There is so much more to the complexity to the life of the 1850s courtesan than has been developed by J.P. Dutta, the director and co-screenplay writer, in conjunction with his father, O.P. Dutta., of Umrao Jaan.
Guest Post's blog
“Making Swades was such an emotionally overwhelming experience that I never saw the finished product. Didn't want the feeling to end….” — Shah Rukh Khan (@iamsrk) December 17, 2013, Twitter
“Lagaan began as a dream, a nebulous dream dreamt for the first time as far back as 1996 by a man called Ashutosh Gowariker. Over the last 3 years I, and the entire cast and crew of Lagaan, have tried to help and support the man leading us to realize his dreams.”
Aamir Khan, May 5, 2001
My name is Nita Genova and, for reasons even I can’t fully explain, I LOVE BOLLYWOOD! I am on a quest to explore movies of India and I hope you will join me. I enjoyed Om Shanti Om the first time I saw it about eight or nine years ago as a new release on DVD. The story had all the right twists, the vibrant colors, stunningly gorgeous heroine, nasty (but handsome) villain, and most importantly, my favorite actor, Shah Rukh Khan (a.k.a. SRK) as Om "Omi" Prakash Makhija (in the 1970s) & Om Kapoor “OK” (in the 2000s). But I was too new to Bollywood movies then to really appreciate the nuances in this movie: the iconic actors’ cameos; the references to Bollywood films; or the improbability of getting so many members of Bollywood royalty together in one film! This movie is truly amazing, and even more so when you are aware of all the details.
After two years of carefully selecting, scanning, editing, tagging, and in many cases transcribing tens of thousands of documents from the George Eastman Museum's Technicolor collections, our work here is done. Thanks to the generosity of the National Endowment for the Humanities, Technicolor, and the DeMille Foundation, as well as the incomparable expertise of our colleagues at the George Eastman Museum, the Technicolor Online Research Archive is live and freely available to anyone interested in the history of one of the most important companies in motion-picture history.
During his tenure as the first curator of motion pictures at the George Eastman House from 1948 to 1977, James Card produced a collection of typed notes for film introductions he delivered at the Dryden Theatre, speaking engagements outside of the museum, and drafts of published works. The museum holds around two hundred of these documents that I have been processing for my personal project as a student of the L. Jeffrey Selznick School of Film Preservation. The overall goal of my project is to provide access to this collection through the museum’s website.
The presentation of a silent film is generally not complete without a musical accompaniment, whether piano, organ, or orchestra of varying size. As modes of presentation became more standardized from the aughts to the early teens, demand grew for music that would easily synchronize with the images on screen. Publishers were quick to recruit composers to meet this demand. From 1913 through the end of the silent era in 1929, many thousands of compositions were written on both sides of the Atlantic to suit different emotions, moods, and scenes. As one of this year’s students of the L. Jeffrey Selznick School of Film Preservation, I chose cataloging this collection as my personal project due to my love of both music and the silent cinema.
I adopted Douglas and Mary as my “lucky stars” quite some time ago, so when I arrived at the museum to attend The L. Jeffrey Selznick School of Film Preservation, I delighted over the prospect of working with the Douglas Fairbanks Nitrate Still Negatives Collection. Thanks to my thoughtful classmates and instructors, my dream came true.
Rachel Behnke is currently pursuing a certificate in media and film preservation at The L. Jeffrey Selznick School of Film Preservation. In this blog post, she shares her independent processing project in Stills, Posters and Paper (SPP) collections.