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History When the Lumiere Brothers' first films were shown at Bombay's Watson's Hotel in 1895 or when Dadasaheb Phalke released his epochal feature film Raja Harischandra in 1913, it is unlikely that either the exhibitors or the pioneer film maker realised they were unleashing a mass entertainment medium that would hold millions in sway for the next hundred years; that they were spawning an industry that in years to come would overtake the rest of the world in film production! For most Indians, cinema is integral to their lives; it is not a distant, two to three hour distraction, but a vicarious lifestyle for them. The large screen provides an alternative, an escape from the realities of day-to-day life. The protagonists are totally identified with, the hero is applauded, the virtuous is worshipped and the villain is condemned. The actors and actresses are household names; there is no escaping their omnipresence, from the Paanwala (betel vendor) to the most revered Indian painter - they are all caught up with the magnetism of screen personalities. A study of the vicissitudes of Indian cinema would throw light on the progress of technology, especially cinematography, and the changing political scene and social mores and attitudes. The silent films launched by Phalke, which had titles in English, Gujarati, Hindi and Urdu, by and large related to myths and legends. The stories were familiar to the audience and required minimum commentary. Historicals also proved very popular; Harsh, Chandragupta, Ashoka and the Mughal and Maratha kings strode the silver screen amidst cardboard pillars and in tinsel costumes. The silent era of Hiralal Sen, Baburao Painter and R. Nataraja Mudaliar came to an end when Adershir M. Irani produced his first talkie, Alam Ara in 1931. If Phalke was the father of Indian cinema, Irani was the father of the talkie. There were too many gargantuan problems to be tackled; there were no dialogue writers, no lyricists; songs had to be sung during the filming as prerecording facilities were yet unknown. Minimum instruments were used as the instrumentalists had to be camouflaged behind the singer But the talking film had come to stay. Considering that even the silent film had a preponderance of songs, the talkie came to be more of a single; the heroes and heroines sang their way through the three-four hour movie. Histrionics and appearances counted less; a singing talent was all that mattered. To this day the Indian film song has a unique thrall. The music director, the songwriter and the playback singers have an unparalleled status in India's cinema. If Bombay was the hub of early cinema the other centres were not far behind; Calcutta and Madras with their own patriarchs were also making path-breaking films. Chandidas a film glorifying the Bhakti movement and castigating casteism, directed by Debaki Bose in 1932 for New Theatres, was lauded for its use of background music and dramatic narrative. K. Subrahmanyam's Thyaga Bhoomi (1939) and Seva Sadan both advocated women's rights and self-dependence.
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