Movie Cosmos - LookupActor

Actor Bhudo Advani

Popularity:

From: N/A

Biography:

N/A

Most Known for...

The Chess Players 1977 ( 7.1)

In the year 1856, Nawab Wajid Ali Shah is the King of Awadh, one of the last independent kingdoms of India. The British intend to control this rich land and send General Outram to clear way for an annexation. Pressure is mounting amidst intrigue and political maneuvers, but the Nawab whiles away his time in pursuit of pleasure and religious practice. The court is of no help either — noblemen Mir and Mirza ignore all duties and spend their days playing endless games of chess. Based on Munshi Premchand's short story of the same name. Preserved by the Academy Film Archive in partnership with The Film Foundation in 2010.

Madhumati 1958 ( 6.8)

Two men take shelter in a derelict mansion situated in the countryside during a storm. One of the men suddenly becomes aware that he once visited this mansion in a past life; he recounts a story about when he was Anand, a painter, who fell in love with a tribal girl named Madhumati.

Boot Polish 1954 ( 5.8)

Two orphans are forced by their abusive aunt to beg in the streets of Bombay. They take up shining shoes but are separated from each other.

Actor Bhudo Advani

Popularity:

From: N/A

Biography:

Most Known for...

Kadu Makrani 1960 ( 9)

Kadu Makrani is a 1960 Gujarati historical fantasy film directed by Manhar Raskapur from India. The film tells the story of the historical figure Kadu Makrani, a bandit, fighting the British. The lead role was played by Arvind Pandya. The music was composed by Avinash Vyas. It was a commercial success.

We Three 1938

Mehboob presents the autonomous passion of Leela (Rose) for Moti (Motilal) who is promised to another woman, Bina (Maya). Leela is portrayed as irresponsible and impulsive as she acknowledges her desire for Moti and has a child by him. Bina then releases Moti from his promise. Moti suffers when he is told by Bina’s father (Sankantha) that she is dead, while Leela’s father (Pande) enjoins his daughter to commit suicide if Moti does not marry her. In spite of the film’s endorsement of ‘traditional’, lethally oppressive patriarchal mores, incarnated by the women’s fathers, Mehboob’s narrative at least dares to depict a woman who refuses to feel guilty about her desire.