The beginning of journey
July 7 1896, the Lumiere Brothers’ Chinematographe unveiled six soundless short films at Watson Hotel, Esplanade Mansion, Bombay. This was the first rendezvou of celluloid in camera with the Indian audience. It was followed by Harishchandra Bhatvadekar two short films exhibition in 1899. The other vetran film makers of the time were – Hiralal Sen, F.B. Thanawalla, J.F. Madan, Abdullah Esoofally, N.G. Chitre and R.G. Torney. May 18, 1912 the film maker N.G. Chitre and R.G. Torney released a silent feature film Pundalik which was half British in its make.
Dhundiraj Govind Phalke (Dada Saheb Phalke) produced India’s first fully indigenous silent feature film Raja Harishchandra with titles in Hindi and English. The film was realeased on May 3 1913 at the Coronation Cinema, Bombay. The twenties witnessed emergence of many new companies and film makers viz. Dhiren Ganguly, Baburao Painter, Suchet Singh, Chandulal Shah, Ardershir Israni, and V. Santharam.
Bollywood got the voice
The first Indian talkie Alam Ara produced by the Imperial film company and directed by Ardershir Irani. Alam Ara was released on March 14, 1931 at the Majestic Cinema in Bombay. The year 1931 also marked the beginning of the talking ear in Bengali (Jumai Shasthi), Telugu (Bhakta Prahlad) and Tamil (Kalidass). The thirties also witnessed the release of the first talkie films in Marathi (Ayodhiyecha Raja) in 1932, Gujarathi (Narasinh Mehta) in 1932, Kannada (Dhurvkumar) in 1934, Oriya (Sita Bibaha) in 1934, Assamese (Joymati) in 1935, Punjabi (Sheila) in 1935, and Malayalam (Balan) in 1938. in 1937 Ardeshir Irani attempted colour picture Kisan Kanya bur color picture became reality only in sixties.
In the 30’s three major film centres developed which were based in Bombay (Mumbai), Calcutta (Kolkata) and Madras (Chennai). Of these centres, Bombay became the centre of the Hindi-Urdu film, while the other cinemas began to be regarded as local or regional films. The thirties also witnessed emergence of three big banners – Prabhat, Bombay Talkies, and New Theatres. These theaters took the lead in making serious but entertaining films. The studio system thrived in Bombay until the late 40s. The independent producer, identified potential of the star as the critical box-office factor, and began to chase them for their movies. The stars also realized their value and hiked their prices to unheard of levels. The changed trend continued to the present Indian film industry.
The fourties saw the emergence of the ‘playback singing’. With emergence of playback singing music became an important ingredient in Indian cinema. The playback singers like Lata Mangeshkar, Asha Bhonsle, Muhammed Rafi, Kishore Kumar dominated the Hindi film industry for decades. This was the historic decade for cinematography all over India. Some memorable films were produced during the forties such as Shantharam’s Dr. Kotnis Ki Amar Kahani, Mehboob’s Roti, Chetan Anand’s Neecha Nagar, Uday Shanker’s Kalpana, Abbas’s Dharti Ke Lal, Sohrab Modi’s Sikander, Pukar and Prithvi Vallabh, J.B.H. Wadia’s Court Dancer, S.S. Vasan’s Chandralekha, Vijay Bhatt’s Bharat Milap and Ram Rajya, Rajkapoor’s Barsaat and Aag.
Shaheed (1948), Barsaat (1949), Mahal (1949), Andaz (1949), Kismet (1943), Sikander (1941), Pukar (1939), Achut Kanya ( 1936), Devdas (1935), Toofan Mail (1934), Alam Ara (1931).
Golden Age of Bollywood
The fifties was the era of neorealism, which was evident in some distinguished films like Bimal Roy’s Do Bigha Zamin, Devadas and Madhumati, Rajkapoor’s Boot Polish, Shri-420 and Jagte Raho, V. Shantharam’s Do Aankhen Barah Haath and Jhanak Jhanak Payal Baaje, Mehbood’s Mother India. The importance of 1950s in history of bollywood can’t be ignored. This was the dacade of growth and recognition. The first International Film Festival of India held in early 1952 at Bombay which was followed by the Satyajit Ray’s classic Pather Panchali in 1955. The Pather Panchali bagged the Cannes award for best human document followed by an unprecedented crop of foreign and national awards. The decade also witnessed transition to colour and the consequent preference for escapist entertainment and greater reliance on stars brought about a complete change in the film industry. In 1959, Guru Dutt makes India’s first cinemascope film, Kaagaz Ke Phool. The transition to colour 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 notable productions which include romantic musical and melodramas of a better quality. But over all the sixties was a decade of mediocre films made mostly to please the distributors and to some extent, meet the demands of the box office. The 50s and 60s are regarded as the “Golden Age” of Indian cinema, in terms of films, stars, music and lyrics. This era saw the emergence of director/producers such as Raj Kapoor, Guru Dutt, Mehboob Khan, BR Chopra and Bimal Roy; great actors like Dilip Kumar, Raj Kapoor and Dev Anand – the holy trinity; and film musicians like Shanker-Jaikishen, Naushad, S D Burman. During the same time a new group of film makers emerged on the Hindi cinema. Notable amongst them are Basu Chatterji, Rajinder Singh Bedi, Mani Kaul, Kumar Shahani, Avtar Kaul, Basu Bhattacharya, M.S. Sathyu, Shyam Benegal, and Kanthilal Rathod. In Calcutta, following the trend set by Ray, Ghatak and Sen, Tapan Sinha and Tarun Majumdar also made some note worthy films. Among actors Rajesh Khanna becomes new boxoffice god with Aradhana.
Aradhana (1969), Do Raaste (1969), Khamoshi (1969), Padosan (1968), Ram Aur Shyam (1967), An Evening in Paris (1967), Jewel Thief (1967), Farz (1967), Upkar (1967), Teesri Manzil (1966), Mera Saaya (1966), Waqt (1965), Guide (1965), Jab Jab Phool Khile (1965), Sangam (1964), Haqeeqat (1964), Bandini (1963), Sahib Bibi Aur Ghulam (1962), Ganga Jamuna (1961), Junglee (1961), Kanoon (1960), Mughal-e-Azam (1960), Sujata (1959), Kaagaz Ke Phool (1959), Madhumati (1958), Chalti Ka Naam Gaadi (1958), Pyaasa (1957), Do Aankhen Barah Haath (1957), Mother India (1957), Chori Chori (1956), Jagte Raho (1956), Kabuliwalla (1956), C.I.D. (1956), Devdas (1955, Jhanak Jhanak Payal Baaje (1955), Shree 420 (1955), Aar Paar (1954), Do Bigha Zameen (1953) Aan (1952), Baazi (1951), Awaara (1951)
Next three Decades
The seventies started with Pakeezah – a cult classic. Indian film industry, during the decade, got sponsorship from government which allowed Indian parallel cinema to gain strenghth. This gifted Indian film industry a few finest actors of all time viz. Shabana Azmi, Smita Patil, Om Puri, Naseerudin Shah. The new wave cinema seems to have reached its peak towards the end of the seventies with film makers like Govind Nihalani, Saeed Mirza, Rabindra Dharmaraj, Sai Paranjpe, Muzafar Ali, and Biplab Roy. The decade also saw the rise of India’s greatest superstar, Amitabh Bachchan – the angry young man. The majority of the films of the decade were action oriented with revenge as the dominating theme.
The eighties belong to working-class audiences, mostly to male audiences. The decade saw largely action movie, disco dancing, and rape-revenge movies. The increasing availability of the audiocassette during this decade led to a revival in film music and the return to popularity of the teen romance. The 80s and 90s also belongs to new generation of younger stars – Madhuri Dixit, Juhi Chawla, Aamir Khan, Salman Khan and Shahrukh Khan – who dominated the bollywood.
The emergence of colour television, videocassettes, and penetration of audiocassette in the 1980s changed the landscape of the bollywood. The audience during this decade mostly preferred watching movies at home. The trend changed once again in the ninties, which saw return of threaters, despite popularity of satellite and cable television. The family audience was coaxed back into the cinemas by a policy of video-holdback and the refurbishment of the cinema halls.
A new wave of film makers from South Indian studios began to release dubbed versions of their films. These films were major commercial successes in the north. At the forefront of these was Mani Ratnam’s Bombay. By the end of the 1990s it was clear that the only films which could compete with Hollywood at home and abroad will survive.
The decade saw emergence of the Shah Rukh Khan who revolutionises negative hero in Baazigar and Darr. He once again sets the trend of urbane, feelsmart movies with Dilwale Dulhaniya Le Jayenge. The decade also discovered a new teenage heart-throb – Hrithik Roshan.
Sargam (1979), Gol Maal (1979), Don (1978), Trishul (1978), Muqaddar Ka Sikandar (1978), Satyam Shivam Sundaram (1978), Dharam Veer (1977), Hum Kisi Se Kum Nahin (1977), Amar Akbar Anthony (1977), Shatranj Ke Khiladi (1977), Kabhi Kabhi (1976), Chitchor (1976), Julie (1975), Chupke Chupke (1975), Aandhi (1975), Sholay (1975), Jai Santoshi Maa (1975), Deewaar (1975), Roti Kapda Aur Makaan (1974), Garam Hawa (1973), Yaadon Ki Baraat (1973), Abhimaan (1973), Zanjeer (1973), Bobby (1973), Jugnu (1973), Shor (1972), Seeta Aur Geeta (1972), Pakeezah (1972), Caravan (1972), Hare Rama Hare Krishna (1971), Kati Patang (1971), Anand (1971), Guddi (1971), Mera Gaon Mera Desh (1971), Purab Aur Paschim (1971), Sachaa Jhutha (1970), Mera Naam Joker (1970), Maine Pyar Kiya (1989), Chandni (1989), Parinda (1989), Qayamat Se Qayamat Tak (1988), Salaam Bombay (1988), Mr. India (1987), Naam (1986), Ram Teri Ganga Maili (1985), Saagar (1985), Betaab (1983), Hero (1983), Masoom (1983), Jaane Bhi Do Yaaron (1983), Woh Saat Din (1983), Nikaah (1982), Prem Rog (1982), Satte Pe Satta (1982), Arth (1982), Ek Duuje Ke Liye (1981), Kalyug (1980 film) (1981), Kranti (1981), Naseeb (1981), Umrao Jaan (1981), Qurbani (1980), Biwi No.1 (1999), Hum Dil De Chuke Sanam (1999), Kuch Kuch Hota Hai (1998), Soldier (1998), Border (1997), Dil To Pagal Hai (1997), Gupt (1997), Pardes (1997), Raja Hindustani (1996), Khiladiyon Ka Khiladi (1996), Rangeela (1995), Dilwale Dulhaniya Le Jayenge (1995), Karan Arjun (1995), Coolie No. 1 (1995), Mohra (1994), Hum Aapke Hain Koun (1994), Hum Hain Rahi Pyar Ke (1993), Aankhen (1993), Jo Jeeta Wohi Sikander (1991), Aaj Ka Arjun (1990), Aashiqui (1990), Dil (1990), Ghayal (1990). Taal (1999), Sarfarosh (1999), Dil Se (1998), Hyderabad Blues (1998), Virasat (1997), Maachis (1996), Khamoshi: The Musical (1996), Bombay (1995), 1942 A Love Story (1994), Roja (1992), Prahaar (1991).
The Indian film Industry
The unorganized Indian film industry got industry status in 2001, which helped it grow faster. The growth in this decade is fueled by the more professionally approach in financing, production and other allied activities. It helped the new age film makers produce films like Dil Chahta Hai, Dhoom, Black, Bunty aur Babli, Rang De Basanti. Some of the largest production houses like Adlabs, UTV Movies, Yash Raj Films, Dharma Productions were the producers of these new modern films which touched new heights in terms of quality cinematography, innovative story lines, and technical quality advances. Moreover the hunger for cinema amongst the expatriate Indians encouraged film producers and distributors to produce and distribute films for them. Consequently, there have been a series of films like Mississippi Masala, Salaam Bombay, Monsoon Wedding, and The Guru. Few of these films did very well internationally and helped Indian cinema connect globally. It not only attracted global audiences but also global film makers, distributors, exhibitors.
The current practice of movie making in India viz. contractual relation, industry regulations, piracy and copy right laws is distinctly different from the global norms. In current scenario it becomes important for the Indian film industry to upgrade their regulations matching the global norms.
Race (2008), Jodhaa Akbar (2008), Om Shanti Om(2007), Welcome (2007), Chak De India(2007), Partner (2007), Bhool Bhulaiyaa(2007), Heyy Babyy (2007), Taare Zameen Par (2007), Guru(2007), Life In A… Metro (2007), Gandhi, My Father(2007), Johnny Gaddaar (2007), Eklavya (2007), Dhoom 2(2006), Lage Raho Munna Bhai(2006), Krrish (2006),Fanaa (2006), Rang De Basanti (2006), Don (2006), Kabhi Alvida Naa Kehna (2006), Vivah(2006), Dor (2006), Corporate (2006),Omkara (2006), Khosla Ka Ghosla (2006), Bunty Aur Babli(2005), Salaam Namaste (2005), Black (2005), Iqbal (2005), Parineeta(2005), Sarkar (2005), Veer-Zaara(2004), Main Hoon Na(2004), Mujhse Shaadi Karogi(2004), Dhoom(2004), Murder(2004), Yuva(2004), Lakshya(2004), Dev (2004), Swades (2004), Phir Milenge (2004),Koi… Mil Gaya(2003), Kal Ho Naa Ho(2003), Baghban(2003),Munnabhai M.B.B.S. (2003), Andaaz(2003), Pinjar(2003), Devdas(2002), Raaz(2002), Kaante (2002), Aankhen(2002), Saathiya(2002), Company (2002), Gadar(2001), Kabhi Khushi Kabhie Gham(2001), Lagaan(2001), Chandni Bar(2001), Dil Chahta Hai (2001), Kaho Naa… Pyaar Hai(2000), Mohabbatein(2000), Mission Kashmir(2000), Kya Kehna(2000), Hera Pheri (2000), Astitva (2000), Fiza(2000),
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