actor ("Podokkhep"). He also received the Sangeet Natak Akademi Award in 1998. Although his greatness lies in his body of work before the camera, Soumitra did try his hand at filmmaking, too. His directorial effort "Stree Ki Patra", a telefilm based on Rabindranath Tagore's "Streer Patra" released in 1986. The film starred Roopa Ganguly and Usha Ganguly. That the legacy of Bangla cinema's Grand Old Man was established in his lifetime is obvious from the number of GenNow actors who have followed in his footsteps. Young talents in the Bengali film industry of today such as Parambrata Chattopadhyay and Abir Chatterjee have fashioned their careers in the lines of Soumitra, seeking stardom without losing connect with Bengali middle-class realities. These are actors who have carved a niche in what is today known as the multiplex cinema circuit, catering content-driven entertainment of refinement, removed from the cliches of kitsch. It is something Soumitra relished doing all those decades ago.

Soumitra Chatterjee – the journey from being Satyajit Ray’s Apu to one of India’s finest actors

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Parineeta director Pradeep Sarkar passes away at 67

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Could have made Munnabhai 3, 4, 5 ... and be a multi-millionaire: Vidhu Vinod Chopra

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Soumitra Chatterjee – the journey from being Satyajit Ray’s Apu to one of India’s finest actors

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