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Kondke often employed the veteran actor-dancer, Bhagwan Dada in dancing sequences in his films such as Aali Angavar, Hyoch Navra Pahije, Bot Lavin Tithe Gudgulya, and Ram Ram Gangaram. Many of his movies, produced under the "Kamakshi Pictures" banner, had Usha Chavan as the lead actress, Rajesh Mujumdar as screen play writer (from Pandu Hawaldar onward), Raam Laxman as music director, Jayawant Kulkarni and later Mahendra Kapoor as the male playback singer, Usha Mangeshkar as the female playback singer, and Bal Mohite as the chief assistant. Kondke is known for using the same team of actors, technicians and playback singers to repeat the formula for success that he believed he had got from his debut film. For example, Kondke portrayed himself as a Dhobi (Laundry Man) in Aali Angavar, Poor Farmer in Songadya, and a Police Constable in Pandu Havaldar. Kondke's story-lines were always based on the simpleton engaged in lower level occupations. Kondke retained his team from Songadya and delivered his next hit Eakta Jeev Sadashiv.
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Some of the other people who played major characters in this movie were Nilu Phule, Ganpat Patil, Sampat Nikam and Ratnamala. He cast himself as Namya, the simpleton who falls for the glamour of Kalavati (played by Usha Chavan) who is a dancer. Songadya was based on a story written by Vasant Sabnis, and was directed by Govind Kulkarni. He then turned producer with Songadya in 1971. Vichha Majhi Puri Kara brought Kondke into spotlight and in 1969, he debuted in Marathi movies through a role in Bhalji Pendharkar's movie Tambdi Maati which won the National Film Award for Best Feature Film in Marathi. The drama went on to play over 1500 shows all over Maharashtra and made Dada a star. The drama was named Vichha Majhi Puri Kara (Translation: Fulfill my Wish). Sabnis appreciated Dada's performance in Khankhanpurcha Raja (Translation: Bankrupt King), and agreed to write a modern Marathi language Tamasha or Loknatya ( folk play). Later, Kondke started his own theatre company, and approached Sabnis to compose a drama script for him. During this period came in contact with various Marathi stage personalities including writer, Vasant Sabnis. She then asked what he thought of it.Kondke was involved in cultural activities of Seva Dal, a Congress party volunteers organization, where he started working in dramas. Anitaa says Lata once prepared carrot halwa for him in the studio. She was good at cooking both these dishes. If Kondke was gaping, Lata would have put carrot halwa or bangda fish curry into his open mouth. Looking at the tin can in the mirror, she fired more bullets into the tin can in the back. Lata then brought a mirror and put the gun on her shoulder.
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His confidence shaken, Kondke was not going to have a contest with her. Lata raised the gun again and fired five more bullets into the can.
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Still condescending, he said, “Oh, that’s a good shot.”
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Look through the plus sign on the lens and squeeze the trigger.”Ĭarefully, she raised the gun and fired.
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He told her how to fire the gun: “Keep your arm steady, rest it on this banister. Kondke fetched his point-22 airgun from his car, handed it to her and placed a tin can at some distance. One day Lata told Kondke that she had heard that he was very good with his airgun. He treated Kondke as his son and Lata as his disciple. Pendharkar was a producer and director, and a cousin of the legendary filmmaker V. Kondke was shooting a film at Bhalji Pendharkar’s studio in Kolhapur, where Lata was a frequent visitor. Anitaa Padhye, the co-author of Kondke’s autobiography, Ekta Jeev, narrates it in the book: If anyone gave him the shock of his life, it was Lata. Actor, director and lyricist, Kondke shocked people with his irreverence. LATA MANGESHKAR composed music for several Marathi films, including Dada Kondke films.