125 Years of Indian Cinema Screening

 

You would be surprised to note that the pioneers of the Indian Cinema were actually foreigners. On 7th July 1896, the Lumiere brothers demonstrated the art of cinema when they screened Cinematography consisting of six short films to an enthusiastic audience at the Hotel Watson in Bombay. 

This was the first time that the screening of any film took place in India. Six films that screened that day were Entry of Cinematographe, The Sea Bath, Arrival of a Train, A Demolition,  Ladies, and Soldiers on Wheels, and Leaving the Factory. The price of the ticket was Rs one which was unaffordable by the common people.

The second film screening by the Lumiere Brothers took place on July 14th at a new venue, the Novelty Theatre, Bombay, and twenty-four films were screened that day, including A Stormy Sea and The Thames at Waterloo Bridge. Alternating between these two venues, the shows culminated on August 15th, 1896.

 The shows received an overwhelming response and motion pictures were soon introduced to India, in Kolkata (Calcutta) and Chennai (Madras). Professor Stevenson staged a show at Calcutta’s (now Kolkata) Star Theatre. Using Stevenson’s camera Hiralal Sen one of India's first filmmakers. made his first film, "A Dancing Scene" from the opera The Flower of Persia. With assistance from his brother, Motilal Sen, he bought an Urban Bioscope from Charles Urban's Warwick Trading Company in London. In the following year, with his brother, he formed the Royal Bioscope company. They arranged a first film screening on April 4, 1898.

 In 1900, he imported the necessary equipment for filmmaking. For this purpose, he communicated with then renowned theatre activist Amarendranath Dutta. At that time Amarendranath was the owner of Classic Theatre. Hiralal took snaps of a Classic Theatre production, Sitaram, which made him the first-ever Bengali filmmaker.  Between 1901 and 1904, he produced many films for Classic Theatre including Bhramar, Hariraj, and Buddhadev. His longest film, produced in 1903, titled Alibaba and the Forty Thieves, was also based on an original Classic Theatre performance. However, not much is known about this feature film since it was never screened. 

Hiralal Sen also produced a number of advertising films. Having made two films advertising Jabakusum Hair Oil and Edwards Tonic, he may have been the first Indian to use film for advertising purposes. He is also credited to make  India's first political film, documenting the anti-Partition demonstration and 'Swadeshi' movement at the Town Hall, Calcutta on September 22, 1905

However, the first film ever to be shot by an Indian was called The Wrestlers made in 1899 by H.S Bhatavdekar depicting a wrestling match in Mumbai’s Hanging Gardens. This was also India’s first documentary film. Bhatavdekar continued to make films until the mid-1900s, when he made a sideways move and bought the Gaiety Theatre in Mumbai – which he ran successfully, and lucratively, until his death. The first short film released in India was Sree Pundalik a silent film by Dadasaheb Torne on May 18th, 1912. The first feature film 'Raja Harishchandra' 1913 was by  Dada Phalke.

Looking at the successful screening of the cinema in hotels or theatres Jamshedji Framji Madan built the first-ever Cinema Hall in India(1907) known as Elphinstone Picture Palace, later known as Chaplin. The second cinema theatre was Royal Talkies, Grant Road Bombay started in 1911

For more on Earlier Cinema Theatres please go through my earlier blog 'The Iconic Cinema Halls of India'

Link is given below

https://bolywoodfiles.blogspot.com/search/label/cinema%20hall

Sadhana - The Story of Famous "Sadhana Cut'

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No doubt she was a Style icon of the 60s. Her hairstyle and her dresses were copied by the girls. There was a time when mothers taking their little girls to the hairdresser for a ‘Sadhana cut'. She created a fashion of the fusion churidar-Kurtis and Mojris she wore in Waqt(1965). In an interview, Sadhana told about her famous Sadhana Cut Hairstyle.

She narrated how she got the famous ‘Sadhana fringe’. “I had a broad forehead, which showed prominently in photo tests. It would then be covered with a patch of hair. When we were about to start Love In Simla, the director RK Nayyar said the patch wouldn’t do. Those days Audrey Hepburn’s Roman Holiday (in which she sports a fringe) had just released. So I was promptly rushed off to a Chinese hairdresser and given a fringe.

Regarding her Churidar Kurtas, she told that she wore those conventional Kurtas in the 1963 film Mere Mehboob which were liked by the girls but she now wanted some changes in her wardrobe. She asked Bhanu Athaiya, the Oscar-winning costume designer to create a fusion of the traditional churidar and modern Kurti for my personal wardrobe. One day Yashji (Chopra) happened to come home to discuss my costumes in Waqt when I walked in wearing a sleeveless, gold-embroidered Kurti, churidar, and Mojris and a chic hairstyle, he went, ‘Wow! What you’re wearing is exactly what I want for my film.’ “The style went on to become a craze.”

Sadhana (2 September 1941– 25 December 2015) started her career with a Sindhi film titled

 Abaana (1958) playing the sister's role of the heroine. Very few know that In 1955 she got her first little break. She played a chorus girl in the song "Mud mud ke na dekh... mud mud ke" in Raj Kapoor's Shree 420. She got her first Hindi film Love In Simla released in 1960 but she played a simple girl in her next film Parakh of Bimal Roy. Recall the popular song of this film 'O Sajna Barkha Bahar Aayi'. 

In 1961's other hit, Hum Dono released, she played the love interest of Dev Anand.  The song 'Abhi Na Jao Chhod Kar' remains the most romantic song to date. In 1962, she was again paired with Dev Anand in Asli-Naqli by director Hrishikesh Mukherjee. The same year saw director-screenwriter Raj Khosla cast her opposite Joy in Ek Musafir Ek Hasina. Khosla would again work with Sadhana to make a suspense thriller trilogy  Woh Kaun Thi 1964,  Mera Saaya (1966) and Anita (1967) thus making her famous as the "Mystery Girl". Sadhana was the highest-paid actress of her time. During a career spanning over two decades, Sadhana starred in over 30 films.   

Sadhana got married to R K Nayyar, the director of her first film in 1966. After marriage, Sadhana worked sporadically and went on to do Ek Phool Do Mali, Intaqam , and Geeta Mera Naam (she even directed it). She quit after Geeta Mera Naam. she was not keeping good health (she was suffering from a thyroid disorder). She was diagnosed with cancer in her old age that led her to her death on 25 December 2015. 

Many classic songs were picturized on her, here are a few

Song of Parakh 1960

Song of Hum Dono 1961

Song of Asli Naqli 1962

Song of Mere Mehboob1963

Song of Woh Kaun Thi 1964

Song of Rajkumar 1964

Song of Aarzoo1965

Song of Mera Saya 1966

Song of Inteqam 1969

 

A Hit Song is a Collaborative Effort

Recently I was watching a video where five Bollywood lyricists were discussing that the due credit is not given to the lyricist. The whole credit for making it hit goes to the composer, singer or hero or heroine who lip-synced the song on the screen.
I believe that a cinema is a collaborative effort, all sections of a movie are in the hands of different professionals. Each one should get their own credit. 

A few years back in an award function, Anu Malik was awarded for the Best Song for" Moh Moh Ke Dhaage" and he didn't take the name of Varun Grover, the lyricist of the song

A few days back they ( Lyricists) came out with this video' Credit De Do Yaar'

         Credit song| Varun Grover| Kausar Munir | Amitabh Bhattacharya

During the Golden Era of Bollywood, there was a long and rich tradition of poems and lyrics. Many great poets were writing songs for the films. The songs were carrying the story forward. The songs written by them became hits and super-hits but their names were forgotten and with the passage of time not many pause to remember them and their contribution to the world of Hindi film music.

Song of Pyaasa 1957

Lyricist and playback singer Amitabh Bhattacharya feels that lyricists are not being given their due in the film industry. He says singers and composers receive more recognition than lyricists. The today music industry is in the hand of a few music companies, they are not bothered to give any credit to the lyricist. Many Bollywood singers recently shared on Twitter that they are disheartened by the lack of recognition in the entertainment industry. Singer Neha Bhasin, known for the song Jag Ghoomeya (Sultan, 2016) and other hits, is the latest musician to claim that she has faced the brunt of disrespect in the entertainment industry.

Song of Sultan 2016

 In Urdu poetry, there is a longstanding tradition of paying tribute or treating a great master’s work as the starting point from where you push off your own lyrical boat.  All the Ghazal singers before starting to sing always tell about the name of the poet who wrote the Ghazal. There was the time when in Vividh Bharti or Radio Ceylon, the name of the lyricist, composer, and singer used to be announced. but nowadays in FM radios and many musical platforms, this is missing.

My suggestion to the people, Whenever we see a song and the lyricist name is missing hit comments and enter it. If a couple of million people keep doing it on every song the platforms will change

Piya Tose Naina Lage Re- An Iconic Dance

"Piya Tose" the song from Guide was composed by Dada Burman using Roopak Taal (7 Beats) which was Dada's most favorite Taal. Waheeda Rehman looked extremely charming with her Gentle Dance Steps while singing "Piya Tose".If you notice carefully this song starts without any prelude which was Dada's typical style. Alaaps within this song were very carefully composed.
This is one of the best dances of Waheeda Rehman in films. Waheeda Rehman in an interview once said that Since this was a very long dance sequence, there was a possibility in final editing, part of this song would have been cut. Realizing this, Waheeda Rehman took a promise from Dev Anand that in the final editing he will cut something else from the movie but will not touch this dance song. And guess what, Dev Kept up that promise and this dance sequence was kept intact and no cuts were made.

This dance song was very long nearly 8 minutes. There are 4 stanzas and each stanza of 5 or 6 lines. It took 21 days to picturize this song. The specialty of this song, it presented a new dance aesthetics that blended Kathak, Bharatnatyam, and different folk dances from across India as also a celebration of different festivals. This dance was choreographed by Master Sohan Lal and his younger brother Hira Lal B, under the guidance of Vijay Anand. The choreography of the song and the picturization by the Cameraman Fali Mistry is simply superb. Vijay Anand is known for the excellence of picturizing a song.

The striking stage sets that accompany the song and dance sequence mapped the different stages of Rosie's success as a professional dancer. Beginning from a simple theatrical setting in a rural environment to a further grand scale. The costumes in this song according to the stanzas. Each stanza unfolded a different setting, dance style, music, and background. The innovative cinematography showed the backup dancers in novel ways. First, the camera only caught their moving feet but then their bodies filled the stage in various visual designs. The camera angles also enhanced the dance sequence. The sheer grace and beauty of Waheeda Rehman's dancing, her restrictive movements, and energy made the scene memorable.

Watch carefully the last stanza "Raat Ko Jab Chaand Chamake Jal Uthe Tan Mera" is a turning point of this song, where our soul is lost in the beautiful scene of moonlight of Raag Khamaj and the same in the second stanza about morning sunrise "Bhor Kii Bela" just observe the sound of a flute, what a composition by Dada Burman.
The interludes in "Piya Tose" are very rich and composed very intrinsically. Dada used a wide variety of musical instruments in this song such as Sarangi, Harmonium, Tabla, Ghungroos, and North Eastern Drums. There is also a piece of very interesting information to the readers that the world's best Santoor Player Pt. Shivkumar Sharma played Tabla for this song and flute by Hariprasad Chaurasia.
There is a story that this song was sung and recorded by S.D.Burman himself before he recorded Lata's song. It was a usual practice of Dada to sing the song himself first then tell his singers to sing like him.
There is one more story about this song that this song was already composed 10 years ago for the movie Devdas of Dilip Kumar. It was picturized on Dilip Kumar and Suchitra Sen as a background song. The wordings of the song were a little different. Even music was a little different. Whereas a tabla piece replaced original sitar piece. 

Song of Guide 1965

"YAHOO" The Yell that Shook the Nation

This iconic foot-tapping song from film Junglee introduced a freestyle dancing by Shammi Kapoor. His sky-breaking scream ‘Yahoo!’ depicts a freedom-seeking soul. This song became a cult song.  The idea of "Yahoo" itself was Shammi Kapoor's who had used it earlier in "Tumsa Nahin Dekha" (1957) and "Dil Deke Dekho" (1959).
You would be surprised to know that the iconic yell "Yahoo!!" in this song was not rendered by Mohammad Rafi. In fact, Jaikishan the music director of this film had planned on using his voice for the scream but when he couldn't pull it off, he asked the writer Prayag Raj who happened to be in the. studio and gave that memorable shout. Shammi Kapoor once said it was only Rafi saheb who could sing on such a high scale.
Shammi Kapoor hurt himself while picturizing this song. He badly bruised his knees when he came hurtling down a snow-covered hill while shouting his signature call -- "yahoo" - This song was picturized at Pahalgam in Kashmir.
 It is this musical number alone that solidified Kapoor's reputation as an untamed screen presence (in the style of Dean and Presley) and set the tone for his future movies. 
After picturizing this song, when Rafi saheb saw the song, he hugged Shammi Kapoor and said that he thought of him while singing this song and you have exactly done that. After this song Rafi became his voice in films. 
Junglee was 1961 film which was in color, it was an attraction to those days. Shammi Kapoor was not sure that this film would be such a hit, especially this song. This song became a craze and Shammi Kapoor became a Superstar after this film. Kapoor steadily amassed a huge following that reached its zenith with this film.
This movie was first offered to Jagdeep before played by Shammi Kapoor. Jag deep 'Surma Bhopali' from Sholay fame famous for the comic role did some serious role in his early movies

Song of Junglee 1961

The Iconic Cinema Halls of India

Gone are the days of Talkies and Bioscope. Amidst the bubbling Multiplexes and multi-screen movie viewing experience, we might have forgotten about the old and rustic cinema halls that used to be most visited places.
 Today's generation living in metro cities may have even not seen a single screen cinema hall. In many cities the old cinema theatres are demolished, on that land commercial complexes are built. In this blog I look into the journey of cinema halls in India.

Elphinstone Picture Palace, and later called Chaplin Cinema, this is the first ever Cinema Hall in India. Founded by Jamshedji Framji Madan in 1907, Elphinstone was one of the most sought after place. Later when it became a full-fledged movie theatre as Chaplin, the popularity rose to ten-fold. The site is now demolished and used by Kolkata Municipal Corporation.

Royal Talkies, Grant Road Bombay started in 1911, Royal theatre was known to show small documentaries shot and stage plays during Old Mumbai days. With a seating capacity of 600 people, hardly any heads are seen now. Located at Royal Cinematography, M Shaukat Ali Road, Mumbai Central, this is one of those beautiful memories of old talkies still in shape to be watched when along the way. 

Gaiety Cinema Madras Raghupathy Venkiah Naidu, a successful photographer of the south, took over the equipment after the exhibition and set up a tent cinema near the Madras High Court. R. Venkiah, flush with funds, built in 1912 a permanent cinema in the Mount Road area named Gaiety Theatre. It was the first in Madras to screen films on a full-time basis. The theatre later closed for commercial developments
Mr Raghupathy Venkatesh set up a chain of theatres across South India. After Gaiety, he constructed Crown Theatre on Mint Street followed by Globe on Purasawalkam High Road and then the Imperial Theatre in Madurai
.

Caapitol Cinema, CST : Exactly opposite our Monument CST station is this old small white looking theatre called ‘Capitol’ since 1879, Once the Gothic movie playhouse of residents around fort area which played some British dramas is now the B Grade Hindi movie show theatre. The very first show at Capitol cinema was attended by Governor and his wife, which features a premiere of ‘The Flag Lieutenant’ which was a British film.

Alfred Cinema Hall, Grant Road  Alfred is one of those oldest talkies started in 1880 with name ‘Rippon’ then renamed to ‘Alfred’ in 1932

Minerva Cinema Calcutta The Minerva Theatre was a theatre in Calcutta, built in 1893. It was erected at the site on Beadon Street where the Great National Theatre stood before. The maiden play held on this stage was 'Macbeth'.  It was initially owned by Nagendra Bhusan Mukhopaddhaya. In course of time, it witnessed several transfers of ownership."Minerva" was burnt down in a fire in 1922. However, it was renovated and in 1925, it regained its old status and play acting was resumed. The Minerva, along with the Star and The Classic Theatre, was also one of the places where the first motion pictures in Bengal, made by Hiralal Sen, were screened.

.Regal Cinema, Delhi: It was the first cinema hall to be constructed in Connaught Place. It was constructed in 1932 and has a seating capacity of 694. Now this cinema theatre is closed and converted into Madam Tussaud Museum

Plaza Cinema Delhi The Plaza Cinema opened in 1933 and was designed by architect Robert Tor Russell as part of the Connaught Place development. The facade had a classical style with columns that matched adjoining buildings.
The facade was covered over in 1967 by a plain stone slab, while the inside the auditorium has been modernised by a covering of pegboard sound insulation tiles which give a bland appearance. Seating is provided in stalls and balcony levels. The cinema was equipped to screen 70mm film and underwent a renovation, re-opening in May 2004 by the popular multiplex chain PVR Cinemas. T

.Everest Talkies, Bangalore This is one of the standalone single screen theatres which plays potboilers to documentaries. The theatre was constructed by Maistry Chowriappa in the 1930s and has been in operation since then. For a while, for revamping purposes the place remained closed for a year but has opened up with a bang.
By the year 1921, there were 150 cinema halls in India. Bombay and Calcutta had the maximum.

Rajmandir Cinema Jaipur  Raj Mandir Cinema holds a unique position in the heart of all visitors and locals of Jaipur. Though it's not that old it is iconic because it is the best cinema hall in Asia.
In 1966, the Chief Minister of Rajasthan, Shri Mohanlal Sukhadia, laid the foundation stone for this amazing theatre. RajMandir was more of a dream Project. It was his dream to build a grand beautiful entertainment spot which can be the best example of Modern and Stylish Jaipur. It took around ten years to construct this grand piece of entertainment.