Sanskrit and Modern Indian Languages

Languages spoken in India belong to various language families like (i) Indo- European Family, (ii) Dravidian Family (iii) Austric, (iv) Sino-Tibetan etc, which include 179 languages and about 544 dialects. The languages spoken in North India are called Indo-Aryan Languages and come under Indo- European Family. The languages spoken in South India belong to Dravidian family. The Languages of Kashmir and Assam belong to Sino-Tibetan Family. Some dialects of Andaman and Nikobar Islands, West Bengal, Bihar, Madhya Pradesh, Tamilnadu and Orissa belong to Austric Family.

The geographical position of a language has very often had a great deal of positive influence upon its development. So Sanskrit being the oldest language of India has influenced all other languages of India, even those, which have not directly originated from it. There are ample evidences that all the languages of Indo-Aryan Group are the offsprings of Sanskrit Languages. Sanskrit is considered to be the mother of most of Indian Languages except Dravidian Family.

All the Modern Indian Languages, like, Hindi, Marathi, Gujrati, Oriya, Bengali, Sindhi, Maithili, Kashmiri, Assamese, Konkani, Rajsthani, Manipuri, Punjabi etc., have been enriched with the words of Sanskrit. Sanskrit has influenced other languages also which have not originated from it, like Urdu and the Dravidian languages like Telugu, Tamil, Kannada and Malayalam.

Another Evidence of the influence of Sanskrit on the Modern Indian Languages is its literary component. The Ramayana, the Mahabharata, the two oldest epics of Sanskrit are the sources of many other literatures the Ramacaritamanasa in Hindi by Tulasidas, the Adhyatmaramayana in Malayalam by Ramanuja Eutachh, the Kambaramayana in Tamil by Kamban, the Mullaramayana in Telugu and the Krttibasaramayana on Bangla by Krttivasab. The notable evidence of the influences of Sanskrit language on modern Indian languages is the literary heritage of it.

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V. Shantaram

V. Shantaram ( 18 November 1901 - 30 October 1990) is a renowned Indian film producer, filmmaker, and actor, most known for his films like Dr. Kotnis Ki Amar Kahani (1946), Amar Bhoopali (1951), Jhanak Jhanak Payal Baje (1955), Do Aankhen Barah Haath (1957) and Navrang (1959), to the path breaking Duniya Na Mane (1937) and Pinjara (1973).

He directed his first film, "Netaji Palkar" in 1927, and in 1929, founded the Prabhat Film Company along with V.G. Damle, K.R. Dhaiber, S. Fatelal and S.B. Kulkarni ^[2], which he left in 1942 and to form "Rajkamal Kala Mandir" in Mumbai , in time 'Rajkamal' became one of most sophisticated studios of the country

He was praised by Charlie Chaplin for his Marathi film Manoos (English: Man). Charlie Chaplin reportedly liked the film very much.

He was awarded the Indian film industry's highest award, the Dadasaheb Phalke Award, in 1985 and the Padma Vibhushan in 1992.

Early life

V. Shantaram was born Rajaram Vankudre Shantaram , on 18 November 1901, in the erstwhile princely state of Kolhapur in present day Maharashtra. He was born to a reputed family of Kolhapur.

Career

V. Shantaram started his film career doing odd jobs in Maharashtra Film Co. owned by Baburao Painter at Kolhapur , growing up to debut as an actor in the silent film, Surekha Haran in 1921

V. Shantaram had an illustrious career as a filmmaker for almost six decades, starting as an actor in the silent era films and later transitioning into a film director of Hindi and Marathi cinema. He was one of the early filmmakers to realize the efficacy of the film medium as an instrument of social change and used it successfully to advocate humanism on one hand and expose bigotry and injustice on the other. He is the founder of Rajkamal Studios.

The highest accolade of the Indian film industry, for lifetime achievement, the Dadasaheb Phalke Award, was conferred on him in 1985 He was awarded the Padma Vibhushan award in 1992

His autobiography titled, Shantaram was published in Hindi and Marathi .

V. Shantaram died on 30 October 1990 in Mumbai. The 'V. Shantaram Award' was consitituted by Central Government and Maharashtra State Government, and the V. Shantaram Motion Picture Scientific Research and Cultural Foundation, established in 1993, shortly after his death, and offers various awards to film makers, the award is presented on 18 November each year being Shantaram's birth anniversary .

Awards

Won

• 1957: Filmfare Best Director Award: Jhanak Jhanak Payal Baaje
• 1958: National Film Award for Best Film: Do Aankhen Barah Haath
• 1958: Berlin International Film Festival, OCIC Award: Do Aankhen Barah Haath ^[13][14]
• 1958: Berlin International Film Festival, Silver Bear (Special Prize): Do Aankhen Barah Haath ^[13][14]
• 1959: Golden Globe Awards, Samuel Goldwyn Award: Do Aankhen Barah Haath ^[13]
• 1985: Dadasaheb Phalke Award
• 1992: Padma Vibhushan

Nominated

• 1951: Cannes Film Festival, Grand Prize: Amar Bhoopali (The Immortal Song)
• 1958: Berlin International Film Festival, Silver Bear: Do Aankhen Barah Haath

Biographies

• Shantaram, Kiran & Narwekar, Sanjit; V Shantaram: The Legacy of the Royal Lotus, 2003, Rupa & Co., ISBN 8129102188.
• Banerjee, Shampa; Profiles, five film-makers from India: V. Shantaram, Raj Kapoor, Mrinal Sen, Guru Dutt, Ritwik Ghatak Directorate of Film Festivals, National Film Development Corp, 1985. ISBN 8120100077.
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• http://mymarathicinema.blogspot.com/2010/02/v-shantaram.html

KON AAHE RE TIKDE

A Guaranteed fun bonanza…”KON AAHE RE TIKDE”

Stories about people sacrificing their lives for their own ambitions aren’t uncommon. But have you ever come across species, who would make scape-goats out of their own off-springs in their quest to air their ego-balloons…?

Meet Mr.Zhunzaarrao Shirke (Mohan Agashe), a landlord, who claims Veergadh, a fort, to be his ancestral property. He and many of his earlier generations thought that Veergadh was gifted to their ancestors, a thought that cost them a cool 500 acres of land. While they were at logger heads with the establishment and left them with not enough money to even take care of their old mansion…. But battered egos are hard to ignore . Zhunzaar rao proves it as he sweats that until and he claims Veergadh, he wouldn’t let Malhaar (Subodh Bhave), his only son, get married. This puts Malhaar in a fix as he is already engaged to a girl, Devki (Hemangi Kavi), the loving daughter of Shinde (Mohan Joshi), a wealthy ex-politician, and sister of the deadly aspiring gun-trotting politician Udayrao Shinde (Mangesh Desai).
Casual meetings between an over excited Malhaar and Devki turns intimate…very intimate…infact, so intimate that Devki becomes pregnant…! Malhaar goes berserk after knowing this and asks Devki to abort the child, which she profoundly refuses. Now Malhaar just can’t imagine what his father, his highness Zhunzaarrao Shirke can do to him once he gets to know about this.

Malhaar resorts to find idiotic solutions to his problems which further complicates the chaos, albeit in a funny way. On the other hand without Devki’s knowledge, her father approaches a gynecologist for abortion, to whom he doesn’t reveal her name. This kicks an odd suspicion game, wherein everyone, right from her sister in-law (Suhas Paranjpe) to the maid (Smita Tambe) starts suspecting the other to be pregnant. The chaos intensifies as everyone exercises their complicated imagination powers and add more to the on-going confusion.

Does Devki go ahead with her pregnancy or abortion…? Does Zhunzaar Rao come to know about his son’s antics…? What happens to Malhaar…? What happens to Veergadh…?Does Shinde and Udayrao solve Devki’s problems…? Do watch this incredibly hilarious caper…a guaranteed fun bonanza…”KON AAHE RE TIKDE”…?

Source:-http://mymarathicinema.blogspot.com/