Best printers for Home

Best Mixer Grinder

Best wired Earphones

Best 43 Inch TV in India

Best Wi Fi Routers

Best Home Theatre in India

Smart Watch under 5000

Best Laptops for Education

Best Laptop for Students

The history-making Indian women's hockey team's dream of securing its maiden Olympic medal remained unfulfilled as it lost 3-4 to Great Britain in a hard-fought bronze play-off match at the ongoing Games here on Friday. The Indian women had already created history and surpassed all expectations by entering the semifinals of the Games for the first time. But the maiden Olympic medal remained out of bounds as world no.4 Great Britain, who were gold-winners in the 2016 Rio Games, came out on top in the pulsating encounter. The heartbreak came a day after the Indian men's team ended a 41-year-old medal drought by clinching bronze with a 5-4 win over Germany. The Indians played their hearts out and overcame a two-goal deficit to lead 3-2 at half time. But a desperate Great Britain gave their everything in the second half and scored two goals to snatch the match from India's hands. India scored three goals in a span of five minutes through Gurjit Kaur (25th, 26th minutes) and <keyword id="809404" type="PERSON" weightage="20" keywordseo="Vandana-Katariya">Vandana Katariya</keyword> (29th) to stun Great Britain. But the Britishers found the net four times through Elena Rayer (16th), Sarah Robertson (24th), skipper Hollie Pearne-Webb (35th) and Grace Baldson (48th) to emerge winners. India's best performance in the Olympics was a fourth place finish in the 1980 Moscow Games. In that edition, there were no semifinals as only six teams competed in a round-robin format with the top two featuring in the final. As expected, Great Britain started strongly and had the lion's share of ball possession and chances in the first quarter. The Indians made some circle penetrations but failed to create any clear cut chances and were also guilty of losing possession at the midfield. India goalkeeper Savita Punia stood out in the first quarter, denying Great Britain on at least three occasions. She first made a fine save from Great Britain's first penalty corner in the second minute and then pulled off a double save in the 12th minute to keep India in the hunt. In between Great Britain also wasted another penalty corner. Britain began the second quarter on the same pace and took the lead when Elena Rayer's push went into the net after getting a deflection of <keyword id="2183249" type="PERSON" weightage="20" keywordseo="Deep-Grace-Ekka">Deep Grace Ekka</keyword>'s stick. Minutes later, the former gold-medallists secured their third penalty corner which yielded no result. Lalremsiami came close to equalising for India only to be denied by the experienced Maddie Hinch, who brilliantly kept away the Indian striker's reverse hit. India got their first penalty corner soon but wasted it. Great Britain doubled their lead in the 24th minute when Robertson scored with a powerful reverse hit from top of the circle. A minute later, India got two back-to-back penalty corners and Gurjit converted the second chance to reduce the margin. Two minutes later, Salima Tete's brilliant run from the left flank earned India another penalty corner and Gurjit was once bang on target to draw parity. The momentum shifted completely in India's favour as they started to attack with numbers and threatened the Great Britain goal frequently thereafter in the second quarter. After <keyword id="704258" type="PERSON" weightage="20" keywordseo="Sharmila-Devi">Sharmila Devi</keyword> hit wide from a one-on-one situation, the Indians stunned Great Britain when <keyword id="3439" type="PERSON" weightage="20" keywordseo="Vandana">Vandana</keyword> tapped in an open ball inside the circle to go into half time with a 3-2 lead. Down by a goal, Great Britain were expected to come out hard after resumption and they did exactly that forcing the pace of the game, securing a penalty corner two minutes into the third quarter but India defended well. But a minute later, Great Britain drew level through skipper Hollie Pearne-Webb. The Indians then secured two more penalty corners but couldn't utilise them. Savita stood like a wall in front of the Indian goal and pulled off some brilliant saves to deny Great Britain. A second from the end of third quarter, India secured the seventh penalty corner but to no effect. The fourth quarter completely belonged to Great Britain as they pressed hard on the Indian defence in search of goals. The ploy worked as the Indian backline wilted under pressure and conceded four quick penalty corners, three of them in succession and Baldson scored from the last one with a flick that went through Savita's legs. India had one more chance in the form of a penalty corner in the last eight minutes but Great Britain defended stoutly to deny Gurjit a hat-trick. Thereafter, Great Britain did just enough to keep India at bay and to ensure a finish on the podium. SEE ALSO <a href="https://www.businessinsider.in/stock-market/news/krsnaa-diagnostics-ipo-open-today-check-out-how-to-apply/articleshow/85017014.cms">Krsnaa Diagnostics IPO opens—here is all you need to know</a> <a href="https://www.businessinsider.in/business/startups/news/these-are-some-of-the-highest-paid-founders-of-indian-startups-tapping-capital-markets-this-year/slidelist/85005261.cms">These are some of the highest paid founders of Indian startups tapping capital markets this year</a>

Tokyo Olympics: Indian women's hockey team's dream run ends as they lose to Great Britain in bronze medal match

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

You Searched For "Sharmila Devi" and got 2 results

Tokyo Olympics: Indian women's hockey team's dream run ends as they lose to Great Britain in bronze medal match

PTI

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

IANS

Popular Keywords

Buying Guides