INDIAN CINEMA

The strong influence of its traditional arts, music, dance and popular theatre on the cinema movement in India in its early days, is probably responsible for its characteristic enthusiasm for inserting song and dance sequences in Indian cinema, even till today.
Dhundiraj Govind Phalke (1870 - 1944) affectionately called Dadasaheb Phalke is considered as the 'father of Indian Cinema'. Central in Phalke's career as a filmmaker was his fervent belief in the nationalistic philosophy of swadeshi, which advocated that Indians should take charge of their own economy in the perspective of future Independence.
Phalke, with his imported camera, exposed single frames of a seed sprouting to a growing plant, shot once a day, over a month-thus inadvertently introducing the concept of 'time-lapse photography', which resulted in the first indigenous 'instructional film'- The Birth of a Pea Plant (1912) - a capsule history of the growth of a pea into a pea-laden plant. This film came very handy in getting financial backing for his first film venture.

Inspired from an imported film - Life of Christ - Phalke started mentally visualising the images of Indian gods and goddesses. What really obsessed him was the desire to see Indian images on the screen in a purely Swadeshi venture. He fixed up a studio in Dadar Main Road, wrote the scenario, erected the set and started shooting for his first venture Raja Harishchandra in 1912. The first full-length story film of Phalke was completed in 1912 and released at the Coronation cinema on April 21, 1913, for special invitees and members of the Press. The film was widely acclaimed by one and all and proved to be a great success.
Dhundiraj Govind Phalke (1870 - 1944) affectionately called Dadasaheb Phalke is considered as the 'father of Indian Cinema'. Central in Phalke's career as a filmmaker was his fervent belief in the nationalistic philosophy of swadeshi, which advocated that Indians should take charge of their own economy in the perspective of future Independence.

Phalke, with his imported camera, exposed single frames of a seed sprouting to a growing plant, shot once a day, over a month-thus inadvertently introducing the concept of 'time-lapse photography', which resulted in the first indigenous 'instructional film'- The Birth of a Pea Plant (1912) - a capsule history of the growth of a pea into a pea-laden plant. This film came very handy in getting financial backing for his first film venture.

Inspired from an imported film - Life of Christ - Phalke started mentally visualising the images of Indian gods and goddesses. What really obsessed him was the desire to see Indian images on the screen in a purely Swadeshi venture. He fixed up a studio in Dadar Main Road, wrote the scenario, erected the set and started shooting for his first venture Raja Harishchandra in 1912. The first full-length story film of Phalke was completed in 1912 and released at the Coronation cinema on April 21, 1913, for special invitees and members of the Press. The film was widely acclaimed by one and all and proved to be a great success.
Regional Cinema

The first film in Southern India was made in 1916 by R Nataraja Mudaliar- Keechaka Vadham. As the title indicates the subject is again a mythological from the Mahabharata. Another film made in Madras - Valli Thiru-Manam (1921) by Whittaker drew critical acclaim and box office success. Hollywood returned Ananthanarayanan Narayanan founded General Pictures Corporation in 1929 and established filmmaking as an industry in South India and became the single largest producer of silent films. Kolhapur in Western Maharashtra was another centre of active film production in the twenties. In 1919 Baburao K Mistry - popularly known as Baburao Painter formed the Maharashtra Film Co. with the blessings of the Maharaja of Kolhapur and released the first significant historical - Sairandhari (1920) with Balasheb Pawar, Kamala Devi and Zunzarrao Pawar in stellar roles. Because of his special interest in sets, costumes, design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialised in the historical genre. The exploits of Shivaji and his contemporaries and their patriotic encounters with their opponents formed the recurring themes of his 'historicals' which invariably had a contemporary relevance to the people of a nation, who were fighting for liberation from a colonial oppressor. The attack against the false values associated with the Western way of life and their blind imitation by some Indians was humorously brought out by Dhiren Ganguly in his brilliant satirical comedy - England Returned (1921) - presumably the first 'social satire' on Indians obsessed with Western values. And with that another genre of Indian cinema known as 'the contemporary social' slowly emerged. Baburao Painter followed it up with another significant film in 1925 - Savkari Pash (The Indian Shylock) - an attempt at realistic treatment of the Indian peasant exploited by the greedy moneylender.

In Bengal, a region rich in culture and intellectual activity, the first Bengali feature film in 1917, was remake of Phalke's Raja Harishchandra. Titled Satyawadi Raja Harishchandra, it was directed by Rustomjee Dotiwala. Less prolific than Bombay based film industry, around 122 feature films were made in Calcutta in the Silent Era.
The first feature film in Tamil, also the first in entire South India, Keechakavatham was made during 1916-17, directed by Nataraja Mudaliar.

Marthandavarma (1931) produced by R Sunder Raj, under Shri.Rajeswari Film, Nagercoil, directed by P V Rao, got into a legal tangle and was withdrawn after its premiere. Based on a celebrated novel by C V Raman Pillai, the film recounts the adventures of the crown prince and how he eliminates the arch-villains to become the unquestioned ruler of the Travancore State. The film has title cards in English and Malayalam, some of which are taken from the original text. A few of the title cards and action make obvious reference to the Swadeshi Movement of the time. Had it not been for the legal embargo, the film would have had a great impact on the regional cinema of the South.
Indian Cinema Starts Talking

In the early thirties, the silent Indian cinema began to talk, sing and dance. Alam Ara produced by Ardeshir Irani (Imperial Film Company), released on March 14, 1931 was the first Indian cinema with a sound track.

Mumbai became the hub of the Indian film industry having a number of self-contained production units. The thirties saw hits like Madhuri (1932), Indira,M A (1934), Anarkali (1935), Miss Frontier Mail (1936), and Punjab Mail (1939).
Among the leading filmmakers of Mumbai during the forties, V Shantaram was arguably the most innovative and ambitious. From his first talkie Ayodhya ka Raja (1932) to Admi (1939), it was clear that he was a filmmaker with a distinct style and social concern whose films generated wide discussion and debate. He dealt with issues like cast system, religious bigotry and women's rights. Even when Shantaram took up stories from the past, he used these as parables to highlight contemporary situations. While Amirt Manthan (1934) opposed the senseless violence of Hindu rituals, Dharmatama (1935) dealt with Brahmanical orthodoxy and cast system. Originally titled Mahatma, the film was entirely banned by the colonial censor on the ground that it treated a sacred subject irreverently and dealt with controversial politics. Amarjyoti (1936) was an allegory on the oppression of women in which the protagonist seeks revenge. It could perhaps be called the first women's lib film in India.

Duniya Na Mane (1937) was about a young woman's courageous resistance to a much older husband whom she had been tricked into marrying. Admi (1939) was one of Shantaram's major works.
Calcutta film Industry

Madan Theatres of Calcutta produced Shirin Farhad and Laila Majnu (1931) well composed and recorded musicals. Both films replete with songs had a tremendous impact on the audience and can be said to have established the unshakeable hold of songs on our films. Chandidas (1932, Bengali), the story of a Vaishnavite poet-priest who falls in love with a low caste washerwoman and defies convention, was a super-hit. P C Barua produced Devdas (1935) based on Saratchandra Chatterjee's famous story about frustrated love, influenced a generation of viewers and filmmakers.

The Golden Fifties

Fifties saw the rise of great directors like Mehboob, Bimal Roy, Guru Dutt and Raj Kapoor who changed the fate of Indian cinema. These directors entered the film industry during the 1930s and '40s, which were traumatic years for the Indian people. The fight for independence, famines, changing social mores, global fight against fascism all contributed to the ethos in which the directors grew up.

Mehboob

Mehboob made his films down to earth, dramatic, even melodramatic. Roti made in the early 1940s inspired by the German Expressionism, is a real critique of Indian society with prophetic insight. It deals with two models - one of a millionaire, possessed by money and power in an industrial civilisation, the other of a tribal couple living in a primeval state of nature. The millionaire is saved by the couple after an air crash, the tribal couple emigrate to the city, do not find happiness and return. The millionaire is ruined in the city, tries futilely to find salvation among the tribal.

Mehboob remade his film Aurat (1940) in colour and with drastically different imagery as Mother India (1957), which was a massive success and later even acquired an epic status. The story revolves around Radha, played by Nargis, one of the strongest woman characters of Indian cinema. Her husband having lost both arms in an accident leaves her. Alone, she raises her children while fending off the financial as well as the sexual pressure from a moneylender. One of her sons, Birju becomes a rebel and the other one Ramu remains a dutiful son. In the end the long suffering mother kills her rebel son, as his blood fertilises the soil.

Highly successful and critically acclaimed, Mehboob's films often derive from clash between pre-capitalist ruralism and an increasingly modernised state with its commercial-industrial practices and values.

Guru Dutt

Born in Bangalore and educated in Calcutta, Guru Dutt entered into the Hindi film industry as an actor. He took up the job of choreographer and assistant director before his directorial debut Baazi. His earlier films were entertainers like Aar Paar (1954), Mr and Mrs 55 (1955) and C I D (1956). With the darkly romantic Pyaasa (1957) Duttt launched a cycle of films that have remained India's most spectacular achievements in melodrama. Kaagaz Ke Phool (1959) the first Indian film made in Cinemascope was autobiographical in nature. It tells in flashback the story of a famous film director, his disastrous marriage, the entry of an actress into his life that leads to gossiping, his failure as a director and eventually his death. His work encapsulated with great intensity the emotional and social complexities affecting the artist at a time when the reformism associated with Nehruite nationalism disintegrated under the pressure of industrialism and urbanisation. The commercial failure of Kaagaz Ke Phool resulted in a real life repetition of the plot of his film when Guru Dutt committed suicide in 1964.

Raj Kapoor

Born in Peshwar, now in Pakistan as son of Prithviraj Kapoor, Raj Kapoor acted the role of a megastar, successful producer and a director. He started as a clapper-boy in the Hindi film industry and latter became one of the most successful directors of the industry. He set up the R K Films in 1948 and made his first directorial venture Aag. His earlier films Awara (1951) and Shri 420 (1955) evince a sentimental approach to social reforms, presenting political Independence as a loss of innocence in exchange of stability. Later he made sexually explicit films like Bobby (1973) and Satyam Shivam Sundaram (1978), which became huge hits, after the commercial failure of his most ambitious project Mera Naam Joker (1970).