Chanakya (TV series)

Chanakya
Genre	Historical drama, Costume drama
Created by	Chandraprakash Dwivedi
Written by	Chandraprakash Dwivedi
Directed by	Chandraprakash Dwivedi, mandira kashyap asst director
Starring	Chandraprakash Dwivedi Dinesh Shakul Suraj Chaddha Surendra Pal Prakash Dwivedi JD Majethia
Narrated by	Salim Arif
Opening theme	Asato mā...
Composer(s)	Ashit Desai
Country of origin	India
Language(s)	Hindi
No. of seasons	1
No. of episodes	47
Production
Producer(s)	Prakash Dwivedi
Editor(s)	Mohan Kaul Rajeev Khandelwal
Location(s)	Film City, Mumbai
Cinematography	Rajan Kothari
Running time	45 minutes
Production company(s)	Shagun Films
Broadcast
Original channel	DD National
Original run	September 1991 – August 1992

Chanakya (Devanagari: चाणक्य) is a 47-part Indian television historical drama written and directed by Dr. Chandraprakash Dwivedi that was originally telecast on DD National from September 1991 to August 1992.^[1][2] Produced by Prakash Dwivedi, the series is a fictionalized account of the life and times of 4th century BCE Indian economist, strategist and political theorist Chanakya (aka Vishnugupta) and is based on events occurring between 340 BCE and 321/20 BCE, starting with Vishnugupta's boyhood and culminating in the coronation of Chandragupta Maurya. Chandraprakash Dwivedi played the title role of Chanakya.

The series is divided into three major parts-

• The early life of Vishnugupta in the kingdom of Magadha and the circumstances leading to his self-imposed exile, particularly the persecution (and subsequent death) of his father at the hands of Dhanananda, King of Magadha.
• The invasion of north-western India by Alexander, his death and the rebellion led by native Indian kingdoms under the leadership of Chandragupta Maurya against Alexander's successors in India.
• The attack on and overthrow of the Nanda rule in Magadha and the crowning of Chandragupta as the King of Magadha.

Within this framework, Dwivedi portrays the politics and backstabbing that governed relations between various kings and officials of that time. He also covers the workings of the early Indian republics and the way of life of ordinary Indians during those times.

Chanakya is critically acclaimed and has been hailed as a "milestone on Indian television." At the same time, it has also been the subject of political controversy. It has been televised in many countries around the world and has won five Uptron Awards.^[1]

Production

Development

Dwivedi spent more than nine years researching Chanakya and read over 180 books on the subject including the Arthashastra.^[3] For him, Chanakya was "the first man with a national consciousness."^[2] And that is what made him take up the project-

“

I am not interested in the present; my idea is to delve into the past and link it with the present. After a great deal of thinking I discovered that politics is the crux of all sciences, just as Chanakya said.... Today the question of national consciousness is agitating the minds of our countrymen. Was it not Chanakya who defined Rashtra and paved the way for the first one?[3]

”

Chanakya started out as an idea for a film. But Dwivedi abandoned the plan and decided to make it into a television series because it was not possible to meet "telecast deadlines" if it had been shot as a film.^[4] Dwivedi didn't conceive of the series as a "purely factual account" of Chanakya's life and times. But he did want "to present a work of fiction based on historical evidence—unlike the serials Ramayan and Mahabharat which presented history with a touch of masala." He didn't want to "[create] false drama just to appease popular sentiments."^[5] Episodes 11, 12 and 14 were based on McCrindle's book The Invasion of India by Alexander the Great as described by Arrian, Q. Curtius, Diodoros, Plutarch and Justin,^[5] while the final episodes dealing with Chanakya's scheme to win over Dhanananda's minister, Rakshasa, were based on Vishakhadatta's 4th century CE play, Mudrarakshasa.^[2]

I want to prove that it is not only persons in high places who have changed the course of history but seemingly ne'er do wells like Chanakya from whom there had been no expectations whatever. To present Chanakya in such a light that you or me can, on seeing the serial, exclaim even I could have done that.

Dr. Chandraprakash Dwivedi to Surya India magazine.^[3]

Initially, Dwivedi was associated with the project only in his capacity as writer while his brother, Prakash Dwivedi, was the producer. Dwivedi decided to direct the series after continued differences of opinion with the original director, Rajiv Singh, who later filed a case against the producers.^[4][6] Dwivedi submitted his script to Doordarshan in April 1986, and shot the pilot after receiving the approval sometime in 1988. He submitted it to the channel in December 1988 and got the final approval by the end of the year.^[3] BR Chopra, the producer of Mahabharat had also been interested in the series and had submitted a proposal of his own to Doordarshan. However,Doordarshan preferred Dwivedi's project to Chopra's proposal which had been "found wanting."^[3]

Filming

The pilot was shot at a cost of INR 18 lakhs (1.5 crore in 2009, as estimated by Dwivedi).^[7] Doordarshan initially allotted 26 episodes for the series and an extension was promised if "the quality was up to the mark."^[3] In early 1992, a further 21 episodes were sanctioned as against the 26 demanded, after the extension was initially (controversially) revoked, for a total of 47 episodes.^[8][9] The first 17 episodes were shot over a period of nine months at an estimated average cost of INR 9 lakhs per episode.^[5] A huge cast of about 300 actors were involved with the production.^[4]

The production team included well known technicians such as art director Nitish Roy and costume designer Salim Arif who had previously been involved with Shyam Benegal's Bharat Ek Khoj.^[3][10] Arif was also part of the cast, as narrator and as the character Sidhartak. Roy remained art director for the first 25 episodes, and Nitin Chandrakant Desai, who was assisting him, took over episode 26 onwards.^[7][11] "Magnificent sets" were erected at Film City, Bombay (now Mumbai) for the series and an amount of INR 70 lakhs was budgeted to build three cities including Pataliputra and Takshashila.^[3] Chanakya was Desai's first independent project and "[he] had to recreate the ancient grandeur of Pataliputra" for the series. Desai spent weeks at the Asiatic Library and Bombay University researching the period. The university librarian even had a separate desk installed for him in the arts and culture section after noting his "constant presence at the library, even during lunch hour, for weeks at an end."^[12][13] The result was a town with "26 structures, four main lanes and six bylanes," all part of a single set.^[14]

Close attention was paid to detail when it came to costumes and weaponry, so much so that a piece of armor worn by Chandragupta was procured for over INR 8,000.^[5] According to Muneesh Sappel, associate costume designer, the costumes used in the series "were based on books by Alkazi Raushan (costume advisor for the serial Mullah Nasruddin), Dr. Moti Chandra (former director of the Prince of Wales Museum), N. P. Joshi (author of Life in Ancient Pataliputra) and K. Krishnamurthy’s Early Indian Archaeology."^[5][15] Terracotta sculptures from the 1st century CE, the museums at Sarnath, Patna and Lucknow, and the caves at the Borivali National Park were other sources of inspiration.^[5] In a 2009 interview, Salim Arif considered his work on Chanakya to be better than that on Bharat Ek Khoj.^[10]

Casting

Dwivedi chose stage actors to play the various parts in the series. Pramod Moutho, Suraj Chaddha, Ragini Shah, Ajay Dubey, Arun Bali, and Himanshu Gokani were among the first to be selected.^[3] While Dwivedi played the central role of Chanakya, he faced a problem when he looked for someone to play the adolescent Vishnugupta. It was then that his friend Akshay Vyas introduced him to Mitesh Safari. "One look at Mitesh and [Dwivedi] knew he had found his Chanakya. [He] did not even take Mitesh's screen test and told him to report directly for the shooting."^[16]

Crew

• Mohan Kaul - Editing
• Rajeev Khandelwal - Re-Editing/Editing
• Rajan Kothari - Cinematography
• Subhash Agarwal - Audiography
• Ashit Desai - Music
• Nitish Roy - Art Director
• Nitin Chandrakant Desai - Associate Art Director
• Salim Arif - Costume Designer
• Muneesh Sappel - Assistant Costume Designer

Cast

Chanakya and his coterie

• Chandraprakash Dwivedi - Chanakya aka Vishnugupta aka Kautilya
• Mitesh Safari - Young Chanakya
• Dinesh Shakul - Chandragupta Maurya
• Abhishek Dwivedi - Young Chandragupta
• Sanjeev Puri - Senapati Sinharan (of Taxila)
• Deepraj Rana - Akshay
• Bakul Thacker - Sharangdev
• Sanjay Mishra - Nipunak
• Navneet Nishan - Shaunotra

The Greeks

• Shahrukh Irani - Alakshendra aka Alexander the Great
• Nileish Malhotra - Satrap Philip
• Kurush Deboo - Cliturcus/ Kritorus

Magadha

• Suraj Chaddha - King Dhanananda

Pre-self-exile period

• Pramod Moutho - Maha Mantri Shaktar
• Himanshu Gokani - Maha Amatya Vakranas
• Surendra Sharma - Shishupal (Shaktar's spy)
• Vimal Verma - Paur Milind
• Ragini Shah - Chanakya's mother
• Ajay Dubey - Acharya Chanak (Chanakya's father)
• S.P. Dubey - Acharya Abhinavgupta (Chanakya's guru)
• Meenakshi Thakur - Bhamini (Shaktar's wife)
• Mahendra Raghuvanshi - Kaaljayi (Dhanananda's spy)
• Ankur Merchant - Young Ajeya
• Punit Shukla - Young Kartikeya
• Utkarsha Naik - Chandragupta's mother
• Laxmikant Karpe - Chandragupta's uncle
• Mihir Bhuta - Young Katyayan
• Susheel Parashar - Crematorium grounds keeper
• Shikha Diwan - Angad's mother

Post-self-exile period

• Surendra Pal - Katyayan aka Amatya Rakshas
• Irrfan Khan - Senapati Bhadrashaal
• Ashok Lokhande - Ashwadhyaksha Purushdutt
• Naresh Suri - Senadhyaksha Balgupta
• Ishan Trivedi - Acharya Ajeya
• Renuka Israni - Maitree (Ajeya's wife)
• Manoj Joshi as Mantri Shriyak (Shaktar's son)
• Vipin Sharma - Maha Mantri Varruchi
• Chand Dhar - Acharya Rudradev
• Trilok Malhotra - Bhagurayan
• Jairoop Jeevan - Susidhartak
• Salim Arif - Sidhartak / Narrator
• Neena Gupta - Raj Nartaki Shweta
• Prakash Dwivedi - Monk Jeevasiddhi

Gandhara / Takshashila / Taxila

• Sudhir Dalvi - Ambhiraj, King of Taxila
• Adarsh Gautam - Ambhikumar aka Ambhi, Prince of Taxila
• Chandramohan Bounthiyal - Anujdev
• Brij Mohan Vyas - Kulpati Acharya Taponidhi
• Siraj Syed - Maha Mantri Sushen
• Namrata Sahani - Princess Alka (Ambhiraj's daughter)

Kekaya

• Arun Bali - Parvateshwar aka Porus, King of Kekaya
• Ashok Banthia - Maha Mantri Indradutt
• Malvika Tiwari - Kalyani (Porus' daughter)
• Kirti Azad - Ashtavakra (Spy in Taxila)
• Kumar Ram Pravesh - Chakravak (Spy in Taxila)
• Anita Kanwal - Subhada (Spy in Taxila)
• Kamal Chaturvedi - Mrityunjay (Spy in Taxila)
• Chandrakant Beloskar - Minister Pishuna

Paurava

• Prakash Dwivedi - Laghu Pauravraj
• JD Majethia - Malayketu, son of Pauravraj

Others

• Malayraj, King of Malva

Terminology

• Acharya - Teacher
• Amatya - Councilor
• Ashwadhyaksha - Chief Commander of Cavalry
• Laghu - Small quantity , little
• Maha Mantri - Prime Minister
• Mantri - Minister
• Raj Nartaki - Court Dancer
• Senadhyaksha - Army Chief
• Senapati - Chief of Defense

Reception

The series gathered much praise for its authenticity, particularly the way it used costumes and similar artistic devices.^[5] Journalist and media critic Sevanti Ninan, bemoaning the lack of attention paid to authenticity and aesthetics in Indian mythological serials, wrote in a 2000 column in The Hindu—"'Chanakya' still stands out in one's memory for its period authenticity."^[17]

The series was commercially successful for Doordarshan, bringing in INR 18 crores in advertising revenues.^[18] While thinking about opening up the organization's second channel, DD Metro, to private producers in lieu of license fees, it took the Chanakya experience into consideration with a Doordarshan official commenting that "quality programmes can attract enough advertising support to sustain even small producers who could be bidding for time slots on the metro channel."

Chanakya brought instant and lasting recognition to the director and chief protagonist, Dwivedi,^[1] who is often referred to as "Dr. Chandraprakash 'Chanakya' Dwivedi."^[19][20]

Criticism

Saffron flags and "shaven heads."

The series faced criticism for having a pro-Hindutva subtext and a nationalist agenda, something that Dwivedi strongly denied.^[5] Questions were raised about the "liberal use of saffron and 'Har Har Mahadev' slogans" in the series and Dwivedi's links to the Bharatiya Janata Party (BJP).^[5] Then BJP chief LK Advani had visited the series' Film City sets in 1991,^[21] and journalist Madhavi Irani noticed in Dwivedi's office, during an interview with him, "a large laminated photograph of the BJP supremo ... posing with doctor sahib and his brother, serial producer Prakash Dwivedi."^[5]

Critic Maithili Rao, while accepting the "tasteful and authentic" nature of the series, termed as unhistorical the story arc dealing with "akhand Bharat" (undivided India). "In the fourth century B.C., people did not have to unite against a foreign force. [Dwivedi] is trying to create a Pan-Indian identity at a time when there was none," she said.^[5]

Another critic, Iqbal Masud, took aim at Kautilya and his magnum opus, the Arthashastra, and questioned the "amoral treatise's" relevance in the present time and age. "[The serial] is the spiritual justification of the BJP's forthcoming rath yatra from Srinagar to Kanyakumari. In the existing cauldron of hatred, the serial's image of shaven heads and Vedic mantras is only bound to ignite passions.... [There is no] beating around the bush that the ideology Chanakya preaches is the ideology of the Rashtriya Swayamsevak Sangh and the BJP,” he said.^[5]

V. Geetha, in an editorial in the Deccan Herald, wrote-

“

[I]deology is not entirely absent in its open assertive form. For, the text is replete with references to the sacred and inviolable home that is 'Bharat'—never mind the anachronism—and the heavily Sanskritised Hindi renders meaning opaque and one wonders if this is deliberately so. The viewer is awed by the power of knowledge and virtue, and sound—the sonority of the Sanskrit language itself—substitutes for meaning and in the interstices of image and text, lurks the shadow of Hindutva.[22]

”

Other critics referred to some other (non-political) inaccuracies. Script writer Govind. P. Deshpande (who scripted the episodes on Chanakya, Shivaji and Mahatma Phule for Bharat Ek Khoj) thought that the series had failed to "correctly identify and interpret the concepts of dharma and rashtra as they existed from the Vedic to the Mauryan times," and that the philosophies of the time, both Vedic and otherwise, had not received in-depth treatment.^[5] Dwivedi did receive support from veteran actor Dr. Sriram Lagoo who said that "[the series] portrays the period of Vedic culture quite accurately and one imagines there was quite a bit of saffron going around even then."^[5]

The controversies, including "accusations of religious propaganda," resulted in Doordarshan pulling the serial off air, but only after the series completed the allotted number of episodes thanks to legal action by the producers.^[23] “I still feel that people didn’t understand the kind of work I did in Chanakya. Nobody saw the pains behind making a serial set in a period about which there was practically nothing on record. But controversies were raised, so people didn’t watch it seriously," Dwivedi said in an interview years later (1996).^[24]

Awards

6th Uptron Awards, 1992 (for 1991)

• Best Director - Chandraprakash Dwivedi
• Best Actor - Chandraprakash Dwivedi
• Best Art Direction - Nitin Chandrakant Desai

7th Uptron Awards, 1993 (for 1992)

• Best Serial^[25]
• Best Actor in a Supporting Role - Surendra Pal

Distribution

Chanakya premiered on Doordarshan's main channel, DD National, in September 1991. In 1993, it was picked up by the BBC and telecast in the UK on BBC2 as part of the Saturday morning Asia Two slot.^[26] Zee TV re-ran it in 1997^[2] when Dwivedi was the channel's programming head, and 9X in 2007-08. Since 2008, Amrita TV runs a dubbed (into Malayalam) version entitled Chanakya Tantram. The series has also been broadcast in the USA, Canada, Indonesia, Sri Lanka, Mauritius and Nepal.^[1]

Since 1993, the complete series has been available on home video in various formats including a set of 16 VHS video cassettes,^[27] 47 VCDs, and 8 DVDs.

Episodes

The series consists of 47 episodes, and all of them were written and directed by Dr. Chandraprakash Dwivedi.

Ep. 1

King Dhanananda's charioteer, Angad, has been missing for over 7 days, and his worried mother searches for him. None of the high officials in Pataliputra, including chief minister Vakranas, have responded to her pleas. Councilor Milind approaches Vakranas about the subject but is told that he need not worry about it. He then questions the king himself and is told to stay within his limits.

Prime minister Shaktar has been out of the city for sometime, and sees Angad's mother on the streets on his return. She tells him her tale, and so does Milind. Shaktar meets his spy, Shishupal, who has been hiding from the king's spies all this while. Shishupal tells him that the king, having used Angad and a few trusted servants to steal millions of gold coins from the royal treasury and hide the loot, has murdered them. Shaktar conveys the news to Milind.

The cabinet, on finding that the monthly allowances of all ministers and members of the king's household are short by one coin, summons the royal treasurer for questioning. He pleads ignorance and claims that only Shaktar knows the culprit. Shaktar reaches the palace and has a huge row with the cabinet and the king over making a mountain out of a molehill while ignoring the far bigger theft from the treasury. He charges the king with the theft and, before leaving, returns the coins "stolen" from the allowances.

Ep. 2

Dhanananda's spies are out to kill Shishupal, who escapes and takes refuge with Shaktar. He requests Shaktar to arrange for his safe passage out of the kingdom. Shaktar advices him against the move, telling him that Magadha needed patriots like him.

The king has imposed new taxes on items such as wood, stone, gum and leather, without Shaktar's knowledge. Shishupal leads Shaktar to the crematorium where a corpse has been left uncremated on account of such unpaid taxes. A dejected Shaktar pays the taxes so that the last rites could be performed. While he's thinking about the newly imposed taxes, he receives a message from the king ordering him to appoint new officials to collect the taxes. An enraged Shaktar refuses to do so.

Shaktar returns home only to find his family all packed up and ready to leave (the kingdom). His wife and son tell him that his feud with the king and the cabinet is both futile and dangerous. But he is optimistic about the future, and tells his family that they could leave if they wished, but he won't. The family cancels their plans, albeit unwillingly.

The cabinet has assembled, and Vakranas asks Shaktar if the new tax officials have been appointed. Shaktar tells him that only a dacoit could impose taxes on items such as wood and stone, and that he is not sure if the kingdom isn't being ruled by dacoits. Shaktar meets the king and tells him to withdraw the new taxes, but his plea is rejected.

Shaktar meets his old friend, acharya Chanak, and explains the situation to him. Chanak tells him to continue his fight for the truth. While leaving, Shaktar runs into Chanak's son, the young Vishnugupta, who tells him that a king should collect taxes just like a bee collects nectar without harming the flowers. Chanak calls a meeting of prominent acharyas in Pataliputra about leading a delegation to the king, but none of them are willing to stick their necks out. Chanak vows to continue the campaign of dissent on his own.

At night, Shaktar returns home and finds Shishupal dead, murdered, at his doorstep.

Ep. 3

Late at night, Shaktar digs out the gold coins buried by the king. Bhamini, not finding her husband by her side, asks Milind to look for him. Milind follows a trail of gold coins on the streets of Pataliputra and finds Shaktar (gone berserk in rage) at the head of the trail, scattering coins all around the place. Later, Milind warns Shaktar against taking on the king, telling him that it is only because of his position of prime minister that he dares to do what he did. If he were dismissed from the post, he would become an ordinary man, and ordinary men could not fight against kings.

Vakranas orders Milind to arrest Shaktar on charges of stealing millions of gold coins from the treasury and scattering them on the streets of Pataliputra. Arrest warrants have also been issued against his sons, Shriyak and Sthoolbhadra. On the way to the palace, the boys make a failed attempt to escape from the carriage. Vishnugupta witnesses this and conveys the news of their arrest to his father.

Chanak begins his campaign of dissent, giving incendiary speeches against the king at street corners, criticizing the government for its treatment of Shaktar and his family, and even the citizenry for remaining mute spectators in the face of injustice. During one such speech, Dhanananda and Chanak come face-to-face. Chanak is assaulted and dragged away to prison, as Vishnugupta watches on.

Vishnugupta tells his mother to forget about Chanak and consider him as good as dead. He extracts a promise from her to refrain from approaching Dhanananda or any citizen of Magadha with a plea to spare Chanak's life, in the unlikely case of him being alive.

Ep. 4

Vishnugupta goes on his daily morning round of collecting alms, but this time, no one is willing to offer alms to a "traitor's son" and thereby invite the king's wrath. Unwilling to return to the gurukul empty handed, Vishnugupta collects alms from his own mother. At the gurukul, his acharya tells him to go home and look after his mother. On being prodded, the acharya tells him that Vishnugupta's continued presence in the gurukul might not go down too well with his fellow students.

While Vishnugupta sits alone, contemplating his future, Ajeya informs him of his mother's death. He rushes home to find preparations being made for her funeral. Unwilling to pay taxes on the wood required for the funeral pyre, he tears down a shed in the backyard and uses the wood for the last rites. The next day, he leaves for Taxila.

In prison, the guards discover Chanak's dead body; he has starved himself to death. They convey the news to Vakranas, who tells them to keep the news under wraps. Everyone else will be told that Chanak has been banished from the kingdom that very night.

A few days later, Shaktar and his sons are released. Vakranas meets Shaktar and informs him of the king's offer to reinstate him to the post of prime minister. Shaktar spurns the offer.

Ep. 5

Vishnugupta joins a caravan heading towards Taxila and reaches his destination a few months later. He gains admission at the Taxila gurukul after meeting the chancellor, acharya Taponidhi. He graduates from the gurukul after eight years and is immediately appointed as an acharya of political science.

Over the years, Kekaya's spies have managed to set up a base within Taxila and have used the services of patriotic courtesans to charm high officials. The general, Sinharan, and the crown prince, Ambhi, have fallen victim to one such woman, Subadha.

Kekaya's messenger, Chandvarma, arrives in Taxila to meet king Ambhi. He conveys a message from king Parvateshvar complaining about the activities of Taxila's army including unwarranted attacks on Kekaya and attempts at infiltration. If Taxila continues with its current policy, Parvateshvar writes, Keyaka will take remedial action. Ambhi sends his apologies and pleads ignorance of the matter. Such actions will cease with immediate effect, he promises.

Prince Ambhi overrules minister Sushen and orders Sinharan to attack Kekaya and cause havoc on its borders. Sinharan complies. The two Ambhis, king and prince, have a row over the latter's actions.

Ep. 6

Parvateshvar's cabinet discusses the Taxila problem and decides to teach prince Ambhi a lesson. Parvateshvar orders it to plan for an attack in ten days time.

Spy Mrityunjay reaches Kekaya and meets his colleagues Ashtavakra and Chakravak. Playing upon the feelings of Sushen's wife, they manage to create doubts in prince Ambhi's mind about Sushen being involved with Kekaya. While Sushen is distracted, worried about his future, the courtesans manage to neutralize the state's high officials by plying them with alcohol.

While Sushen tells his wife to get ready to leave Taxila surreptitiously, Kekaya's army approaches Taxila.

See also

• Chanakya
• Mudrarakshasa
• Chandragupta Maurya
• Chandraprakash Dwivedi
• The Invasion of India by Alexander the Great as described by Arrian, Q. Curtius, Diodoros, Plutarch and Justin [1]

Notes

1. ^ ^{a b c d} "Celebrating humanity". Screen Weekly. 26 September 2003. http://www.screenindia.com/old/fullstory.php?content_id=6161. 
2. ^ ^{a b c d} Uma Chakravarti (2000) [1998]. "Inventing Saffron History". In Mary E. John, Janaki Nair. A question of silence: the sexual economies of modern India. pp. 243–268. 
3. ^ ^{a b c d e f g h i} "And Now Chanakya". Surya India 14: 58. 1989. 
4. ^ ^{a b c} Sukanya Verma (23 October 2003). "'Neither the Indian nor the Pakistani government will gain from Pinjar'". rediff.com. http://www.rediff.com/movies/2003/oct/22chandra.htm. 
5. ^ ^{a b c d e f g h i j k l m n} Madhavi Irani (1 December 1991). "Saffron for breakfast". The Times of India. http://www.cscsarchive.org:8081/MediaArchive/essays.nsf/(docid)/D8FC3F972470D71BE5256C5E00549F21. 
6. ^ "Pre-planned sabotage of 'Chanakya'". Organiser. 28 June 1992. http://books.google.co.in/books?id=m04_AQAAIAAJ. 
7. ^ ^{a b} Chaya Unnikrishnan (21 August 2009). "Lessons from history". Screen Weekly. http://www.screenindia.com/news/lessons-from-history/503533/. 
8. ^ S. P. Agrawal, ed (1991). Development/digression diary of India: 3D companion volume to Information India 1991-92. 45. Concept Publishing Company. p. 118. ISBN 9788170223054. 
9. ^ "India Today, Volume 17, Part 1". India Today (Thomson Living Media) 17: 72. 1992. http://books.google.com/books?id=Z2VDAAAAYAAJ. 
10. ^ ^{a b} Arjun Narayanan (20 December 2009). "Next work, your own catcall". The New Indian Express. http://www.expressbuzz.com/edition/story.aspx?Title=Next+work,+your+own+catcall&artid=085ThyhuaVs=. 
11. ^ "Nitin Chandrakant Desai". Joint Scene. http://www.jointscene.com/artists/Bollywood/Nitin_Desai/2449. 
12. ^ Piyus Roy (14 April 2007). "The Set Maker". Indian Express. http://www.indianexpress.com/story_print.php?storyId=28368. 
13. ^ Deepa Karmalkar (25 July 2008). "Set for big times". Screen Weekly. http://www.screenindia.com/news/Set-for-big-times/339405/. 
14. ^ Aruna Vasudev, ed (1995). Frames of mind: reflections on Indian cinema, Volume 44 of Indian horizons. UBSPD. p. 132. http://books.google.com/books?id=2V9ZAAAAMAAJ. 
15. ^ Ashish Mitra (12 March 2004). "Art Directors gaining recognition". Screen Weekly. http://www.screenindia.com/old/fullstory.php?content_id=7531. 
16. ^ Parag Maniar (7 November 2008). "The baton passes on". Mumbai Mirror. http://www.mumbaimirror.com/index.aspx?page=article&sectid=12&contentid=2008110720081107025805452d09235f4&sectxslt=section. 
17. ^ Sevanti Ninan (16 July 2000). "Television gods". The Hindu. http://www.cscsarchive.org:8081/MediaArchive/essays.nsf/%28docid%29/40F20D7DA875D31D65256A3A0042A43E. 
18. ^ Askari H. Zaidi (1 August 1992). "DD Metro Channel council soon". The Times of India. http://cscsarchive.org:8081/__e52568520028c6dd.nsf/0/de718f8e81119bc5e5256c7000780a6e?OpenDocument. 
19. ^ Menka Shivdasani (2 July 2001). "Building programmes". The Hindu Business Line. http://www.thehindubusinessline.com/2001/07/02/stories/10024412.htm. 
20. ^ "Missing stars take shine out of Delhi CM's meet". Indian Express. Express News Service. 24 February 1998. http://www.indianexpress.com/res/web/pIe/ie/daily/19980224/05550734.html. 
21. ^ "Business India, Issues 355-360". Business India (A.H. Advani): 52. 1991. http://books.google.com/books?id=qb1IAAAAYAAJ. 
22. ^ V. Geetha (7 December 1991). "Chanakya - Dangerous images". Deccan Herald. http://www.cscsarchive.org:8081/MediaArchive/essays.nsf/%28docid%29/CF4FAFAAED6D6119E5256C5E0051941A. 
23. ^ A. L. Chougule (5 September 2003). "Danger of Saffronisation". Screen Weekly. http://www.screenindia.com/old/fullstory.php?content_id=5779. 
24. ^ Suresh Nair (7 November 1996). "'I haven’t earned anything from television'". The Times of India. http://www.cscsarchive.org:8081/MediaArchive/essays.nsf/%28docid%29/B98BA8475A3A54796525693F0037D28E?OpenDocument. 
25. ^ Data India, 1993
26. ^ Claire Frachon; Marion Vargaftig (1995). European television: immigrants and ethnic minorities. John Libby. p. 265. http://books.google.com/books?id=zr1kAAAAMAAJ. 
27. ^ Henrietta L. Moore (1996). The future of anthropological knowledge. Routledge. p. 57. ISBN 9780415107860. 

References

• "And Now Chanakya". Surya India (A. Anand) 14: 58. 1989. http://books.google.co.in/books?id=3nhDAAAAYAAJ. 
• Uma Chakravarti (2000) [1998]. "Inventing Saffron History". In Mary E. John, Janaki Nair. A question of silence: the sexual economies of modern India. Zed Books. pp. 243–268. ISBN 9781856498920. 

External links

• Chanakya at the Internet Movie Database
• Episode List