The Birth of Film
In the humanity's history, the man has always had a deep interest in capturing and representing movement, different civilizations or people have looked for the way to achieve this fact. Several inventors and geniuses have built machines that produce the illusion of movement, for example the Phenakistiscope, the Praxinoscope, the thaumatrope, the Zoetrope, etc.When those machines were invented, three fundamental elements that constituted cinema were achieved, the persistence of vision, photography and projection. The two other elements, the perforated movie and the mechanism that permits its advance were invented in 1890 by Edison and Dickson.
The Silent Era
 | The cinema was born in December of 1895 when Lumière brothers showed their film "The arrival of the train at La Ciotat" in the Indien salon of Paris with a projector called Cinematographe. Since that moment the movies were made about daily moments such as the labor or family life, but thanks to Georges Méliès, the inventor of the first fictions, people recovered their interest for this art. |
At the beginning of the XX century, the films were already an industry extended around the world, the movies were mute and it appeared texts amid the scenes in order to explain the action of the film, sometimes a pianist played music to make happier the show. The barracks of the beginnings of cinema became elegant and roomy rooms where they began to assist the high social classes and not only the popular ones.
Once the movies becomes a great popular show that overcame the social and idiomatic barriers, Edison sends his lawyers against the exploiters of film projectors with the purpose of monopolizing the film market, and after several processes, closings film theaters, confiscation of projectors and moments of violence, the victory was given to Edison.
This situation affected negatively to independent filmmakers, which moved to the other side of the country, to California. There Hollywood was founded and the big film production companies started to make the history of the North American films.
The Sound Era
| On October 6, 1927 happens a revolutionary fact for the films, when Alan Crosland left to listen the voice of the actor Al Jolson singing. With the arrival of this new era of the films also disappeared various actors upon bringing to light to the public its true voice, unpleasant or ridiculous, that did not correspond to its physical appearance. The technicians and filmmakers changed of form to do and to think about the films and the actors and actresses had to learn to vocalize correctly. |  |
By these years it also was originated the animation films, which was especially made for children, being Walt Disney their favorite creator. Opposite to directors with mainly commercial positions, they appear others with new aesthetic restlessness such as Von Stroheim, Hitchcock or Orson Welles; Meanwhile in Europe the filmmakers of countries with totalitarian governments were guided toward a politically propagandistic cinema, frequently failed artistically as the case of the Fascists.
Post-War
 | When finishing the war it appeared in Italy the cinema called neo-realistic, which was a testimonial cinema about the reality of that moment, it also showed a lot of humanity, it was worried about the problems of individuals living on streets and it supposed a deep look on the problems of subsistence of the poorest. By the 1950 the EEUU was passing a time of well-being that changed the lifestyle. The acquisition of televisions made the number of spectators smaller and they were invented new ways for recover it, so the big screen appealed to its best argument, its spectacular nature, the screen grown and was projected in color and the sound becomes stereo. |
At the end of 1950, and following the steps of innovative directors such as Rossellini, a new generation of filmmakers contributed to improve the films, under the denomination nouvelle wanders, it was a cinema equally made with a few tools but with the force of aesthetic innovations.
By the years 1960 appeared new film types, in Sweden, Ingmar Bergman made films focused in the introspection that were interested on the psychology of people, their anguishes and their existential doubts. In Italy, Antonioni, Pasolini, Bertolucci, Visconti and Fellini opt for the poetic films.
Cinema at the present time
| Due to the apparition and introduction of videotapes as well as the massive increase of television channels, the public watch much more movies than ever before and everything without leaving home. Nowadays the films look for a spectacular show because the movies with lots of special effects are able to attract several spectators to the dark room. In the present films it is imposed quality and profitability. |  |
history of indian cinema
Pre-cinema age
Telling stories from the epics using hand-drawn tableaux images in scroll paintings, with accompanying live sounds have been an age old Indian tradition. These tales, mostly the familiar stories of gods and goddesses, are revealed slowly through choreographic movements of painted glass slides in a lantern, which create illusions of movements. And so when the Lumire brothers' representatives held the first public showing at Mumbai's (Bombay) Watson's Hotel on July 7, 1896, the new phenomenon did not create much of a stir here and no one in the audience ran out at the image of the train speeding towards them, as it did elsewhere. The Indian viewer took the new experience as something already familiar to him.
Harischandra Sakharam Bhatwadekar, who happened to be present for the Lumiere presentation, was keen on getting hold of the Lumiere Cinematograph and trying it out himself rather than show the Lumiere films to a wider audience. The public reception accorded to Wrangler Paranjpye at Chowapatty on his return from England with the coveted distinction he got at Cambridge was covered by Bhatwadekar in December 1901- the first Indian topical or actuality film was born.
In Calcutta, Hiralal Sen photographed scenes from some of the plays at the Classic Theatre. Such films were shown as added attractions after the stage performances or taken to distant venue where the stage performers could not reach. The possibility of reaching a large audience through recorded images which could be projected several times through mechanical gadgets caught the fancy of people in the performing arts and the stage and entertainment business. The first decade of the 20th century saw live and recorded performances being clubbed together in the same programme.
The strong influence of its traditional arts, music, dance and popular theatre on the cinema movement in India in its early days, is probably responsible for its characteristic enthusiasm for inserting song and dance sequences in Indian cinema, even till today.
Dada Saheb Phalke
Dhundiraj Govind Phalke (1870 - 1944) affectionately called Dadasaheb Phalke is considered as the 'father of Indian Cinema'. Central in Phalke's career as a filmmaker was his fervent belief in the nationalistic philosophy of swadeshi, which advocated that Indians should take charge of their own economy in the perspective of future Independence.
Phalke, with his imported camera, exposed single frames of a seed sprouting to a growing plant, shot once a day, over a month-thus inadvertently introducing the concept of 'time-lapse photography', which resulted in the first indigenous 'instructional film'- The Birth of a Pea Plant (1912) - a capsule history of the growth of a pea into a pea-laden plant. This film came very handy in getting financial backing for his first film venture.
Inspired from an imported film - Life of Christ - Phalke started mentally visualising the images of Indian gods and goddesses. What really obsessed him was the desire to see Indian images on the screen in a purely Swadeshi venture. He fixed up a studio in Dadar Main Road, wrote the scenario, erected the set and started shooting for his first venture Raja Harishchandra in 1912. The first full-length story film of Phalke was completed in 1912 and released at the Coronation cinema on April 21, 1913, for special invitees and members of the Press. The film was widely acclaimed by one and all and proved to be a great success.
Raja Harishchandra
The opening tableaux presents a scene of royal family harmony- with a space "outside" the frame from where the people emerge, and to which space the king when banished seeks shelter. The film's treatment is episodic, following the style of the Indian flok theatre and the primitive novel. Most of the camera set-ups are static, with plenty of movements within the frame. The bathtub sequence where Harishchandra comes to call his wife Taramati, who is in the tub, with her fully drenched attendants is indeed the first bath-tub scene in Indian cinema. All the females in their wet sarees and blouses clinging to their bodies are in fact all males in female grab.
Phalke hailed from an orthodox Hindu household - a family of priests with strong religious roots. So, when technology made it possible to tell stories through moving images, it was but natural that the Indian film pioneer turned to his own ancient epics and puranas for source material. The phenomenal success of Raja Harishchandra was kept up by Phalke with a series of mythological films that followed - Mohini Bhasmasur (1914), significant for introducing the first woman to act before the cameras - Kamalabai Gokhale. The significant titles that followed include - Satyawan Savitri (1914), Satyavadi Raja Harischandra (1917), Lanka Dahan (1917), Shri Krishna Janma (1918) and Kalia Mardan (1919).
Regional Cinema
The first film in Southern India was made in 1916 by R Nataraja Mudaliar- Keechaka Vadham. As the title indicates the subject is again a mythological from the Mahabharata. Another film made in Madras - Valli Thiru-Manam (1921) by Whittaker drew critical acclaim and box office success. Hollywood returned Ananthanarayanan Narayanan founded General Pictures Corporation in 1929 and established filmmaking as an industry in South India and became the single largest producer of silent films. Kolhapur in Western Maharashtra was another centre of active film production in the twenties. In 1919 Baburao K Mistry - popularly known as Baburao Painter formed the Maharashtra Film Co. with the blessings of the Maharaja of Kolhapur and released the first significant historical - Sairandhari (1920) with Balasheb Pawar, Kamala Devi and Zunzarrao Pawar in stellar roles. Because of his special interest in sets, costumes, design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialised in the historical genre. The exploits of Shivaji and his contemporaries and their patriotic encounters with their opponents formed the recurring themes of his 'historicals' which invariably had a contemporary relevance to the people of a nation, who were fighting for liberation from a colonial oppressor. The attack against the false values associated with the Western way of life and their blind imitation by some Indians was humorously brought out by Dhiren Ganguly in his brilliant satirical comedy - England Returned (1921) - presumably the first 'social satire' on Indians obsessed with Western values. And with that another genre of Indian cinema known as 'the contemporary social' slowly emerged. Baburao Painter followed it up with another significant film in 1925 - Savkari Pash (The Indian Shylock) - an attempt at realistic treatment of the Indian peasant exploited by the greedy moneylender.
In Bengal, a region rich in culture and intellectual activity, the first Bengali feature film in 1917, was remake of Phalke's Raja Harishchandra. Titled Satyawadi Raja Harishchandra, it was directed by Rustomjee Dotiwala. Less prolific than Bombay based film industry, around 122 feature films were made in Calcutta in the Silent Era.
The first feature film in Tamil, also the first in entire South India, Keechakavatham was made during 1916-17, directed by Nataraja Mudaliar.
Marthandavarma (1931) produced by R Sunder Raj, under Shri.Rajeswari Film, Nagercoil, directed by P V Rao, got into a legal tangle and was withdrawn after its premiere. Based on a celebrated novel by C V Raman Pillai, the film recounts the adventures of the crown prince and how he eliminates the arch-villains to become the unquestioned ruler of the Travancore State. The film has title cards in English and Malayalam, some of which are taken from the original text. A few of the title cards and action make obvious reference to the Swadeshi Movement of the time. Had it not been for the legal embargo, the film would have had a great impact on the regional cinema of the South.
Indian Cinema Starts Talking
In the early thirties, the silent Indian cinema began to talk, sing and dance. Alam Ara produced by Ardeshir Irani (Imperial Film Company), released on March 14, 1931 was the first Indian cinema with a sound track.
Mumbai became the hub of the Indian film industry having a number of self-contained production units. The thirties saw hits like Madhuri (1932), Indira,M A (1934), Anarkali (1935), Miss Frontier Mail (1936), and Punjab Mail (1939).
V Shantaram
Among the leading filmmakers of Mumbai during the forties, V Shantaram was arguably the most innovative and ambitious. From his first talkie Ayodhya ka Raja (1932) to Admi (1939), it was clear that he was a filmmaker with a distinct style and social concern whose films generated wide discussion and debate. He dealt with issues like cast system, religious bigotry and women's rights. Even when Shantaram took up stories from the past, he used these as parables to highlight contemporary situations. While Amirt Manthan (1934) opposed the senseless violence of Hindu rituals, Dharmatama (1935) dealt with Brahmanical orthodoxy and cast system. Originally titled Mahatma, the film was entirely banned by the colonial censor on the ground that it treated a sacred subject irreverently and dealt with controversial politics. Amarjyoti (1936) was an allegory on the oppression of women in which the protagonist seeks revenge. It could perhaps be called the first women's lib film in India.
Duniya Na Mane (1937) was about a young woman's courageous resistance to a much older husband whom she had been tricked into marrying. Admi (1939) was one of Shantaram's major works.
Calcutta film Industry
Madan Theatres of Calcutta produced Shirin Farhad and Laila Majnu (1931) well composed and recorded musicals. Both films replete with songs had a tremendous impact on the audience and can be said to have established the unshakeable hold of songs on our films. Chandidas (1932, Bengali), the story of a Vaishnavite poet-priest who falls in love with a low caste washerwoman and defies convention, was a super-hit. P C Barua produced Devdas (1935) based on Saratchandra Chatterjee's famous story about frustrated love, influenced a generation of viewers and filmmakers.
The South Indian Cinema
Tamil cinema emerged as a veritable entertainment industry in 1929 with the creation of General Picture Corporation in Madras (Chennai). Most of the Tamil films produced were multilingual productions, with versions in Telugu, Malayalam and Kannada until film production units were established in Hyderabad, Trivandrum and Bangalore. The first talkie of South India, Srinivas Kalyanam was made by A Narayanan in 1934.
The Golden Fifties
Fifties saw the rise of great directors like Mehboob, Bimal Roy, Guru Dutt and Raj Kapoor who changed the fate of Indian cinema. These directors entered the film industry during the 1930s and '40s, which were traumatic years for the Indian people. The fight for independence, famines, changing social mores, global fight against fascism all contributed to the ethos in which the directors grew up.
Mehboob
Mehboob made his films down to earth, dramatic, even melodramatic. Roti made in the early 1940s inspired by the German Expressionism, is a real critique of Indian society with prophetic insight. It deals with two models - one of a millionaire, possessed by money and power in an industrial civilisation, the other of a tribal couple living in a primeval state of nature. The millionaire is saved by the couple after an air crash, the tribal couple emigrate to the city, do not find happiness and return. The millionaire is ruined in the city, tries futilely to find salvation among the tribal.
Mehboob remade his film Aurat (1940) in colour and with drastically different imagery as Mother India (1957), which was a massive success and later even acquired an epic status. The story revolves around Radha, played by Nargis, one of the strongest woman characters of Indian cinema. Her husband having lost both arms in an accident leaves her. Alone, she raises her children while fending off the financial as well as the sexual pressure from a moneylender. One of her sons, Birju becomes a rebel and the other one Ramu remains a dutiful son. In the end the long suffering mother kills her rebel son, as his blood fertilises the soil.
Highly successful and critically acclaimed, Mehboob's films often derive from clash between pre-capitalist ruralism and an increasingly modernised state with its commercial-industrial practices and values.
Bimal Roy
Born in Dhaka, Bangladesh, Bimal Roy entered the field of cinema as a camera assistant. His directorial debut was with Udayer Pathey (1944). He introduced a new era of post World War romantic-realist melodramas that was an integration of the Bengal School style with that of De Sica.
Do Bigha Zamin (1953) and Sujata were two of the most notable films of Bimal Roy, who basically was a reformist, a humanist liberal. Do Bigha Zamin was one of the Indian first films to chart mass migration of rural people to cities and their degradation in urban slums. Though the situation was tragic, Roy sought to relieve the starkness by brave and hopeful songs and dances. Sujata dealt with the disturbances created to a lost soul from the world of untouchable underclass who escaped accidentally to the world of the urban middle class.
Guru Dutt
Born in Bangalore and educated in Calcutta, Guru Dutt entered into the Hindi film industry as an actor. He took up the job of choreographer and assistant director before his directorial debut Baazi. His earlier films were entertainers like Aar Paar (1954), Mr and Mrs 55 (1955) and C I D (1956). With the darkly romantic Pyaasa (1957) Duttt launched a cycle of films that have remained India's most spectacular achievements in melodrama. Kaagaz Ke Phool (1959) the first Indian film made in Cinemascope was autobiographical in nature. It tells in flashback the story of a famous film director, his disastrous marriage, the entry of an actress into his life that leads to gossiping, his failure as a director and eventually his death. His work encapsulated with great intensity the emotional and social complexities affecting the artist at a time when the reformism associated with Nehruite nationalism disintegrated under the pressure of industrialism and urbanisation. The commercial failure of Kaagaz Ke Phool resulted in a real life repetition of the plot of his film when Guru Dutt committed suicide in 1964.
Raj Kapoor
Born in Peshwar, now in Pakistan as son of Prithviraj Kapoor, Raj Kapoor acted the role of a megastar, successful producer and a director. He started as a clapper-boy in the Hindi film industry and latter became one of the most successful directors of the industry. He set up the R K Films in 1948 and made his first directorial venture Aag. His earlier films Awara (1951) and Shri 420 (1955) evince a sentimental approach to social reforms, presenting political Independence as a loss of innocence in exchange of stability. Later he made sexually explicit films like Bobby (1973) and Satyam Shivam Sundaram (1978), which became huge hits, after the commercial failure of his most ambitious project Mera Naam Joker (1970).
Source: Wikipedia
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