I find it very strange when people compare Mr. Amitabh Bachchan with any other actor in Bollywood. Because I think no other actor in Bollywood can be compared with Mr.Bachchan. You can’t compare him with anyone in Bollywood as far as popularity is concerned .I have read in many article people compare Amitabh and Shahrukh. No doubt Shahrukh is a very good actor and very popular too. But the main difference between Shahrukh and Amitabh is the age. Shahrukh is still young but Amitabh is not. Shahrukh has given many hits in last 15 years.But the important thing you all must have noted that Shahrukh has mostly worked with the top directors only. He gave hits with the directors like Yash Chopra,Aditya Chopra,Rakesh Roshan,Subhash Ghai,Mani Ratnam,Aziz Mirza,Karan Johar or Farah Khan. All these directors are very talented. These directors can produce a hit with any actor. So its really unreal to give all the credit to Shahrukh for the success of his movie .He managed to give hits because of these directors only.
Coming back to Amitabh,look at his career. He has always been the DON of box office. He gave hits with all the directors, either good or bad.The fact is that he has given many hit movies even when the movie itself was bad. He never bothered about the producer or director. He delivered hits with the directors like Tinu Anand,Manmohan Desai,Prakash Mehra and many more. All these directors were not very talented. Still Amitabh managed to give hits after hits.Now if u again watch any old movie of Manmohan Desai or Tinu Anand’s , you may find it pathetic. But it was Amitabh’s charisma who gave hits with these directors. Amitabh has delivered hits with bad directors also. He never needed only great director to deliver a hit. In fact he never worked with the director like Subhash Ghai, who is known as a showman of hindi film industry.The real thing that makes Amitabh great is the public response. Now a days what happens that when a new movie releases, people don’t go mad for it and rush to the theater. First of all people reads the movie review or asks friends about the movie and only then decide to see or not to the movie. People don’t go to see a movie just because of any particular actor only. Now a days movie director,music director,songs and movie related controversy plays major role to pull the public to the theater.Infact now a days the movie maker itself creates some controversy to attract people.But dear its was not the case in Amithbh’s days.That time only Amitabh was the thing for people to see a movie. People used to jump at theaters when there is a Amitabh release. People just wanted to see Amitabh’s movie irrespective to anything.So the bottom line is that now a days people read the review first and then decide whether to watch the movie but in Amitbha’s time people just wanted to see the movie for Amitabh.That time no movie review could discourage people to not to see a new Amitabh release.
Its not only the acting that makes Amitabh great but his whole personality as well. People love him also because of his believes and way of living .Its not hidden to us that how much he cared for his parents. We also know that he is a very soft spoken and well cultured person. He believes is god like most of us.He has a powerful voice and most of the times he likes to talk in hindi only.These are the few things that touches every one’s heart. Its very difficult to find these things in any other bollywood actor.So friends all I can say that you can not compare Amitabh with any other actor in Bollywood.He is an incomparable person in bollywood.
Hot Hindi Stuff Online:
Dreaming in Hindi: Coming Awake in Another LanguageAt a time when her life seemed to be crumbling, Katherine Russell Rich took on a writing assignment in India, where she was seduced by the idea of learning to speak Hindi, the language she heard swirling all around her. In a rash moment, she determined she’d go live and study in the ancient city of Udaipur. That decision lead to unexpected reclamation. In this beautiful and spirited memoir, she documents her experiences, from the bizarre to the frightening to the full-out exhilarating. Seamlessly combining her courageous (and often hilarious) personal journey with reporting on the science of language acquisition, Dreaming in Hindi offers an eye-opening account of what learning a new tongue can teach us about distant worlds and, ultimately, about ourselves. 
Dreaming in Hindi: Coming Awake in Another LanguageAn eye-opening and courageous memoir that explores what learning a new language can teach us about distant worlds and, ultimately, ourselves.
After miraculously surviving a serious illness, Katherine Rich found herself at an impasse in her career as a magazine editor. She spontaneously accepted a freelance writing assignment to go to India, where she found herself thunderstruck by the place and the language, and before she knew it she was on her way to Udaipur, a city in the northwestern state of Rajasthan, in order to learn Hindi. Rich documents her experiences—ranging from the bizarre to the frightening to the unexpectedly exhilarating—using Hindi as the lens through which she is given a new perspective not only on India, but on the radical way the country and the language itself were changing her. Fascinated by the process, she went on to interview linguistics experts around the world, reporting back from the frontlines of the science wars on what happens in the brain when we learn a new language. She brings both of these experiences together seamlessly in Dreaming in Hindi, a remarkably unique and thoughtful account of self-discovery.
Mahadevi Varma: Political Essays on Women, Culture, and NationThis edited volume of translations covers the major political essays of India's first feminist Hindi poet. A devout follower and advocate of Gandhi, Mahadevi Varma is a household name in India and is a major woman of letters in the modern Hindi world. The essays collected in this volume represent some of Mahadevi Varma’s most famous writings on the “woman question” in India. The collection also includes an introduction to her life, with biographical notes, an analysis of her importance in the field of Hindi letters, as well as a selection of her poems – these latter because Mahadevi Varma made her mark in the world of Hindi literature through her poetry, and a volume of translations would be incomplete without a sampling of them. The introduction to the translated volume sketches Mahadevi Varma's life and work and her significance to both the development of modern standard Hindi as well as to the nascent women's movement underway in the 1920s in India. Little scholarly attention has been given in the academy outside of India to Varma’s numerous contributions to women’s education, to the development of modern standard Hindi, and to political thought during the Independence movement in late-colonial India. This volume of translations engages themes like language and nationalism, women’s roles as artists, the politics of motherhood and marriage—themes that continue to be relevant to women’s lives in contemporary India and to movements for women’s rights outside India as well. This volume of translations of Mahadevi Varma’s feminist political essays is the first of its kind. While some of these essays, especially those from Mahadevi Varma’s Hamari Shrinkhala Ki Kariyan collection have been translated by Neera K. Sohoni and published under the title Links in the Chain (Katha, 2003), there is no sustained treatment of Varma’s political thinking in one, accessible volume. While there is ample work on Varma in Hindi, scholars of feminism (and students of Hindi who are in the nascent stages of language acquisition) have nowhere to turn for a comprehensive sampling of her work. Mahadevi Varma is also one of the most difficult writers to access even for trained scholars of Hindi language and literature. Her highly Sanskritized diction and her stylized prose sketches make her work a pleasure to read in the original but daunting to translate into English. This volume has contributions from some of the most highly regarded Hindi experts. In the editor’s introduction to the volume of translations a brief biographical sketch followed by an analysis of the political climate of Northern India has been provided so that the reader unfamiliar with India of the 1920s-1940s will have the necessary historical context to place her work. The introduction to the volume also raises the issue of why she gave up writing poetry and turned solely to writing prose when she became involved with the movements for women’s rights and national independence. Finally, the volume provides feminist cultural historians a rich archive of how Indian women like Mahadevi Varma were actively negotiating their lives as women, activists, artists, teachers, and married women. This work will be of use to scholars of Hindi language and literature in the US/European academy and should be of interest to cultural and feminist historians of modern India. This volume will introduce Mahadevi Varma’s literary scope to an English-speaking audience, and will serve as a reference for feminist historians of the nationalist period in the Indian subcontinent.
Poetry, Politics and Culture: Essays on Indian Texts and ContextsThis book maps the journey of the Indian poetic imagination—in Hindi, Panjabi and Indian English—from its original quasi-spiritual longings to its activist interventions in the public domain. As Indian poetry of the post-1990s gravitates towards a non-Orientalised postcolonial nationalism, it seeks to rewrite and disseminate the shifting coordinates of nationalist imagination in terms of the dissent of the subaltern discontents of the nation.
The book is interdisciplinary: it studies Indian poetry from the new emerging imperatives of postcolonialism, new historiography (subaltern, dalit and diasporas), nationalism, and cultural studies. Covering the two major north Indian languages—Hindi and Punjabi—along with poetry in Indian English, the book is a close textual study of about 150 poetry collections in these languages. It is path-breaking in its study of secular poetry written in the so-called vernaculars, with critical attention to its participation in the political as well as cultural processes of nation-making.
This cutting-edge book should be of interest to scholars of Indian writings in English, Hindi and Panjabi, gender studies, dalit and diaspora studies, postcolonial poetry and to students reading South Asian literature and culture.
