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"Behind the Scenes of Hindi Cinema is an insightful journey into the complex worlds of fantasy and reality inhabited by creative artistes. India is a unique country that exists in multiple centuries simultaneously. This book unravels the various mysteries and contradictions embedded in our centuries-old tradition. (...) Using defined sections and relevant case studies, the authors analyse the emotional ingredients that form the essence of India and Indian cinema." (Excerpt from the Foreword by Amitabh Bachchan) Behind the Scenes of Hindi Cinema explores the inner world of Bombay film, the best known of India's movie industries. Many aspects of Hindi cinema are brought to life on the pages of this richly illustrated book - from its beginnings to the present day. The use of songs to advertise movies, the role of censorship, devotion to god and family: these subjects and many more are illuminated. It reveals the symbolism of the divine role models Radha-Krishna and Ram-Sita at the heart of the main protagonists in many films, and the passion of the people working behind the scenes. It examines the changing face of the nation's enemies, the marriage scene, lyricists and playback singers, and it sheds light on Tamil cinema, which rivals the Hindi film industry in output and popularity. The book concludes with an analysis of the mass appeal of Hindi film beyond India's borders and the recent embrace of the much-hyped 'Bollywood' phenomenon in the West.
Beginning in the 1930s, men and a handful of women came from India's many communities-Marathi, Parsi, Goan, North Indian, and many others--to Mumbai to work in an industry that constituted in the words of some, "the original fusion music." They worked as composers, arrangers, assistants, and studio performers in one of the most distinctive popular music and popular film cultures on the planet. Today, the songs played by Mumbai's studio musicians are known throughout India and the Indian diaspora under the popular name "Bollywood," but the musicians themselves remain, in their own words, "behind the curtain"--the anonymous and unseen performers of one of the world's most celebrated popular music genres. Now, Gregory D. Booth offers a compelling account of the Bollywood film music industry from the perspective of the musicians who both experienced and shaped its history. In a rare insider's look at the process of musical production from the late 1940s to the mid 1990s, before the advent of digital recording technologies, Booth explains who these unknown musicians were and how they came to join the film music industry. On the basis of a fascinating set of first-hand accounts from the musicians themselves, he reveals how the day-to-day circumstances of technology and finance shaped both the songs and the careers of their creator and performers. Booth also unfolds the technological, cultural, and industrial developments that led to the enormous studio orchestras of the 1960s-90s as well as the factors which ultimately led to their demise in contemporary India. Featuring an extensive companion website with video interviews with the musicians themselves, Behind the Curtain is a powerful, ground-level view of this globally important music industry.
From starry-eyed fans with dreams of fame to cotton entrepreneurs turned movie moguls, the Bombay film industry has historically energized a range of practices and practitioners, playing a crucial and compelling role in the life of modern India. Bombay Hustle presents an ambitious history of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city. Drawing on original archival research and an innovative transdisciplinary approach, Debashree Mukherjee offers a panoramic portrait of the consolidation of the Bombay film industry during the talkie transition of the 1920s–1940s. In the decades leading up to independence in 1947, Bombay became synonymous with marketplace thrills, industrial strikes, and modernist experimentation. Its burgeoning film industry embodied Bombay’s spirit of “hustle,” gathering together and spewing out the many different energies and emotions that characterized the city. Bombay Hustle examines diverse sites of film production—finance, pre-production paperwork, casting, screenwriting, acting, stunts—to show how speculative excitement jostled against desires for scientific management in an industry premised on the struggle between contingency and control. Mukherjee develops the concept of a “cine-ecology” in order to examine the bodies, technologies, and environments that collectively shaped the production and circulation of cinematic meaning in this time. The book thus brings into view a range of marginalized film workers, their labor and experiences; forgotten film studios, their technical practices and aesthetic visions; and overlooked connections among media practices, geographical particularities, and historical exigencies.
These efforts have been enabled by the neoliberal restructuring of the Indian state and economy since 1991.
Since Bollywood's earliest days, women have played a part in its success, both in front of the camera and away from it. It has taken more than half a century for women to assert their presence in significant numbers in Bollywood. Today, Hindi cinema relies on a record number of women who work tirelessly, sometimes invisibly, to keep the world's largest dream factory buzzing. This book tells the story of twenty incredible women, many with no prior 'connections' in the industry, who have carved successful careers despite significant challenges. They often work away from the public gaze-as studio heads, producers, directors, make-up artists, stylists, script writers, lyricists, editors, choreographers, stunt artists, set designers, and in the many other jobs that support the making of a movie. These women deserve to be applauded and their journeys acknowledged, as they succeed in transforming Bollywood and in the process, create a new India.
May 3, 1913-a historic day in the history of Indian Cinema. India's first indigenous silent film Raja Harishchandra was released at the Coronation Cinema in Mumbai. This lay the foundation of what, in time, would grow to become the largest film-producing industry in the world. Spanning a wide range of decades, genres, and style, the Bollywood film culture in all its glory is a wonderful thing. Of the hundreds of great hits it has given, some have attained an aura of unparalleled respectability because, overtime, they continue to draw viewers in multitudes for weeks, months, and even years. Bless You Bollywood is an endeavor to pay tribute to the tallest among movie makers, artistes, composers, lyricists, and scriptwriters down the decades for contributing their extraordinary caliber to Bollywood.
Global Bollywood brings together leading scholars to examine the transnational and transmedia terrain of Bollywood. Defining Bollywood as an arena of public culture distinct from Hindi-language Bombay cinema, this volume offers a new critical framework for analyzing the institutional, cultural, and political dimensions of Bollywood films and film music as they begin to constitute an important circuit of global flows in the twenty-first century.
When Chandra Barot set out to make Don, it was not with the idea of giving birth to one of India's most iconic thrillers but to make a good film for a good cause. No one involved with the making of the film foresaw the kind of overarching impact it would have, not only in terms of its success at the box office but in spawning a cult phenomenon that would stay strong more than three decades later-with its slick theme, fantastic music and unforgettable dialogues, that is what Don became. The journey of Don was not an easy one. Shot over four years, it faced several hurdles before making it to the theatres. While the casting and music of Don have now acquired legendary status, there were some close shaves before it all came together: Iftekhar's role of the cop was eyed by a big star of the 1960s; getting Kalyanji-Anandji to compose the score called for a delicate balancing act; it was only thanks to the shrewd advice of a mentor that the super-successful 'Khai ke paan Banaras wala' was included at the very last minute. And, wonder of wonders, it was not Amitabh Bachchan who was paid the most for the film! Through a fast-paced narrative born out of interviews with the cast and crew, and supplemented with rare photographs from the director's archives, The Making of Don tells a tale that is as compelling as the one that finally made it to the big screen. Engaging and captivating, this is the story of one of Bollywood's most memorable classics.
National Award Winner: 'Best Book On Film' Year 2000. Film Journalist Anupama Chopra Tells The Fascinating Story Of How A Four-Line Idea Grew To Become The Greatest Blockbuster Of Indian Cinema. Starting With The Tricky Process Of Casting, Moving On To The Actual Filming Over Two Years In A Barren, Rocky Landscape, And Finally The First Weeks After The Film'S Release When The Audience Stayed Away And The Trade Declared It A Flop, This Is A Story As Dramatic And Entertaining As Sholay Itself. With The Skill Of A Consummate Storyteller, Anupama Chopra Describes Amitabh Bachchan'S Struggle To Convince The Sippys To Choose Him, An Actor With Ten Flops Behind Him, Over The Flamboyant Shatrughan Sinha; The Last-Minute Confusion Over Dates That Led To Danny Dengzongpa'S Exit From The Fim, Handing The Role Of Gabbar Singh To Amjad Khan; And The Budding Romance Between Hema Malini And Dharmendra During The Shooting That Made The Spot Boys Some Extra Money And Almost Killed Amitabh.
Indian cinema hasn’t been as much talked about worldwide since probably the first works of Satyajit Ray which were shown at the Cannes Film Festival in the 1950s-1960s. Renewed interest for the biggest film industry in the world doesn’t mean its complexity is well understood abroad or even inside India itself. Bollywood especially seems to have taken over all the other industries as if to become the only representative for Indian cinema; and Hindi cinema struggles to be known as anything else than Bollywood. Still, you’d probably have to go back to the 1970s to see, in Bombay films, such uproar and desire to give the audiences a more diverse cinema, either by renewing the song-and-dance formula, or by simply negating it. In this interview-based book, Hindi film technicians, artists and industrialists from all horizons and all age groups speak in detail about their work, and give their input on the present situation of Hindi cinema as well as its future. Whether this future will really be bright or not, one could not say; but that Hindi cinema is now living fascinating times definitely cannot be denied.