Diptendu Pramanick
Diptendu Pramanick was born in Kolkata, West Bengal, India on July 18th, 1910 and is the Entrepreneur. At the age of 79, Diptendu Pramanick biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.
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Diptendu Pramanick (July 1910 – Dec 1989) was a Bengali film star from Calcutta.
He was the founder secretary of the Eastern India Motion Pictures Association in Calcutta, India, a fraternity of film employees that exists between the entertainment industry and the government.
He was in touch with influential people throughout his career and witnessed the change of this company from its humble roots to a regionally based entity.
Early life and education
He was born in Calcutta on July 18, 1910. He was Shantipur's oldest son. He began his education in Calcutta and then attended the Raiganj Coronation School, where his father worked as a lawyer.
In 1926, he returned to Calcutta and cleared Matriculation, and was followed by the Intermediate examinations in Science. He later joined the Scottish Church College in Calcutta.
His interactions with many a pioneer (due to his father's service in the legislature and the Satyagraha movement at Raigunj), the modern air of the day, as well as the encouragement from a well-known alumni (The Oaten Affair – Netaji Subhas Chandra Bose assaulted Prof Oaten prompted him to threaten an Indian-loathing tutor at Scottish Church College and follow Bose's example) inspired him to an Indian-
He graduated from Asutosh College and obtained a bachelor's degree in science from the University of Calcutta in 1931.
Career
1931 - 1948
He served as the Secretary to Calcutta's then Mayor Santosh Kumar Basu after graduating from college. He influenced literary conferences and Bengali literature for a reason. Ramananda Chatterjee inaugurated the 12th Prabasi Banga-Sahitya Sammelan in Calcutta, December 1934 (Photo : Akshay Kumar Nandi, father of Amala Sankar, is seen in the photograph.
On completion of Mr Basu's term as Mayor, he became the Liaison Officer of Civil Defence and in the Publicity Department of the Commercial Museum. In 1942, he moved to the Home Department of the then Bengal Government as Liaison Officer, Civil Defense. Civil Defence's concept owes its origins to erstwhile ARP Organisation, which was established and operated during World War II (1939-1945) to protect the civilian population's life and property as well as prepare the civilian population to deal with wartime crises.
Japan had overrun Burma at this time, and the threat of bombing was looming on Calcutta. Eventually, a Japanese plane bombed Budge Budge (south of Calcutta). This World War II event is represented by a Bengali folk rhyme:
Over a million people fled from the city after the bombing, prompting widespread fear, and civic authorities were put into place to handle the situation. The Indian Civil Defence Department's response to these attacks and planned lighting limitations, medical platoons, firefighting, and rescue units increased at a rapid pace. Beginning 1947, the department was wound down at the end of the war.
He continued to test his entrepreneurial skills by working with a few of colleagues (Cine Furnishers Limited). It's here that he came in close contact with Kolkata's Bengali film industry.
EIMPA
When interested in these opportunities, he formed a group of producers, manufacturers, and traders of Bengal (Bengal Motion Pictures Association), in 1948 as Secretary, while Sri B. N. Sircar was the President. He founded the BMPA journal and spent more than two decades as the editor. The Association was located in 125, Dharamtolla Street (now Lenin Sarani), which was relocated to 2, Madan Street, Calcutta. The association expanded under his leadership and into 98E Chowringhee Square (now 98E B.N.). Sircar Sarani – EIMPA's new location.
He was the first secretary of the then-elective Eastern India Motion Picture Association (EIMPA) and was instrumental in the establishment of the EIMPA offices in Patna and Guwahati. There is a significant shortage of raw film stock in the country during this period due to war's instability. The Government of India had established a Film Advisory Committee, which was given control of raw film stock distribution. EIMPA served as a trade representative, negotiating materials for eastern India's film industry, and a large part of Diptendu's attempts were planned for the same. He served as the Secretary of Film Federation of India (1953-1954). Diptendu and other stalwarts, like Satyajit Ray, Robert Hawkins, Vijaya Mulay, and Dasgupta were among the Calcutta Film Society's founding members in 1956, which saw the gathering of 300 members.
The same team was also the prime movers behind the establishment of the Federation of Film Societies of India (FFSI) in 1959, which was presided by Satyajit Ray, with Diptendu as the Jt. Indira Gandhi, the Treasurer, was a member of the FFSI at the time (till 1964).
In 1952, the Government of India sponsored and produced the First International Film Festival of India. The BMPA was instrumental in arranging the festival in Calcutta. After visiting Bombay and Delhi, Frank Capra, the famous American director, arrived and was overwhelmed by the Calcutta reception.In his autobiography he wrote
This photo depicts his welcome at the Dum Dum Dum Airport as in his autobiography, with the who's who of Calcutta Filmdom.
Premier Minister Pandit Jawaharlal Nehru inaugurated Sangeet Natak Akademi's first film festival in Delhi, which was inaugurated by Prime Minister Nehru. This lecture was attended by a well-known film celebrity.
He was already being nominated to committees in the early 1970s, representing the Cinema trade for their infrastructural and judicial problems, including the important 1967-68 Committee and the 1973-74 Parliamentary Estimates Committee.
The enthralling reports by the 1968 and 1973 Committees raised concerns about institutional funding, cess-based state funding of cinema, and the development of a generation of ‘low-budget' actors to combat a star-heavy industry's lopsided economics and censorship reforms. In that sense, the study predicted the birth of a generation of actors from the state-driven FTII in the Naseeruddin Shah and Smita Patil period.