Devika Rani Elopement Did she elope? The two co-stars developed a romantic relationship, and during the shooting schedule of Jeevan Naiya, Devika eloped with Hassan. When did this occur? I don't know. What movie were they working on together? Jeevan Naiya,
Why did they have to elope?
Why did Devika and Hassan have to elope?
Najm-ul-Hassan was also Devika's co-star in the studio's next venture, Jeevan Naiya. The two co-stars developed a romantic relationship, and during the shooting schedule of Jeevan Naiya, Devika eloped with Hassan. Himanshu was both enraged and distraught. Since the leading pair were absent, production was stalled. A significant portion of the movie had been shot and a large sum of money, which had been taken as credit from financers, had been spent. The studio therefore suffered severe financial losses and a loss of credit among bankers in the city while the runaway couple made merry.  Sashadhar Mukherjee, an assistant sound-engineer at the studio, had a brotherly bond with Devika Rani because both of them were Bengalis and spoke that language with each other. He established contact with the runaway couple and managed to convince Devika Rani to return to her husband. In the India of that era, divorce was legally almost impossible and women who eloped were regarded as no better than prostitutes and were shunned by their own families. In her heart of hearts, Devika Rani knew that she could not secure a divorce or marry Hassan under any circumstances. She negotiated with her husband through the auspices of Sashadhar Mukherjee, seeking the separation of her finances from those of her husband as a condition for her return. Henceforth, she would be paid separately for working in his films, but he would be required to single-handedly pay the household expenses for the home in which both of them would live. Himanshu agreed to this, in order to save face in society and to prevent his studio from going bankrupt. Devika Rani returned to her marital home. However, things would never be the same between husband and wife again, and it is said that thenceforth, their relationship was largely confined to work and little or no intimacy transpired between them after this episode.  Despite the additional expense involved in re-shooting many portions of the film, Himanshu Rai replaced Najm-ul-Hassan with Ashok Kumar, who was the brother of Sashadhar Mukherjee's wife, as the hero of Jeevan Naiya. This marked the debut, improbable as it may seem, of Ashok Kumar's five-decade-long career in Hindi films. Najm-ul-Hassan was dismissed from his job at Bombay Talkies (this was the period in which actors and actresses were paid regular monthly salaries by one specific film studio and could not work in any other studio). His reputation as a dangerous cad established, he could not find work in any other studio. His career was ruined and he sank into obscurity. CANNOTANSWER
In the India of that era, divorce was legally almost impossible and women who eloped were regarded as no better than prostitutes and were shunned by their own families.
Devika Rani Chaudhuri  (30 March 1908 – 9 March 1994), usually known as Devika Rani, was an Indian actress who was active in Hindi films during the 1930s and 1940s. Widely acknowledged as the first lady of Indian cinema, Devika Rani had a successful film career that spanned 10 years.

Born into a wealthy, anglicized Indian family, Devika Rani was sent to boarding school in England at age nine and grew up in that country. In 1928, she met Himanshu Rai, an Indian film-producer, and married him the following year. She assisted in costume design and art direction for Rai's experimental silent film A Throw of Dice (1929). Both of them then went to Germany and received training in film-making at UFA Studios in Berlin. Rai then cast himself as hero and her as heroine in his next production, the bilingual film Karma (1933), made simultaneously in English & Hindi. The film premiered in England in 1933, elicited interest there for a prolonged kissing scene featuring the real-life couple, and flopped badly in India. The couple returned to India in 1934, where Himanshu Rai established a production studio, Bombay Talkies, in partnership with certain other people. The studio produced several successful films over the next 5–6 years, and Devika Rani played the lead role in many of them. Her on-screen pairing with Ashok Kumar became popular in India.

Following Rai's death in 1940, Devika Rani took control of the studio and produced some more films in partnership with her late husband's associates, namely Sashadhar Mukherjee and Ashok Kumar. As she was to recollect in her old age, the films which she supervised tended to flop, while the films supervised by the partners tended to be hits. In 1945, she retired from films, married the Russian painter Svetoslav Roerich and moved to his estate on the outskirts of Bangalore, thereafter leading a very reclusive life for the next five decades. Her persona, no less than her film roles, were considered socially unconventional. Her awards include the Padma Shri (1958), Dadasaheb Phalke Award (1970) and the Soviet Land Nehru Award (1990).

Background and education
Devika Rani was born as Devika Rani Choudhury on 30 March 1908 in Waltair near Visakhapatnam in present-day Andhra Pradesh, into an extremely affluent and educated Bengali family, the daughter of Col. Dr. Manmathnath Choudhury by his wife Leela Devi Choudhury.

Devika's father, Colonel Manmatha Nath Chaudhuri, scion of a large landowning zamindari family, was the first Indian Surgeon-General of Madras Presidency. Devika's paternal grandfather, Durgadas Choudhury, was the Zamindar (landlord) of Chatmohar Upazila of Pabna district of present-day Bangladesh. Her paternal grandmother, Sukumari Devi (wife of Durgadas), was a sister of the nobel laureate Rabindranath Tagore. Devika's father had five brothers, all of them distinguished in their own fields, mainly law, medicine and literature. They were Sir Ashutosh Chaudhuri, Chief Justice of Calcutta High Court during the British Raj; Jogesh Chandra Chaudhuri and Kumudnath Chaudhuri, both prominent Kolkata-based barristers; Pramathanath Choudhary, the famous Bengali writer, and Dr. Suhridnath Chaudhuri, a noted medical practitioner. The future Chief of Army Staff, Jayanto Nath Chaudhuri, was Devika's first cousin: their fathers were brothers to each other.

Devika's mother, Leela Devi Choudhury, also came from an equally educated family and was a niece of Rabindranath Tagore. Thus, Devika Rani was related through both her parents to the poet and Nobel Laureate Rabindranath Tagore. Her father, Manmathnath Choudhury, was the son of Sukumari Devi Choudhury, sister of Rabindranath Tagore. Devika's mother, Leela Devi Chaudhuri, was the daughter of Indumati Devi Chattopadhyay, whose mother Saudamini Devi Gangopadhyay was another sister of the Nobel laureate. Thus, Devika's father and maternal grandmother were first cousins to each other, being the children of two sisters of Rabindranath Tagore. Nor was this all: Two of Devika's uncles (Chief Justice Sir Ashutosh and Pramathanath) were married to their first cousins (mother's brother's daughters), the nieces of Rabindranath Tagore: Prativa Devi Choudhury, wife of Sir Ashutosh Choudhury, was the daughter of Hemendranath Tagore, and Indira Devi Choudhury, wife of Pramathanath Choudhury, was the daughter of Satyendranath Tagore. Devika thus had extremely strong family ties to Jarasanko, seat of the Tagore family in Kolkata and a major crucible of the Bengali Renaissance.

Devika Rani was sent to boarding school in England at the age of nine, and grew up there. After completing her schooling in the mid-1920s, she enrolled in the Royal Academy of Dramatic Art (RADA) and the Royal Academy of Music in London to study acting and music. She also enrolled for courses in architecture, textile and decor design, and even apprenticed under Elizabeth Arden. All of these courses, each of them a few months long, were completed by 1927, and Devika Rani then took up a job in textile design.

Career
In 1928, Devika Rani first met her future husband, Himanshu Rai, an Indian barrister-turned-film maker, who was in London preparing to shoot his forthcoming film A Throw of Dice. Rai was impressed with Devika's "exceptional skills" and invited her to join the production team of the film, although not as an actress. She readily agreed, assisting him in areas such as costume designing and art direction. The two also traveled to Germany for the post-production work, where she had occasion to observe the film-making techniques of the German film industry, specifically of G. W. Pabst and Fritz Lang. Inspired by their methods of film-making, she enrolled for a short film-making course at Universum Film AG studio in Berlin. Devika Rani learnt various aspects of film-making and also took a special course in film acting. Around this time, they both acted in a play together, for which they received many accolades in Switzerland and the Scandinavian countries. During this time she was also trained in the production unit of Max Reinhardt, an Austrian theatre director.

In 1929, shortly after the release of A Throw of Dice, Devika Rani and Himanshu Rai were married.

Acting debut

Devika and Himanshu Rai returned to India, where Himanshu produced a film titled Karma (1933). The film was his first talkie, and like his previous films, it was a joint production between people from India, Germany and the United Kingdom. Rai, who played the lead role, decided to cast Devika Rani as the female lead, and this marked her acting debut. Karma is credited as having been the first English language talkie made by an Indian. It was one of the earliest Indian films to feature a kissing scene. The kissing scene, involving Himanshu Rai and Devika Rani, lasted for about four minutes, and eighty years later, this stands as the record for duration of a kissing scene in Indian cinema as of 2014. Devika Rani also sang a song in the film, a bi-lingual song in English and Hindi. This song is said to be Bollywood's first English song.

Made simultaneously in both English and Hindi, Karma premiered in London in May 1933. Alongside a special screening for the Royal family at Windsor, the film was well received throughout Europe. Devika Rani's performance was internationally acclaimed as she won "rave reviews" in the London media. A critic from The Daily Telegraph noted Devika Rani for her "beauty" and "charm" while also crediting her to be a "potential star of the first magnitude". Following the release of the film, she was invited by the BBC to enact a role in their first ever television broadcast in Britain in 1933. She also inaugurated the company's first short wave radio transmission to India. In spite of its success in England, Karma did not interest Indian audiences and turned out be a failure in India when it was released in Hindi as Nagin Ki Ragini in early 1934. However, the film received good critical response and helped Devika Rani establish herself as a leading actress in Indian cinema. Indian independence activist and poet Sarojini Naidu called her a "lovely and gifted little lady".

Bombay Talkies
After the critical success of Karma, the couple returned to India in 1934. Although the Hindi version of the film, released in India in 1934, flopped without a trace, Himanshu Rai had established the required networks in Europe, and was able to start a film studio named Bombay Talkies, partnering with Niranjan Pal, a Bengali playwright and screenwriter who he had met previously in London and Franz Osten, who directed several of Rai's films.

Upon inception, Bombay Talkies was one of the "best-equipped" film studios in the country. The studio would serve as a launch pad for future actors including Dilip Kumar, Leela Chitnis, Madhubala, Raj Kapoor, Ashok Kumar and Mumtaz. The studio's first film Jawani Ki Hawa (1935), a crime thriller,  starring Devika Rani and Najm-ul-Hassan, was shot fully on a train.

Elopement
Najm-ul-Hassan was also Devika's co-star in the studio's next venture, Jeevan Naiya. The two co-stars developed a romantic relationship, and during the shooting schedule of Jeevan Naiya, Devika eloped with Hassan. Himanshu was both enraged and distraught. Since the leading pair were absent, production was stalled. A significant portion of the movie had been shot and a large sum of money, which had been taken as credit from financers, had been spent. The studio therefore suffered severe financial losses and a loss of credit among bankers in the city while the runaway couple made merry.

Sashadhar Mukherjee, an assistant sound-engineer at the studio, had a brotherly bond with Devika Rani because both of them were Bengalis and spoke that language with each other. He established contact with the runaway couple and managed to convince Devika Rani to return to her husband. In the India of that era, divorce was legally almost impossible and women who eloped were regarded as no better than prostitutes and were shunned by their own families. In her heart of hearts, Devika Rani knew that she could not secure a divorce or marry Hassan under any circumstances. She negotiated with her husband through the auspices of Sashadhar Mukherjee, seeking the separation of her finances from those of her husband as a condition for her return. Henceforth, she would be paid separately for working in his films, but he would be required to single-handedly pay the household expenses for the home in which both of them would live. Himanshu agreed to this, in order to save face in society and to prevent his studio from going bankrupt. Devika Rani returned to her marital home. However, things would never be the same between husband and wife again, and it is said that thenceforth, their relationship was largely confined to work and little or no intimacy transpired between them after this episode.

Despite the additional expense involved in re-shooting many portions of the film, Himanshu Rai replaced Najm-ul-Hassan with Ashok Kumar, who was the brother of Sashadhar Mukherjee's wife, as the hero of Jeevan Naiya. This marked the debut, improbable as it may seem, of Ashok Kumar's six-decade-long career in Hindi films. Najm-ul-Hassan was dismissed from his job at Bombay Talkies (this was the period in which actors and actresses were paid regular monthly salaries by one specific film studio and could not work in any other studio). His reputation as a dangerous cad established, he could not find work in any other studio. His career was ruined and he sank into obscurity.

Golden era of Bombay Talkies

Achhut Kanya (1936), the studio's next production was a tragedy drama that had Devika Rani and Ashok Kumar portraying the roles of an untouchable girl and a Brahmin boy who fall in love. The film is considered a "landmark" in Indian cinema as it challenged the caste system in the country. The casting of Devika Rani was considered a mismatch as her looks did not match the role of a poor untouchable girl by virtue of her "upper-class upbringing". However, her pairing with Ashok Kumar became popular and they went on to star in as many as ten films together with most of them being Bombay Talkies productions.

In the 1930s, Bombay Talkies produced several women-centric films with Devika Rani playing the lead role in all of them. In majority of the films produced by the studio, she was paired opposite Ashok Kumar, who was "overshadowed" by her. Jeevan Prabhat, released in 1937, saw a role-reversal between Devika Rani and Ashok Kumar—she played a higher-caste Brahmin woman who is mistaken by society of having an extra-marital affair with an untouchable man. Her next release Izzat (1937), based on Romeo and Juliet, was set in the medieval period and depicted two lovers belonging to enemy clans of a Maratha empire. Nirmala, released in the following year, dealt with the plight of a child-less woman who is told by an astrologer to abandon her husband to ensure successful pregnancy. In Vachan, her second release of the year, she played a Rajput princess. Durga, her only release in 1939, was a romantic drama that told the story of an orphaned girl and a village doctor, played by Ashok Kumar.

Widowhood and studio decline
Following the death of Rai in 1940, there was a rift between two parties of the Bombay Talkies led by Mukherjee and Amiya Chakravarty. Devika Rani assumed principal responsibility and took over the studio along with Mukherjee. In 1941, she produced and acted in Anjaan co-starring Ashok Kumar. In the subsequent years, she produced two successful films under the studio—Basant and Kismet. Basant   Kismet (1943) contained anti-British messages (India was under British rule at that time) and turned out to be a "record-breaking" film. Devika Rani made her last film appearance in Hamari Baat (1943), which had Raj Kapoor playing a small role.

She handpicked newcomer Dilip Kumar for a role in Jwar Bhata (1944), produced by her on behalf of the studio. An internal politics that arose in the studio led prominent personalities including Mukherjee and Ashok Kumar to part ways with her and set up a new studio called Filmistan. Due to lack of support and interest, she decided to quit the film industry. In an interview to journalist Raju Bharatan, she mentioned that her idea of not willing to compromise on "artistic values" of film-making as one of the major reasons for her quitting the industry.

Roerich, retirement and death
Following her retirement from films, Devika Rani married Russian painter Svetoslav Roerich, son of Russian artist Nicholas Roerich, in 1945. After marriage, the couple moved to Manali, Himachal Pradesh where they got acquainted with the Nehru family. During her stay in Manali, Devika Rani made a few documentaries on wildlife. After staying in Manali for some years, they moved to Bangalore, Karnataka, and settled there managing an export company. The couple bought a  estate on the outskirts of the city and led a solitary life for the remainder of their lives.

She died of bronchitis on 9 March 1994—a year after Roerich died—in Bangalore. At her funeral, Devika Rani was given full state honors. Following her death, the estate was on litigation for many years as the couple had no legal claimants; Devika Rani remained childless throughout her life. In August 2011, the Government of Karnataka acquired the estate after the Supreme Court of India passed the verdict in favour of them.

Personal life and legacy

Devika Rani was called the first lady of Indian cinema. She is credited for being one of the earliest personalities who took the position of Indian cinema to global standards. Her films were mostly tragic romantic dramas that contained social themes. The roles played by her in films of Bombay Talkies usually involved in romantic relationship with men who were unusual for the social norms prevailing in the society at that time, mainly for their caste background or community identity. Rani was highly influenced by the German cinema by virtue of her training at the UFA Studios;

Although she was influenced by German actress Marlene Dietrich, her acting style was compared to Greta Garbo, thus leading to Devika Rani being named the "Indian Garbo".

Rani's attire, both in films and sometimes in real life, were considered "risque" at that time. In his book Bless You Bollywood!: A tribute to Hindi Cinema on completing 100 years, Tilak Rishi mentions that Devika Rani was known as the "Dragon Lady" for her "smoking, drinking, cursing and hot temper".

In 1958, the Government of India honoured Devika Rani with a Padma Shri, the country's fourth highest civilian honour. She became the first ever recipient of the Dadasaheb Phalke Award, the country's highest award for films, when it was instituted in 1969.

In 1990, Soviet Russia honoured her with the "Soviet Land Nehru Award".

A postage stamp commemorating her life was released by the Ministry of Communications and Information Technology in February 2011.

Filmography

 Karma (1933)
 Jawani Ki Hawa (1935)
 Mamta Aur Mian Biwi (1936)
 Jeevan Naiya (1936)
 Janmabhoomi (1936)
 Achhoot Kanya (1936)
 Savitri (1937)
 Jeevan Prabhat (1937)
 Izzat (1937)
 Prem Kahani (1937)
 Nirmala (1938)
 Vachan (1938)
 Durga (1939)
 Anjaan (1941)
 Hamari Baat (1943)

Notes

References

Citations

Bibliography

External links

1908 births
1994 deaths
Actresses from Visakhapatnam
Bengali people
Tagore family
Indian film actresses
20th-century Indian actresses
Actresses in Hindi cinema
People associated with the University of London
Alumni of the Royal Academy of Dramatic Art
Alumni of the Royal Academy of Music
Recipients of the Padma Shri in arts
Dadasaheb Phalke Award recipients
People from Uttarandhra
21st-century Indian actresses
elope, Inc. is an American company headquartered in Colorado Springs, Colorado that designs, manufactures, and distributes costumes and accessories. The name is an acronym for "Everybody is Laughing on Planet Earth," a phrase they trademarked in November 2013. As of 2016, the company's headquarters is staffed by 45 employees, with an additional 325 factory employees in Guangzhou, China.

History

Founding 
Kevin Johnson, Keith Johnson, and Franzi Fu founded elope in 1993 after backpacking through Nepal, Thailand, Taiwan, India, Japan, China, and Indonesia. To offset travel costs, they sold products they purchased during their trips at a rented kiosk in The Citadel Mall, where they sold 1,000 hats within two weeks.

They contracted a Nepali factory shortly thereafter to manufacture their hats, the first of which were Mad Hatter, jester, and stovepipe hats marketed towards skiers and snowboarders. In 1995, following a year of little snowfall and poor sales, elope brought products to their first trade show and began expanding into the Halloween industry. The company was officially incorporated the same year.

Locations 
elope rented its first non-residential headquarters, a 2,800 square foot warehouse, in 1999. Two years later, the company purchased its first building, an 18,000 square foot office space, and moved their headquarters there. According to the Colorado Springs Business Journal, a 300% growth rate in 2003 meant "expansion was imminent," and 2004 saw the purchase of a larger, 55,000 square foot building. Their current headquarters were purchased on October 10, 2012.

Manufacturing 
In an interview with Rocky Mountain News, CEO Kevin Johnson described elope's international business model as fair trade. Currently, the corporation conducts the bulk of their manufacturing through their factory partner in Guangzhou, China, a partnership that began following quality control issues with their previous Nepali manufacturer. Construction of the 125,000 square-foot Guangzhou factory began in 2003, as a joint effort between elope and Zhan Gong. A Feng Shui expert was consulted throughout the entire process.

elope estimated a $1 million loss following the West Coast Port-Labor Dispute of 2002. In 2012, The company was contacted by Anthony E. Held, PhD, and given a 60-day Notice of Violation pursuant to Proposition 65 with allegations that they had sold Halloween costumes and accessories containing DEHP, DBP, BBP, arsenic, cadmium, and lead in California without the appropriate hazard warning labels. They agreed to not sell any product in the State of California unless they met reformulation standards outlined in the settlement.

Products 
elope has licenses from popular brands including Disney, Doctor Who, Dr. Seuss, Hasbro, Harry Potter, and Where's Waldo. In 2016, the company announced "Bricky Blocks", accessories that could be customized with LEGOs or other brick-building systems.

Partnerships

Waldo Waldo 5K 
The Waldo Waldo 5K was founded by Chelise Foster, an elope employee, following the Waldo Canyon fire. As presenting sponsor, elope provides Waldo and Wenda costumes at discounted rates, in addition to monetary and staffing support. Raised funds go towards "Waldo Canyon restoration, disaster relief, fire recovery, outdoor activities and trails and open space maintenance in the local community."

St. Baldrick's Foundation 
In 2001, elope partnered with the St. Baldrick's Foundation to host a shaving event in Colorado Springs, Colorado, and has been hosting annual events since. As of 2016, Fox 21 News claims the company has donated 20,000 hats, and raised over $1.2 million for pediatric cancer research.

References

External links 
Elope.com

Companies based in Colorado Springs, Colorado
Costume design
Halloween
Halloween in the United States Let's Elope (20 November 1987 – 11 September 2016) was a Champion Thoroughbred racehorse in Australia.

Background 
Bred by Highview Stud in Hamilton, New Zealand, Let's Elope was a giant chestnut mare who in 1991 became the first mare in more than 50 years to complete Australia's famed Caulfield Cup - Melbourne Cup double (the "Cups double"). The last mare to complete the double had been Rivette in 1939.

By the Blushing Groom stallion Nassipour, out of Sharon Jane, she was a NZ$16,000 purchase at the 1989 New Zealand Magic Millions sale. Originally trained by Dave O'Sullivan for the Fleiter family, she was un-raced as a two-year-old but won her first start as a three-year-old in 1990. Despite showing above-average ability, her record in New Zealand was underwhelming, and, on the advice of her trainer, the owners accepted a NZ$150,000 offer for her. Her new owners, Dennis Marks and Kevin White, transferred her to the Australian stables of the "Cups King", Bart Cummings.

Racing career 
Let's Elope was close-up in her first two starts for Cummings, and, while down the track in the wet at Caulfield, was a different horse on top of the ground. In a superb season, Let's Elope began a seven-race winning streak in the Turnbull Stakes, on the first weekend of October, took the Mackinnon Stakes and both the Cups, and returned in the new year for the Orr Stakes, the St George Stakes, and the Australian Cup, in course record time, on Labour Day in March. A fetlock injury then cut short her season, but Let's Elope had the 1992 Horse of the Year Award in her keeping.

She returned at five, and, while thwarted by wet tracks for much of the spring, won a match race with Better Loosen Up at Caulfield and was narrowly defeated by Super Impose in a classic Cox Plate (after the race, she was relegated from second to fifth for cutting off the unlucky Better Loosen Up). Ten days later, Let's Elope was one of three scratchings from the Melbourne Cup. After a bleeding attack in the Japan Cup, Let's Elope continued her career in the United States.

Conditioned in the U.S. by U.S. Racing Hall of Fame inductee Ron McAnally, Let's Elope won a minor race on debut, and was first past the post in the Grade I Beverly D. Stakes in front of Flawlessly before being relegated to third - under American rules, she was relegated for simply causing interference, not because the third horse would have beaten her home. The recurrence of a bleeding attack and a fractured cannon bone forced her retirement at the close of 1993.

At stud, Let's Elope had visited some of the world's greatest stallions, including Storm Cat, and, while considered slightly disappointing, has produced the stakeswinner Ustinov (by Seeking The Gold), who was placed in a number of Group One races and Outback Joe (by Elvstroem) winner of the 2014 Adelaide Cup.

Death 
Let's Elope died in her sleep on 12 September 2016 at Lauriston Park, Euroa, Victoria, Australia.

Group 1 wins

Group 2 wins

Group 3 wins

See also
 List of millionaire racehorses in Australia
 Thoroughbred racing in Australia
 Thoroughbred racing in New Zealand

References

 Let's Elope's pedigree and partial racing stats

1987 racehorse births
2016 racehorse deaths
Australian Champion Racehorse of the Year
Caulfield Cup winners
Melbourne Cup winners
Racehorses bred in New Zealand
Racehorses trained in Australia
Australian Racing Hall of Fame horses
Thoroughbred family 10