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Home , Aandhi, Ardh Satya, Basu Bhattacharya, Mira Nair, Rajnigandha, Rinki Bhattacharya

October 2010 Volume 8 Sandesh Sandesh Issue 3 “The Message”

From Editors’ Desk Indian Cinema—Much more than ‘’ *

Dear Readers, By Anil Zankar The theme of our current issue and this year's banquet is 'In the Hollywood films account for about 60 per or the villain's actions. An obvious villain Wonderland of Indian cent or more of the theatrical playing time is usually present. Natural calamities, Cinema'. Indian cinema is in most countries of the world, but misfortunes, oppressive social norms also commonly viewed as a ‗dream probably less than 10 per cent in . play the role of obstacles. The hero has a factory‘, producing easily There are good reasons for this. Indian certain goal in the story like revenge or consumable products with cinema is deep-rooted and has built an achieving material success or an elevated formulaic content. In this issue, we enduring relationship with its audiences. position in society. At the end of his instead focus on the pluralism of The Matrix of Hindi Cinema journey, defeat of the villain and union this art form. With strong roots in with the heroine and the family reunion are traditional ‗Kathas‘ or stories India has several regional cinemas of her certain. Hero, heroine as well as the villain performed by travelling minstrels own, yet she has created this National are endowed with larger than life qualities. and a willingness to experiment Cinema in Hindi. It is an expression of They are more typical, than individual. The with western techniques, Indian popular culture that seeks a unitary nature stories are usually episodic with time and cinema is many ‗cinemas‘ at once. of the society and the nationhood in space, quite often loosely defined. Its diverse strands reflect ancient popular terms. This is not due to any Coincidence, acts of fate do play myths and modern aspirations, intrinsic patriotic quality in the film- sometimes even a crucial part in the fulfilled dreams and broken makers, but due to the need to narrative. compacts, prose and poetry. We communicate to a pan-Indian audience, that invite you to experience this is heterogeneous in terms of castes, Some of the themes repeat themselves as wonderfully human enterprise. language groups and levels of education. very dramatic situations in these films e.g. The content, therefore, is quite often love at first sight, acts of tyranny, expressed in a manner that seems to aim at separation of family members, people Sandesh the lowest common denominator. It is undergoing great suffering in the form of Vanavas,[exile] declaration and acts of An IndUS of Fox Valley thought to be a sound commercial practice and has led to a certain standardization of vengeance, acts of Prayaschitta [penance], Publication form. And it is within this system that films celebration of joy and festivities through Editors succeed and fail at the box office. dance, confrontations of conscience, etc. An individual Hindi film is expected to be Dr. Badri Varma Content of the form[ula] of the full of all kinds of sentiments and Ms. Manjari Chatterji traditional Indian film happenings. In comparison to films from Mr. C. Shekar Rao Hindi Cinema may appear to tell simplistic other countries they tend to be very long, Dr. Sandhya Sridhar stories with stock characters and situations, usually between two-and-a-quarter to three Dr. Mahesh Subramony and is based on a number of conventions. hours. This narrative structure broadly applies to all kinds of films – as strictly Ms. Sandhya Maheshwari Traditional Indian films are dramatic speaking there are no rigorously defined Advisor narratives with the happy ending. A hero genres of Indian films in the manner of and a heroine and their love relationship are Dr. B. S. Sridhar Hollywood like musicals, westerns, film a must for the story. Mostly the stories are noir. The views expressed in the articles hero-centric and driven forward by his and/ are not necessarily those of the Editors or IndUS of Fox Valley * Bollywood seems to be used by a lot of people as a generic term, but the readers are fore warned, that many in India find it to pejorative Page 2 Sandesh

This cinematic form thus defined in India, has two exclusive aspects. Firstly, it has its roots in the old literary as well as the Pioneers of Indian Cinema performance arts' tradition of the country, essentially belonging to the pre-industrial epoch of the society. Secondly, the concept of Today‘s Indian Cinema stands on the shoulders of reality operative in these films is mostly mythical. these giants who not only gave birth to it but also nurtured it with their tireless and persistent efforts. Origin and growth As every other new film has some technical finesse, Indian mainstream cinema owes its mythical nature to its pioneer it is because of the efforts of those who laid the D.G. Phalke. He was influenced by a film called Life of Christ in roots, with their sweat and tears. 1910 and single-handedly proceeded to set up the Indian film industry against all odds by making Raja Harishchandra in 1913.  N. G. Chitre and Dadasaheb Torne made the Phalke‘s pictures were an instant hit with the Indian audiences as he first narrative feature film Pundalik 1912. The was mostly telling them the stories that they were familiar with, as movie was a recording of a play by the same his stories came from the Indian mythology and were superbly name. executed with trick effects. This form came to stay and prosper in  Dadasaheb Phalke made the first full length the subsequent years. feature film (3700 feet) Raja Harishchandra in However, the others also entered the fray and began to make films 1913. that began to move away from mythology. Gradually the trade  J. F. Madan made the first Bengali feature film infrastructure came to being and Indian film industry adopted the Nal Damyanti in 1917. studio structure, where the product would be conceived, shot and  Begum Fatima Sultana was the first woman finished all under one roof. The big Indian cities like , director. She directed Bulbule Paristan in 1926. , Chennai became initially the centers of production and  Aredeshir Irani made the first Talkie feature remain so till date with a few more centers added to them with the film Alam Ara in 1931 and the first color passage of time. Indian Cinematograph Act with the Censor Board feature film Kisan Kanya in 1937. and other regulations came into being during the British period.  made Kagaz ke Phool in 1959, which In 1931, Alam Ara was a film that heralded the age of sound cinema was the first movie made in cinemascope. in India. Coming of sound had a salutary effect on the industry. It  V. Shantaram (1901-1990) is a renowned actor, strengthened the studio system. Indian cinema became more director, and producer. He produced and definitive due to the use of language and music and suddenly it directed the first Marathi film Ayodhyecha Raja opened the gates of musical culture, which has been millennia-old. in 1932. He had an illustrious career as a It also helped Regional Indian language films to come into their filmmaker for six decades. own.  Mehboob Khan (1907-1964) was a pioneer This system continued merrily till 1947(the year of Independence). producer-director of Hindi cinema. His Mother After Independence, the studio system began to weaken, but film- India (1957) was nominated for Academy making continued with fervor. Setting up of the bodies like Awards . Federation of Film Societies of India, The National Film School  (1907-1964) was the most [FTII] and National Film Archive in the first 15 years after the acclaimed director of Hindi films. He won Independence were the most notable things as they had major long eleven , a National Film term effects. International Film Festivals were being held. But, in Award and an award at . terms of the film form the real landmark film and a truly pioneering effort towards modern cinema came in the form of Pather Panchali  Satyajit Ray (1921-1992) with his movie the unique film of Satyajit Ray in 1955. This film won the award at Pather Panchali (1959) started the era of Cannes with the citation calling it the best human document. . He was a recipient of Life- time Achievement Academy Award. Satyajit Ray –The First Modern film-maker of India Realism as understood in the West, was unknown to Indian cinema. Indian film-makers before Ray has dealt with realistic themes, but not in realistic form. After a great beginning, Ray continued to his unique perspective that was informed by excel throughout his prolific career [1955-1992]. He was the first rationality and progressive social thoughts and went Indian filmmaker to totally go beyond the traditional form of Indian on to become the greatest chronicler of Indian life. film narrative and connect to the world audiences with a modern The mixed fare as of today form and a mature depiction of intricacies of Indian social life, that The path opened up by Ray, widened with the was historically accurate, psycho-socially observed and rendered in passage of time and other filmmakers followed in the a dignified, under-stated style that invited the audiences to feel. He track. Mrinal Sen, , Shyam Benegal, adopted the works of writers new and old, interpreted them with Sandesh Page 3

Adoor Gopalkrishnan, Girish languages, continue with some major fresh blood and innovation and the path Kasaravalli and quite a few other film- changes now. The changes are not so to improvement of the stereo-typed makers have contributed to the much in essence as in the format of mainstream film lies in such effort innovative modern film making in India presentation. The appearance of the gaining strength. over the years. The films made with contemporary mainstream big-budget So, on the whole it is an interesting limited resources have flowered in many films shows a lot of influence of the period ahead for the Indian film languages and in many ways can be seen modern TV ad culture as well as forms industry. □ to be seeking to depict the Indian reality like MTV. In Southern film industries in diverse forms. Economic oppression, like in Tamil and Telugu, personality Anil Zankar is a media professional with 30 gender issues, political corruption, cult of the big stars continues and films years of experience in film-making, teaching, writing and media planning. As writer/ outdated religious and cultural practices, starring Rajanikant and a few other director he has 18 short films under his belt. issues of globalization happen to be super-heroes costing between 10 and 20 He has taught courses in Film Direction and some of the dominant themes. Also the million USD continue to be made. These Film Appreciation at the Film & TV Institute present day film-makers have the films have a market abroad too, as these of India from1980- 1995 and currently he is confidence of being innovative with the films are exhibited in more than 60 a Senior Professor at the Whistling Woods form. Taken together all these films countries of Asia, Africa and Latin International, Mumbai. He is a recipient of would open a up a spectrum of India that America. But, heartening development two National Awards – Feature Film Script is full of energy, issues and has been the possibility of making a low Competition held by NFDC (1982) and Best development. budget feature film for rank newcomer Writing on Cinema (1997) for his book on with a good script is very good the history of world cinema. He has been a On the other hand, the traditional Indian guest faculty to various national institutes nowadays and that is bringing in the films in Hindi as well as other such as National School of Drama and

What remains in the middle now? India’s turn to neoliberalism & Hindi cinema

By Jyotsna Kapur Although it was in 1960 that the Indian privacy, romantic love, material comfort, Akash, Anubhav, Kora Kagaz, )2. government, under Nehru‘s leadership, and the relationship of citizens with the They discarded the communitarian and set up the Film Finance Corporation to state. homoerotic tropes of , so central to promote alternatives to the mainstream the masala film, in favor of an exclusive Films like ‘s masala Hindi film it was not until the preoccupation with the inner world of (1974) and Sara Akash end of that decade that the cinema we the middle class family. The urban (1969), ‘ Anubhav know as middle/art/parallel cinema came landscape of Bombay, against which (1971), or ‘s Parichay (1972)- into its own. This is the cinema we much of this cinema was located, whatever their differences and nuances- associate with Basu Bhattacharya, appeared as a mere background to the presented subjects conflicted by the Gulzar, Saeed Mirza, Hrishikesh internal crisis of this class; a crisis which constraints of middle class life. These Mukherjee, and Kundan Shah and their was nevertheless portrayed gently as films debated, questioned, and gently portrayals of urban middle class resolvable. A standard establishing shot mocked the existential dilemmas of domesticity. Contrary to the star of marine drive or a middle-class high- being middle class; of living by the studded, melodramatic, spectacles of the rise would locate the film in the city but norms of frugality, public decorum, commercial Hindi film these films were the subjects rarely encountered, with the delayed gratification, and industrious meant to offer a realistic, serious notable exception of Gharonda living against the desires of freedom and cinema; a cinema that Madhava Prasad (Bhimsen, 1977) the city as an intrinsic autonomy generally centered on the has quite correctly called a ―middle class part of their lives. Gharonda had heterosexual romantic relationship. cinema,‖ in that it reflected and aimed at revealed with affectionate empathy the producing a middle class national It was a very middle class cinema in struggles of a young couple, played subject, i.e., someone whose identity form as well. Quietly restrained, it memorably by and Zarina was solidly entrenched in the middle eschewed the highly melodramatic, Wahab, to find an affordable apartment class as opposed to caste or region. 1 Of widescreen, color spectacles of the in Bombay. There was a core middle course, these films rarely veered from Bombay masala film. In these films, class belief at the heart of these domestic the largely Hindu upper caste milieu love was spelt with a lower-case against comedies: problems within individuals they passed off as the middle-class. Yet, the undying passion of the masala film. in the family could be resolved within they were remarkably preoccupied with They started where the masala film the family via an understanding and concerns that can be best understood as generally ended, i.e., after the wedding, awareness of the causes of the problem. secular, such as individual freedom, dwelling on marital discord (e.g., Sara Consequently, these problems too were Page 4 Sandesh presented as small and manageable in psychological truths, and to imagine By the 1990s, it appeared that this the larger scheme of things. But the alternatives. middle class cinema had run its course. dramatic encounter with fate or destiny For one, its former antagonist, i.e., the continued to rage in both the masala Middle cinema took greater risks when it masala film had been, like hip hop or film and the religious epics. moved out of the domestic sphere to blue jeans, appropriated from its urban address the relationship between the male proletarian roots into the upper Most of all, this cinema abhorred the state and citizen. In particular, this echelons of the transnational bourgeoisie action/violence that had become gained a certain momentum after the and emerged as the brand ambassador standard fare with the Amitabh Emergency with landmark films such as for India Inc. weddings, light-hearted Bachchan kind of cinema geared Aakrosh (, 1980), comedies on triangular relationships, and towards the urban male proletariat in the Anantram (Adoor Gopalakrishnan, coming-of-age-stories now formed the 70s. In fact, 1987), (Govind Nihalani, faint-hearted core of Bollywood made a clear statement of this difference 1983), Bhavni Bhavai (Ketan Mehta, spectacle, whose look had become now with his Guddi (1971). In the film, Jaya 1980), and Chakra (Ravindra glossier than ever before. In contrast to Bahaduri played a young, guileless, love Dharmaraj, 1980). These films did not the secularized national bourgeois -struck fan of (who plays shy from expressions of rage and subjects of the 70s middle cinema, the himself as a movie star) who is cured of disenchantment with the Indian state. At bourgeois subject of Bollywood is tied her infatuation with the artifice of their best, they revealed the into celebration of ritual befitting a pre- commercial cinema and learns to love astonishment, vulnerability, and basic modern peasant. But the scale and style her real fiancé. In a fundamental sense, integrity of the middle-class subject who of celebration—the designer homes, the fragmented structure of the masala comes upon the awful and complete weddings, and playrooms against which film - with its songs, dances, comedic, knowledge of the criminalized state and these spectacles are staged — fit the action routines mixed up with tropes of echoed the experiences of a generation buying aspirations of the ―world class mother, dosti, etc, and its chatty getting radicalized in consumer,‖ the mold into which the performing-audiences - and the linear period. Yet, the Other India—the middle class is increasingly invited to cohesive narrative of the middle cinema tribals, the dalits, the working class, cast itself. The Nehruvian middle class, mimicked a bourgeois subject, one women, the marginalized—remained, in with its simple-living and high -thinking whose life is lived according to plan and these films, shadows hopelessly petty bourgeois ethic, has indeed an ethic of production that is geared condemned to silent victimhood. disappeared, and along with it has its towards the future. 3 Perhaps, this accounts for the popularity There was a certain confidence this image in Hindi cinema. of these films with the middle class and cinema reflected in the middle class their failure beyond this critical subject—in the ability of this class to But its disappearance has not gone audience. The trend had had its most understand and act upon its troubles. uncommented. There is, I think, a recent antecedents in Shyam Benegal‘s Yet, this subject was also decidedly searing image of the disintegration of the three films, Ankur (1974), Nishant masculine. Looking back now, it seems, middle class subject that has started to (1975) and Manthan (1976). Finally, as if this cinema was attempting to calm appear on the screen. Usually young there was the more experimental trend, the simmering tensions of gender and urban male, these protagonists are best associated with Mani Kaul‘s Uski sexuality which were to explode middle delusional, murderous or suicidal, and Roti (1971) and Kumar Shahni‘s Maya class homes with the women‘s given to blatantly using others or being Darpan (1972). If there was a film movement in the late seventies-early used by them. Dev D. (Anurag form in which the bourgeois subject eighties. When Kashyap, 2009), Kartik Calling Kartik started to come apart it was in the works revealed the abusive marriage she had (Vijay Lalwani, 2010), Love, Sex, and of these latter filmmakers, which shared with Basu Bhattacharya and Dhoka (Dibaka Bannerjee, 2010) are revealed states of utter futility, boredom, walked out of the marriage in the early some current examples. There is also a and meaninglessness. What is worth 1980s, it confirmed the violence that great preoccupation with conmen and remembering is that these films were all lurked behind middle class doors; a cheating, swindling, etc. as a way of life. subsidized by the state, i.e., by tax violence that this cinema had failed to Take for instance, the Munnabhai series money and so represented a moment confront because of its middle-class which figure Gandhi, the petty bourgeois when art was considered a public good aesthetic of timidity, coyness around par excellence, as an inspiring bhai or and therefore, granted a certain degree of questions of sexuality, and, its reliance small time goon; autonomy. Yet, the cinema was on realism above all else as the correct (Dibakar Bannerjee, 2006) which shows constrained by the rules of censorship form. The realist aesthetic, when the smarts of a middle class family as that it shared with commercial cinema as fetishized as the only correct form, they wrest their life time savings well as its own inability to step out of its forecloses the possibilities of looking family plot from crooks by out-crooking middle-class lens. below and behind surfaces, to explore them; and Lucky Oye Lucky (Dibakar

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Bannerjee, 2007) on the exploits of a been on the increase since the 80s, were 2 Sara Akash by Basu Chatterjee (1969) narrated young man who escapes his lower born in the vacuum left by the the troubles of a newly married couple in starting middle class routine life to become a evacuation of the secularized middle their relationship. While the young man had felt much loved thief. The hussler or the class of the Nehruvian state. Since then, compelled into an early arranged marriage the woman, also more educated than the others in the entrepreneur who is willing to take risks there has also been a steady revival of family, is equally alienated from the relationship. is rapidly replacing the slow, future- tradition based in caste and patriarchy. Chatterjee traced the nuances of this new directed hard-working middle class Its most horrific symptom, the ―honor relationship, the insecurities of the male and his subject who had a certain faith in the killings‖ that have surfaced in recent power, as well as the desire and necessity of continuity of his, and to a lesser extent years are life and death struggles that privacy against the norms of the extended family. In Anubhav (1971) Basu Bhattacharya explored her, class position. cannot be treated by the middling the threat of dissolution of an older marriage. In aesthetics of middle cinema. Kora Kagaz (Anil Ganguly, 1974) a marriage As inequities have widened in neoliberal Consequently, the dark comedy, the between a wealthier woman and middle class India and life has become increasingly withering self-analysis, the blurring of professor threatens to come apart because of the woman‘s interfering parents. Gulzar‘s Aandhi insecure, especially for the middle class, sex and violence, and the flouting of (1975), supposedly modeled after , the realist aesthetic of middle cinema is middle-class identity that has now taken explored the contours of a relationship come apart proving to be incapable of representing over the image of this class is not because of the political ambitions of the woman. the surreal clash of extremes that have necessarily a bad thing. The cynicism 3 See Lalitha Gopalan (Cinema of interruptions: now become common place. with which it holds the democratic Action genres in contemporary Indian cinema. Simultaneously, the very coherence of project of the bourgeois state may well London: BFI. 2002), Manjunath Pendakur (Indian the bourgeois notion of individualism be the beginning of a thorough-going popular cinema: Industry, ideology and consciousness. New Jersey: Hampton Press. has been shaken to the core in face of the critique of bourgeois culture as well; i.e., 2003), and Madhava Prasad (The ideology of the fact that even the right to life cannot be its belief in the home as a sanctuary Hindi film: A historical construction. NewDelhi: taken for granted in the current political from conflict. Recent cinematic forays Oxford university Press, 1998) respectively on the situation. In such a thorough-going into this space have not only revealed interruptions, masala routines, and heterogenous mode of production of popular Hindi cinema. crisis, the awakened political subjects of the tensions that rage within this enclave the 70s and 80s middle cinema, such as but the fragile nature of the public/ Jyotsna Kapur teaches cinema and media the memorable characters etched by private divide itself. studies at Southern Illinois University, Govind Nihlani who find the sickening Carbondale. She is the author of Coining What is to be noted, though, is that such truth about a violent and corrupted state for Capital:Movies, Marketing and the self-investigation is occurring in a space Transformation of Childhood (Rutgers and are shocked by it, appear tragically enclosed for middle-class consumption. University Press, 2005) and Neoliberalism innocent. For the present generation of These films are screened in multiplexes and Global Cinemas (coedited with Keith filmmakers and audiences, such faith ensconced within malls where money, Wagner, forthcoming Routledge, 2011). She appears downright naïve. On the one armed guards, and surveillance cameras is currently finishing a book-length hand, this signals a cruel and cut-throat ensure a temporary respite from the manuscript on the cultural politics of the individualism that is susceptible to calls “new global generation” that is coming of crushing antagonisms of neoliberal for unity under fascist projects of age in the midst of India‟s turn to India. □ neoliberalism annihilation of the self and others. Projects of communal violence that have 1 Madhava Prasad, Ideology of the Hindi Film: A Historical Construction, New , 1998.

Do you know that ...

 “De de khudake naam par” was the  Meenakshi Cinetone's Pavalakkodi, produced by New Theatres. first song recorded for the movie produced in 1934, had 50 songs Alam Ara in 1931. while Angle Film‘s Tamil hit Sri  Wadia Movietone‘s Naujawan Krishna Leela in 1934 had 62 songs. produced in 1937 was the first  Indra Sabha produced by Madan movie without any songs. Theatres in 1932 is the only film till  The Bengali film Chandidas today with a record number of 71 produced by New Theatres was  was featured in songs. the first movie with ―Background‖ the Guinness Book of World music by R. C. Boral. Records from 1974 to 1991 for  Madan's other films Chatrabakavali having made the most recordings in and Bilwamangal produced in 1932  Playback singing was introduced in the world. had 41 and 37 songs. 1935 in the movie Bhagya Chakra Page 6 Sandesh

Stand up and be counted! Women Directors of Indian Cinema By Neepa Majumdar

There is something to be said about first history has honored only one woman in documentary and experimental film impressions. They tell us about trends with the award. Things don‘t look much circles. Unfortunately, their films are not that are worth noticing. But first better when one considers the more widely available, but in the numerous impressions also invite us to question prestigious National Film Awards given burgeoning documentary film festivals and examine them further. Thus it is out annually by the Indian government. and circuits in South Asia, women worth noting that when one thinks of Since 1968, the first year of these documentary directors are now a force Indian film directors who are women, awards, only two women have received to be reckoned with. For example, the names that first come to mind tend to it, for two films, 36 among the winners at this year‘s Himal be women of the Indian diaspora, such Chowringhee Lane in 1982 and Mr. and South Asian Documentary film festival as Mira Nair, Gurinder Chadha, and Mrs. Iyer in 2003, and the Assamese in Kathmandu, was a film by Shabnam Deepa Mehta, whose work is located director, for Hkhagoroloi Virani called Unlikely Bonds in Quest primarily outside India and between Bohu Door in 1995. for Kabir‟s „Country‟, which is now cultures. If one were to expand the circle If one puts aside film direction for a traveling as part of the Traveling Films to include women directors located in moment, one finds that even in the early South Asia package of the best India, it continues to be noteworthy that years of Indian cinema, some women did documentaries of 2009 from South Asia. the first names that come to mind, for have surprisingly influential positions. When one considers that documentary example, Aparna Sen, Jahnu Barua, and The actress Nargis‘s mother, Jaddanbai, filmmaking is so much less expensive Sai Paranjpye, are predominantly for example, was a film producer with and also more within the control of a associated with regional cinemas or her own production company and is single individual, it is no surprise that alternatives to the mainstream Bombay credited as the director of the two films, we find so many highly acclaimed or South Indian cinemas. Thus our first Madam Fashion (1935) and Moti ka women directors in this area, where impressions tell us that there is no place Haar (1937), which like so many films institutional barriers are easier to for women behind the camera or as of that period, no longer survive. She overcome. directors in the mainstream cinemas of also composed the music for several Even the most prominent Indian women India, though they have quite literally films, including Talash-e-Haq (1935). directors we know today, such as Mira sold movies to the masses through their But the first female Indian Music Nair and Gurinder Chadha, started out as visible presence in front of the camera. Director to be credited as such was documentary filmmakers. Chadha‘s first While this impression of the absence of Saraswati Devi. Her real name was film, I‟m British But…. (1989), was a women directors in mainstream Indian Khursheed Manchersher Minocher- documentary about Bhangra music in the cinema is generally correct, there are a Homji and her first film music UK that, along with Pratibha Parmar‘s few exceptions that are worth noting. composition was for the 1935 film, Bhangra Jig (1990) and Warrior Marks Most recently, of course, Farah Khan, Jawani ki Hawa for the studio Bombay (1993), was part of a new wave of South has moved from choreography to Talkies. Her involvement in the cinema -Asian-British documentaries in the direction, with her second film, Om along with that of her sister, whose 1990s. Chadha went on to make the Shanti Om, becoming the most screen name was Chandraprabha, caused simply delightful Bhaji on the Beach successful Indian film in terms of box a major uproar and demonstrations in the (1993), a feature film about a office returns, and has been received Parsi community. But Bombay Talkies multigenerational group of British- equally well by critics. The film broke and Saraswati Devi did not back down Indian women going out for a day trip to ground with its sure-footed spoof of and she remained a major force as a Blackpool, in the course of which the Bombay cinema. But since 1954, the music director until 1949. Perhaps her tensions among the characters bring to first year of the annual Filmfare Awards most well known composition is ―Main the fore a number of complex issues of (the Indian equivalent of the Oscars), Ban ki Chidiya‖ sung by Ashok Kumar gender, race, nostalgia for the homeland, only one woman has received the Best and Devika Rani in the film Achhut and the role of Hindi movies in the Director award, Sai Paranjpye for Kanya (1936). diaspora. In a way, her better-known Sparsh in 1985, though a few others Another area in which many women (but perhaps less inventive) Bride and such as Mira Nair and Farah Khan have directors are active, but are virtually Prejudice tries to make similar gestures been nominated. In this sense, there are unknown to a mainstream audience, is in of homage as Bhaji to the Bombay certain structural similarities between documentary and activist filmmaking, cinema that Chadha grew up with. Hollywood and the Bombay cinema in where women directors such as Paromita Mira Nair, who also began as a their marginalization of women directors Vohra and Deepa Dhanraj, to name only documentary filmmaker with her student and the fact that each industry in its long a few, have made a name for themselves film, Jama Masjid Street Journal, Sandesh Page 7 has continued to make documentaries no surprise that many of the women through its deployment of spectacle and over the years, and her documentary directors discussed here have directly or song choreographed in recognizably style has also had an impact on her indirectly engaged with issues of gender similar ways and through its presentation feature films. The scenes in India in The equality in their films. Even commercial of a similar narrative of transnational Namesake (2006) and the street scenes films such as , Bride and romance. Monsoon on the other hand, in (2001), for Prejudice and Monsoon Wedding deal offers a critique by making a wedding example, capture some of the same with such issues, but these three films film of a different sort, one that, in liveliness and unpredictability of the are also noteworthy for the way in which addition to the spectacle of wealth and Indian street as in her very first film. they have surreptitiously closed the gap song, includes glimpses of a darker side Nair garnered international attention and between commercial Hindi cinema and including class differences and family further offers of filmmaking projects the various art, documentary, and incest. These three women, Farah Khan, after Salaam Bombay! (1988) won regional cinemas of India. This is Gurinder Chadha, and Mira Nair, present numerous awards, including the because all three films offer, in addition us with the current face of a audience award at the Cannes film to a good story, a way of thinking about transnational class of smart and creative festival and an Academy Award the cinema itself and its role in the women directors, whose films‘ appeal is nomination for best foreign language broader culture of India. Om Shanti Om no longer bound by national borders. But film. Her most popular film since then does this more obviously through its their success today has also, in part, been has been Monsoon Wedding, which won numerous references to other films and possible because other women before the at the Venice Film filmmakers. Bride and Prejudice and them walked the same path under Festival and numerous other accolades. Monsoon Wedding can both be considerably more difficult conditions. □ Given the somewhat marginal position understood as homage to, and critiques Neepa Majumdar is Associate Professor of of women in the commercial Bombay of, the spate of wedding movies that English and Film Studies at the University of film industry or ―Bollywood‖ (a terrible came out of Bollywood in the 1990s, Pittsburgh and is the author of Wanted name that seems to be here to stay), it is including Dilwale Dulhaniya le Jayenge Cultured Ladies Only! Female Stardom and (1995). Bride‘s homage to these films is Cinema in India, 1930s to 1950s.

The Curious Life of Vijay: When life imitates movies By Mahesh Subramony

Vijay was distraught. ―Everything . . . confidence and yes, ―the blessings of his discovered that he could ride a every single thing that I once saw on mother‖. motorcycle at mach speed without screen . . . is now happening to me!‖ I Now, we all had our role models. I must holding the handgrips, perform triple helped him settle down with two sips of confess my own irrational attraction for back flips, and play several musical something strong and requested him to the works of a certain movie star known instruments including the harmonica, begin at the beginning. ―My life‖, he for such stunts as lighting a smoking grand piano, drums, and the guitar – began, ―does not just parallel device utilizing the forehead of his with his teeth. Once he used the Bollywood, it is actually identical to it‖. opponent to provide friction for the overhead electric cables to power his Like many of my generation, Hindi match . . . but, Vijay belonged to a electric guitar while playing a love song movies shaped every aspect of Vijay‘s different species of movie worshippers. atop an electric train to woo a young life. Let us begin with the mundane. He Movies were his raison d‘être. Supreme beauty – Simone. Sparks flew. Love wore his hair long, lost the top two bliss, for him, was a seat at the local bloomed. In various dream sequences, buttons of his shirt, carefully cultivated a cinema hall. His sense of self was they travelled across the vast expanses, 2-day old beard, and at the slightest contingent upon catching the newest they travelled across the vast expanses provocation spouted lines from release on the first day of screening, and of the Saharan desert swaying to ―Sholey‖ (The Flames), ―Diwaar‖ (The existential angst resulted from the Arabian beats, accentuated the beauty of Wall), or ―Trishul‖ (The Trident). Thus, decisional conflict presented by two new the Swiss Alps with their bright and the line at the college cafeteria always releases on the same day. It was vibrant colors, and splashed in the ―began where he stood‖, he had no use therefore ironic that one fine September pristine rainwater pools of the city in wet for grades (or riches) because he had morning, Vijay woke up to realize that clothes and one pink, polka-dotted something more important – ―his he was a character from one of his umbrella. mother‖, and his dream was to build a favorite movies. Then, events took a turn for the worse. business empire with no capital Class differences were discovered. investments solely on the basis of his Things were exhilarating at first. He Page 8 Sandesh

Simone, though deceptively Gucci clad, attains his prize and walks into the was the daughter of a low level clerk distance, but have you ever wondered Sometimes the Indian Cinema serving a benevolent autocrat – Vijay‘s about what happens next?‖ is mistakenly identified with the Bombay Film Industry, father – obsessed with building strategic I reached into the file-drawer of my business partnerships through popularly known as memory for an answer to his question. ‗Bollywood‘. However the matrimonial alliances. Parental The ―Mainstream Bollywood‖ folder disapprobation resulted, separation regional cinema is equally rich. ended exactly at the spot where Vijay Here is a break-up of Indian ensued, and soulful songs were sung. In left off. The ―Art Movie‖ folder the following days, Vijay in his attempt Feature Films produced in inevitably ended with ennui but did not different languages in 2009. to differentiate his identity from that of include any of the Bollywood content. his father built up a business enterprise Vijay was right. There were no answers. Hindi 235 fueled by love for Simone and the secret Telugu 218 blessings of his mother while thwarting ―Navigating the peaks and troughs of my several attempts on Simone‘s honor by recent life, I hung onto the reliable boat Tamil 190 of Bollywood script writing. I knew that evil minded classmates, intoxicated Kannada 177 policemen, and rapacious landowners, if I ventured too far, a latent script or an by successfully displaying his martial ‗invisible hand‘ would be invoked to Marathi 99 arts skills. Those were challenging bring the story back to familiar Malayalam 94 times. territories . . . but now I have nothing to guide me. If my life is a movie, what Bengali 84 I stopped Vijay during this portion of the happens after ‗the end‘?‖ I was stumped. Bhojpuri 64 narrative to supply refills and enquired For years, Vijay had been guided by the Gujarati 62 whether his state of mind resulted from characters he watched on screen for the the trials and tribulations discussed thus requisite two and a half hours and went Oriya 17 far. He nodded ―no‖ vigorously, and back home, replaying their stories in his Punjabi 15 brightening a little, explained that those thoughts, dreams, and actions. But obstacles did not kill their love, but where did the characters go once Vijay English 9 made it stronger. ―Simone and I, through had left the confines of the movie Assamese 5 our sheer determination, convinced theatre? Now he had to find out . . . by Rajasthani 5 everyone that our love was greater than living their lives. their hate‖, he said. Through divine Konkani 4 providence invoked by Vijay at a local I asked him to take two aspirins and get Santali 2 place of worship, and the father-son some sleep, and then pondered the camaraderie resulting from battling a problem. It was clear that Vijay was Haryanvi 1 living the life of a Bollywood hero – common enemy - an untrustworthy Kodava 1 business associate who also happened to everything he had told me fit the bill. be Simone‘s potential abductor - things But, something was not quite right. It Maithili 1 began to work themselves out. A took me a while to figure out what it Nagluri 1 was. When I did, I shook him awake. marriage followed. A honeymoon in Nepali 1 New Zeeland ensued. And yes, songs of He rubbed his eyes tiredly as he woke love‘s supremacy were sung. up. ―Do you . . . remember seeing this in Rajbanshi 1 ―We walked into the sunset with hands any of your movies?‖ I questioned. Sambalpuri 1 entwined‖, Vijay said, wiping away his ―This? You mean our conversation?‖ I Mishing 1 tears. I hid mine, though not nodded and continued, ―Have you convincingly. Everyone loves people in watched a Bollywood movie where the TOTAL 1288 love. ―It has been wonderful‖, he key character has the problem that you continued, ―and I want it to stop‖. do, and asks a friend for help?‖ He IndUS is dedicated to creating answered ―No . . . but where are you ―But why?. . ., I am confused. . . Love going with this?‖ I pressed his shoulders cultural awareness. Sandesh is prevails . . . All‘s well that ends well . . . powerfully and declared my discovery. your forum to express your Right?‖ I sputtered. Vijay did not appear ―If this is happening and we both know ideas on any topics of general sane in the best of times, and his words it hasn‘t happened previously in any interest. We invite your suggested that a padded cell would add movie, it means that . . .‖. Understanding suggestions, ideas and write- the appropriate décor for his personage. dawned on his face, and he cautiously ups. Send them to ―That is exactly what I mean‖, he completed my sentence, ―that my actions [email protected] gestured with both his hands, ―This is are no longer dictated by a script, and where the movies end – the character Sandesh Page 9 that I am free to shape my own life the of it. The end as they declared in ‗Kala Sycamore, IL with his wife, Ritu, and their way I feel!‖. ―Correct, Vijay!‖ I said, Patthar‘ (The Black Stone) is actually daughter, Vani. He teaches management at Northern Illinois University. Comments on ―You are no longer just an actor in a your ‗new beginning‘‖. □ movie written and directed by others. this article can be sent directly to him at Mahesh Subramony is an IndUS alumni and [email protected]. This is your movie. You own every part ex-Fox Valley resident who now lives in

Indian Cinema - As the world sees it

Indian Movies and “Quadros” accepted as a currency of a game. If you with about 50 residents on my floor). have a film frame with picture of Personally, I enjoy Bollywood films Asmara, the capital city of Eritrea is a , Mithun primarily because of the beautiful bright home to many cinemas that play foreign Chakraborty, Dharmendra Deol, or colors, the gorgeous natural scenery, and movies. As a teenage boy during the late Amjad Khan in it, then you would be the ―spice‖ behind the extravagant love 1980s, I watched movies in many of welcome to play and may be win some affairs (or what my good friend Neelam those theatres. Back then Indian movies more frames. If you don‘t have one, then Savla, junior majoring in Psychology played in many of the cinemas. Cinema you could buy and it may cost few cents likes to call it, the ―masala‖ of the Hamasien, cinema Odion, and cinema per frame. As I look back, Indian movies movie). Dante were some that played Indian did have a part of my growing up. □ movies regularly. With a $1 Birr Needless to say, my Bollywood 101 entrance fee and a downtown location Mussie Teclezion is a faculty in the program was a huge success among the my favorite was Cinema Dante. Department of Business Administration, residents. Although she has only been University of Wisconsin Green Bay. He is a somewhat exposed to Indian cinema, Before I learned English as a second native of Eritrea, a country in the North East Stephanie Margaret, USC alumnus, language, they definitely were my of Africa. actually attended the program and favorite, and of course, some movies commented on her experience: ―I think more than others. Qurbani is one; Disco these films are enlightening and give Dancer is another. However, I did not Bollywood 101 you a glimpse into the traditions, understand a word of what was said in Even today, I can distinctly remember practices and ideals of a different the movies. With story plots that are culture. At the same time though, very easy to follow, impressive dance the warm, rich, spicy flavor on my tongue from the first time I tasted Indian although the setting is different they're moves, and several action scenes, they universally appealing; there is something definitely were enjoyable to me. The chicken curry. I was in elementary th for everyone in each film.‖ same could have been said about the school when my 6 grade teacher took a crowd in the movie theatres from back whole group of us to eat at a local Indian Bollywood films are intriguing to all then. Loud applauses from the crowd in restaurant in Pasadena, CA in order for sorts of people because they remind us the theatre at several key scenes of a us to be exposed to a new culture. I of the American musicals we grew up movie were very common. Occasionally, remember the food…oh the food, it was with and sing along to when they come you would spot young boys trying to absolutely delicious, like no other I had on the television. Rebecca Buddingh, imitate some of the dance moves while ever tasted before! I remember the sophomore majoring in Journalism, who walking on the streets of Asmara. The restaurant decorated in extravagant also attended the program notes, ―I most widely spoken language in Asmara fabrics, colorful handmade rugs, bright personally enjoy Bollywood films is Tigrinya and thus few of the movie red and orange beads hanging because they feature dancing and goers actually understood the words everywhere, and a number of shiny choreography in ways I have never seen spoken in the movies. metal sculptures of things I had only before. Visually, these moves are seen in history books. mesmerizing.‖ For those of you have yet The fun did not stop inside movie to experience Indian cinema, prepare to theaters. ―Quadros‖ as we called them Ever since then, Indian culture has always fascinated me. That is why when be indulged in a unique storyline, with a back then were the currency of many foreign twist and the pinch of rich, zesty youth games. Win enough games and I met Sumi Pendakur, Director of the Asian Pacific American Student masala! □ you have plenty of quadro collection. Laura Escobar-Vallecillo is a junior at Services at the University of Southern They were frames cut from film reels, University of Southern California majoring and what is in the film frame could be California, I asked her to help me put on in Communication. clearly seen during normal day light. a Bollywood 101 program for my

The film frame had to have a picture of a residents (I am a Resident Assistant recognizable movie star for it to be ―RA‖ in a freshmen dorm here at USC Page 10 Sandesh

The First Feature (talkie) Regional Films Jamai Shashthi (1931) The first Bengali feature film. Billwamangal was the first silent film in Bengali produced in 1919. Kalidass (1931) The first Tamil feature film with songs in Telugu. Heer Ranjah (1932) The first Punjabi feature film. It was censored by the Punjab Board. Ayodhecha Raja (1932) The first Marathi feature film by V. Shantaram. It was made simultaneously in Hindi ―Aydha ka Raja‖. Karma (Fate) (1933) The first English feature film, an Anglo-Indian co-production. Hindi version was premiered in Bombay on January 27, 1934. Seetha Kalyanam (1934) The first Telugu feature film. Purandardas (1937) The first Kannada feature film made simultaneously in Tamil. Balan (1938) The first Malayalam feature film. Ekta (1942) The first Sindhi feature film directed by J. B. H. Wadia.

News … The Movie Kavi Appleton Public Library screened Kavi, an award-winning documentary on life of a teenage brick maker in India on June 24th, 2010. The film was nominated for in category of short documentary films. Sandhya Sridhar led the discussion following the show. Harbor House Domestic Abuse Celebration of Independence Days of Programs in Appleton, Wisconsin India and the United States Octoberfest IndUS of Fox Valley in collaboration This year our booth at Ocoberfest in with India Association of North East downtown Appleton on September 25, Wisconsin, Hindu Temple of North 2010 was a tremendous success. We sold Wisconsin and Sikh Temple of Fox delectable dishes from India: dosas, Valley celebrated Independence Days of India and the United States by staging two Classical Dance Ballets on volunteers from IndUS of Fox Valley Saturday, August 28, 2010 at and India Association of North East Einstein Middle School in Appleton, Wisconsin helped in making it so much Wisconsin. fun. It was good to have our presence at Gita Govinda in Odissi style by Utkala this annual event that was attended by more than a hundred thousand people. Dance Center, Naperville Illinois . Luv-Kush in Bharatnatyam style by The money raised will be donated to a local charity involving children. Upcoming events

Arts Day for Leadership Fox Cities

IndUS will participate in Arts Day for Leadership Fox Cities organized by Fox Cities Chamber of Commerce on December 14, 2010.

Let’s Share After a brief summer hiatus we will soon Kalaanjali School of Dance and Music, samosas and tandoori chicken. This year resume Let‟s Share, a monthly Madison, Wisconsin. henna tattoos were also a popular discussion forum on topics of special money-maker. More than fifty Proceeds were donated in charity to interests. Look out for an announcement. Sandesh page 11

IndUS-2010 The Board of Directors Registration Form The IndUS-2010 celebration will be Mr. Tim Higgins on Saturday, November 20th from Your Name & Address Chairman 5:00 pm to 9:30 pm at Radisson ______Mr. Terry Dawson Paper Valley Hotel. The theme for Dr. Sonja Downing this year‘s annual banquet is ―In The ______Dr. Mahendra Doshi Wonderland of Indian Cinema‖. Ms. Nancy Heykes Under the leadership of Kamal ______Ms. Ruth Mansukhani Varma and Gaurav Bansal different Mr. Prateek Mehrotra teams are working hard to put this ______event together. In one evening you Ms. Kavita Shet will take a journey in a magical and ______Ms. Shakti Shukla fantasy world of Indian Cinema Dr. B. S. Sridhar which would show the direct and Mr. Mohit Uberoi indirect influences of social changes Telephone ______Dr. Badri Varma and also take you away from the real Dr. Nidhi Kumar life difficulties and sadness to an E-mail ______(N.E.W. India Association: ex-officio) escape land of the imagination. You The President, Vice President, Secretary, will take a visual tour of the history Tickets Needed of Indian cinema of different and Treasurer of IndUS Exe. Committee IndUS member x $30 $ are ex-officio members of the board. languages and come close to the most popular heroes and heroines of Non-Member x $35 $ The Executive Team India where the most number of Full-Time Student x $25 $ Dr. Sandhya Sridhar movies produced in the world. Some Table for Ten x $350 $ President of your favorite characters will come alive and greet you personally. Tickets Sub-Total $ Mr. Yogesh Maheshwari IndUS Exhibition committee is busy Vice President trying to make it a spectacular show IndUS Membership Dr. Sanjay Cheulkar for you that evening. Your taste buds

Secretary will have a feast by experiencing the Ms. Preeti Parekh authentic mouthwatering Indian Individual Member $ 10 Treasurer dishes which Dr. Peter D‘Souza, Family Member $ 20 Mr. Ashok Tannan with the help of Chief Chef of Life Membership $ 200 Member-at-Large Radisson, will prepare for that Dr. Gaurav Bansal evening. To bring the evening to a Benefactor ($100-$ 499) $ climax, a cultural pro-gram will take Member-at-Large Patron ($500 +) $ you in the fantasy word of colorful Donation (If any) $ Team Leaders exotic fashion, dances, music and story lines of the Bollywood where Grand Total (Tickets, Member- Dr. B. S. Sridhar (Cultural Programs) you can participate in interactive ship Dues, & Donation) $ Ms. Sridevi Buddi elements of the evening. You could (Education & Outreach) dress up in a costume of your Complete the form and mail with favorite stars of the cinema world. Mr. Rajeev Dugal (Fund Raising) your check payable to IndUS of Please come and join us for all that Fox Valley to Ms. Kamal Varma fun. In the past these annual banquets (IndUS Banquet 2010) have been a sold out event; however, Dr. Badri Varma the tickets are still available. Ms. Kanchan Patkar 5009 N. Waterford Drive (Publicity & Chief Editor Sandesh) For more information about the event Appleton, WI 54913 visit www.indusfoxvalley.org. One can also download the registration Visit our website at form from the web site. Tel: 920.832.9907 www.indusfoxvalley.org Contact us at [email protected] [email protected] IndUS Of Fox Valley 3600 N. Shawnee Ave. Appleton WI 54914

IndUS of Fox Valley Presents

In the Wonderland of Indian Cinema

Saturday, November 20, 2010

5:00 to 9:30 p.m.

Radisson Paper Valley Hotel

Appleton

Exhibition Social Hour Authentic Indian Cuisine Cultural Program