Changing trends in Indian Cinema.

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If the film is simple..you can include a hundred details..that create the illusion of actuality better.

-Satyajit Ray

Cinema could be referred as the ‘bread and toast’ of Indian audience,with one of the vast and expanded film industry in the world , it reaches upto 1.2 billion Indians to the world outside this continent.

If we were to debate about the changing trend that has occured in this realm of Indian Cinema,We have look into the abyss of the history of Indian cinema.

‘Raja Harishchandra’ (1913) is a legendary film directed by the ‘the father of Indian cinema’ Dadasaheb phalke,this 40 minute silent film can be regarded as the incitement of ‘Bollywood.’ The film is premilarly constructed on the eponymous legend of King Harishchandra ,who immolated his wife , his children to keep true to the promise of sage vishwamitra.The theme of integrity, morality and the repercussion of traditional Indian mythology is predominant in its approach.

Our discussion would be of no significance, without the indication to one of the period that brought India into the global map, an era(1940-1960) that was adorned with filmmakers and actors that left an indelible ramification on the films that are produced today. Movies like Shree 420 (1955), Pather Panchali (1955), Mother India (1957), Mughal  e Azam (1960) , The cloud clapped star (1960), Misamma (1955) to name a few. The socio-political impact, the struggle and the drudgery that the every Indian had to go through is subtly reflected in the conscience of the films.The movies generally whirled round the reverie of common man, floating to and fro dashed by the adversities of life, and in the course of the novel is revealed as a round character, with shades of grey, but ultimately finishing off with a ‘Happy Ending.’ It should also be indicated that regional cinemas of this time, Malayalam cinema derived much of its strength from it’s literature{e.g =Cheeman (1965)} , winning national award as we all as director Mrinal Sen’s production of ‘Bhuvan Some’ which made its mark in the long run.

The second phase of Indian Cinema constitute the reversion of themes from the poor,feeble man to the urban working class society. The storyline transformed to a larger extent. By the early of 1970s the backbone of the cinema was musical comedy, underworld mafias of Bombay, cunning villain, love stories of protagonists divergent in their economical status. ‘The Angry Young Man’, we can assert it as a personality which bears the traits of a hero, who is sterling in the art of dancing to the rhythm of music to punching and kicking ,and acting as a savior to ‘damsel in distress’ heroine.Movies like Aradhana (1969), Deewar (1975), Zanjeer (1973),Sholay (1975) mark this period. This can be very much be interpreted as the birth of ‘Commercial bollywood’, which was charged with elements of action, comedy, musical, melodrama, and the point of convergence being the male heroes, leaving a spinnet of place for the evolution of the female protagonists.
Down in the South, the new wave cinema originated in Karnataka and Kerala.Pattabhi Rama Reddy’s ‘Samskara(1970)’ and Adoor Gopalakrishnan’s ‘Swayamvaram(1972)’ were the trend setters in Kannada and Malayalam respectively.

The 80s witnessed the most diverse shift in the thematic representation.The science-fiction made its appearance on the big screen with Mr. India (1987) starring Anil kapoor and Sridevi. Quayamat se Quamat Tak, Jo Jeeta wohi Sikandar, Maine pyaar kiya, Baazigar and other rom-com’s dominated the screen in that era.Among the renowned South Indian movies,we could name a few movies e.g : ‘Elippathayam’, ‘Pokkuveyil’,’Chidambaram’, ‘Oridath’ and ‘Piravi’ etc.

The last phase began in early 2000s to the Cinema of to-day.

The major change that these movies which depict the 21st century human race, a concoction of human misery, mirth, escapades, simplicity of domestic life ,visual effect , global appeal , the desire for realism, and the lack of utopia which had been previously given a splendid importance.

With the introduction of Web series, and world Cinema, India has definitely uplifted from its dream vacation in a Indian ecstasy (mostly European delights shown as the Indian places) to the innate feelings of a protagonist and there has been a great emphasis on the storyline,the cinematography, the power of its actors to maintain the attention of audience through their hearty performance.

Irrefutably Indian Cinema, in older times, had seen undaunted,courageous filmmakers who forged stories that defied Social taboos, and the questions of homosexual relationship, illicit affairs but the embracement came in full fledge during the millennial age.

We reside in a world that though baised, stereotypical and still in a cramped relation with bold adaptation of issues which were mentioned as ‘Wrong’ hitherto, suddenly gained the title ‘Progressive.’ We might have to go a prolonged way before we can be truly liberally modern in the very sense of that term.

Padman, Dangal, Lipstick under my Burkha, Pink, Piku – every and each one of this masterpiece shows the way frame of mind can be shattered, and the changing vigour of Indian Cinema, it’s growth from its pithy, narrow circle. Women are now casted as a protagonist, and the same sexuality is not a matter of discomfiture anymore.

Cinema is a world view of a community and directors, by taking the crucial changes in the mainstream lifestyle into the canvas of 2 hours is no less than an enchantment.

May Cinema continues to flow in its accelerating wave, and provide us with stories that reflect every facet of this mundane yet magical human life.(with Aliens also)

Pain is temporary, film is forever.

-John Milius.

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19 Comments Add yours

  1. Ramyani Bhattacharya says:

    Well written. 😊

    Liked by 3 people

    1. neha98blog says:

      Ramayani,thank you for reading.

      Like

  2. “Baarish and chowmein” too is a commendable short film. Everything depends on views hence producers try to entertain audience rather than showing them the actual ground zero problems. A meaningful insight
    Keep up the good work

    Liked by 3 people

    1. neha98blog says:

      Then I have to see ‘Baarish and chowmein’,Thank you for suggesting this undiscovered gems,kalyan.Have a good day!

      Liked by 1 person

  3. You’ve researched a lot for this post, I surmise. Good work… 🙂

    Liked by 2 people

    1. neha98blog says:

      Thank you didi so much for reading it.

      Liked by 1 person

  4. da-AL says:

    interesting to know – indeed, India makes great movies 🙂

    Liked by 1 person

    1. neha98blog says:

      Thank you Daal for reading it.Have a nice day!

      Liked by 1 person

  5. Well-researched post, Neha!

    Liked by 2 people

    1. neha98blog says:

      Thanks Debjani for reading this.Hope you are doing well.

      Liked by 1 person

  6. Chiru says:

    Wow from the start to till date you just explained it like a small trailer…
    Oh yes Dadasaheb palke without whom nothing would have started…
    All these years how cinema has changed its a glimpse…….

    Liked by 1 person

    1. neha98blog says:

      I am so lucky to have a reader like you chiru.Thank you for taking your time to read my post.Hope you are having a good day! Take care.

      Liked by 1 person

  7. Great insights. Debuts are often good for the creators after which they falter. This is a trend I observed. Thanks for the post.

    Liked by 2 people

    1. neha98blog says:

      Thanks for spilling this acute observation on Cinema.

      Like

  8. Film is forever. That’s it. It sticks and stays forever.

    Liked by 1 person

    1. neha98blog says:

      Yes,it is.Thank you for taking the time to visit my blog.

      Liked by 1 person

  9. Rahul Raj Chukkath says:

    Nice writing. 😊 And there’s an edit, the 1965 movie isn’t Cheeman but Chemmeen which means The Prawn. Also, most of the movies you indicated for South India is from malayalam industry. Why ? 🙂

    Like

    1. neha98blog says:

      Thank you for pointing out that Rahul,I am in the process of discovering south Indian film industry and I would be glad if you could suggest some movies that you know and think I should watch,I am still a discoverer when it comes to Cinema.

      Like

      1. Rahul Raj Chukkath says:

        These are some movies I really loved from Tamil. Indian (1996), Anbe Sivam (2003), Nayakan (1987), Guna (1991), Bombay (1995), Baasha (1995), Thalapathi (1991),Roja (1992). I’m sure there are more which I don’t remember right now. You’ve also go through Adoor Gopalakrishnan’s Kodiyettam (1977), Vidheyan (1994), Mathilukal (1990),Elippathayam (1982), Anantharam (1987)- which I believe his magnum opus. It’s also a good thing to checkout the filmographies of Padmarajan, Bharathan and G. Aravindan from Malayalam. I think contemporary period is the golden age of realistic films in Malayalam and Tamil. You should also see the changes they made.

        Like

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