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[Kismet Dur Hatho Duniya Walo Hindustan India Hamara Ashok Kumar http://www.youtube.com/watch?v=tv9DGrP8jDA]

To add to it Dadasaheb suffered from amnesia. He vividly remembered his childhood, his friends of those days. He would converse with some of his dead friends as if they were alive and sitting in front of him. But, unfortunately, he had lost the memory of the days of his active life. He was unable to talk about those days with any consistency. However, this condition improved substantially by medication. As his son-in-law, Mai's husband, was a medical practitioner and lived in Naskhik, he took maximum care of Dadasaheb.

On day, Dadasaheb's son, Prabhakar, said to him, " Dada, you have produced animated films like Fun with Matchsticks and Laxmi's Carpet. We have a Pathe camera[3] at home. We shall produce cartoon films. I will do the work. You only be with me.

God knows how, but Dadasaheb again showed a spurt of enthusiasm. His mind egged him on: I should produce a movie for which I should choose such a subject as would holdup to view real Indian culture. The Indian audience should be told that this is our culture, not what you see in today;s movies.This means that although Dadasaheb was depressed, he had not retired. In those days of the Second World War, a government license was necessary for producing a movie and producers usually got it on application. Dadasaheb too sent a application to Delhi on 26th January 1944 for a license. There was no reason why any difficulty should have arisen in his getting a licence. He had produced and directed so many movies. He was, after all, the father of Indian Cinema.

Dadasaheb was all eyes, waiting for the license. He had planned to proceed with his movie immediately on receiving it. But, 'Oh, No!' Misfortune dealt him the final and fatal blow. On 14th February he received a letter from Delhi saying, 'It is not possible to grant you a license'. This unbearable shock completely enervated him. He was drained of energy. Grief-stricken he said,"Toiling and struggling for twenty-five years, I brought glory to Indian Cinema, neglected my family, contracted illness by the stress of financial worries. I am like a calf, which has lost its way. I have again realised that a penniless man is worth nothing."...

...Only a day later, even before the ink had dried on the government's negative reply, on 16th February, 1944, at the age of 74, the Father of Indian Cinema breathed his last in penury, in great mental agony. A play with dreams was over A life-long struggle came to an end.

from Bapu Watve's Dadasaheb Phalke, published by the National Book Trust

Do Naina Matwaare tihare, K. L. Saigal[] New Theatres

My Sister


Patience Cooper in Iraadaa

Link title Anterograde amnesia, is the loss of long-term memory, the loss or impairment of the ability to form new memories through memorization. People may find themselves constantly forgetting a piece of information, people or events after a few seconds or minutes, because the data does not transfer successfully from their conscious short-term memory into permanent long-term memory. Primarily in older men, transient global amnesia causes severe loss of memory for minutes or hours. Retrograde amnesia, the loss of pre-existing memories to conscious recollection, beyond an ordinary degree of forgetfulness. This type of amnesia first targets the patient's most recent memories, the amount of memories lost depends on the severity of the case. The person may be able to memorize new things that occur after the onset of amnesia (unlike in anterograde amnesia), but is unable to recall some or all of their life or identity prior to the onset. The effects of retrograde amnesia (RA) occurs on fact memory on a lower degree than its effects on autobiographical memory, which can be affected over the whole lifespan of the patient by RA.[2][3] There have also been some cases where retrograde amnesia is a result of hypoglycemia in insulin-dependent diabetic patients.[4] Media:Example.ogg