INDIAN POPULAR CINEMA & CULTURAL CHANGE

   Indian Popular Cinema – A narrative of Cultural Change by K.M. Gokulsing and Dimal Dissanayake

Cinema not only reflects culture, it also shapes culture. When we consider Indian films, we see how they have promoted modernization, westernization, urbanization, new ways of life, a sense of pan-Indianism, secularization, the emancipation of women and the rights of minorities and in particular the relationship between Hindus and Muslims. Even in aspects such as fashion and dress, films, aided by such film magazines and fanzines as Cineblitz, Stardust, Filmfare, Movie, have played a central role in Indian society and have generated discussions and influenced public opinion on issues like drugs and violence.

India is the largest film-producing country int eh world, producing over 900 films annually. India has a cinema going population of 65 million per week, though the cinemas number about 13,000 of which 6,500 are permanent and the rest touring. This works out to seven seats per thousand of the population, a very low rate compared to other large countries. Half of the theatres are in the South.

Film budgets range between 3 crores and 6 lakhs. A moderately successful film earns much more than it costs. Various outlets which have recently opened up have created new avenues for revenue like the video market at home and overseas, audio rightly telecast on DD and various satellite TV channels.

Historical development of Indian Cinema

Indian Cinema like most other cinemas, evolved over time, responding to various social, cultural and political contexts and challenges. In order to understand its distinctiveness, we have to examine the changes in theme and style over the nine decades as its existence.

The beginnings: Only a few months after the Lumiere Brothers introduced the art of cinematography in Paris in 1895, Cinema made its presence felt in India. The first Indian film show was held on 7 July 1896, and the Times of India glowingly referred to it as the miracle of the century. Westerners who were quick to realize the value of India as a site of filmmaking both because of its natural beauty and its exotic culture, were inspired to make films that used Indian scenery and culture – such as Coconut Fair (1897), Our Indian Empire (1897), A Panorama of Indian Scenes and Procession (1898) and Poona Races’98 (1898).

Indians soon entered the domain of filmmaking. The first Indian to make a film was Harishchandra S. Bhatvadekhar, popularly known as Save Dada. His first film ‘The Wrestlers’ was produced in 1899. Next was F. B. Thanawala, who made his debut in 1900.

In 1901, Hiralal Sen made his mark as a film producer with a deep interest in Indian History and Mythology. J. K. Madan (1905) went on to establish the Elphinstone Bioscope Company. Madan Theatre exercised great influence both inside India and outside. Madan built a vast empire on the lines of Hollywood and also imported foreign actresses to act in Indian Mythological and folk tales, as Indian women were hesitant to expose themselves to the gaze of the film camera.

By now Indian audiences were increasingly being exposed to Western films.

Although Pundalik was the first feature film to be made by an Indian, it was show by an Englishman and never shown as an independent film (1912, by R.G. Donny).

The honor of making the first Indian feature film by an Indian goes to Dhundiraj Govind Phalke. His 50 minute film Raja Harishchandra, released 3 May 1913 was totally Indian in terms of product and was shown as an independent and self-contained work in its own right. It was instantly successful, due partly to the splendid effects he created and still maintains its mass appeal.

In 1917, the first feature film was made in the South, Keechaka Vadham, based on the Mahabharata. By 1920, i.e., 7 years after the first feature film was produced, Indian cinema appeared to be established on secular foundations – 18 feature films were produced in 1920, 40 in 1921 and 80 in 1925. As cinema began to grow, a number of gifted film directors made their debut, among them, Suchat Singh, Duiren Ganguli, Himansu Rai and V. Shantaram.

A good many films made during this initial period were greatly inspired by the two celebrated epics – the Ramayana and the Mahabharata. Many of the Directors sought to invest their mythological narratives with a clear social message relevant to contemporary society. The film makers associated with this phase int eh growth of Indian Cinema were Janus-faced. They looked back to reconnect with tradition, at the same time they sought the innovations of Hollywood.

One can legitimately say that the mythological film narration the actions of Gods and Goddesses is a unique product of Indian Cinema and in the way that the Western is of Hollywood. This genre is informed by a powerful moral imagination in which good triumphs over evil, so reinforcing the moral order, apart from its own characteristic heroes and villains and immediately recognizable costumes and settings.

Raja Harishchandra 3,700 feet in length was presented was a milestone in the History of Indian Cinema. It travelled to Surat, Poona, Calcutta and even to Rangoon. The single print of the film proved to be a fortune-spinner, suggesting the commercial viability of film, and providing an index for audience response.

Phalke’s most notable contribution was laying down the operative norms of Indian films which ensures for him the title of ‘the Father of Indian Cinema’.  (Kishore Valecha)