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Bollywood filmmaker J Om Prakash passed away

Mumbai:7/8/19:Bollywood filmmaker and Hrithik Roshan’s maternal grandad J Om Prakash died on Wednesday morning. Actor Deepak Parashar confirmed the death of his uncle on Twitter. J Om Prakash was 93. He died at his Mumbai residence at 8am. He is best known for directing Rajesh Khanna hits Aap Ki Kasam, Aakhir Kyun? and Jeetendra-starrer Arpan and Aadmi Khilona Hai, apart from producing box office hits Aas Ka Panchhi and Aaye Din Bahar Ke. Prakash made his debut with Rajesh Khanna’s Aap Ki Kasam in 1974 and the film was hugely successful. Performances were widely appreciated and it proved to be a major box office hit. The film was also a musical hit.

He also worked with Jeetendra on Apna Bana Lo (1982), Apnapan (1977), Aasha (1980), Arpan (1983) and Aadmi Khilona Hai (1993). He is also known for producing box office hit films like Ayee Milan Ki Bela (1964), Aas Ka Panchhi (1961), Aaye Din Bahar Ke (1966), Aankhon Aankhon Mein and Aya Sawan Jhoom Ke (1969).

His daughter, Pinky, is married to director-producer Rakesh Roshan, actor Hrithik’s dad. Recently, Hrithik had shared pictures with his grandad on Twitter, calling him his ‘Super teacher’. “#MySuperTeacher – My Nana who I lovingly call Deda, for the lessons he has taught me at every stage of my life, which I share with my kids now. And Dr Oza, my speech therapist as a child, who taught me to accept my weakness and helped me overcome my fear of stammer.”

 

About Ashok Palit

Ashok Palit has completed his graduation from Upendranath College Soro, Balasore and post graduation from Utkal University in Odia Language and literture.. He has also carved out a niche for himself as a scribe of eminence after joining the profession in 1988. He is also an independent media production professional. He brings loads of experience to Advanced Media, Ashok Palit as a cineaste has been active in film criticism for over three decades. As a film society activist, he soared to eminence for his profound commitment to the art film appreciation and aesthetics of cinema. His mode of discourse is often erudite but always lucid and comprehensible marked by a perfect acumen so rare in the field. A film aesthete with an immense fond of critical sensibilities, he wrote about growth and development of odia cinema in New Indian Express, The Times of India, The Hindustan Times, The Asian Age and Screen. He has been working as an Editor for Cine Samaya from 2002-2004.. He had made solid contribution on cinema in many odia Dailies and weekly such as Samaj, Prajatantra, Dharatri, Samaya, Satabadi, and weekly Samaya.

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