Multilinguals
Some Indian films are known as "multilinguals," having been filmed in similar but non-identical versions in different languages. This was done in the 1930s. According to Rajadhyaksha and Willemen in the Encyclopaedia of Indian Cinema (1994), in its most precise form, a multilingual is
Rajadhyaksha and Willemen note that in seeking to construct their Encclopedia, it they often found it "extremely difficult to distinguish multilinguals in this original sense from dubbed versions, remakes, reissues or, in some cases, the same film listed with different titles, presented as separate versions in different languages ... it will take years of scholarly work to establish definitive data in this respect.":
Films are made in many cities and regions in India including Andhra Pradesh and Telangana, Assam, Bengal, Bihar, Gujarat, Haryana, Jammu, Kashmir, Jharkhand, Karnataka, Konkan (Goa), Kerala, Maharashtra, Meitei, Odisha, Punjab, Rajasthan, Tamil Nadu among others.
| Table: Breakdown by languages | |
|---|---|
| Breakdown of 2016 Indian feature films certified by the Central Board of Film Certification sorted by languages. Note: This table indicates the number of films certified by the CBFC's regional offices in nine cities. The actual number of films produced may be less. | |
| Language | No. of films |
| Hindi | 340 (digital) and 0 (celluloid), total of 340 |
| Tamil | 291 (digital) and 0 (celluloid), total of 291 |
| Telugu | 275 (digital) and 0 (celluloid), total of 275 |
| Kannada | 204 (digital) and 0 (celluloid), total of 204 |
| Marathi | 180 (digital) and 1 (celluloid), total of 181 |
| Malayalam | 168 (digital) and 0 (celluloid), total of 168 |
| Bengali | 149 (digital) and 0 (celluloid), total of 149 |
| Bhojpuri | 67 (digital) and 0 (celluloid), total of 67 |
| Punjabi | 45 (digital) and 0 (celluloid), total of 45 |
| Gujarati | 45 (digital) and 0 (celluloid), total of 45 |
| Odia | 41 (digital) and 0 (celluloid), total of 41 |
| Assamese | 20 (digital) and 0 (celluloid), total of 20 |
| Rajasthani | 10 (digital) and 0 (celluloid), total of 10 |
| Chhattisgarhi | 10 (digital) and 0 (celluloid), total of 10 |
| Tulu | 10 (digital) and 0 (celluloid), total of 10 |
| Konkani | 6 (digital) and 0 (celluloid), total of 6 |
| English | 5 (digital) and 0 (celluloid), total of 5 |
| Haryanvi | 4 (digital) and 0 (celluloid), total of 4 |
| Maithali | 3 (digital) and 0 (celluloid), total of 3 |
| Sindhi | 3 (digital) and 0 (celluloid), total of 3 |
| Urdu | 3 (digital) and 0 (celluloid), total of 3 |
| Bodo | 2 (digital) and 0 (celluloid), total of 2 |
| Others | 1 each |
| Total | 1607 (digital) and 1 (celluloid), total of 1903 |
The Assamese language film industry traces its origin to the works of revolutionary visionary Rupkonwar Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese film Joymati in 1935, under the banner of Critrakala Movietone. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, had to shoulder the added responsibilities as the script writer, producer, director, choreographer, editor, set and costume designer, lyricist and music director. The film, completed with a budget of 60,000 rupees, was released on 10 March 1935. The picture failed miserably. Like so many early Indian films, the negatives and complete prints of Joymati are missing. Some effort has been made privately by Altaf Mazid to restore and subtitle whatever is left of the prints. Despite the significant financial loss from Joymati, the second picture, Indramalati, was filmed between 1937 and 1938, and was finally released in 1939. The beginning of the 21st century has seen Bollywood-style Assamese movies hitting the screen.
The Bengali language cinematic tradition of Tollygunge located in West Bengal has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimedRecent Bengali films that have captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai.Bengali filmmaking also includes Bengali science fiction films and films that focus on social issues. In 1993, the Bengali industry's net output was 57 films.Main article: Cinema of West Bengal
The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes" were shown in theatres in Calcutta. Within five years, the first seeds of the industry were sown by Hiralal Sen, considered a stalwart of Victorian era cinema when he set up the Royal Bioscope Company, producing scenes from the stage productions of a number of popular shows at the Star Theatre, Calcutta, Minerva Theatre, Classic Theatre. Following a long gap after Sen's works, Dhirendra Nath Ganguly (Known as D.G.) established Indo British Film Co, the first Bengali owned production company, in 1918. However, the first Bengali Feature film Billwamangal was produced in 1919 under the banner of Madan Theatre. Bilat Ferat was the IBFC's first production in 1921. Madan Theatres production of Jamai Shashthi was the first Bengali talkie.
In 1932, the name "Tollywood" was coined for the Bengali film industry due to Tollygunge rhyming with "Hollywood" and because it was the centre of the Indian film industry at the time. It later inspired the name "Bollywood", as Bombay later overtook Tollygunge as the center of the Indian film industry, and many other Hollywood-inspired names. The 'Parallel Cinema' movement began in the Bengali film industry in the 1950s. A long history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak and others having earned international acclaim and securing their place in the history of film and actors like Uttam Kumar and Soumitra Chatterjee were the greatest actor in Bengali film industry.
Braj Bhasha language films present Brij culture mainly to rural people, predominant in the nebulous Braj region centred around Mathura, Agra, Aligarh and Hathras in Western Uttar Pradesh and Bharatpur & Dholpur in Rajasthan. It is the predominant language in the central stretch of the Ganges-Yamuna Doab in Uttar Pradesh. The first Brij Bhasha movie produced in India was Brij Bhoomi (1982), which was a success throughout the country. made by actor, producer & director Shiv Kumar in banner of "Ocaon Movies". Later Brij Bhasha cinema saw the production of films like Jamuna Kinare, Brij Kau Birju, Bhakta Surdas, and Jesus. The culture of Brij is presented in the films Krishna Tere Desh Main (Hindi), Kanha Ki Braj Bhumi,Brij ki radha dwarika ke shyam and Bawre Nain,
Bhojpuri language films predominantly cater to people who live in the regions of western Bihar and eastern Uttar Pradesh and also have a large audience in Delhi and Bombay due to migration of Bhojpuri speakers to these metros. Besides India, there is a large market for these films in other Bhojpuri speaking countries of the West Indies, Oceania, and South America.Bhojpuri language film's history begins in 1962 with the well-received film Ganga Maiyya Tohe Piyari Chadhaibo ("Mother Ganges, I will offer you a yellow sari"), which was directed by Kundan Kumar.Throughout the following decades, films were produced only in fits and starts. Films such as Bidesiya ("Foreigner" 1963, directed by S. N. Tripathi) and Ganga ("Ganges," 1965, directed by Kundan Kumar) were profitable and popular, but in general Bhojpuri films were not commonly produced in the 1960s and 1970s.
The industry experienced a revival in 2001 with the super hit Saiyyan Hamar ("My Sweetheart," directed by Mohan Prasad), which shot the hero of that film, Ravi Kissan, to superstardom. This success was quickly followed by several other remarkably successful films, including Panditji Batai Na Biyah Kab Hoi ("Priest, tell me when I will marry") in 2005, directed by Mohan Prasad, and Sasura Bada Paisa Wala ("My father-in-law, the rich guy") in 2005. In a measure of the Bhojpuri film industry's rise, both of these did much better business in the states of Uttar Pradesh and Bihar than mainstream Bollywood hits at the time, and both films, made on extremely tight budgets, earned back more than ten times their production costs.Although a smaller industry compared to other Indian film industries, the extremely rapid success of their films has led to dramatic increases in Bhojpuri cinema's visibility, and the industry now supports an awards showand a trade magazine, Bhojpuri City.
Chhollywood was born in 1965 with the first Chhattisgarhi film Kahi Debe Sandesh ("In Black and White"), directed and produced by Manu Nayak. It was a story of intercaste love and it is said that former Indian Prime minister Indira Gandhi watched the movie. Naidu wrote the lyrics for the film and two songs of the movie were sung by Indian singer Mohammad Rafi. Niranjan Tiwari directed Ghar Dwar in 1971, produced by Vijay Kumar Pandey. However, both movies did not do well at the box office, and disappointed the producers. No movie was produced for nearly 30 years thereafter.
Before the arrival of talkies, several silent films were closely related with Gujarati people and culture. Many film directors, producers and actors who are associated with silent films were Gujarati and Parsi. There were twenty leading film company and studios owned by Gujaratis between 1913 and 1931. They were mostly located in Bombay (now Mumbai). There were at least forty-four leading Gujarati directors during this period.
Gujarati cinema dates back to 9 April 1932, when the first Gujarati film, Narsinh Mehta, was released.Leeludi Dharti (1968) was the first colour film of Gujarati cinema. After flourishing through the 1960s to 1980s, the industry saw a decline. The industry has been revived in recent times. The film industry has produced more than one thousand films since its inception. In 2005, the Government of Gujarat announced a 100% entertainment tax exemption for Gujarati films.
Gujarati cinema is chiefly based on scripts which range from mythology to history and social to political. Since its origin Gujarati cinema has experimented with stories and issues from Indian society. The films are generally targeted at a rural audience but after a recent revival also caters to an audience with urban subjects.
In 1995 the Indian economy began showing sustainable annual growth, and Hindi cinema, as a commercial enterprise, grew at a growth rate of 15% annually. The salary of lead stars increased greatly. Many actors signed contracts for simultaneous work in 3–4 films. Institutions such as the Industrial Development Bank of India also came forward to finance Hindi films.A number of magazines such as Filmfare, Stardust, and Cineblitz became popular.The Hindi language film industry of Bombay — also known as Bollywood — is the largest and most powerful branch and controls Indian cinema. Hindi cinema initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959). International visibility came to the industry with Raj Kapoor's Awara and later in Shakti Samantha's Aradhana starring Rajesh Khanna and Sharmila Tagore. Hindi cinema grew during the 1990s with the release of as many as 215 films.
The audience's reaction towards Hindi cinema is distinctive, with involvement in the films via clapping, singing, and reciting familiar dialogue with the actors.
Gubbi Veeranna a started Karnataka Gubbi Productions which was a company to produce films. He first produced Sadarame in 1935, in which he acted in the lead role. The film had C.I.D. Sakunthala, Ashwathama, B. Jayamma in the cast and was directed by Raja Chandrasekar. He then produced Subhadra which had Honnappa Bhagavathar in the lead. In 1942, he produced Jeevana Nataka with Kemparaj Urs in the lead. He again acted in the lead role in the film Hemareddy Mallamma, in 1945. He produced Sathya Shodhanai in 1953, which was a Tamil Film and had again starred Honnappa Bhagavathar. Karnataka Gubbi Productions was later called as The Karnataka Films Ltd., it is attributed to have started the film career of Rajkumar when it agreed to offer him the lead role in his first film Bedara Kannappa. He has also produced silent movies like His Love Affair which was directed by a foreigner, Raphel Algoet. In this film, the lead role of the actor was played by Gubbi Veeranna himself and the actress was none other than his wife, Jayamma. In 1956, he produced Sadaarme, which had T.N. Balakrishna in lead and also had Kalyan Kumar. It was the remake of 1936 movie with the same name. In 1959, he produced Sagothari, a Tamil Film which had K. Balaji in the Lead..Gubbi Veeranna (1891 – 1972) was an Indian theatre director and artist and an awardee of the prestigious PADMASHREE conferred by the President of India. He was one of the pioneers and most prolific contributors to Kannada theatre.Gubbi Veeranna is like Bhishma of Kannada film industry. His contribution to kannada film Industry is invaluable.Kannada actor Rajkumar was working in Gubbi Veeranna's camp and later he became important actor
Gubbi Veeranna productions film Bedara Kannappa (1954) ,Director H. L. N. Simha; received the first Certificate of Merit. The film was based on the folktale of the hunter Kannappa who proves his extreme devotion to Lord Shiva by plucking out both of his ,eyes. However, the first "President's Silver Medal for Best Feature Film in Kannada" was only awarded at the 5th National Film Awards ceremony held on 16 April 1958 to the 1957 film Premada Puthri. The film was directed by R. Nagendra Rao and produced under his banner R. N. R. Pictures
The Kannada film industry, also referred to as Sandalwood, is based in Bengaluru and caters mostly to the state of Karnataka. Vishnuvardhan and Rajkumar were eminent actors along with Ambarish,Anant Nag,Shankar Nag,Prabhakar, udaya Kumar, Kalyan Kumar,Gangadhar, Ravichandran, Girish Karnad, Prakash Raj, Shankar Nag, Ananth Nag,Charan Raj, B Jayamma ,Lellavati, Kalpana, Bharathi, Jayanthi, Pandari Bai,Jayanti,Arathi,Jayamala, Tara, Umashri and Ramya.
Film directors from the Kannada film industry like H L N Simha,R. Nagendra Rao, B R Panthulu,M S Sathyu, PuttannaKanagal, G V.Iyer, Girish Karnad T.S.Nagabharana B Siddalingayya,Nagabharana,B V Karanth,A K Pattabhi,T. V. Singh Thakur,Y. R. Swamy,M. R. Vittal,Sundar Rao Nadkarni,P. S. Moorthy,S. K. A. Chari,Hunsur Krishnamurthy,Prema Karanth,Rajendra Singh Babu,N. Lakshminarayan, Shankar Nag,Girish Kasaravalli,Umesh Kulkarni,Suresh Heblikar etc have garnerednationalrecognition.Othernoted film personalities in Kannada are, Bhargava, G.K. Venkatesh, Vijaya Bhaskar, Rajan-Nagendra, Geetha Priya,Hamsalekha,R N Jayagopal,M Ranga Rao,Yogaraj Bhat etc.
Kannada cinema, along with Bengali and Malayalam films, contributed simultaneously to the age of Indian parallel cinema. Some of the influential Kannada films in this genre are Samskara (based on a novel by U. R. Ananthamurthy), Chomana Dudi by B. V. Karanth, Tabarana Kathe, Vamshavruksha, Kadu Kudure,Hamsageethe, Bhootayyana Maga Ayyu, Accident, Maanasa Sarovara, Bara, Chitegoo Chinte, Galige, Ijjodu, Kaneshwara Rama,Ghatashraddha, Tabarana Kathe, Mane, Kraurya, Thaayi Saheba,Bandhana,Muththina Hara,Byankar Margaya, Dweepa, Munnudi, Bettada Jeeva, Mysore Mallige,Chinnari Muththa etc
The Government Film and Television Institute, Bangalore (formerly a part of S.J. Polytechnic) is believed to be the first government institute in India to start technical courses related to films. Legends like V K Murthy and Govind Nihalani passed out from this institute.
Comments
Post a Comment