Indian Cinema – UPSC Notes – Art and Culture

Indian Cinema is renowned for being the world’s leading producer of films. Boasting one of Asia’s largest film industries, it provides employment opportunities for thousands of individuals. The Indian film industry creates movies in various languages, including Hindi, Telugu, Tamil, Bhojpuri, and others. A 2014 survey revealed that India produces nearly 3000 celluloid films, comprising approximately 1000 short films and 1969 feature films. Major film production centers in the country include Mumbai, Chennai, Hyderabad, Kolkata, New Delhi, Amritsar, Thiruvananthapuram-Kochi, Bangalore, Bhubaneswar-Cuttack, and Guwahati.

Indian Cinema – Overview

Indian cinema has played a crucial role in shaping our national and individual identities since gaining independence. These films have been instrumental in portraying and understanding the economic and political landscape of India, highlighting its evolution over the years. Scientific studies consistently indicate that movies wield a profound influence on the collective psyche, with audiences connecting deeply with protagonists and empathizing with their characters as if they were genuine individuals.

Beyond being a source of three hours of entertainment, films serve as lasting impressions that people carry with them, forming a meaningful association. Cinema can be broadly categorized into two types: one geared towards enjoyment, and the other, often referred to as ‘alternative‘ or ‘parallel‘ cinema, dedicated to depicting the realities of everyday life. Importantly, this cultural phenomenon is not confined to major cities; it has also permeated rural areas and smaller towns, becoming a ubiquitous part of the Indian experience.

Historical Background of Indian Cinema

• The Lumiere Brothers, inventors of the Cinematograph, introduced motion pictures to India in 1896.
• In 1896, they showcased six soundless short films in Bombay, captivating the audience.
• The first Indian film, “Coconut Fair and Our Indian Empire,” was shot in 1897 by an anonymous photographer.
• Italian duo Colorello and Cornaglia attempted a significant display at Azad Maidan in Bombay.
• In 1898, Bombay witnessed the screening of short films like “The Death of Nelson,” “Call on the London Fire Brigade,” and “Noah’s Ark,” primarily foreign ventures centered on the British or their Indian empire.
• Harishchandra Bhatvadekar, known as Save Dada, became the first Indian to create a motion picture in 1899, presenting two short films using the Edison Projecting Kinetoscope.
• F.B Thanawalla, an early 1900s Indian filmmaker, directed notable films like “Taboot Procession” and “Splendid New Views of Bombay.”
• Major Warwick opened the first film house in Madras (now Chennai) in 1900 to address the growing demand for film exhibition.
• In 1907, Jamshedjee Madan, a prosperous Indian businessman, founded the Elphinstone Picture House in Calcutta (now Kolkata), contributing to the expanding film market.
• Recognizing the potential in the growing Indian market, Universal Studios established the first Hollywood-based agency in India in 1916, marking a significant milestone in the history of Indian cinema.

The Silent Indian Cinema Era (1910-1920):

• Silent films dominated throughout the decade from 1910 to 1920.
• Despite their “silent” label, these films were not entirely devoid of sound, often accompanied by music and dance.
• Live musical instruments like the sarangi, tabla, harmonium, and violin accompanied screenings in theaters.
• In 1912, N.G Chitre and R. G Torney pioneered the first Indo-British silent film collaboration titled “Pundalik.”
• Dadasaheb Phalke, the “Father of Indian Cinema,” produced the first indigenous Indian silent film, “Raja Harishchandra,” in 1913.
• Phalke’s contributions included films like “Mohini Bhasmasur” and “Satyavan Savitri.”
• In 1917, Phalke directed the first box office hit, “Lanka Dahan.”
• The establishment of film firms, Kohinoor Film Company and Dadasaheb Phalke’s Hindustan Cinema Films Company, expedited filmmaking in 1918.
• The government imposed an ‘Entertainment tax‘ in Calcutta in 1922 and Bombay in the subsequent year as films began generating substantial profits.
• Filmmakers like Baburao Painter, Suchet Singh, and V. Shantaram found opportunities through these film firms.
• Exploring various subjects in the nascent Indian cinema, mythology and history were prevalent, resonating with the audience’s shared historical consciousness.
• V. Shantaram and others ventured into films addressing social issues, exemplified by “Amar Jyoti,” a portrayal of women’s emancipation.
• Notable female filmmakers were scarce during this period; Fatima Begum broke ground with her film “Bulbul-e-Parastan” in 1926.
• The first film censorship controversy unfolded in Madras in 1921 when “Bhakta Vidhur” was banned.
• Collaborative productions, like Madan’s “Nala Damayanti” with Italy, gained popularity.
• Himanshu Ray, director of successful films such as “A Throw of Dice” and “Prem Sanyas,” relied on funding from Indo-German sources.

The Cinema Talkies Era

• Ardeshir Irani, under the banner of the Imperial Film Company, heralded the talkies era with the groundbreaking film “Alam Ara” in 1931, debuting at Bombay’s Majestic Cinema.
• W.M. Khan, India’s inaugural singer, penned memorable songs for “Alam Ara,” including “De de khuda ke naam par,” the first recorded song in Indian cinema.
• Despite revolutionizing cinema and putting an end to silent film production, talkies faced technological hurdles.
• The 1930s, lacking pre-recording facilities, meant films had no dialogue writers, and songs had to be performed live during shooting.
• The late 1930s witnessed the emergence of major studios like Bombay Talkies, New Theatres, and Prabhat, introducing the Studio System.
• P.C Barua’s “Devdas” (1935) became the pioneering film under the studio system.
• Studios delved into experimental subjects and production styles, leading to the advent of color films.
• Prabhat‘s “Sairandhri” (1933), considered the first Indian color film, was processed and printed in Germany.
• Ardashir Irani’s “Kisan Kanya” (1937) claimed the distinction of being the first domestically produced color film.
• Noteworthy films from this period include:
  • 1935: J.B.H Wadia and Homi Wadia
    • “Hunterwali”
    • “Toofan Mail”
    • “Punjab Mail”
    • “Flying Rani”
    • These pioneering stunt films featured Australian actress Mary Evans as ‘Fearless Nadia.’
  • 1937: J.B.H Wadia
    • “Naujawan” – The first film without any songs.
  • 1939: K. Subrahmanyam
    • “Premsagar” – The first South Indian film.

Indian Cinema in the 1940s

The 1940s unfolded as a tumultuous period in Indian politics, leaving an indelible mark on the cinematic landscape of the time.

• The fervor for independence resonated in films like “Dharti ke Lal,” “Do Aankhen Barah Haath,” and others, reflecting the prevailing socio-political turbulence.
• Amidst the post-independence challenges, the Indian film industry experienced a flourishing phase, witnessing the creation of films that explored diverse themes.
• Tragic love stories and fictional historical narratives found a place in the cinematic canvas with movies like “Chandralekha,” “Laila Majnu,” “Sikander,” and “Chitralekha.”
• Films addressing societal issues gained prominence, exemplified by Chetan Anand’s “Neecha Nagar,” Mehboob’s “Aurat,” and Sohrab Modi’s “Pukar.”
• The era was marked by the prolific lyricism of V. Shantaram, who contributed significantly to legendary films such as “Dr. Kotnis ki Atma Katha,” “Pinjra,” “Padosi,” and “Geet Gaya Patharon Ne.”
• Notably, the Kapoor family made a significant impact by establishing RK Films in 1948. The premiere of their inaugural film, “Aag,” coincided with the inception of their influential production company, marking a notable development in Indian cinema’s history.

Indian Cinema in the 1950s

• The Central Board of Film Certification was established in the 1950s to regulate the content of the burgeoning number of films produced in both north and south India.
• ‘Film stars’ achieved unprecedented levels of prominence during this era, becoming household names across the country.
• The ‘trinity’ of Hindi cinema, comprising Dilip Kumar, Dev Anand, and Raj Kapoor, emerged as influential figures during this period.
• Sohrab Modi’s “Jhansi Ki Rani” made history as the first technicolor picture, released in 1953.
• India became a sought-after destination for international film festivals, with Bombay hosting the inaugural International Film Festival of India (IFFI) in 1952.
• International recognition grew for Indian films. Bimal Roy’s “Do Bigha Zameen” became the first Indian film to receive an award at the Cannes Film Festival.
• Satyajit Ray’s “Pather Panchali” was another notable Cannes award winner.
• “Mother India” earned an Oscar nomination in 1957 for Best Foreign Language Film.
• In response to international developments, the Indian government established the National Film Awards, with the inaugural award presented to the feature film “Shyamchi Aai.”
• Jagat Murari’s “Mahabalipuram” won the prize for Best Short Film.
• Sohrab Modi’s “Mirza Ghalib” was the first to receive the President’s Gold Medal in 1954.
• Other notable works of this time include:
  • 1954: S.K.Ojha
    • “Naaz” – The first film to shoot at a foreign location.
  • 1957: K.A. Abbas
    • “Pardesi” – The first Indo-Soviet collaboration.
  • 1958: Guru Dutt
    • “Kagaz Ke Phool” – The first Indian film in cinemascope.

Indian Cinema in the 1960s – The Golden Era

• The 1960s witnessed the music industry becoming a vital component of the cinema landscape, with several films leveraging music as a unique selling point.
• Movies like “Jis Desh Mein Ganga Behti Hai” featuring Raj Kapoor, Dev Anand’s “Guide,” Yash Chopra’s “Waqt,” and others gained prominence during this era.
• Two wars, in 1962 and 1965, became subjects for several nationalistic films, reflecting the socio-political backdrop of the time.
• Recognizing the need for trained professionals in the burgeoning film industry, the government established the Film and Television Institute of India in Pune in 1960. This institute played a pivotal role in nurturing the skills of writers, directors, and actors.
• In 1969, the doyen of Indian cinema and theatre, Dadasaheb Phalke, passed away. In his honor, the Dadasaheb Phalke Award for lifetime achievement was instituted, acknowledging his immense contributions.
• The 1960s marked a golden era in Indian cinema, where music, nationalistic themes, and the establishment of institutions for film education played significant roles in shaping the industry’s trajectory.

The Parallel Cinema

Since the late 1940s, a parallel industry has consistently produced hard-hitting films, prioritizing artistic excellence and experimentation over commercial viability.

• The movement gained momentum in regional cinema in 1969 with Mrinal Sen’s “Bhuvan Shome,” marking the onset of ‘new cinema.’ This phase emphasized aesthetic excellence and a humanitarian perspective in contrast to mainstream cinema’s fantasy-driven narratives.
• Factors contributing to parallel cinema’s emergence:
  • Post-World War II, a global shift towards neo-realism and the portrayal of human flaws influenced Indian cinema.
  • Films like “Mother India,” “Shree 420,” addressed social issues, reflecting changing trends.
  • Establishment of film study organizations like the National Film Archive of India (1964) and the Film and Television Institute of India (FTII).
• India’s prominence in international film festivals allowed directors to draw inspiration from global cinematic trends. Notable figures include Satyajit Ray, known for the Appu Trilogy (Pather Panchali, Apur Sansar, Aparajito).
• Other influential directors like Ritwik Ghatak explored the struggles of the lower middle class in films such as “Nagarik,” “Aajantrik,” and “Meghe Dhaka Tara.”
• The 1980s witnessed parallel cinema emphasizing the importance of women’s roles, with notable female filmmakers like Sai Paranjpye (“Chashme Baddoor,” “Sparsh”), Kalpana Lajmi (“Ek Pal”), and Aparna Sen (“36 Chowringhee Lane”) rising to prominence.
• Internationally acclaimed films, such as Meera Nair’s “Salaam Bombay,” winning the Golden Cannes Award in 1989, showcased the global recognition attained by parallel cinema.

Role of Women:

• Evolution of women’s portrayal:
  • Silent film era focused on limitations in a woman’s existence.
  • 1920s-1940s directors addressed themes of women’s emancipation like child marriage bans and sati abolition.
  • Cinematic approach shifted to include widow remarriage, women’s education, and the right to equal pay.
• 1960s-1980s witnessed stereotyped portrayals in Hollywood, emphasizing motherhood, fidelity, and sacrifices.
• Parallel cinema directors like Satyajit Ray, Ritwik Ghatak, Guru Dutt, and Shyam Bengal portrayed the liberation of Indian women.
• Modern cinema explores the image of a working woman juggling professional and personal life.

South Indian Cinema:

• Encompassing Tamil, Telugu, Kannada, Malayalam, and Tulu (Coastal Karnataka), South Indian cinema is a conglomerate of diverse film industries.
• Telugu and Tamil industries lead in size, with Tamil and Malayalam films gaining international acclaim.
• Mythological themes are prevalent, with N.T. Rama Rao’s portrayals of Krishna, Rama, Shiva, Arjuna, and Bhima in Telugu films.
• South Indian cinema also addresses socioeconomic themes, with regional variations in content and style.

Indian Cinematograph Act of 1952:

• Enacted to regulate film certification, the Act formalized the establishment and operation of the Central Board of Film Certification (CBFC) or the “Censor Board of India.”
• The Act empowers the CBFC to review films and issue certificates based on their content.
• Films are classified into categories (U, A, UA, S) to guide the audience regarding suitability.
• The Act established the Shyam Benegal Committee in 2016 to propose amendments for certifying films, considering artistic expression and changing circumstances.

Recent Controversies in Indian Cinema:

• Films like “Bandit Queen” (1994) faced bans due to nudity and explicit content.
• Religious sentiments led to bans on films like “Messenger of God” (2014) and protests against “Vishwaroopam” (2013).
• Social controversies around films like “Padmavati” highlight societal perceptions and the evolving role of women.

National Film Policy:

• With India’s thriving film industry, a national film policy is deemed necessary.
• The policy should address issues such as regional film promotion, film education, global promotion, content digitization incentives, censorship guidelines, and anti-piracy measures.
• The Shyam Benegal Committee’s recommendations and public feedback on the draft Cinematograph (Amendment) Bill, 2021, indicate ongoing efforts to refine film certification processes.

Conclusion:

• India’s film industry, segmented by language, spans Bollywood, Kollywood, Tollywood, Malayalam, Kannada, Bengali, Marathi, and Punjabi, contributing significantly to the country’s GDP.
• The industry is marked by its diversity, global reach, and challenges, including censorship issues and the need for a comprehensive national film policy.
• As Indian cinema evolves, embracing technological advancements and societal changes, it remains a vibrant and influential cultural force both domestically and internationally.

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FAQs on Indian Cinema

Question: Why is Indian cinema essential in Indian society?

Answer: Indian cinema holds significant importance in shaping our national identity post-independence. Films play a crucial role in depicting and understanding the economic and political aspects of being Indian and how these facets have evolved over time.

Question: Who introduced the cinematograph to India?

Answer: The Lumiere Brothers, credited as the inventors of the Cinematograph, were the pioneers who first brought motion images to India.

Question: What is considered the first silent film in India?

Answer: The inaugural indigenous Indian silent film is “Raja Harishchandra,” produced by Dadasaheb Phalke in 1913.