Filmmaking

A film being made in Warsaw, Bracka street Filmmaking (often referred to in an academic context as film production) is the process of making a film, from an initial story idea or commission, through scri ptwriting, shooting, editing, directing and distribution to an audience. Filmmak ing takes place all over the world in a huge range of economic, social, and poli tical contexts, and using a variety of technologies and techniques. Typically, i t involves a large number of people, and takes from a few months to several year s to complete, although it may take longer if there are production issues, and t he record for the longest production time for a major motion picture is The Thie f and the Cobbler's 28 years development.

Stages Film production occurs in five stages: DevelopmentThe script is written and drafted into a workable blueprint for a film . Pre-productionPreparations are made for the shoot, in which cast and crew are hir ed, locations are selected, and sets are built. ProductionThe raw elements for the finished film are recorded. Post-ProductionThe film is edited; production sound (dialogue) is concurrently (b ut separately) edited, music tracks (and songs) are composed, performed and reco rded, if a film is sought to have a score; sound effects are designed and record ed; and any other computer-graphic 'visual' effects are digitally added, all sou nd elements are mixed into "stems" then the stems are mixed then married to pict ure and the film is fully completed ("locked"). Sales and distributionThe film is screened for potential buyers (distributors), i s picked up by a distributor and reaches its cinema and/or home media audience. Development In this stage, the project's producer finds a story, which may come from a book, play, another film, a true story, original idea, etc. After identifying a theme or underlying message, the producer works with writers to prepare a synopsis. N ext they produce a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then, they prepare a treatment, a 25 to 30 page description of the story, its mood, and characters. This usually has little dialogue and stage direction, but often contains drawings that help v isualize key points. Another way is to produce a scriptment once a synopsis is p roduced. Next, a screenwriter writes a screenplay over a period of several months. The sc reenwriter may rewrite it several times to improve dramatization, clarity, struc ture, characters, dialogue, and overall style. However, producers often skip the previous steps and develop submitted screenplays which investors, studios, and other interested parties assess through a process called script coverage. A film distributor may be contacted at an early stage to assess the likely market and potential financial success of the film. Hollywood distributors adopt a hard-hea ded business approach and consider factors such as the film genre, the target au dience, the historical success of similar films, the actors who might appear in the film, and potential directors. All these factors imply a certain appeal of t he film to a possible audience and hence the number of "A.I.S." (or "Asses in Se ats") during the theatrical release. Not all films make a profit from the theatr ical release alone, so film companies take DVD sales and worldwide distribution rights into account. The producer and screenwriter prepare a film pitch, or treatment, and present it to potential financiers. If the pitch is successful, the film receives a "green light", meaning someone offers financial backing: typically a major film studio , film council, or independent investor. The parties involved negotiate a deal a

nd sign contracts. Once all parties have met and the deal has been set, the film may proceed into the pre-production period. By this stage, the film should have a clearly defined marketing strategy and target audience.. Pre-production Main article: Pre-production In pre-production, every step of actually creating the film is carefully designe d and planned. The production company is created and a production office establi shed. The production is storyboarded and visualized with the help of illustrator s and concept artists. A production budget is drawn up to plan expenditures for the film. For major productions, insurance is procured to protect against accide nts. The producer hires a crew. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Many Hollywood blockbusters emplo y a cast and crew of hundreds, while a low-budget, independent film may be made by a skeleton crew of eight or nine (or fewer). These are typical crew positions : The director is primarily responsible for the storytelling, creative decisions a nd acting of the film. The assistant director (AD) manages the shooting schedule and logistics of the p roduction, among other tasks. There are several types of AD, each with different responsibilities. The casting director finds actors to fill the parts in the script. This normally requires that actors audition. The location manager finds and manages film locations. Most pictures are shot in the controllable environment of a studio sound stage but occasionally, outdoor sequences call for filming on location. The production manager manages the production budget and production schedule. Th ey also report, on behalf of the production office, to the studio executives or financiers of the film. The director of photography (DoP) is the cinematographer who supervises the phot ography of the entire film The director of audiography (DoA) is the audiographer who supervises the audiogr aphy of the entire film. For productions in the Western world this role is also known as either sound designer or supervising sound editor.[2] The production sound mixer is the head of the sound department during the produc tion stage of filmmaking. They record and mix the audio on set - dialogue, prese nce and sound effects in mono and ambience in stereo. They work with the boom op erator, Director, DoA, DoP, and First AD. The sound designer creates the aural conception of the film,[5] working with the supervising sound editor. On some productions the sound designer plays the role of a director of audiography. The composer creates new music for the film. (usually not until post-production) The production designer creates the visual conception of the film, working with the art director. The art director manages the art department, which makes production sets The costume designer creates the clothing for the characters in the film working closely with the actors, as well as other departments. The make up and hair designer works closely with the costume designer in additio n to create a certain look for a character. The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team. The choreographer creates and coordinates the movement and dance - typically for musicals. Some films also credit a fight choreographer. Production See also: Cinematography and Audiography In production, the video/film is created and shot. More crew will be recruited a t this stage, such as the property master, script supervisor, assistant director s, stills photographer, picture editor, and sound editors. These are just the mo

st common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities possible during the p roduction of a film. A typical day's shooting begins with the crew arriving on the set/location by th eir call time. Actors usually have their own separate call times. Since set cons truction, dressing and lighting can take many hours or even days, they are often set up in advance. The grip, electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being fil med, they are already preparing the next one. While the crew prepare their equipment, the actors are wardrobed in their costum es and attend the hair and make-up departments. The actors rehearse the script a nd blocking with the director, and the camera and sound crews rehearse with them and make final tweaks. Finally, the action is shot in as many takes as the dire ctor wishes. Most American productions follow a specific procedure: The assistant director calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoo t, he calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's informatio n, and announce "sound speed" when they are ready. The AD follows with "roll cam era", answered by "speed!" by the camera operator once the camera is recording. The clapper, who is already in front of the camera with the clapperboard, calls "marker!" and slaps it shut. If the take involves extras or background action, t he AD will cue them ("action background!"), and last is the director, telling th e actors "action!". A take is over when the director calls "cut!", and camera and sound stop recordi ng. The script supervisor will note any continuity issues and the sound and came ra teams log technical notes for the take on their respective report sheets. If the director decides additional takes are required, the whole process repeats. O nce satisfied, the crew moves on to the next camera angle or "setup," until the whole scene is "covered." When shooting is finished for the scene, the assistant director declares a "wrap" or "moving on," and the crew will "strike," or disma ntle, the set for that scene. At the end of the day, the director approves the next day's shooting schedule an d a daily progress report is sent to the production office. This includes the re port sheets from continuity, sound, and camera teams. Call sheets are distribute d to the cast and crew to tell them when and where to turn up the next shooting day. Later on, the director, producer, other department heads, and, sometimes, t he cast, may gather to watch that day or yesterday's footage, called dailies, an d review their work. With workdays often lasting 14 or 18 hours in remote locations, film production tends to create a team spirit. When the entire film is in the can, or in the com pletion of the production phase, it is customary for the production office to ar range a wrap party, to thank all the cast and crew for their efforts. Post-production Main article: Post-production Here the video/film is assembled by the video/film editor. The modern use of vid eo in the filmmaking process has resulted in two workflow variants: one using en tirely film, and the other using a mixture of film and video. In the film work, the original camera film is developed and copied to a one-ligh t workprint (positive) for editing with a mechanical editing machine. An edge co de is recorded onto film to locate the position of picture frames. Since the dev elopment of non-linear editing systems such as Avid or Final Cut Pro, the film w orkflow is used by very few productions. In the video workflow, the original camera negative is developed and telecined t o video for editing with computer editing software. A timecode is recorded onto video tape to locate the position of picture frames. Production sound is also sy nced up to the video picture frames during this process. The first job of the film editor is to build a rough cut taken from sequences (o r scenes) based on individual "takes" (shots). The purpose of the rough cut is t

o select and order the best shots. The director usually works with the editor to ensure the envisioned shots are selected. The next step is to create a fine cut by getting all the shots to flow smoothly in a seamless story. Trimming, the pr ocess of shortening scenes by a few seconds, or even frames, is done during this phase. After the fine cut has been screened and approved by the director and pr oducer, the picture is "locked," meaning no further changes are made. Next, the editor creates a negative cut list (using edge code) or an edit decision list (u sing timecode) either manually or automatically. These edit lists identify the s ource and the picture frame of each shot in the fine cut. Once the picture is locked, the film is passed into the hands of the postproduct ion supervising sound editor of the sound department to build up the sound track . The voice recordings are synchronised and the final sound mix is created by th e re-recording mixer. The sound mix combines dialogue, sound effects, atmos, ADR , walla, foleys and music. The sound track and picture are combined together, resulting in a low quality an swer print of the film. There are now two possible workflows to create the high quality release print depending on the recording medium: 1. In the film workflow, the cut list that describes the film-based answer print is used to cut the original color negative (OCN) and create a color timed copy called the color master positive or interpositive print. For all subsequent steps this effectively becomes the master copy. The next step is to create a on e-light copy called the color duplicate negative or internegative. It is from th is that many copies of the final theatrical release print are made. Copying from the internegative is much simpler than copying from the interpositive directly because it is a one-light process; it also reduces wear-and-tear on the interpos itive print. 2. In the video workflow, the edit decision list that describes the video-b ased answer print is used to edit the original color tape (OCT) and create a hig h quality color master tape. For all subsequent steps this effectively becomes t he master copy. The next step uses a film recorder to read the color master tape and copy each video frame directly to film to create the final theatrical relea se print. Finally the film is previewed, normally by the target audience, and any feedback may result in further shooting or edits to the film. There are two ways that film can be put together. One way is linear editing and the other is non-linear editing. Linear editing uses the film as it is in a continuous strip. All of the parts of the film are already in order and need not be moved. Conversely, non-linear editing is not subject to using the film in the order it is taped. Scenes can be moved around or even removed. Distribution and exhibition This is the final stage, where the film is released to cinemas or, occasionally, to consumer media (DVD, VCD, VHS, Blu-ray) or direct download from a provider. The film is duplicated as required for distribution to cinemas. Press kits, post ers, and other advertising materials are published and the film is advertised. f ilm companies usually release a film with a launch party, press releases, interv iews with the press, press preview screenings, and film festival screenings. Mos t films have a website. The film plays at selected cinemas and the DVD typically is released a few months later. The distribution rights for the film and DVD ar e also usually sold for worldwide distribution. The distributor and the producti on company share profits. Independent filmmaking Main article: Independent film Filmmaking also takes place outside of the mainstream and is commonly called ind ependent filmmaking. Since the introduction of DV technology, the means of produ ction have become more democratized. Filmmakers can conceivably shoot and edit a film, create and edit the sound and music, and mix the final cut on a home comp uter. However, while the means of production may be democratized, financing, tra ditional distribution, and marketing remain difficult to accomplish outside the traditional system. In the past, most independent filmmakers have relied on film

festivals to get their films noticed and sold for distribution. However, the In ternet has allowed for relatively inexpensive distribution of independent films. As a result several companies have emerged to assist filmmakers in getting inde pendent movies seen and sold via mainstream internet marketplaces, oftentimes ad jacent to popular Hollywood titles. With digital self distribution, independent filmmakers who fail to garner a traditional distribution deal now have the abili ty to reach global audiences Nadeem-Shravan

Genres Movie Songs, Film Music Occupations Composer, music director, singer

Years active 1981present Nadeem-Shravan (sometimes credited as Nadeem Shravan) is a music director duo in the Bollywood film industry of India. The duo derives its name from the first n ames of its two principals, Nadeem Saifi and Shravan Rathod. Nadeem-Shravan are arguably the most successful music directors of the 1990s til l mid 2000s. They are known for their catchy songs that feature a strong rhythm (often accentuated by Latin percussion instruments) and great melodies. Major Hi ndi playback singers such as Kumar Sanu, Udit Narayan, Sonu Nigam, Abhijeet, SP Balasubramanyam, Alka Yagnik, Anuradha Paudwal and many others have sung under t heir baton. They composed Soundtrack for many hit movies from Aashiqui(1990), Saajan(1991), Deewana(1992), Hum Hain Rahi Pyar Ke(1993), Dilwale(1994), Barsaat(1995), Raja H industani(1996), Pardes(1997), Sirf Tum(1999), Dhadkan(2000), Kasoor(2001), Raaz (2002), Andaaz(2003), Tum Sa Nahi Dekha(2004), Bewafaa(2005) and many others.

Music career The association of Nadeem and Shravan dates back to 1972 when they met each othe r at a function. Their first Hindi film assignment was Maine Jeena Seekh Liya in 1981. But they were stuck with the B-grade films until they got three big films in the form of Ilaaka, Hisaab Khoon Ka and Lashkar. Though the films were big, the music wasn't anything to be talked about. These Same B-grade film composers, in future would grow so popular to the extent that they were signed on by the b iggest banners in Bollywood. Rise to fame Aashiqui (1990) brought Nadeem-Shravan into limelight. Music Moghul Gulshan Kuma r gave them the break and the film saw the emergence of three superstars - Nadee m, Shravan and Kumar Sanu. Some hits include 'Sanson ki zaroorat', 'nazar ke saa mane jigar ke paas', 'dheere dheere se meri zindagi me aana', 'ab tere bin jee l enge hum' and "Jaanejigar Jaaneman". Aashiqui ranks in the lot of the few films that have had a hit in each song. The joy ride continued with 'Saajan', 'Dil Hai Ki Manta Nahin', 'Sadak', 'Sainik', 'Raja', 'Dilwale' and 'Phool Aur Kaante'. W hether it was 'Chehra kya dekhte ho'(Salaami), 'Adayein bhi hain'(Dil Hai Ki Man ta Nahin) 'Sochenge tumhe pyar'(Deewana), 'Aaj raat chandni hai'(Kal ki awaaz), they all had the distinct stamp of Nadeem Shravan. They have composed all kinds of music, be it fast-track, sentimental or dance nu mbers. But their forte was always melody. Most of their compositions were inspir ed /copied from old time ghazal, Westerns and other charts (Example from Aashiqu i, "Dheere Dheere se" from Joyce Sims' "Come into my life" , "Thu meri zindgi" f rom Tasavvur Khanum , "jane jigar" from Robin Ghosh's "bin tere jeena nahi" were one way copied or inspired songs. Still their magical rendition made the tracks

to elevate into another heights above the originals. Another remarkable thing about their music was it was easy on the ears and did n ot take time to impress the listeners. It has been said that they don't have muc h variety; that they did not experiment too much. But this is where their streng th lay i.e. delivering the music that is traditionally Indian, yet having a hint of modernity woven around it. But Nadeem Shravan wanted to prove to the whole w orld that they could be "conventionally different", if they chose to be. For thi s they needed the support of a director whose script required all kinds of music and who could give them a free hand in composing. When Subhash Ghai's 'Pardes' was released, a noted music critic said: "Nadeem Shravan should stop composing m usic... because there can't be anything better then this...Nadeem Shravan have r eached their peak.". The film had everything.. melodious love songs(do dil mil r ahe hain), pop(My first day in America), pain(Ye dil Deewana), Qawwali(Nahin hon a tha) and the best of all (I Love my India). Said Nadeem: "I love my India was not a mere song but it continues to convey my feelings for the country". They have got the maximum hits with Kumar Sanu, Anuradha Paudwal, Alka Yagnik, U dit Narayan, Vinod Rathod and now, Sonu Nigam. They have worked with lyricists l ike Anand Bakshi, Faaiz Anwar, Hasrat Jaipuri, Rani Malik, and many others, but their tuning seems to fit best with Sameer. When they arrived on the music scene , Laxmikant-Pyarelal and Anand Milind were at the top. But subsequently their ha rd worked paid and they gave various hits in a row[2] Their songs are often contain jhankaar / Conga / Electronic drum fusion beats. T hey have insisted on sticking to lyricist Sameer (lyricist) and male singers Kum ar Sanu, Udit Narayan and female singer Alka Yagnik for most of their compositio ns (not all). The Gulshan Kumar murder case In 1997, the duo ran into negative publicity when Nadeem, while on vacation in L ondon, England, was named as the man behind the murder of his former mentor, rec ord executive Gulshan Kumar (the boss of T-Series Music Company), In India, by t he investigating police and arrest warrants were issued against him. He was said to have paid an underworld Don for carrying out this task. His passport was rev oked, and to avoid arrest, he stayed back in England. In mid 2002 Nadeem Saifi w as acquitted and cleared off charges and any Involvement in The Gulshan Kumar mu rder case by a court in the Indian city of Bombay. The judge said there was inad equate evidence to prove the charges.[3] Nadeem Saifi won the case Ultimately. T he House of Lords upheld the London High Court decision against the extradition in the 1997 murder case, and turned down the Indian Government's plea for review of the decision. "In the findings given by the UK court which were confirmed by the House Of Lords, Nadeem Saifi was not only declared innocent, he was also a victim of conspiracy falsely involved in a serious charge of conspiring to kill Gulshan Kumar." [4][5] After being inactive for sometime, Nadeem-Shravan made a come back of sorts with films like Yeh Dil Aashiqanaa, Ek Rishta, Kasoor, Hum Hogaye Aapke, Raaz, Dil H ai Tumhaara, Qayamat, Hungama, Andaaz, Bewafaa, Tumsa Nahi Dekha, Barsaat, Dosti and Do Knot Disturb. Nadeem remained in the UK and, despite the immense geographical distance between England and India, he and Shravan continued to make music together. But they la ter split after Dosti. Plagiarism Nadeem-Shravan have been accused of committing plagiarism on several occasions, some of their popular Hindi film songs have been directly lifted from Pakistani singers, itwofs has a list of 49 songs lifted by the duo[6] Shravan's involvement in multi-crore scam In December 2010, a case was filed against Shravan and company at the Ranchi Chi ef Judicial Magistrate Court for allegedly making off with crores of Rupees afte r floating bogus investment schemes Split and coming back together In 2005, the duo split. Nadeem started his own perfumes and bag company, also in

volved in solo compositions. Also Shravan was disinterested in continuing with h is music, and instead focusing on his son's music careers & movie production. An other reason cited is probably the distance between the two. Awards Nadeem-Shravan have won the several awards during the music career including fou r Filmfare Awards, two Screen Awards and a Zee Cine Award for Best Muisc Directo r. 1990 - Filmfare Best Music Director Award - Aashiqui 1991 - Filmfare Best Music Director Award - Saajan 1992 - Filmfare Best Music Director Award - Deewana 1996 - Filmfare Best Music Director Award - Raja Hindustani 1996 - Star Screen Best Music Director Award - Raja Hindustani 1997 - Star Screen Best Music Director Award - Pardes 2002 - Zee Cine Best Music Director - Raaz with 'shrikant ramesh vishwase Udit Narayan

Udit Narayan Born 1955 (age 5455)[1] Origin Nepal Genres Playback singer Occupations Singer, television personality, actor

Years active 1980present ) is a playback singer Udit Narayan Jha, popularly known as Udit Narayan (Nepali: ercial Hindi, Urdu, Sindhi, Tamil, Telugu, Malayalam, Kannada, Oriya, Assamese, Angika, Nepali and Bangla language cinema. Narayan has sung in 26 different lang uages.[2] He was a recipient of the Padma Shri award in 2009. Career Udit Narayan Jha has stated that he was born in 1955 at his maternal grandparent s' home in a village called Baisi in the Supaul district of Bihar, India.[1] His father was Hare Krishna Jha and his mother was Bhuwaneshwari Devi. Narayan studied at Kunauli Bazaar (Saharsa, now Supaul, Bihar), where he passed his S.L.C. and later obtained his intermediate from Ratna Rajya Laxmi Campus (Ka thmandu). Udit Narayan began his career in Nepal singing for Kathmandu Radio Station as a staff artiste for Maithili and Nepali folk songs. After eight years in that role , Indian Embassy offered him the chance to study classical music at a prestigiou s school in Bombay, Bhartiya Vidya Bhavan on a music scholarship. He moved to Bo mbay in 1978. He got his first break in 1980, when noted music director (composer) Rajesh Rosh an asked him to do a song for the Hindi film Unees Bees, in which he got an oppo rtunity to sing with his inspiration, Mohammed Rafi. However, the actual success story of his career began in 1988 with the successful Bollywood movie Qayamat S e Qayamat Tak, earning him a Filmfare Award.[3] The film also brought actor Aami r Khan, actress Juhi Chawla and playback singer Alka Yagnik to stardom. After th e success of Qayamat Se Qayamat Tak, he became one of the leading playback singe rs in the Indian film industry. He has worked with musicians like Rahul Dev Burman, A. R. Rahman, Anand-Milind, Jagjit Singh, Anu Malik, Jatin Lalit, Laxmikant-Pyarelal, Kalyanji-Anandji, Bapp i Lahiri, Vishal Bhardwaj, Nadeem-Shravan, Rajesh Roshan, Shankar Mahadevan, Him esh Reshammiya, Pritam Chakraborty, Vishal-Shekhar, and directors like Yash Chop ra, Sanjay Leela Bhansali, Ashutosh Gowariker and Karan Johar. Some of those fil ms include Lagaan, Darr, Dilwale Dulhaniya Le Jayenge, Kuch Kuch Hota Hai, Dil T

o Pagal Hai, Mohabbatein, Devdas, Kal Ho Naa Ho, Swades, and Veer Zaara. Narayan has been hailed as the screen voice of Shahrukh Khan. He has also sung hit song s for actors like Aamir Khan,Sunny Deol, Akshay Kumar and young Shahid Kapoor. H e credits his own success in part to being able to sing for the top actors. Mithun Chakraborty From Wikipedia, the free encyclopedia Jump to: navigation, search This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced materi al may be challenged and removed. (July 2009) Mithun Chakraborty Born Gauranga Chakraborty June 16, 1950 (1950-06-16) (age 60) Kolkata, West Bengal, India Other names Mithunda Occupation Actor Years active 1976present Spouse Yogeeta Bali (1982present) Mithun Chakraborty (Bengali: Mihun Chkroborti, Hindi: ree-time National Film Award-winning Indian film actor, social activist and entr epreneur. Mithun Chakraborty made his acting debut with the arthouse drama Mriga ya (1976), for which he won his first National Film Award for Best Actor. In his heyday during the 1980s, he had earned a huge fan following as a "dancing star" and went on to establish himself as one of the most popular and leading actors of India, particularly recognized for his role of street dancer Jimmy in the 198 2 cult hit, Disco Dancer. Chakraborty has appeared in more than 250 Hindi films, as well as a number of Be ngali, Oriya and Bhojpuri pictures. He owns the Monarch Group, which has interes ts in the hospitality sector.[1] 8 External links Early life and education Mithun Chakraborty was born in Jorabagan, Kolkata, West Bengal to a Bengali Hind u family. He was educated at the renowned Scottish Church College in Kolkata, from where h e earned his graduate degree in chemistry (BSc). He was initially associated wit h naxalities in West Bengal, which he later left and joined Mumbai films. For re st of his life, his family had continuous threat from naxalities. After that he attended and graduated from the Film and Television Institute of India in Pune. Mithun Chakraborty was a staunch Naxalite before entering the film industry, but tragedy struck his family when his only brother got accidentally electrocuted a nd killed in a freak accident. He returned to his family and left the Naxalite f old, even though doing so posed a grave risk to his own life. Film career Mithun Chakraborty made his film debut in the 1976 Mrinal Sen directed film Mrig aya for which he won the coveted National Film Award for Best Actor. After his d ebut he played some supporting roles in films such as Do Anjaane (1976) and Phoo l Khile Hain Gulshan Gulshan (1977) which did not gain him any recognition. He s hot into prominence in the late 1970s with the low budget Ravikant Nagaich direc ted spy film Surakshaa (1979) and the early 1980s with leading roles in hit film s such as Hum Paanch (1980) and Wardaat (1981) (a sequel to Surakshaa). His breakthrough role finally came in the musical drama Disco Dancer (1982) whic h was a huge success and remains a cult favorite to this day. This film and othe

; born

r musical films such as Kasam Paida Karne Wale Ki (1984) and Dance Dance (1987) showcased him as a talented dancer. Chakraborty starred in a number of successful romantic and family dramas during the 1980s, such as Mujhe Insaaf Chahiye (1983), Pyaar Jhukta Nahin (1985), Swarg Se Sunder (1986), and Pyaar Ka Mandir (1988). These films remain his most comme rcially successful films to date.[2] He was widely recognized as an action hero in hit films like Wanted (1983), Boxe r (1984), Jagir (1984), Jaal (1986), Watan Ke Rakhwale (1987) Commando (1988), W aqt Ki Awaaz (1988), Guru (1989), Mujrim (1989) and Dushman (1990). Chakraborty worked with some of the biggest actresses of his time and Bollywood in general, including Zeenat Aman, Padmini Kolhapure, Rati Agnihotri, Rekha, Sridevi and Mad huri Dixit. Chakraborty achieved not only commercial success but also tremendous critical ac claim. His performances in Mrigaya, Tahader Katha, Swami Vivekananda, Kalpurush and Titli were widely appreciated and won him National Film Awards and nominatio ns. He won two Filmfare awards: The Filmfare Best Supporting Actor Award for his performance in the 1990 film Agneepath, and the Filmfare Best Villain Award for his performance in Jallad. He was praised for his performances in films includi ng Pyaar Ka Mandir (1988) and Mujrim (1989). In the mid '90s he took a break from Mumbai and relocated to Ooty where he set u p his hotel business under 'Monarch' brand name. He operates hotels under 'Monar ch' brand name in Mudhumalai, Ooty in Tamil Nadu and in Darjeeling and Kolkata i n West Bengal. He was considered a "One Man Industry" for a decade as he starred in over 80 films over ten years, while shifting his focus from mainstream Hindi cinema and to low-budget movies. These movies were mainly produced to cater to the audiences of Madhya Pradesh and Bengal, where Chakraborty has a cult-followi ng even today. He paid more tax than anyone else in the country, from 1994 to 19 99. Chakraborty made a comeback to the mainstream Hindi film industry in 2005 with t he film Elaan, although it was not a success. After a few supporting roles in fi lms such as Lucky: No Time for Love (2005), he was acclaimed for his performance in Kalpana Lazmi's Chingari (2005). In 2007 he starred in Mani Ratnam's hit fil m Guru for which he received much critical praise. Guru was the second commercia lly successful film after Lucky: No Time for Love since his comeback. Mithun Cha kraborty had 9 releases in 2008 including Bengali and Bhojpuri films. His movie Heroes was an above average box office success, and his comic performance was pr aised in Don Muthu Swami. In 2009, his movie Zor Lagaa Ke...Haiya! won multiple International awards.[3] Mithunda's latest releases Soham Shah directed Luck wit h Sunjay Dutt took a decent opening and settled as Average earner[citation neede d].Chal Chalein was appreciated by critics for its bold theme. His latest releas e Baabarr has done well in northern Single screens[citation needed]. His Phir Ka bhi with Dimple Kapadia had a very successful premiere through direct to home (D TH) in September 2009 and won as many as six awards in as many categories at the Los Angeles Reel Awards-2009. His upcoming films are Zindagi Tere Naam, plus fi lms like ,Raakh, and Kannada flick Manikya. Mithunda's latest release Veer, alon g with Salman Khan, though a commercial failure, won him rave reviews. Parallel to his Bollywood career, Mithun Chakraborty had chalked up an array of successful and not-so-successful films in his native Bengali, as well as in real istic or arthouse movies, where his trained acting has resulted in him getting q uite a few awards and accolades. Troyee, made in 1982 with Debashree Roy and Ani l Chatterjee, was a big success. After the move to Bombay, and his popularity as a star in mainstream Hindi movies, there was a lull in Mithun's appearances in mainstream Bengali movies, but he continued to appear in arthouse movies like em inent director Buddhadeb Dasgupta's Tahader Katha in 1992 which got him the seco nd National Award in 1993. A third National Award followed in 1995, this time fo r the Best Supporting Actor , for his awesome portrayal of Ramakrishna Paramhans a, in G V Iyer's Swami Vivekananda. He also got accolades for Goutam Ghose's Gud ia in 1999. He also appeared in Rituparno Ghosh's critically and commercially ap preciated Titli in 2002, starring with the real-life mother-daughter pair of Apa rna Sen and Konkona Sen Sharma. Recently, the Fatakeshto series of popular enter

tainers have been widely successful in West Bengal. In 2008, he collaborated aga in with Dasgupta for the critically acclaimed Kaalpurush, with Rahul Bose and Sa meera Reddy. Sports Mithun Chakraborty has also been involved in promotion of Football in his native Bengal. The Bengal Football Academy is his brainchild and Mithun raised the nec essary funds for the launch of this academy. Mithun Chakraborty was also the co-owner of Royal Bengal Tigers, a cricket team of the Indian Cricket League. Personal life Mithun Chakraborty is married to former Indian actress Yogeeta Bali and has four children, three sons and one adopted daughter. The eldest son, Mimoh Chakrabort y is an actor in Bollywood, who made his debut in the 2008 film Jimmy, His secon d son, Rimoh Chakraborty played Mithun's younger version the film Phir Kabhi. An d Mithun's other two children Namashi Chakraborty and Dishani Chakraborty are st ill into their studies. Numerous sources claim that Mithun Chakraborty had a relationship with actress S ridevi from 1986 to 1987, and that Sridevi ended the relationship when she found out that he had not divorced his first wife, Yogeeta Bali. Mithun Chakraborty a nd Sridevi were believed to have been secretly married and that the union was la ter annulled.[5] Kumar Sanu

Kumar Sanu Also known as Kedarnath Bhattacharya Born September 23, 1957 (1957-09-23) (age 53) Kolkata, India Genres Playback singing Occupations Instruments Tabla Singer,Actor,Music Director,Film Producer

Years active 1984present Kumar Sanu (alias Kedarnath Bhattacharya (Bengali: ), born September 23, 1 ading Indian playback singer of Bollywood. He is a recipient of the Padma Shri a ward, one of India's highest civilian honours.[1] He won the Filmfare Best Male Playback Award for 5 consecutive years. Contents Early life Kumar Sanu's father Pashupati Bhattacharjee was an accomplished vocalist and com poser. He trained Sanu as a singer and tabla player. After getting a degree in c ommerce from Calcutta University, Sanu began performing publicly in 1979, singin g at shows and restaurants around Calcutta. He modeled his singing style after f amous Bollywood singer Kishore Kumar.Later he developed his own singing style. Career In 1987, music director and singer Jagjit Singh offered Sanu the chance to sing in the Hindi film Aandhiyan. Sanu then relocated to Mumbai, where Kalyanji-Anand ji gave him chance to sing in the film Jaadugar. Kalyanji-Anandji suggested that he change his name from Kedar Nath Bhattacharya to Kumar Sanu because of the pr evalent caste/region-based favoritism in Bollywood and to give him wider appeal outside of a strictly Bengali audience. Sanu started off singing Jagjit Singh's film songs, and went on to work with com posers of the like of Naushad, Ravindra Jain, Hridayanath Mangeshkar, Pt.R K Raz dan, Kalyanji Anandji, Usha Khanna etc.

Sanu's breakthrough came in 1990, in the form of the film Aashiqui. The music di rectors Nadeem-Shravan got Sanu to sing all but one of the songs. Sanu gained ov ernight success. The hit songs from Aashiqui included Sanson ki zaroorat hai jai se, Tu meri zindagi hain, Nazar ke saamne, Jaane jigar jaaneman, Ab Tere Bin Jee Lenge Hum and Dheere, dheere se meri zindagi mein aana. He won the first of his record five consecutive Filmfare awards as Best Male Playback Singer. His next Filmfare Awards came for songs in the movies Saajan (1991), Deewana (1992), Baaz igar (1993), and 1942: A Love Story (1994). Sanu often collaborated with Nadeem-Shravan. Some of their collaborations includ e songs in movies like Aashiqi(1990), Dil Hai Ki Manta Nahin (1991),Sadak (1991) , Saajan (1991), Deewana (1992), Dil Ka Kya Qusoor(1992),Kal Ki Awaz (1992), Shr eeman Aashique (1993), Salami (1993), Damini: Lightning (1993), Dil Wale (1994), Agni Sakshi (1996) Raja Hindustani (1996), Jeet (1996) Pardes (1997), among oth ers. Sanu is often credited with having one of the best voices among playback singers in India. In a career spanning two decades he has sung with numerous successful composers to name R.D. Burman, Anand-Milind, Anu Malik, Jatin-Lalit, Ismail Dar bar, Laxmikant Pyarelal, Naushad, Kalyanji Anandji. Sanu has also worked with A. R. Rahman in Milgayee Milgayee from Kabhi na Kabhi. He broke a Guinness World R ecord by singing 28 songs in a single day in 1993. His most recent hit songs include Humraaz, Yeh Dil Aapka Huwa (Pakistan), Karz, Dil Ka Rishta, Indian Babu, Ishq Vishk, Andaaz, Qayamat, Hungama and Footpath. H e has also turned his trade at making music for Indian films and also recently a s a producer for a new Bollywood film, Utthaan. Sanu was also in the panel of judges on Sony TV for Waar Parriwar, a reality sho w based on the bringing together of a singing gharana (family of singers) he sha res judging duties with fellow singer Udit Narayan, and Jatin Pandit of the famo us music duo Jatin-Lalit. At the same time, he was one of the judges with Bollyw ood music composer Shantanu Moitra and veteran playback singer Usha Mangeshkar o n Zee Bangla TV in a music reality show called Sa Re Ga Ma Pa - Vishwa Sera. Hungama released a new single Lamhaa Ho Tum on Valentine's Day 2010 by Kumar San u, composed by Saikat Shankar and the song is written by Abhishek Brothers.[2][u nreliable source?] He also choreographed for a movie called Betaj Badshah in 1994 SECOND SITE Kumar Sanu Kumar Sanu is one of the most popular playback singers of Bollywood. He holds th e Guinness Book world record for recording the maximum number of songs in a day, which are 28. He was born on 23rd September, 1957 and was named Kedernath Bhatt acharjee. His father, Pashupati Bhattacharjee was a renowned classical singer an d composer who noticed his son's talent at a very young age. When he was still v ery young, his father trained him to sing classical music and play the tabla. Gi ven here is a small biography which captures the life history of Kumar Sanu. Kumar Sanu graduated in commerce from Calcutta University and then started givin g public performances at small shows and restaurants in Calcutta itself. His sty le of singing was greatly influenced by the legendary Kishore Kumar. He badly wa nted to become a playback singer but the competition in the Indian film is more than just fierce; it is ruthless. It took several years and a lot of struggle be fore Kumar Sanu was noticed by the great Jagjit Singh. He offered Kumar Sanu a c hance to sing in the Hindi film Aandhiyan. Kumar Sanu came to Bombay when Kalyanji - Anandji offered him to sing for the mo vie "Jadugar". He was then asked to adopt a different name that was much more ac ceptable due to caste/region preferences. Thus, he started to work under the nam e Kumar Sanu instead of Kedernath Bhattacharjee. This gave him a wider appeal wi th the masses and he did not remain restricted to the Bengali mass. His real ach ievement however, came in the year 1990 with the movie "Aashiqui". The talented music directors Nadeem - Shravan gave him all but one song of the m

ovie Aashiqui. Kumar Sanu proved himself with this opportunity and the songs too k the entire nation by rage. Everyone hummed the songs that were touted as that year's biggest hits. Kumar Sanu became a star and also won his first Filmfare aw ard as the Best Male Playback singer. He began recording for many more films and achieved much success with more and more hits. Some movies that are worth the m ention are Saajan, Deewana, Baazigar, and 1942: A Love Story. He won five Filmfare awards for five consecutive years and by the end of 1990, h e had sung for hundreds of films in different languages. However, during the pri me of his career, he was diagnosed with throat cancer. He was under medication a fter which he sang chosen songs. He cut down on singing and branched out, giving public performances and also acting in Bengali and Hindi serials. Some of his p opular songs are given below. Divya Bharti

Divya Bharti Born 25 February 1974 Mumbai, India Died April 5, 1993 (aged 19) Mumbai, India Occupation Actress Years active 1990-1993 Spouse Sajid Nadiadwala (1992-1993) Divya Bharti (February 25, 1974 - April 5, 1993) was an Indian Bollywood Actress . She started her career in 1990 with Telugu films making her debut in Bobbili R aja. After several other hits in the South, she entered Hindi films with 'Vishwa tma' in 1992 as her debut film, where she earned accolades for performing the so ng Saat Samundar Paar. She appeared in more than 14 Hindi films between 1992 and 1993 - a world record for a newcomer. She married Sajid Nadiadwala in May 1992. Her career was cut short by her tragic death in April 1993 at the age of 19. Sh e had just turned nineteen in February of that year.The investigation into the c ircumstances of her death was closed in 1998, and the exact nature of her death still remains a mystery. Career Early Struggle 1988 Divya was in the ninth grade when she began to get film offers. Her face resembl ed those days' superstar Sridevi and so got noticed by many directors and produc ers. At first her parents were hesitant, till Nandu Tolani offered her Gunahon K a Devta around mid 1988. Divya was 14 and a 1/2 at that time. Meanwhile, Divya learned via a friend that Dalip Shankar wanted a new girl oppos ite Aamir Khan in Aatank Hi Aatank and Rudra Avtaar. With her parents permission , she signed up both films. During those times, Kirti Kumar, Govinda's brother n oticed the charming Divya at a video library. He followed her to her residence a nd then called up director Nandu Tolani, who lived in the building next to hers and asked about Divya. Radha Ka Sangam Episode The next thing the Bhartis knew was that Kirti Kumar was eager to sign up Divya for Radha Ka Sangam opposite Govinda. Kirti went personally to meet Dalip Shanka r and managed to release Divya from their contract. Kirti quoted in March 1989 i n Showtime Magazine "I told Dalip that he could take any girl, but he'd never be able to find another Radha"[citation needed]. Kirti changed her name from Divya to Radha. Producer Kirti launched her with much fanfare. He gave interviews on how he found his perfect Radha after scouring the whole of India for her. And th

en before the first shot was taken, Divya "Radha" Bharti was out of the film aft er being groomed for two years and replaced by Juhi Chawla. The reasons each sid e gave for the fall-out were different. Various Magazines wrote different things behind the dropout. Some said "Kirti became over-possessive about her", others said "Lawrence D'souza, who was to direct the film, left the project. Then Kirti decided to take over the film. Being new to direction, he had to drop Divya bec ause he felt he could not handle a newcomer", other magazines wrote that Divya w as having an affair with Govinda[citation needed] and the smitten, jealous, Kirt i couldn't tolerate that. Others wrote it was Divya's immaturity that made her d rop out of the film[citation needed]. Re-struggle And that was the green signal for other film makers to enter the fray. She was s creen-tested by big names Boney Kapoor, Shabnam Kapoor, Shekhar Kapoor and Subha sh Ghai. They all raved about her but no one signed her up. There were rumors th at her childish reputation had preceded her. In magazines, she had earned a name for being wild and crazy. In fact, for his big budget film Prem, Boney Kapoor s igned up Divya. Eight days later, Divya was out and Tabu was signed in. Later Su bhash Ghai too called her for Saudagar opposite Aamir Khan and 20 days later she was out and he signed up Manisha Koirala and Vivek Mushran. By then, the reject ions had affected fifteen year old Divya. Since she was already out of school, t hey would not accept her back. As a result, she was forced to sit idle. Fortunat ely, One of the biggest producers of Telugu cinema, D. Ramanaidu landed up at Di vya's doorstep. He offered Divya , Bobbili Raja, a telugu film opposite Daggubat i Venkatesh. Immediately, Divya got a Tamil Film and Rajiv Rai approached her fo r Vishwatma. Rise to Stardom in Telugu Cinema 1990 - 1992 After being dropped out of so many Big Projects, Divya got depressed and left Mu mbai. On the evening of her return, the producer of Bobbili Raja approached her for his upcoming project. They wanted Divya to fly down the same night. As Divya quoted in the Nov 1991 "Movie" magazine, "I didn't want to go. I said no but mu mmy said yes. Imagine, the film became a super-hit and I became a superstar". Th e move paid off. Bobbili Raja released in the summer of 1990 became a colossal h it. She had captured the south by storm, and she was a goddess there. Even a tem ple had been built in her name. With more hits, she became a big name in Telugu cinema. In box-office rating, she figured next only to the indomitable Vijayshan ti. Her price, according to an insider, had touched a whopping 25 Lakhs per film and 1 lakh per each additional day (If shooting postponed south producers were paying 15 lakhs for 15 days) , which was a big amount in 1991. In Bollywood, onl y Madhuri Dixit and Sridevi were getting those kinds of price. In 1991 Divya gav e back-to-back hits including Rowdy Alludu, Dharma Kshetram and Assembly Rowdy o pposite superstars of Telugu cinema including Chiranjeevi, Balakrishna and Mohan Babu. In north India, she was known as the Sridevi of Telugu films. But, that w as not what Divya was looking for. She wanted to make it big in Mumbai. And she was back with fresh determination. Meanwhile, She didn't want to disappoint her Telugu audience and she cut down to do one movie per year. Rise to Stardom in Bollywood 1992 - 1993 When Divya heard that Rajiv Rai was on the lookout for a new face for his film V ishwatma opposite Sunny Deol, she daringly walked into Rajiv Rai's office with h er portfolio. And the same day signed the film. Rajiv was making the sequel to h is Blockbuster film Tridev. The film was produced by Trimurti Films Pvt. Ltd. is one of the biggest and olde st film production. Vishwatma was launched in the late 1990 with grand mahurat. Film actor Dharamendra gave the mahurat shot. Soon Divya was left for long outdo or shooting in Nairobi. By the time Divya came back, film offers started pouring up in Divya's lap. Without single release so far, Divya signed 14 films. 2 January 1992 was a big day for Divya. She had many reasons for wanting the fil m to be successful. Vishwatma did do well however the film's success didn't come close to that of Tridev and the film was declared an average grosser. Notably, the film's most popular song "Saat Samundar Paar", which was picturized with Div ya, became a hit and even today the audience remembers Divya in that song.

Seven days later, Divya's musical bonanzas Dil Ka Kya Kasoor released. It was su pposed to establish her as popular heroine but opened to empty theaters. No one expected film to bomb so badly. Although, the film failed to impress an audience , Filmfare magazines started including Diyva in the list of 1992 top ten best ac tress performances. Surprisingly, even when other now-well known newcomers was i ntroducing to showbiz), Divya collapsed debut made a magazine headline, when man y actress included Madhoo in Phool aur Kaante and Chandni in Sanam Bewafa super hit films didn't made them star, Divya's flops made her star. Divya defended her self by quoted, " I wanted to prove myself. But, I've fallen flat on my face. No w, I have to begun my climb all over again. Yet, I'm positive that one day succe ss will be mine", (Stardust, March 1992). And, Thus Divya too was deleted from the ranks of the promising newcomers for a while. Then Pehlaj Nihlani's Shola Aur Shabnam came along. The film proved a box office hit and Divya was riding high again. Not only did it present Divya in a noble character, but also gave big boost to Govinda's career and launched David Dhawan as established director. Four Months later, Raj Kanwar's love story Deewana became the biggest hit of 199 2, where she held her own against veteran Rishi Kapoor and the debutant Shahrukh Khan, who later went on to become Bollywood superstar and an icon of Indian Cin ema. With the super success of Deewana, Divya got rid of her promising newcomer status and entered the A-list. Her performance in Deewana was highly appreciated . Around that time, Divya's other films Balwaan with another debutant Sunil Shet ty and Jaan Se Pyaara with Govinda released and did well at the box office. By t he end of the year, Hema Malini's Dil Aashna Hai released, in which Divya played a bar dancer, who searches for her birth mother. Although the film was a box-of fice failure, her performance in the film was much appreciated by critics. Suddenly, with big hits under her belt, Divya had become the hottest property in showbiz. And many predicted that she was poised to hit the number one slot not very far. In fact, In September,'Movie' magazines such as "Movie", "Stardust" an "Filmfare" putnher at the 3rd position actress by the bases of price, popularit y and position right after Madhuri Dixit and Sridevi. Personal life Barely 16, Divya met Sajid Nadiadwala in 1990 at Filmcity, when Sajid dropped by the sets to Meet his friend Govinda. Divya was shooting with Govinda Ahuja on t he sets of Shola Aur Shabnam. It was Govinda who introduced Sajid to Divya. Soon , it became a routine for the unit to see Sajid on sets everyday. As Sajid quotes in Movie June 1993 issue "Somewhere around 15 January 1992 Divya told me that she wanted to get married. The very next day she was tense because her name was being linked with all heroes. She wanted to marry and put an end t o all these controversies. People expect me to have a relationship with everyone , she would complain. Then on 20 May 1992. Divya got married to Sajid in the presence of her hairdress er Sandhya, the hairdresser's husband and a kazi at Tulsi apartments, Sajid's Ve rsova residence. She converted to Islam and took on a new name "Sana". As Sajid quotes "We kept the marriage a secret because her career was at stake. Her produ cers would have panicked. In retrospect, I wish we had told the truth. Divya wan ted to announce that we were married but I kept telling her to wait for a while. I wish I hadn't. Every time she saw the rushes of her films, she would sigh, "T his will flop and people will ask me to quit". But that never happened, her film s were hits. By the end of 1993, she would have completed all her assignments. Death Around midnight 5 April 1993, Divya fell to her death off her husband's 5-storey Versova apartment building, Tulsi 2 in Mumbai. There were numerous speculations by the media regarding Divya's sudden demise, including the possibility of acci dental death, suicide and even murder. Divya's dress designer is believed to hav e been present at the apartment at the time of death but the unfortunate event c ould not be avoided. Police closed the investigation into her death in 1998, but the circumstances of her death still remain a mystery. Her body was released on 7 April 1993 and the funeral took place the same day. A bout 500 people attended the funeral of then youngest heroine of the silver scre

en, including Anil Kapoor, Govinda, Kamal Sadanah, Raj Babbar, Yash Chopra, Jimm y Nirula, Aruna Irani, Raza Murad, Mega Star Chiranjeevi, Vikas Anand, Venkatesh , Ram Mohan, Javed Khan, Raj Kanwar, Nitin Manmohan and Pehlaj Nehlani, maker of her first hit, Shola Aur Shabnam. A large number of film personalities, includi ng Hema Malini, Urmila Matondkar, Saif Ali Khan, Shahrukh Khan, Shilpa Shirodkar , Sonu Walia, Somy Ali, Babita, Karisma Kapoor, Sangeeta Bijlani, Tabu, Manisha Koirala and Asha Parekh, offered condolences to the bereaved family members at t heir residence. She was scheduled to star in movies including Mohra, Laadla, Andolan, Angrakshak ,Kartavya and Vijaypath before her death; her roles were recast. Divya had almo st completed 80% of Laadla before her death but the entire movie was redone with Sridevi. The footage of her performance that she had completed was seen in a sp ecial television programme which compared her performance with Sridevi's. The fi lm was to be released in 1993 had Divya completed the movie but it was eventuall y released in 1994. Divya's two final completed films, Rang and Shatranj, were released months after her death. These films in addition to several films produced by her husband Saj id Nadiadwala were dedicated to her memory. The investigation into the circumstances of Bharti's death was closed in 1998 wi thout any definite verdict. Filmography Year Title Co-Star Language Box Office 1990 Nila Penne Anand Tamil Flop 1990 Bobbili Raja Venkatesh Telugu SuperHit 1992 Rowdy Alludu Chiranjeevi Telugu SuperHit 1992 Dharma Kshetram Balakrishna Telugu SuperHit 1992 Assembly Rowdy Mohan Babu Telugu SuperHit 1992 Vishwatma Sunny Deol Hindi Average 1992 Shola Aur Shabnam Govinda Hindi SuperHit 1992 Dil Ka Kya Kasoor Prithvi Hindi Average 1992 Jaan Se Pyaara Govinda Hindi Hit 1992 Deewana Rishi Kapoor and Shahrukh Khan Hindi SuperHit 1992 Balwaan Sunil Shetty Hindi Hit

1992 Dushman Zamaana Armaan Kohli Hindi flop 1992 Dil Aashna Hai Shahrukh Khan Hindi Average 1992 Geet Hindi Average 1992 Chittamma Mogudu Mohan babu Telugu Flop 1993 Tholi Muddhu Prashanth Telugu Hit 1993 Naa Ille Naa Swargam krishna , ramesh Telugu Flop 1993 Dil Hi To Hai Jackie Shroff Hindi Hit 1993 Kshatriya Sanjay Dutt Hindi Average 1993 Rang Kamal Sadanah Hindi Hit 1993 Shatranj Jackie Shroff Hindi Average Awards Filmfare Award Preceded by Raveena Tandon for Patthar Ke Phool Lux New Face for Deewana 1992 Succeeded by Mamta Kulkarni for Hindi Movie Incomplete films\ Made with other Actresses Year Of release Title Co-Star Replacements Box-office 1993 Dhandewala Ajay Devgan Karisma Kapoor Average 1994 Mohra Akshay Kumar and Sunil Shetty Raveena Tandon SuperHit 1994 Laadla Anil Kapoor Sridevi Hit

1994 Vijaypath Ajay Devgan Tabu Hit 1995 Andolan Govinda Mamta Kulkarni Average 1995 Kartavya Sanjay Kapoor Juhi Chawla Flop 1995 Angrakshak Sunny Deol Pooja Bhatt Flop 1995 Hulchul Ajay Devgan Kajol Below Average 1995 Kanyadaan Rishi Kapoor Manisha Koirala Stuck 1993 Do Kadam Salman Khan Movie never made 1993 Parinaam Akshay Kumar Movie Never Made 1993 Chal Pe Chal Jackie Shroff Movie Never Made 1993 Bajrangl Sunny Deol Movie Never Made Yasin Malik ) is the chairman of one of the two factions of Jammu Kashmir Yasin Malik (Hindi: ion Front, the chairman for other faction is Farooq Siddiqi (Farooq Papa). The J ammu Kashmir Liberation Front (JKLF), founded by Amanullah Khan and Maqbool Bhat , is a Kashmiri nationalist organization founded in Birmingham, UK on May 29, 19 77. Within a couple of years branches were established in several cities and tow ns of the UK; and also in several countries of Europe, USA and Middle East. In 1 982 branches were established in Pakistan-administered Kashmir, Pakistan and in 1987 in Indian-administered Kashmir (Jammu and Kashmir) which shows it essential foreign origin. The organisation, Jammu & Kashmir Liberation Front split[1] in two after the senior leaders of the party disagreed with his policy of dealing K ashmir issue on bilateral level with India on the basis as was done in Nagaland, for which he held secret meetings with Prime Minister of India Manmohan Singh[2 ]. He started his movement[3] for separation of Jammu & Kashmir from secular Ind ia as an Islamic Nation of Darul Islam while silent on freedom of Pakistan-admin istered Kashmir. He spent almost 6 years of his life in jail and in interrogatio ns. Yasin Malik originally came to prominence as a Militant Area Commander under the chief commander of Ishfaq Wani of JKLF[4] who was killed in an encounter wi th Indian army. In 1994, Yasin Malik renounced violence after he was released fr om jail and from then he and the organisation he heads gave call for peaceful me thods to come to a settlement on the Kashmir Conflict. He supports the return of Kashmiri Hindus back to the valley[5] Personal life

Yasin Malik was born in 1968 in a modest Kashmir household of Maisuma Bazar in t he centre of Srinagar. His father was a Government Bus Driver, driving through t he toughest routes of the world between Srinagar and Laddakh. He is married to t he famous artist Mishal Malik. Mishal, a graduate from the London School of Econ omics and an artist, is the daughter of Rehana Hussain, chief of the Muslim Leag ue (womens wing). Her father, the late M.A. Hussain Malik, was an internationally renowned Pakistani economist. Yasin Malik met Mushaal during one of his tours t o Pakistan two years ago. Militancy A well known freedom fighter, Yasin Malik has admitted to killing many people in cluding 4 Indian Airforce Personnel. In 1987, he was arrested, taken to an inter rogation centre for twenty days and then imprisoned for a year under the Public Safety Act. It was during this period that the four core activist member of the JKLF, Ashfaq Majid Wani (The JKLF Chief), Hamid Sheikh, Javid Mir and Yasin Mali k met to form the famous HAJY group, an acronym formed of the first letters of t heir first names. Two members of the HAJY Group Hamid and Ashfaq, were killed during encounter wit h security forces. Yasin Malik and Javid Mir were caught and imprisoned until 19 94. In that year, Malik was released on grounds of ill- health. Soon after his r elease, he announced a unilateral cease-fire on the part of his party. He has st uck, to this day, to his commitment of reverting to a non-violent struggle. Even since his release in 1994 he has been arrested numerous times by Government and had six attempts made on his life by other terrorists. Yet despite this, he has sought to moderate the militant attitudes of fellow party workers. Meanwhile th e years of imprisonment have left him frail. Yasin Malik recently completed two lengthy visits to the United States for health reasons. He undertook campaigns t o educate the U.S public and garner support for the cause of Kashmiri struggle. Yasin Malik was arrested in October 1999 by Indian Authorities under the Public Safety Act and was again arrested on March 26, 2002 under the POTA. He was detai ned for almost a year. In recent times Yasin has had one to one meetings with Pr esident of Pakistan, Prime Minister of Pakistan, Prime Minister of India and oth er world leaders. In 2007 Yasin Malik and his party launched a \campaign known a s Safar-i-Azadi (Journey to Freedom). This journey was to create an atmosphere f or anti-Indian agitations among public which lasted for one year and during it, Yasin Malik and his colleagues visited about 3500 towns and villages of Kashmir. Stone pelting and sporadic attacks by Muslim majority of Kashmir of security fo rces have increased hence forth. Some of his prominent party workers include Adv. Bashir Butt, Enj. Ghulam Rasool Dar, Noor Mohammed Kalwal, Showkat Ahmed Bakhshi and Mohammed Hussain Khan Alta f etc. Yasin Malik has Shaheed Maqbool Bhat, Jinnah & Yaser Arafat as his ideals .Yasin has studied only up to 5th standard but claims that most of the studies h e has done are self studies done in various jails. He loves poetry of Allama Iqb al and writings of Imam Gazali. He is influenced with the visions of struggle of Che Guevara. In January 2010, asked Kashmiri Pandit migrants to return to their homes in the Kashmir valley