Contemporary trends in Hindi Cinema

 During the 1950s and 1960s, many movies had hopeful themes. This was a time
when countries were gaining independence, and the films often focused on
progress and development. For example, there were movies about building large
dams, with heroes who were engineers working on these projects. Other films
tackled important social issues such as untouchability and the idea of widows
remarrying.

 In the 1970s, there was a rise of the "angry young man" in films, who often
stood up for social justice. There was a clear difference between mainstream
commercial movies and more serious, artistic films known as parallel cinema.
Parallel cinema introduced talented actors like Smita Patil, Shabana Azmi, Om
Puri, and Naseeruddin Shah, among others.

 In the 1980s, Hindi cinema faced challenges with video piracy and the rise of
video rental shops. Many movies were illegally copied and distributed, hurting
the film industry. However, this decade also saw significant technological
advancements in moviemaking. Big-budget films with elaborate production
values saved the industry by attracting audiences to theaters. Despite the piracy
issue, both commercial masala films and artistic cinema coexisted during this
time.

 In the 1990s, Hindi cinema faced competition from the widespread availability of
cable TV. To attract audiences back to theaters, filmmakers focused on creating
big-budget, visually stunning films. This period saw a shared entertainment
space between cinema and television, with both mediums vying for audience
attention.

 In the new millennium, multiplex cinemas and digital filmmaking have become
dominant. The trend of star-studded casts, mixed with masala entertainment
and comedy, continues to thrive. The Shahrukh Khan-Karan Johar formula has
been successful in attracting the attention of the global Indian diaspora,
particularly NRIs living across continents. Alongside these films, productions by
Mahesh and Pooja Bhatt feature low budgets, new faces, themes involving skin
show, some sleaze, and memorable music, which also find success. Additionally,
smaller budget films catering to art, serious themes, and parallel cinema are
being made specifically for multiplex audiences.

 It's intriguing how the themes in our cinema mirror the issues in our society over
time. The progression moves from significant national projects like big dams in
the fifties, to societal concerns in the sixties, family dynamics in the seventies,
questions of identity in the eighties, and finally, a focus on individual struggles.

 In love stories throughout the decades, there was consistently a sense of

societal norms and moral codes that kept lovers apart. From "Devdas" to
"Mughal-e-Azam" to "Pyaasa" to "Qayamat Se Qayamat Tak," these films
 depicted the challenges faced by lovers due to societal barriers. Real-life couples
often turned to movies to witness their romantic fantasies unfold, and they
couldn't help but shed tears when those fantasies didn't come to fruition.

 The second generation filmmakers like Sooraj Barjatya, Aditya Chopra, and
Karan Johar began to explore the dynamics of family structures in their films.
Romance in movies started to revolve around gaining approval from the family
or its patriarchal head. This figure, once portrayed as a villain (Dalip Tahil,
Amrish Puri), gradually transformed into a more paternalistic character (Amitabh
Bachchan, Anupam Kher).

 By the late nineties, the youth had developed their own sense of independence.
No longer bound by concerns of land, nation, society, family, or even identity,
their focus shifted to the self – to what they desired, what their hearts longed
for. Parents no longer stood in the way of young lovers. A prevailing attitude of
"I, me, myself" dominated the cinematic landscape. It was about breaking
boundaries, defying norms, and pursuing personal desires, regardless of societal
expectations. The emphasis was on individual freedom to prioritize oneself
above all else – not family, not society, not nation, but solely oneself.

GOLDEN PERIOD OF INDIAN CINEMA

 The period from the late 1940s to the 1960s is considered the 'Golden Age' of
Indian cinema.

 Critically acclaimed films of this era include Guru Dutt's "Pyaasa" (1957) and
"Kaagaz Ke Phool" (1959), as well as Raj Kapoor's "Awara" (1951) and "Shree
420" (1955).

 These films depicted social themes, focusing mainly on working-class urban life
in India.

 Notable films of the era also include "Mother India" (1957), "Mughal-e-Azam"
(1960), "Do Aankhen Barah Haath" (1957), and "Madhumati" (1958).

 The Golden Age also saw the emergence of parallel cinema, with films like
Chetan Anand's "Neecha Nagar" (1946), Ritwik Ghatak's "Nagrik" (1952), and
Bimal Roy's "Two Acres of Land" (1953), paving the way for Indian neorealism
and the "Indian New Wave."

 Satyajit Ray's "Pather Panchali" (1955), the first part of the Apu Trilogy, marked
his entry into Indian cinema and solidified his position as one of the greatest
directors of the 20th century.
 Indian cinema gained international recognition, with films like "Mother India"
(1957), "Salaam Bombay!" (1988), and "Lagaan" (2001) being nominated for the
Academy Award for Best Foreign Language Film.
 Indian winners of the Academy Awards include Bhanu Athaiya (costume
designer), Satyajit Ray (filmmaker), A. R. Rahman (music composer), Resul
Pookutty (sound editor), and Gulzar (lyricist).

INDIAN HINDI CINEMA

 Indian cinema encompasses films produced across India, reflecting diverse

cinematic cultures of various states.

 Approximately 1,000 films in various languages are produced annually, making

India the largest film-producing country globally, ahead of Hollywood and China.

 Indian films find markets in over 90 countries, where they are screened.

 The first Indian short films were directed by Hiralal Sen, starting with "The
Flower of Persia" in 1898.

 Dadasaheb Phalke, known as the pioneer of the Indian film industry, produced
the first full-length motion picture in India, "Raja Harishchandra" (1913), a silent
film in Marathi.

 The first Indian cinema theater chain was owned by Calcutta entrepreneur
Jamshedji Framji Madan, who produced and distributed around 10 films
annually across the Indian subcontinent.

 Raghupathi Venkaiah Naidu was an Indian artist and pioneer in silent and talking
Indian movies, establishing the first cinema halls in Madras.

 Ardeshir Irani released "Alam Ara," the first Indian talking film, in 1931, followed
by South India's first talkie films, "Bhakta Prahlada" (Telugu) and "Kalidas"
(Tamil).

 The 1930s witnessed the rise of music in Indian cinema, with musicals like "Indra
Sabha" and "Devi Devyani" marking the beginning of song-and-dance sequences.

 Studios emerged in major cities like Chennai, Kolkata, and Mumbai by 1935,
exemplified by the success of "Devdas" (1935).

 Filmmaker R.S.D. Choudhury produced "Wrath" (1930), banned by the British

Raj for depicting Indian actors as leaders during the Indian independence
movement.
 South Indian cinema gained prominence with the release of S.S. Vasan's
"Chandralekha," and by the 1940s, it accounted for nearly half of India's cinema
halls, seen as an instrument of cultural revival.

 The Indian government established a Films Division in 1949, eventually

becoming one of the largest documentary film producers globally.

 The Indian People's Theatre Association (IPTA), an art movement with

communist leanings, emphasized reality and produced iconic films like "Mother
India" and "Pyaasa."

INFLUENCE OF INDIAN CINEMA

 The ancient Indian epics of Mahabharata and Ramayana heavily influenced

Indian popular cinema, introducing narrative techniques such as side stories and
back-stories.

 Ancient Sanskrit drama, with its emphasis on spectacle and the combination of
music, dance, and gesture, also shaped Indian cinema conventions.

 Traditional folk theatre of India, like the Yatra of Bengal, Ramlila of Uttar
Pradesh, and Terukkuttu of Tamil Nadu, became popular from the 10th century
onwards, influencing regional storytelling traditions.

 Parsi theatre blended realism and fantasy, melodious songs, sensationalism, and
dazzling stagecraft, integrating them into a dramatic discourse of melodrama.

 Hollywood, particularly its musicals from the 1920s to the 1950s, influenced
Indian filmmakers, although they departed from Hollywood norms by integrating
song and dance naturally into their narratives.

 Western musical television, especially MTV, has increasingly influenced Indian

cinema since the 1990s, affecting the pace, camera angles, dance sequences,
and music of recent Indian films.

 Indian parallel cinema, influenced by Indian theatre, literature, and European

cinema (especially Italian neorealism and French poetic realism), diverges from
mainstream Indian cinema conventions. Filmmakers like Satyajit Ray drew
inspiration from Italian filmmaker Vittorio De Sica's "Bicycle Thieves" (1948) and
French filmmaker Jean Renoir's "The River" (1951).
SATHYA JI RAY

 Satyajit Ray (1921-1992) was an Indian filmmaker, screenwriter, music

composer, graphic artist, and author.

 He is widely regarded as one of the greatest filmmakers of the 20th century and
is known for his contributions to parallel cinema.

 Ray gained international acclaim with his debut film, "Pather Panchali" (1955),
the first part of the Apu Trilogy, which is considered a masterpiece of world
cinema.

 The Apu Trilogy also includes "Aparajito" (1956) and "Apur Sansar" (1959),
collectively tracing the life of the protagonist, Apu, from childhood to adulthood.
 Ray's films are characterized by their realism, humanism, and attention to detail
in depicting everyday life in India.

 He often explored themes such as poverty, family, and social issues, portraying
them with sensitivity and depth.

 Ray's work extended beyond cinema; he wrote numerous short stories, novels,
and essays, and was also a skilled illustrator and graphic designer.

 In addition to the Apu Trilogy, Ray directed other acclaimed films such as
"Charulata" (1964), "The Music Room" (1958), and "Days and Nights in the
Forest" (1970).

 Ray received numerous awards and honors throughout his career, including an
Academy Honorary Award in 1992 for his lifetime achievements in cinema.

 His influence on Indian and world cinema remains profound, inspiring

generations of filmmakers with his artistry, storytelling, and humanistic vision.

Shyam Benegal
 Shyam Benegal (born 1934) is an eminent Indian filmmaker known for his
contributions to parallel cinema.

 He is regarded as one of the pioneers of the Indian New Wave, a movement that
sought to break away from the conventions of mainstream Bollywood cinema.

 Benegal's films often explore social and political themes, depicting the
complexities of Indian society with depth and nuance.
 He made his directorial debut with the film "Ankur" (1974), which received
critical acclaim for its realistic portrayal of social issues such as caste
discrimination and exploitation.

 Benegal's subsequent works, including "Nishant" (1975), "Manthan" (1976), and

"Bhumika" (1977), further established him as a leading figure in Indian cinema.

 He collaborated with talented actors and actresses, including Shabana Azmi,

Smita Patil, Naseeruddin Shah, and Om Puri, who became synonymous with the
parallel cinema movement.

 Benegal's films often feature strong female protagonists and explore the
challenges faced by women in Indian society.

 In addition to his work in cinema, Benegal has also directed several acclaimed
television series, including "Bharat Ek Khoj" (1988) and "Samvidhaan: The
Making of the Constitution of India" (2014).

 Throughout his career, Benegal has received numerous awards and honors,
including the Padma Bhushan, India's third-highest civilian award, in recognition
of his contributions to Indian cinema and culture.

Mrinal Sen
 Mrinal Sen (1923-2018) was a prominent Indian filmmaker known for his
contributions to parallel cinema.

 He was a key figure in the Indian New Wave movement and is regarded as one
of the greatest filmmakers in Indian cinema history.

 Sen's films often explored social and political issues, depicting the struggles of
the common people in India with realism and empathy.

 He made his directorial debut with the film "Raat Bhore" (1955), but gained
wider recognition with "Baishey Shravan" (1960), which won the President's
Gold Medal at the National Film Awards.

 Some of Sen's most acclaimed works include "Bhuvan Shome" (1969), "Akaler
Sandhane" (1980), and "Khandahar" (1984), which won international acclaim for
their innovative storytelling and social commentary.

 Sen was known for his experimental approach to filmmaking, often using non-
linear narratives, innovative editing techniques, and symbolic imagery to convey
his themes.
 He frequently collaborated with renowned actors such as Soumitra Chatterjee,
Dhritiman Chatterjee, and Anjan Dutt, among others.

 In addition to his work in cinema, Sen was also a prolific writer and essayist,
writing extensively on cinema and society.

 Throughout his career, Sen received numerous awards and honors, including the
Padma Bhushan, India's third-highest civilian award, and the Dadasaheb Phalke
Award, the highest honor in Indian cinema, in recognition of his outstanding
contribution to the film industry.

Ritwik Ghatak
 Ritwik Ghatak (1925-1976) was a renowned Indian filmmaker, playwright, and
scriptwriter, known for his significant contributions to Indian cinema.
 He was one of the key figures in the Indian New Wave movement and is
considered one of the greatest filmmakers in Bengali cinema history.
 Ghatak's films often explored themes of partition, displacement, identity, and
socio-political upheavals, drawing from his own experiences as a refugee during
the partition of Bengal in 1947.
 He made his directorial debut with the film "Nagarik" (1952), which received
critical acclaim for its innovative storytelling and social commentary.
 Ghatak's most celebrated works include "Meghe Dhaka Tara" (1960),
"Subarnarekha" (1962), and "Titash Ekti Nadir Naam" (1973), all of which are
considered classics of Indian cinema.
 His films are characterized by their powerful storytelling, emotional depth, and
vivid portrayal of human struggles.
 Ghatak was known for his distinct visual style, incorporating elements of Indian
classical music, folklore, and symbolism into his films.
 He often worked with talented actors such as Supriya Choudhury, Bijon
Bhattacharya, and Anil Chatterjee, among others, who became synonymous with
his cinematic vision.
 In addition to his work in cinema, Ghatak was also a respected playwright and
theater director, known for his innovative approach to storytelling and dramatic
techniques.
 Despite facing financial and critical challenges during his lifetime, Ghatak's films
have since gained international recognition and are considered masterpieces of
world cinema.
 He continues to inspire filmmakers and cinephiles alike with his profound
exploration of human emotions and societal issues.