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Cinema
One of the most flourishing cinema industries found today is in India. But the pioneers of the
industry were actually foreigners. In 1896, the Lumiere brothers demonstrated the art of cinema
when they screened Cinematography consisting of six short films to an enthusiastic audience in
Bombay. The success of these films led to the screening of films by James B. Stewart and Ted
Hughes.
In 1897, Save Dada made two short films, but the fathers of Indian cinema were Dada Saheb
Phalke who in 1913 made the first feature length silent film and Ardeshir Irani who in 1931 made
With the demise of the silent era and the advent of the talkies, the main source for inspiration for
films came from mythological texts. Films were produced in Hindi, Tamil, Telugu and Bengali.
Mythology flourished more in South India where its social conservative morals equated film
acting to prostitution. But by the 1930s, word had spread around the world about the vibrant film
industry in India and foreigners with stars in their eyes landed upon Bombay shores.
One of these was Mary Evans, a young Australian girl who could do stunts. She could, with no
effort, lift a man and throw him across the room. She wore Zorro-like masks and used a whip
when necessary. She changed her name to Nadia and was affectionately known by the audience
as Fearless Nadia and that name stuck with her through the ages. Even though she did not
speak any of the native tongues, her career spanned from the 1930s to 1959. She had a huge
cult following. The press and critics did not appreciate her; however, the audiences could not get
Following on Nadias heels in 1940, Florence Esekiel, a teenager from Baghdad, arrived in
Bombay and was soon given the screen name of Nadira. She played the love interest in a Dilip
Kumar film who at the time was a leading heartthrob. She moved on to playing bitchy parts and
was forever type cast as a vamp the temptress, the bad girl. She gradually slipped into mother
roles. One of her last appearances was in Ismail Merchant film Cotton Mary.
There were also notable male actors who made a mark on the screen. One of them was Bob
Christo, who was another Australian. He came to India because he had seen a picture of the
actress Parveen Babi and ended up actually being in a film with her. He specialized in villain and
henchman roles.
Another notable actor is Tom Alter who has played the foreigner who does not speak the
language, although he is fluent in Hindi and Urdu, even reciting poems in Urdu on the stage. He
And then we must not forget Helen. A Franco-Burmese refuge who broke all norms, she
embodied sexuality and filled the roles that other actresses with conservative views shunned.
She was widely sought after for her dance or item numbers as they are called today. However
she stayed within the code of decency wearing body stockings all the times. She did venture out
to Bombay and directed 57 blockbuster films. His films were on the scale of those made by Cecil
B. DeMille. He drew his inspiration from episodes of the Mahabharata and Ramayana, his early
silent films were richer than most that were made at the time.
In 1947, When India gained its independence, mythological and historical stories were being
replaced by social reformist films focusing on the lives of the lower classes, the dowry system
and prostitution. This brought a new wave of filmmakers to the forefront such as Bimal Roy and
Satyajit Ray among others. In the 1960s, inspired by social and cinematic changes in the US
and Europe, Indias new wave was founded, offering a greater sense of realism to the public and
getting recognition abroad, but the industry at large churned out masala films with a mesh of
genres including action, comedy, melodrama punctuated with songs and dances and relying on
Today there is a growing movement to make Indian cinema more real - a group of young
filmmakers like Anurag Kashyap, Anand Gandhi, and Gyan Correa, whose film The Good Road
is this years contender for the Oscars. There are now more large investments from corporate
houses and a more structured industry funding independent cinema and making it a viable and
profitable business.
There has never been a more favorable time for Indian cinema than today. With a vibrant
creative community, new technology and investment interest, we are on the verge of seeing
Indian cinema transcend its national borders to project Indias socio-political and economic