India - bollywood
Friday, 20th July, 2007
A largest film industry when it comes to the # of films produced and tickets sold, Indian cinema is popularly known as BOLLYWOOD. This is the name it derived from the name of BOMBAY (previous name of city of Mumbai, where the film industry is located), and HOLLYWOOD.
Feature films are being produced in India since 1912-1913. White R G Torney along with N.G. Chitre made PUNDALIK in 1912. Dhundiraj Govind Phalke produced RAJA HARISHCHANDRA in 1913. The era of silent films was overtaken by the talkie era in 1913 when Ardeshir Irani produced ALAM ARA, through silent movies continued to be produced till 1934. India now leads the world in the annual output of feature films.
The first fully indigenous silent feature film RAJA HARISHCHANDRA
made by DADA SAHEB PHALKE was released on May 3 1913. It has titles in Hindi and English and it ran for an unprecedented 23 days. It was cent per cent Indian whereas the earlier made Pundalik was half British in its make. Therefore Dada sahib phalke has been rightly acclaimed as the FATHER OF INDIAN CINEMA.

A Still from Raja Harishchandra (1913)
The most remarkable thing about the birth of the sound film in India is that it came with a bang and quickly displaced the silent movies. The first Indian talkie ALAM ARA produced by the IMPERIAL FILM COMPANY and directed by ARDESHIR IRANI was released on March 14, 1931 at the Majestic cinema in Bombay.
The year 1931 marked the beginning of the talkie era in south India also. The first talkie picture in Telegu and Tamil i.e., BHAKTHA PRAHALAD and KALIDASA were released in the same year.
The thirties are recognized as the decade of social protest in the history of Indian cinema. A number of films making a strong plea against social injustice were also made in this period. V. Shantaram’s DUNIYA NA MANE, ADAMI, and PADOSI. P.C. Barua’s DEVADAS and MUKTI, Debaki Bose’s VIDYAPATI and SEETA, and many more.

V. Shantaram
For the first time, producer Ardeshir Irani attempted a color picture in 1937 named KISAN KANYA. A year later another film MOTHER INDIA was also made. The world war which broke out in 1939 delayed the advent of color by several years.

The forties also witnessed the production of a few remarkable films such as Shantaram’s DR. KOTNIS KI AMAR KAHANI, KALPANA, by Uday Shankar’s, CHANDRA LEKHA by S.S. Vasan, Abbas’ DHARTI KE LAAL etc. In 1949, Sohrab Modi set a new standard in historical film with Pukar. Similarly, Vijay Bhatt earned plaudits for his two mythologicals, BHARAT MILAP and RAM RAJYA.
The first international film festival of India held in early 1952 at Bombay had great impact on Indian cinema. For the first time, the industry and the film goers saw what a vibrant cinema existed, outside Hollywood. Films like BICYCLE THIEVES, YUKIWARISOO captivated their imagination.
The big turning point came in 1953 with the arrival of Satyajit Ray, and his classic PATHER PANCHALI. International recognition came to it with the CANNES AWARD for the best human document followed by an unprecedented crop of foreign and national awards. In Hindi cinema also the impact of new realism was evident in some distinguished films like Bimal Roy’s Do Bigha Zamin, Mehboob’s Aan and MOTHER INDIA, K.A. Abbas’ Munna and Rahi, Raj Shantaram’s do ankhen barah haath, Guru Dutt’s pyaasa etc. apart from the production of these significant films , the fifties opened a vast international market for Indian films.
It was in the fifties that such films as baiju bawra , naya daur , devadas, shree 420 jhank jhanak payal baje, sujata , madumati, anair, kanoon. Kagaz ke phool
etc were made. The first indo soviet co production pardesi was also made by Abbas during the fifties.
The transition to color and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry
The sixties began with a bang with the release of K. Asif’s Mughal e Azam … which set a record at the box office. It was followed by Raj Kapoor’s JIS DESH MAIN GANGA BEHTI HAI. And Dilip Kumar’s Ganga Jamuna. B. R Chopra’s waqt and many more hits of this decade.
The seventies had further widened the gap between multi star block busters and small budgeted off beat films. The popular Hindi hits of the decade include, JOHNY MERA NAAM , HATHI MERE SAATHI , MERA GAON MERA DESH , PAKEEZA BODBBY , ABHIMAAN , JUGNU , JANJEER, DEWAR MR NTWAR LAL and above all others SHOLAY. Of these majorities of the films were actions oriented with revenge as the dominating theme.

The emergence of the NEW INDIAN CINEMA in the late sixties a s a recognizable movement was partly a reaction to the popular cinema’s “other worldliness”
Satyajit ray, Mrinal Sen and Ritwik Ghatak are the founding fathers of the new cinema in India. Ray had a special vision of the Indian reality-hard, implacable, piercing to the heart of the matter in an unbearably feature films and a few documentaries. Pather panchali, Aparajito, Apur Sansar, Charulata, Devi Goopy Gyne, Bagha Byne, Seemabadha, Ashani Sanket and Jana Aranya are some of his outstanding films. Agantuk his film also won international acclaim.
From the new cinema group there came Basu Chatterji’s Sara Aakash, Rajinder Singh Bedi’s Dastak, Mani Kaul’s Uski Roti, A
shad ka ek din, and Duvidha.
The south won national attention when Malayalam film Cheemmeeen (1965) by Ramu Kariat bagged the presidents gold medal.
The Hindi avante grade made it to the top by the end of seventies with director Govind Nihlani’s Aakrosh, Saeed Mirza’s Albert pinto ko gussa kyon ata hai. Sai pranjpe’s Saparsh, Mujaffar Ali’s Gaman.
Also from the South came film makers such as K. Balachandran, Jayakanthan, john Abraham, Bharathan, and Padmarajan presented significant films like AVARGAL, URNAI POL ORUVAN, AGRAHA- ATHIL KAZHUTHAI.
THE NEW WAVE master Adoor and Aravindan consolidated their position with
Elippathayam, Mukhamukham where Elippathayam won the British film institute award for 1982.
The late eighties saw the revival of the musical love stories in Hindi Mr. India, Nagina, Tezaab, Qayamat Se Qayamat Tak, Tridev, Maine Pyar Kiya. Vinod Chopra’s Parinda and Adithya Bhattacharays Raakh were impressing.
The early 1990s saw notable films like Dristhi, Marupakkam, Anjali, Ek Doctor Ki Maut, and Kasba. A young director Meera Nair won the golden camera prize at Cannes for her maiden film “Salaam Bombay”.
Films can be exhibited in India only after they have been certified by the Central Board of Film Certification. The films division is the largest national agency devoted to the production and distribution of documentaries and news magazines.
For most Indians, movies are the only accessible, inexpensive form of entertainment. India’s film industry, the world’s largest, produces an average of 700 features a year. The majorities of Indian films satisfy the popular desire for romantic escapism and are glossy, spectacular drams featuring music, dance, and the fortunes of charismatic stars.
It was not just disenchantment with this system gone haywire but also with the industry’s values and its essential vulgarity that led to a break way group of filmmakers, often referred to as the new wave. Unlike the French NOUVELLE VOUGE, this was not a cohesive group united by a single ideology; the new waves members often did not share speak the same language. The one language they did share the reality of India. Almost all of these film makers also wanted to get away from the star system although ironically, many new wave actors and actresses have now become stars of the larger film industry.
Whether or not you enjoy these fantastic films, it’s important to recognize the substantial presence of Bollywood in the modern film industry.





