International Research Journal of Management Sociology & Humanities

ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print)

An Internationally Indexed Peer Reviewed & Refereed Journal

Shri Param Hans Education & Research Foundation Trust

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IRJMSH Vol 9 Issue 3 [Year 2018] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Role of in Building National Identity

Prof (Dr) Veenus Jain Amity University, Noida

Popular Hindi cinema has always played a key role in defining and designing the feeling of nationality in people's mind.Several memorable Hindi films, since the first film in 1913, have appealed to people’s sense of patriotism, valour and self-sacrifice for the nation.Their subjects range across freedom struggle, invasions and battles, sports, ancient and medieval history, insurgency and others.The common theme running across them is pride in being Indian and duty towards the nation.But admittedly they are fewer in number when compared with the vast output from the Bombay film industry, now called Bollywood. The film industry in grew up through the heydays of Freedom Movement. Like drama, in the 19th century, there was a strong possibility that films could purvey patriotic spirit.

As early as 1876, the administration of Lord Northbrook had promulgated the Dramatic Performances Act to stamp out sedition on stage.India’s connection with the celluloid began on 7 July 1896 at Watson Hotel in Bombay where Maurice Sestier, an agent of Lumiere Brothers – Auguste and Louis, founders of Cinematography held the first screening of the motion pictures. India did not lag behind in terms of time as the first motion picture of the world was exhibited a few months earlier on December 28, 1895 at the Grand Cafe Boulevard des Capuchines, Paris, in the basement hall, named oddly enough Salon des Indes (the Indian Salon).

Thus, India’s tryst with the new medium began and later some Indians also plunged themselves in making short films. HarishchandraSakharamBhatwadekar (known as Sawe Dada) shot India’s first motion picture in 1896 – a wrestling match – with a Lumiere camera. Such films were known as ‘topical’. Hiralal Sen of Calcutta was also a pioneer in this field. Chronologically, the first Indian film was Ram Chandra Gopal (R.G.) Torney’s Pundalik released on May 18, 1912 at the Coronation Cinematograph in Bombay. It was a huge success and was shown along with a foreign film A Dead Man’s Child.

The arrival of Raja Harishchandra of D.G. Phalke (1870-1944) or Dada Saheb Phalke as he is popularly known, on May 3, 1913 at Coronation theatre was a milestone in the journey of Indian cinema. Phalke also believed in the nationalistic doctrine of swadeshi. That was the period of the Swadeshi Movement and there were discussions on it in the public space. Phalke resigned from government job and took up an independent profession. He explained his ideas about cinema to his friends and to the leaders of the Swadeshi Movement. Phalke’s pioneering and long lasting contribution to Indian cinema, very legitimately bestows him the title of ‘Father of Indian

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IRJMSH Vol 9 Issue 3 [Year 2018] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

Cinema’. Raja Harishchandra was the harbinger of the genre of mythological films. In the 1920s, a number of talented people entered the field of cinema. All genres of films were attempted: historical, social, comedy and stunt. There was an emergence of studio system in this decade. Cinema was also brought under the purview of Indian Cinematograph Act, enacted in 1918, which provided for censorship of Indian and imported films and licensing of cinema halls. The Board of Film Censors were established in the four port cities of Bombay, Calcutta, Madras and Rangoon (Burma was part of British India at that time) to examine the films for certification.The journey of Indian talkie began on March 14, 1931 when full length talkie AlamAra was released.

The other variants of popular theatre were spread all over India – Nautanki in Uttar Pradesh, Tamasha in , Lila in Orissa,Swang in Punjab, Yakshagana in Karnataka, Kathakali in Kerala etc. – in which itinerant troupes moved from place to place to present their shows. The Indian cinema appropriated this heritage of song and dance and it became a intrinsic characteristic of Indian films. In the initial days of talkies, number of songs in some films was more than fifty.

Themes of Films (1930s and early 1940s)

Mythologies were a safe starting point as the themes of the films were familiar to the audience and their mythological and religious character appealed to the common psyche. Both mythological and devotionals inspired awe and reverence among the audience. Moreover, strict censorship norms for the films of socio-political nature by the imperialist government and fear of loss of capital among the producers discouraged them to depart from mythologies and venture into other themes. The mythological films exhibited the ideals and values needed for social regeneration.

The life story of Raja Harishchandra was parallel to the philosophy of Satyagraha, to endure suffering with belief in the final victory of good over evil. Historical and biographical theme was another important genre during the 1930s and early 1940s. The basic problem with the films based on the subject matter of important events of the past and propagating anti-imperialistic awareness was that they lacked a modern historical approach.

The formation of Progressive Writers’ Association (PWA) in 1936 in Lucknow under the Presidentship of MunshiPrem Chand and the formation of Indian Peoples’ Theatre Association (IPTA) in 1943 also influenced cinema.

The Gandhian movement had affected not only political but also social and cultural awareness of the people. Gandhi made the issues of untouchability, women’s emancipation and Hindu-Muslim unity central to the freedom movement. His call to women to participate whole-heartedly in the non-violent struggle against the British witnessed an unprecedented number of women

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IRJMSH Vol 9 Issue 3 [Year 2018] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) participating in the Civil Disobedience Movement launched by him in 1930. They left the seclusion of their homes and offered satyagraha, participated actively in picketing shops selling foreign liquor or cloth and marched shoulder to shoulder with men in processions. Thus, it brought a change in role and status of women. Gandhi’s linking of social issues with national movement endeared him not only to intellectuals but also the common mass. A number of filmmakers like V. Shantaram, Master Winayak, J.B.H. Wadia etc. were also deeply influenced by ideals of Gandhi and they also tried to portray some ideas through the medium of films. AchhutKanya (1936) explored the social issue of untouchability; Duniya Na Mane (1937) dealt with the problem of mis-matched marriage in the society i.e. a young girl married to an old man; Admi (1939) supported a robust pragmatic approach to life’s frustrations that was completely and consciously opposed to the glamorization of frustration in Devdas (1935)

The genre of stunt or action films was another significant trend in cinema. These films were very popular in mofussil areas where they attracted a large number of illiterate audiences. A lot of patriotic fervour can be found in these films. The titles of stunt and fantasy films were not only provocative but carried a hidden patriotic fervour in them. The titles were like Azadi, Hind Kesari, Desh Deepak, DeshDasi, Nav Bharat, Vir Bharat, Jawahir – e – Hind, KhudaiKhidmatgar, Bharat KaLal, BaghiSipahi, SwarajKaSipahi etc. Some of the newly set up banners also mocked the authorities by naming themselves as Jawahir Pictures, National Movietone, Hindmata Films, and Indian Liberty etc.15

These apparently stunt films had deeper nationalist overtones. The characters in these films were generally shown divided into two camps – one attired in costly costumes representing the oppressing ruling class and the other shabbily semi-clad, a representation of the suffering masses of the society. Generally, the climax scenes in the stunt films witnessed verbal confrontation between protagonist and antagonist in which people’s rights of democracy; good governance, justice and freedom of speech and expression were advocated.

K.A. Abbas observed that in the atmosphere of growing anti-imperialism, even the coarse ‘stunt’ films were used to portray and glorify the democratic aspirations of the masses. If the British censors were satisfied at the climax by installation of a legitimate heir on the throne, the audience could not forget the earlier sequences dramatizing general public’s defiance of a tyrant’s authority.The British similarly kept a watchful eye on the films also, through the Censor office and Police.Like all the other chapters of Indian Independence, the Quit India movement (for which freedom fighters took a pledge on 8 August 1942) too has been a part of Hindi cinema. We look at Shaheed (1948)

The most prominent mention comes in the first blockbuster of Indian cinema, Kismet (1943).Apart from the bold themes of introducing an unmarried pregnant woman, an anti-hero

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IRJMSH Vol 9 Issue 3 [Year 2018] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) and a double role, the film also hosted the famous 'Dur Hato Ai Duniya Walo' song — a bold call to the foreigners to leave India for the Indians. Penned by , the song behooved the Indians to take up arms against the invaders. One would wonder how the song was passed under the very nose of the British censors. Well, Kavi Pradeep called a bluff that the Raj could never catch. He included names of the two countries leading the Axis powers in the World War II, Germany and Japan, thus legitimising the song in the eyes of the colonizers. While he dedicated one line, which goes, 'Tum Na Kisike Aage Jhunkna, German Ho Ya Japani', denegrating the opposing parties in the WWII, the entire song was really against any and all foreign powers in India, obviously, including the British. Further, the song, interestingly, didn't have any link to the plot of the film. The sole cry for Independence came from a film that revolved around a pick-pocket and conman.Thus in 1943, there was an arrest warrant against RamchandraNarayanjiDwivedi aka Kavi Pradeep for writing a thinly disguised song in support of Quit India Movement in the ’ film Kismet.The song ‘Aaj Himalay ki choti se phir humne lalkara hai/Door hato aye duniya walon Hindustan Hamara Hai (We have thrown the challenge from the top of the Himalayas/Foreigners, hands off India).The lyrics further reads-“Shuru hua hai jung tumhara jag utho Hindustani/Tum nakisike age jhukna German hoya Japani(Your battle has begun, awake O, Indians/Never capitulate before anybody whether German or Japanese).

In the World War II (1939-1945), India being on the Allied side, was theoretically an adversary of the Germans and the Japanese.Throughout 1942, after Singapore and Burma (Myanmar) crumbled, the fear of Japanese invasion of India was real.But the British were clever enough to see that Jung (War) here actually meant freedom struggle, and foreigners actually implied the British. Kavi Pradeep had to go underground to evade arrest.

A year after India's Independence, Limited produced Shaheed (1948), starring and in the lead roles. Based on the Indian independence struggle, the plot picks pace from the Quit India movement. Ram (Dilip Kumar) believes in the slogan of 'Do or Die', he wants an overthrow of the British empire in India, even if it comes at the cost of murder and matyrdom. While the film looks back at the freedom struggle, it also presents the debate of non-violence versus violence.

With Independence declared on August 15, 1947 such hurdles were removed.There were no doubt exceptions like Shaheed (martyr) written by WajahatMirza and directed by Ramesh Saigal that was the highest grosser in the year 1948.Its song ‘Watankiraahmeinwatankenaujawanshaheedho’ penned by QamarJalalabadi still sounds poignant.The biggest grosser for the year 1950 was Samadhi, again directed by Ramesh Saigal, supposedly based on a true incident of Azad Hind Fauz of NetajiSubhas Chandra Bose.Also in the same year came another film based on Azad Hind Fauzviz. PehlaAadmi directed by legendary .

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IRJMSH Vol 9 Issue 3 [Year 2018] ISSN 2277 – 9809 (0nline) 2348–9359 (Print)

In 1952 came Anand Math, based on the famous novel by Bankim Chandra Chattopadhyaya.It was directed by Hemen Gupta, a former freedom fighter, who had spent years in jail and allegedly escaped hanging by a whisker.He later turned to making of films.Raj ’s Shri 420, the highest grossing film of 1955, shows the perils of Ponzi schemes meant to fleece poor people.The problems that newly independent India grappled with found reflection in the films.The 1960s revealed that challenges India needed to solve were not merely internal.A string of military films have followed since then.They include Haqeeqat (1964), Humsaya (1968), Prem Pujari (1970), Lalkar (1972), Hindustan kiKasam (1973), Vijeta (1982), Akraman (1975), etc.

Closer to our times there have been films like Prahaar; The Final Attack (1991), Border (1997), LoCKargil (2003), Tango Charlie (2005), Shaurya (2008), 1971 (2007), Ghazi Attack (2017), etc.These films have increased the stature of the armed forces in the esteem of ordinary Indians.In the 1960-70s, actor HarikishnaGiriGoswami alias , held the fort with positive and patriotic thoughts in films.He earned the nickname ‘Bharat Kumar’ (Son of India).He played revolutionary Bhagat Singh in Shaheed (1965).His films like (1967) shows the peril of a demobilised soldier caught in the web of black marketing and spurious drugs.InPurabAurPaschim (1970) he upholds the Indian culture in the West.In the 1970s, India was still considered a backward and regressive nation in the West.Manoj Kumar defended the superiority of Indian culture boldly in PurabAurPaschim.

A change has come over post-liberalisation, which coupled with performance in the field of Information & Technology, led to India’s rising global stature.Since the mid-1960s Indian immigration to the industrialised nations of the West like the USA and UK has increased.It has led to growth of long-distance nationalism whereby immigrants are proud of their Indian identity.Songs like ‘I love my India’ (Pardes, 1997) captivate that spirit.The films like Lagaan (2001), Chak De India (2007), Bhag Milkha Bhag (2013), Dangal (2016) used sports to rouse patriotic feelings.These were The Legend of Bhagat Singh by RajkumarSantoshi, 23rd March 1931: Shaheed directed by GudduDhanoa and Shaheed-E-Azam by SukumarNair.In 2004, noted director ShyamBenegal came out with Netaji Subhas Chandra Bose: The Forgotten Hero. But patriotism alone is not talisman of box office success as the box office disaster of Khele Hum Jee Jan Sey (2010), a film by Ashutosh Gowarikar, based on Chittagong Armoury Uprising (1930-34) proved. But there is no doubt that nationalism will continue to find new ways on silver screen.

Like all the other chapters of Indian Independence, the Quit India movement (for which freedom fighters took a pledge on 8 August 1942) too has been a part of Hindi cinema. We look at Shaheed (1948) and 1942: A Love Story (1994), both set in the same time period.Apart from the bold themes of introducing an unmarried pregnant woman, an anti-Another film that entertains the Quit India movement is the Vidhu Vinod Chopra's 1942: A Love Story (1994). While the film proved to be

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IRJMSH Vol 9 Issue 3 [Year 2018] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) a turning point in 's career, it was also the first Indian film to use Dolby Stereo. The film won nine Film fare awards including Best Music Director, Best Lyricist, Best Female Playback Singer, Best Male Playback Singer, among others.

As the title suggests, the plot has an intermingling of the freedom movement and a love story. Naren Singh (), a carefree and soft hearted son of a landlord falls in love with the niece of freedom fighter Raghuvir Pathak (AnupamKher). Naren finds love in the beautiful Rajeshwari (ManishaKoirala) and is devoid of any patriotic fervour. Their love story, however, is obstructed by the ongoing freedom struggle. Here again, the freedom fighters have been shown to choose the violent path instead of Gandhi's way of non-violence. The plan is to kill General Douglas on his visit to the Kasauni village. The plot is busted and everything flips with adverse effects. Many honest and pious men are murdered by the tyrannical Britishers and their Indian officers. Naren, too, joins the brigade of freedom fighters, ending in an over dramatic overthrow of the British post in the village.

Conclusion

Indian cinema has truly been the recorder of is times. It is unfortunate that for the earliest examples of film-making, we have only the comments of film critics and the film publicity put in the newspapers to depend upon, to make up for the absence of films themselves.. But from the ‘talkie’ era we have fairly comprehensive collection of films available in the country to analyse public thinking on social issues.The leaders of the film industry have taken a stand that Hindi films had contributed immensely in weaving the country into one secular society. A large section of the film industry had also claimed rightly that more than the government efforts, it was the film industry which had spread the Hindi culture.

Sections of Indian society not friendly to the Hindi language have also accepted Hindi films without protest perhaps only to see the entertainment part of the Bombay’s ‘glossies’. But in the bargain have acquired a working knowledge of the Hindi language in the course of sitting for hours in cinema halls to view Hindi films.

Quite often they were attracted by the star personalities of , , , , , , , HemaMalini, , and now .

Contrary to this the saddest part of the revelation is that this author could not come across a single official document from the film industry sources which laid claim that the film industry had also contributed to the national freedom struggle.

Strange it may seem when we recall there were people still making films on patriotic themes, getting into trouble with the authorities, paying the price in pain and bankruptcy. It was not the

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IRJMSH Vol 9 Issue 3 [Year 2018] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) case of the odd individual effort, each of the first five decades of Indian cinema tells the stories of such sacrifices. Imported films always had to struggle for survival in India.

This is a tribute to the spirit of Swadeshi that inspired the pioneers to create not only the art form of movies but also an infrastructure that made it possible for India as early as the close of 1920s, while the country was still a British colony, to outnumber the movie output in Britain itself and claim third position in the world in respect of annual movie production. This fact is never unrelated to the nationalist urges of the pioneers.

The ambience of the freedom struggle was always in the air in the home and in the street. It was, as if, the colour of life itself.

If at all, it resides in the bosoms of those who breathed in that epoch. Cinema never cared to recall, or reconstruct that inspiring environment. One is reminded of poet

Ghalib:

Yaad-e-maaziazaabhai, YaRab,

Chheen le mujh-se haafizamera.

(How painful are the memories of the past: O God, could thou erase my memory altogether.)

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Indo-Asian News Service. 2006. Malaysia’s picturesque locales beckon Bollywood. Bollywood.com ,online at : http://www.bollywood.com/malaysias-picturesque-locales-beckon Associated Press. 2010. Thailand shakes its hips like Bollywood. NDTV ,online at : http://www.ndtv.com/article/world/thailand-shakes-its-hips-like-bollywood-38558

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Menasveta, Chamsai. 2014. Bollywood Blockbusters Shot In Thailand. ThaiIndia.net ,online at : http://www.thaiindia.net/en/top-stories2/item/1015-bollywood-blockbusters-shot- in-thailand.html Singh, Bajinder Pal. 2013. Slowly Bollywood Disappears from Thai Memory. Dateline Bangkok [online]. Available from World Wide Web:

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