Mahipal actor biography williams
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Image obtained from Karen Bandal’s ‘Everything Bollywood’ blog.
Raaj Kumar is probably my favourite bollywood actor. While I appreciate the work of several of his contemporaries, and the substantive contribution they made to the cinema of their time, Raaj is the only one I’ve ever felt strongly about. Certainly, in terms of his overall body of work and the number of good films he was a part of, he falls well behind Dilip Kumar or Dev Anand. But sometimes it takes only one powerful performance to leave a strong impression, and win someone’s lasting admiration and loyalty. For me, that performance came in ‘Pakeezah’. I fell head over heels for the ‘Salim’ of Pakeezah, and sometimes when you love a character so much, at least some of that love is transferred on to the actor. Raaj did full justice to his role in ‘Pakeezah’. Indeed, ‘Pakeezah’ would not have been what it is, with any other male lead being cast as ‘Salim’.
“Badal kar fakeero ka hum bhes e Ghalib, tamashae ehle karam dekhte hain” / “By donning guises, we, Ghalib, view the spectacle of another’s generosity”
Best Films
Thus began my fascination (obsession) with Raaj Kumar. I started digging up on his other films, and have now seen almost all of them (or if the film is too awful to watch I’ve at least seen the parts of the film where Raaj is present). I think that Raaj Kumar’s best film’s apart from ‘Pakeezah’(1972) are ‘Dil Apna aur Preet Parai’ (1960), ‘Paigham’ (1959), and ‘Godaan’ (1963). I loved him as the reserved, reticent ‘Dr. Sushil Varma’ silently in love with his nurse ‘Karuna’ (Meena Kumari) in ‘Dil Apna aur Preet Parai’, or as ‘Ram Lal’ the honest, hard-working but unperceiving mill worker in ‘Paighaam’. The former film was really lovely, but would have been even better if the love between Dr. Varma and Karuna had been allowed to deepen and flourish and take a new route, without the film devolving into your regular love triangle story, Middle-Eastern folk tale This article is about the original folk tale. For the animated Disney film, see Aladdin (1992 Disney film). For other uses, see Aladdin (disambiguation). "Magic lamp" redirects here. Not to be confused with Magic lantern. Aladdin finds the wonderful lamp inside the cave. A c. 1898 illustration by René Bull. Aladdin (ə-LAD-in; Arabic: علاء الدين, romanized: ʻAlāʼu d-Dīn/ʻAlāʼ ad-Dīn, IPA:[ʕalaːʔadˈdiːn], ATU 561, 'Aladdin') is a Middle-Easternfolk tale. It is one of the best-known tales associated with One Thousand and One Nights (often known in English as The Arabian Nights), despite not being part of the original text; it was added by the Frenchman Antoine Galland, based on a folk tale that he heard from the Syrian storyteller Hanna Diyab. Further information: Hanna Diyab Known along with Ali Baba as one of the "orphan tales", the story was not part of the original Nights collection and has no authentic Arabic textual source, but was incorporated into the book Les mille et une nuits by its French translator, Antoine Galland. John Payne quotes passages from Galland's unpublished diary recording Galland's encounter with a Maronite storyteller from Aleppo, Hanna Diyab. According to Galland's diary, he met with Hanna, who had travelled from Aleppo to Paris with celebrated French traveller Paul Lucas, on March 25, 1709. Galland's diary further reports that his transcription of "Aladdin" for publication occurred in the winter of 1709–10. It was included in his volumes ix and x of the Nights, published in 1710, without any mention or published acknowledgment of Hanna's contribution. Payne also records the discovery in the Bibliothèque Nationale in Paris of two Arabic manuscripts containing .Aladdin
Aladdin and the Wonderful Lamp Name Aladdin and the Wonderful Lamp Aarne–Thompson grouping ATU 561 (Aladdin) Region Middle East Sources