Showing posts with label SANDHYA. Show all posts
Showing posts with label SANDHYA. Show all posts

Friday, 16 July 2021

SANDHYA ROY ,HINDI AND BENGALI ACTRESS BORN 1941 APRIL 11

 

SANDHYA ROY ,HINDI AND BENGALI ACTRESS BORN  1941 APRIL 11




Sandhya Roy is an Indian actress and politician.[1][2] She is known for her work in Bengali cinema. She is the recipient of BFJA Award for three times.[3] and one Filmfare Awards East best actress for Ganadevata.

Roy made her cinematic debut with Rajen Tarafdar's Antariksha (1957).[4

Introduction






Sandhiya roy is a A Brilliant India actress and a politician. She and her beauty adored by all. She is a proud actress of bangle Cinema where had shown her quality in front of all. Her Cherubic face and acting ability was applaud by all in 1960 to 1985.She was adjustable to any character in a movie. Her first film was Mamlar fol starring Sabitri Chatterjee.

Personal life and early life

Sandhiya was born on 11th April 1941 in  in Nabadwip, West Bengal, India. Her grandfather was a Jomidar(landlord)) in Bangladesh . After her birth she was migrated to Bangladesh . But she lost her Parents at the age of 7 or 9. She later went to her Uncle’s house  to complete her study. She was admitted to a school there. After 7 or 9 years , at the age of 16 she returned to India. She has a brother.



Political career[edit]

In 2014, she contested a seat in the Lok Sabha election for the All India Trinamool Congress and won the 2014 Lok Sabha elections from Medinipur constituency and became a member of the Parliament of India.[5]


Trinamool Congress leader and actress Sandhya Roy celebrates after winning Medinipur Lok Sabha seat of West Bengal in Midnapore on May 16, 2014.





Veteran actress Sandhya Roy has been admitted to a private hospital in Kolkata afterexperiencing breathing problems and running a fever. Aged 80, the actress has been tested for COVID-19 and has been kept in an isolation ward until the reports arrive.According to Anandabazar Patrika, a Bengali daily, the octogenarian has a fever and chest congestion. However, she is in a stable condition.


Bornin Nabadwip, Bengal Presidency, British India

Mini Bio (1)

Sandhya Roy was born on April 11, 1941 in Nabadwip, Bengal Presidency, British India. She is an actress, known for Ganadevata (1979), Nimantran (1971) and Kuheli (1971).

Spouse (1)

Tarun Majumdar(1967 - ?)

Awards

-Won- “Banga Bibhushan”,the highest civilian award in West Bengal for her contribution to Indian Cinema in 2013.

-BFJA Award – Best Actress Award for “Nimantran” in 1972.

-BFJA Award – Best Actress Award for “Sansar Simante” in 1976.

-BFJA Award – Best Supporting Actress Award for “Tin Adhay” in 1969.

-Bharatnirman Award-in 1997




Films[edit]

Awards[edit]

  • Won- "Banga Bibhushan",the highest civilian award in West Bengal for her contribution to Indian Cinema in 2013.
  • BFJA Award - Best Supporting Actress Award for Tin Adhay in 1969.
  • BFJA Award - Best Actress Award for Nimantran in 1972.
  • BFJA Award - Best Actress Award for Sansar Simante in 1976.
  • Filmfare Awards East - Best Actress Award for Ganadevata in 1979.
  • Bharatnirman Award in 1997.
  • Kalakar Awards - Lifetime Achievement Award in 2005.

Raakhee’s Reunion With Sandhya Roy: ‘Our Tears Wouldn’t Stop’


Unbeknownst to many, there was a sentimental reunion between the ailing Kolkata actor Sandhya Roy and Raakhee Gulzar during the latter’s visit to the city last week to attend the Kolkata International Film Festival, where her film Nirvan was screened.

The one-hour-long reunion was kept under wraps from the media, to avoid the paparazzi. Sandhya Roy, often cast in mythologicals and as an ideal housewife, had earned the epithet of ‘screen goddess’ in her heyday.

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Monday, 21 June 2021

Daughter-in-law, of the legendary P. Susheela, singer Sandhya

 



Hyderabad: Daughter-in-law of the legendary P. Susheela, singer Sandhya has not done too many projects in recent times.

Talking about her connection with music and art and why she has been keeping a low profile, the singer says, “I do sing a lot of devotional songs and also sing at concerts. But I come from a family that has certain parameters� I might sound arrogant but the image of my family doesn’t allow me to go and ask for work. If a director wants my kind of voice then they approach me.”


When asked if the name P. Susheela impacts her career, Sandhya replies, “I believe that all singers have to go through a lot of struggle initially; even just to let the music company know you sing, has become a big task nowadays. But thankfully I didn’t have to do that as I used to accompany my aunt (now mother-in-law) P. Susheela. Once she took me along for A.R. Rahman’s recording and Rahman Sir asked her if anyone else in the family sings and my aunt introduced me to him; later I was called by him to sing. I sang Pookodiyin Punnagai for Iruvar and it was a hit. This was my dream debut. Now music is a part of my life.”

 

Along with music, art also plays an important role, says Sandhya. Talking about how the idea of the Muse Art Gallery came about, Sandhya says, “It happened in a strange way. I was invited for an art gallery inauguration and I happened to meet Kaali Sudhir a couple of times. One day he called and invited me for the inauguration of an art exhibition. By then Kaali Sudhir was freelancing and he expressed his desire to open an art gallery and I kept that in mind.”

“Once I was at a star hotel and was talking to the director of the hotel� passing by the corridor, I saw some empty spaces which he was keen to fill up. We came up with a couple of ideas like handicraft or an art gallery. The concept of an art gallery clicked as not many hotels had art galleries. That’s  how the Muse Gallery was formed. At that time I had no clue about how a gallery worked. But I would definitely like to point out that I have an eye for art,” she adds.

 

Talking about people expecting her to have a voice like P. Susheela, Sandhya says, “We are not mimicry artistes; we are genetically blessed to have the same kind of voice. I am under a big shadow and the expectations are big, but expecting a similar voice from both is not right.”
About her future projects she shares, “I am in talks with bands from Mumbai and Kerala. I can only think of singing in different genres.”

And about venturing into Bollywood and Tollywood , she replies, “I have no plans for Bollywood. About Tollywood, I feel it’s yet to call me. I am yet to get my due.”

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Saturday, 3 March 2018

SHANTARAM ,My father married the women he loved






SHANTARAM ,My father 
married the women he loved



V  Shantaram’s genius cannot be summed up in an article or a book. It spans six decades, several technological breakthroughs, diverse subjects and the launching of unknown talents. Beginning from silent films to coloured chronicles, straddling both Marathi and Hindi cinema, he was peerless. His spectrum includes classics like Do Ankhen Barah Haath (about reforming criminals), Aadmi (accorded dignity to the prostitute),  Dahej (highlighted the evil of dowry) and Duniya Na Mane (a young girl protests against her much older husband). While dance and music assumed a vibrant flavour in Navrang, Sehra, Jhanak Jhanak Payal Baaje, Pinjara as did patriotism 
in Dr Kotnis Ki Amar Kahani.

 But a quality that remains striking is that he was a true feminist. On reel and in real. Usually, when the arc lights dim, the performer and the person split into two entities. But Shantaram, who espoused dignity of women on screen, displayed a similar veracity in his personal life. Where ‘muse’ is often used as an euphemism for ‘mistress’, Shantaram refused to seek refuge in such chauvinistic terms. He married the women he loved – actors Jayashree and Sandhya. He also upheld the dignity of his first wife Vimal. Here, his daughter from his first marriage to Vimal, Madhura Jasraj, who has written the biography V. Shantaram – The Man Who Changed Indian Cinema, reveals why she reveres her father...

ONE MAN, MANY SHADES
The first memory of my father is of the time he’d been to Madras for a theatre inauguration. We spoke to each other via a trunk call made from Prabhat Studio in Pune. For a child it was a rare thrill. Though my father was a busy man, he had time for us. He enjoyed swimming and he’d take us children, my brother Prabhat Kumar, older sister Saroj, younger sister Charusheela and me to the pool. I was full of masti and would jump on his back.  Papa had simple tastes. His breakfast would be sabzi, bhakri, boiled eggs. His lunch was sent from home. But he loved cars. His favourite was a Cadillac, which would break down all the time. So another car would follow this one. He was particular about what he wore at functions. He liked the bow tie. Also, he had a bhayankar (terrible) temper. But he never touched alcohol.


As I grew, I developed an equation with him as I had a creative slant. I was unafraid and didn’t hesitate to ask questions. Even he’d be keen to know my views on a film. “Tula kashi avadhli (did you like it)?” he’d ask. For instance, his film Chaani (1977), with the late actress Ranjana Deshmukh based on CT Khanolkar’s story, showed a man having sex with a corpse in the bullock cart. I argued it was not in good taste. Papa explained that the writer wanted to convey that lust has no limit. Papa’s films were ahead of their times. Kunku (based on the novel Na Patnari Goshta by Narayan Hari Apte), released in Hindi as Duniya Na Mane, was about a young girl (Shanta Apte), who denies conjugal rights to her much older husband. Unlike, Devdas (1935, director PC Barua), which was about despair, his Aadmi (Manoos in Marathi) was about strength, where even after losing the girl, the hero doesn’t wallow in self-pity. Shejari (titled Padosi in Hindi) was about Hindu-Muslim unity. It formed the trinity of social dramas from his production house Prabhat Films. He liked the image of the Indian woman but at the same time not someone who would take things lying down. She had to be someone who fought against the ills of society. 
When I fell in love with Pandit Jasrajji, he was a rising musician. The economic difference between us was huge. Also, Panditji’ is a Haryanvi. I’m a Maharashtrian. When Papa came to know about our keenness to marry he asked me, “Will you be able to adjust? Because you cannot come back home.”
Years ago, I wrote Papa’s autobiography titled Shantaram in Marathi (also translated in Hindi and Kannada). In that, he shared truths about his personal life. But this biography records his achievements, which he, being humble, was averse to talking. While writing his autobiography, one particular day he began talking about his personal life. We ended up conversing for five hours. Once incident followed another. He opened up about his failures, his flaws. We didn’t even break for lunch. No calls and no visitors were entertained. After he was done, he turned around and asked me, “How do you regard your father now?” I replied, “As a human being.” He came across and hugged me. We grew closer from that day onwards. He was my father, my guru. If God gave me talent he sharpened it. I had made a documentary on him titled Portrait of a Pioneer. The first cut ran for five hours. He said firmly, “Never be in love with your subject. Cut it!”

 WOMEN AND MORE…
Papa was a handsome man. Women took to him easily. He shared some of these instances in his autobiography. While doing Baburao Painter’s Surekha Haran (1921), Papa would check everyone’s make-up before shooting. He went to the heroine’s room only to find her standing  nude. The other women actors were lurking in the background only to watch how he’d behave with her. Papa told the heroine nonchalantly, “Wear your clothes! I’ll come back 
in 15 minutes.”
On another instance, he had taken Sairandhri (1933), the first colour film, to the UFO Studios in Germany to process and print. There Jenny, a German, was his assistant. She fell madly in love with Papa. Once she tried to seduce him by appearing in a state of undress. Shocked, he threw a sheet on her and asked her to get dressed. His idea of beauty was unique. “A woman well-attired looks far more beautiful. Nudity, on the other hand, is static,” he’d say. Though my mother Vimal (Aai) was his first wife, Papa, later got involved with his actresses – first Jayshree (Kamulkar) and then Sandhya (Deshmukh). He chose to marry them. “The women I loved… I gave them my name and status,” he once said. 

 1


 Shantaram with first wife Vimal and Shantaram in Do Ankhen Barah Haath








MY MOTHER VIMAL
My mother Vimal was 12 and Papa 20 when they married. Her younger brother had come along with her as they had no family. He grew up in our house. Later, he developed tuberculosis. My father took care of his expenses and welfare. Aai would often say, “Your father has done so much for me. What can I complain of?” Aai respected Papa and stood by him all through.  

 When my father married Jayashreeji (October 22, 1941) Aai was devastated. She developed hysteria and would laugh and cry for no reason. We children would get so scared. Once I asked her why she didn’t leave Papa then. “I had three children. I was uneducated. I’d have had to wash utensils in other people’s homes. Main shaan se apne hi ghar mein dholoon na,” was her stance. Her suffering was personal but her dignity remained unparalleled. 

 LIFE WITH JAYASHREE
Initially, Papa shared a working relationship with Jayashreeji. He made Shakuntala (1942) with Jayashreeji. It ran for 104 weeks in Mumbai. Then Jayashreeji went on to do the superhit Dr Kotnis Ki Amar Kahani.  Jayashreeji’s children (Kiran Shantaram, Tejashree and Rajashree) and we grew up as one family. We attended film shows together. We used to play tennis and other games in the compound of Rajkamal Studios. If there was any function at home, Jayshreeji came over and played host. Even after he had married Jayshreeji, Papa visited us and spent an hour with us daily. He’d also take us to the circus, ice shows and other outings. The entire family would squeeze into two cars and go. 

 Once during the making of Jhanak Jhanak Payal Baaje (with Sandhya), Papa asked for Aai’s and Jayashreeji’s jewellery to be mortgaged to ease funds. Aai agreed saying that all she had was given by him and that he could do whatever he wished with it. But Jayashreeji for some reason refused. This led to a misunderstanding between them. Also, she had grown possessive about him and his growing proximity to Sandhya. 

 Jayashreeji tried to make peace with Sandhyaji by gifting her fine jewellery. But Sandhyaji refused them saying she had given up ornaments.  Papa and Jayashreeji divorced on November 13, 1956. He married Sandhyaji on December 22, the same year. But the truth remains that my father could never forget Jayashreeji. I believe she too could never get over him.

 1

 Shantaram with third wife Sandhya and Shantaram with son Kiran and daughters Tejashree and Rajashree

SANDHYA SAGA
Sandhyaji had featured in Papa’s Do Aankhen Barah Haath. She went on to feature in Jhanak Jhanak Payal Baaje, Jal Bin Machhli Nritya Bin Bijli, Pinjra and Navrang as well. Constancy is a virtue with Sandhyaji. She was hard working. She practised kathak with dance guru Gopi Krishen for eight to 10 hours daily for Jhanak... She came from a lower-middle class background and when people accused her for being after Papa’s money, she’d say, “I’m not after his money. I belong to Raj Kamal. I will stay committed to it.” She never worked for any other banner. Apparently, the late Mehboob Khan Khan offered her big money. But she refused. I was 20 when Papa married her. Yes, we were upset. Because after Jayashreeji had left, Papa had begun to live with us. We had got used to his presence. But once he married Sandhyaji he began living at the studio again.

 Sandhyaji chose to remain austere. She wore plain white sarees, green bangles, a bindi and mangalsutra. Papa had undergone an operation after his third child with Jayashreeji. That’s why Sandhyaji never had a child of her own. But she’d say, “Hey sagle majhe mula aahet (all these are my kids).” She respected my mother deeply. During my son Sharang Dev’s thread ceremony unhone hi khana parosa (she served food). 

 LAST DAYS
Papa did the studio rounds every day. Once, while doing so he fell and suffered a hip fracture. He was admitted to the Bombay Hospital. He turned weak and stayed away from food. Even in an unconscious state, he’d call out to the cameraman and give directions ‘Light lava!’ Sandhayji looked after him devotedly. Once when he happened to vomit, she collected it in her hands. Only a fine lady like her could have done it. Even we children wouldn’t have been able to do such a thing. I wonder whether Papa attracted such great women or if they were influenced by him. Papa passed away in 1990. Jayashreeji attended his funeral. My mother, who was bed ridden for four years after his demise, passed away in 1996. Papa had arranged for his wives. Like he’d say, “Vimalchya sagla kharch Rajkamal karnar (Rajkamal Studio will look after Vimal’s expenses).” Today, Sandhyaji’s around 82. She reads, watches TV and stays at home… leading a quiet life. 

More on: Filmfare

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Tuesday, 27 September 2016

SANDHYA FILM ACTRESS BORN 1988 SEPTEMBER 27


SANDHYA FILM ACTRESS BORN 1988 SEPTEMBER 27


Revathy (born 27 September 1989), known by her stage name Sandhya, is an Indian film actress who acts primarily in Tamil, Malayalam, Telugu and Kannada films.[1] She made her debut as an actress in the 2004 Tamil film Kaadhal (2004), her performance in which earned her a Filmfare Award and Tamil Nadu State Film Award.

 Personal life[edit]

 She is born as Revathy to a Chennai settled Malayali family. Her father Ajith is an employee of IOB and her mother Maya is a beautician. She has an elder brother, Rahul.[2] She did her primary education at Vidyodaya Girls Higher Secondary School, Chennai. She did her schooling till Class 9.[2]

 She married a Chennai-based IT professional, 
Venkat Chandrasekharan, on 6 December 2015. 


 The ceremony was held at Guruvayur Temple because of the floods in Chennai.

 Now as the couple have done decided to come back Chennai, Sandhya has said, “We had decided to have our wedding and reception, both in a grand manner.But now with the Chennai and people in flood affected areas suffering from the natural disaster, we have decided to donate the money saved by me on wedding towards the Chennai Flood relief fund”.[3]

 Career[edit]

 Sandhya was studying when she starred in the critically acclaimed Tamil love story Kaadhal. Initially, this role was offered to actress Gopika, however, due to date problems, this role went on to Sandhya. However, due to her rising fame, especially after the blockbuster film Dishyum, her second Tamil film, she had to discontinue her studies before even passing her 10th class.


 After Kaadhal, for which she won the Filmfare Best Tamil Actress Award of 2004, she took up a Malayalam film titled Alice in Wonderland which she played as the sister of actor Jayaram. Then came the musical romance Dishyum with Jeeva. She was also a part of Mani Ratnam's stage show, Netru, Indru, Naalai and many other stage shows. In her third Tamil film, Vallavan, she had only a small role, and the film had only modest box office success. 

 She also acted in Koodal Nagar with Bharath. She debuted in playback singing for her Tamil film Manjal Veiyil.[4] In 2010, she received a role opposite Vishnuvardhan in the Kannada film Aptharakshaka directed by P. Vasu, her role was very much appreciated by the critics and gave her a very good recognition. The film went on to become a mega hit that run for 35 continuous weeks in the theatres.

 She was approached for the voice-over for Shriya Saran's character in Sivaji, however, S. Shankar later preferred actress Kanika Subramaniam's voice.

 She has signed Tarun Gopi's forthcoming film Soodhaatam,[5] Second Innings[6] and Long Sight.[7] She has done many dance programmes on different stages.She learnt music in her childhood.She has judged popular reality shows like COMEDY STARS,LITTLE STARS both on Asianet.She has participated in many game shows also


Filmography[edit]

YearFilmRoleLanguageNotes
2004KaadhalAishwarya RajendranTamilFilmfare Award for Best Actress
Tamil Nadu State Film Special Award for Best Actress
2005Alice in WonderlandAliceMalayalam
2006DishyumCinthya JayachandranTamilTamil Nadu State Film Special Award for Best Actress
2006PrajapathiMaluMalayalam
2006VallavanSuchitraTamil
2006AnnavaramVaralakshmi (Varam)TeluguFilmfare Award for Best Supporting Actress - Telugu
2007Koodal NagarThamizhselviTamil
2007Kannamoochi YenadaDevasena ArumugamTamil
2008CycleMeenkashi KaushtubhanMalayalam
2008ThoondilAnjali SriramTamil
2008Velli ThiraiHerselfTamilCameo appearance
2008Mahesh, Saranya Matrum PalarSaranyaTamil
2009NandaKavyaKannada
2009Manjal VeiyilGayathriTamilAlso sang a song in this movie
2009OdipolaamaAnjaliTamil
2010AptharakshakaGowriKannada
2010Irumbukkottai Murattu SingamThumbiTamil
2010HaasiniHaasiniTelugu
2010College DaysAnuMalayalam
2010SahasramSupriya,
Sridevi		Malayalam
2011TrafficAdithiMalayalamThikkurissy foundation Second Best Actress Award
2011Three KingsManjuMalayalam
2012MastersNia PonnooseMalayalam
2012Veendum KannurRadhikaMalayalam
2012Padmasree Bharat Dr. Saroj KumarActressMalayalamSpecial appearance
2012The Hit ListVikram's wifeMalayalam
2013Benki BirugaliSandhyaKannada
2013Paisa PaisaKumudamMalayalam
2013Ya YaKanakaTamil
2013For SaleDianaMalayalam
2014My Dear MummySandraMalayalam
2015Thunai MudhalvarRukmaniTamil
2015KaththukkuttiItem dancerTamilSpecial appearance
2016VettahSherin MelvinMalayalam
2016Avarude VeeduVeenaMalayalam
2015Puzhayum KannadiyumMalayalamFilming
2015Long SightMalayalamFilming
2015Paris PayyansMalayalamFilming
2015Second InningsMalayalamFilming
2016Thimiru 2 -VeriOpposite to Tharun GobiTamilFilming

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