Republic day magazine 2014 by Julio Cortes

100 Years of Indian Cinema

Strategic Tax and Financial Solutions Satya Shaw CPA MBA

100 Years of Indian Cinema â&#x20AC;˘ www.fia-tampabay.com

FIA of Tampa Bay | August 2013 | www.fia-tampabay.com

100 Years of Indian Cinema

Happy Republic Day

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Table of Contents 100 Years of Indian Cinema

Table of Contents.....................................................................................................................4 Message From Ananth Prasad...................................................................................................5 Message From Andrew Moos....................................................................................................6 Message From Joseph W. Lopano..............................................................................................7 Message From Fia Chairman Of The Board.................................................................................8 Message From Fia President.....................................................................................................9 Message From The Fia President Elect......................................................................................10 Message From The Fia Event Chair...........................................................................................11 Message From The Fia Event Co-Chair......................................................................................12 Message From The Fia Editorial Committee..............................................................................13 Fia 2014 Board Pictures..........................................................................................................14 Fia 2014 Executive Committee Pictures..................................................................................15 Event Guests..........................................................................................................................16 100 Years Of Indian Cinema...................................................................................................18 From Dandiya To Dhol, Bollywood’s Love For Gujarati Culture Grows.........................................22 Chaos And Camaraderie-Growing Up In The Narayanan Household...........................................24 Indian Cinema-A Non-Indian Perspective.................................................................................25 The Call Of The Raaga: Classical Music In Hindi Cinema............................................................28 The Influence Of Karnatic Music In Film Music.........................................................................30 A Comprehensive Look Into The Various Stages Of Making An Indian Movie..............................33 An Interview With A Director..................................................................................................35 Indian Movie & Common Sense-An Oxymoron.........................................................................38 The Many Faces Of Padmini-A Shishya Remembers..................................................................40 One Little Red Book And A Lifetime Of Memories.....................................................................42

FIA OF TAMPA BAY

One Day In The Life Of A Famous Film Actress-Katrina Kaif........................................................44 One Day In The Life Of A Famous Film Actor-Amir Khan.............................................................45

REPUBLIC DAY 2014 • SOUVENIR

Noteworthy Kannada Films From The Last 100 Years................................................................46

Noteworthy Tamil Films From The Last 100 Years.....................................................................48

Karen Sriram Julio Cortes

Noteworthy Telugu Films From The Last 100 Years...................................................................52

Noteworthy Gujarati Films From The Last 100 Years.................................................................47 Noteworthy Bengali Films From The Last 100 Years.................................................................50 Noteworthy Marathi Films From The Last 100 Years.................................................................53 Noteworthy Malayalam Films From The Last 100 Years............................................................54 What Gives Indian Cinema Its Universal Appeal.......................................................................55 Thou Art Hundred, My Filmi Duniya........................................................................................56 Event Pictures-Table Tennis Competition.................................................................................57 Event Pictures-Essay & Painting Competitions.........................................................................58 Event Pictures-Volunteering At Metropolitan Ministries...........................................................59 Member Organizations..........................................................................................................60

100 Years of Indian Cinema • www.fia-tampabay.com

100 Years of Indian Cinema

100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema

Andrew J. Moos

Dear Federation of Indian Association of Tampa Bay members, It is my honor to be a guest at your Celebration of Indiaâ&#x20AC;&#x2122;s 65th Republic Day. I would like to thank you all for inviting me to share in this event with you. Your theme, 100 Years of Indian Cinema reminds me that we are getting ready to celebrate the Bollywood International Film Festival here in Tampa shortly. The FIA Mission: Unity in diversity and service to the community is much like the Lions Clubs International Mission: To empower volunteers to serve their communities, meet humanitarian needs, encourage peace and promote international understanding through Lions Clubs. Lions Clubs International is made up of a diverse blend of volunteers from around the world. Many of these Lions are serving in India, and they are one of the largest and fastest growing populations of Lions in the world. On behalf of the Lions of Florida and The Bahamas, I wish you much success in your celebration and in all of your endeavors through your association. Yours in Service, Andrew J. Moos District Governor, Lions District 35-I

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100 Years of Indian Cinema

Joseph W. Lopano Chief Executive Officer

Mr. Lopano arrived in Tampa on January 1, 2011, as Tampa International Airport’s new Chief Executive Officer. Prior to accepting the CEO position in Tampa, Mr. Lopano worked at the Dallas/Fort Worth Airport for 14 years as its Executive Vice President for Marketing and Terminal Management. Additionally, he has 22 years of airline and airport expertise. Mr. Lopano has extensive experience in the airline business, having held management positions at Continental Airlines, Lufthansa, BWIA and Pan Am. He has held leadership roles in financial planning, international route development, advertising and frequent flyer programs. While at Continental, Mr. Lopano was the project director for “Business First,” the launch of Continental’s new business class product. He received a bachelor’s in finance and accounting from Pace University in New York and has accomplished graduate work in marketing at the University of Connecticut. He serves on the boards of the Greater Tampa Chamber of Commerce, the Tampa Bay Partnership, the Tampa Bay Defense Alliance, the U.S. Travel Association’s inaugural Gateway Airport’s Council and the Hillsborough County Metropolitan Planning Organization. He is a member of the executive committees for the Tampa Hillsborough Economic Development Corporation, the ACI–NA U.S. Policy Board and the Tony Jannus Society. He serves on the Saint Leo University’s Board of Trustees Sub-Committee for International Affairs. He is an Honorary Commander at MacDill Air Force Base, and was selected to participate in the current class of Leadership Florida. He previously served as Chairman of the International Air Service Committee of the Airports Council International - North America. Mr. Lopano is married and has three children.

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100 Years of Indian Cinema

Message from Chairman of the Board, FIA of Tampa Bay Dr. Rao Emandi

t is my proud privilege to join you in celebrating our Indian Republic Day in Tampa Bay. The Federation of India Association of Tampa Bay proudly celebrates the 65th Republic Day function on January 26th, with the Indian community of Tampa Bay. We are proud to be one of the NRI communities in America to celebrate India’s Republic Day. As you all know we got Independence on August 15, 1947, after great sacrifice by our beloved leaders. The Constitution was developed and finally approved on January 16, 1950.

India has the fastest growing economy and the third largest economy in the world. It is also the largest democracy of the world. The vision of our India is to transform it from a developing nation to a developed nation by integrating actions in the areas of agriculture, education, power, railways, aviation and military, information and commercial technology. Republic Day will be celebrated in New Delhi on January 26th with parades of military, navy, and air force. Children from high schools and colleges will participate in the parade. On that day this year, all women will wear all three colors of saris and jewelry to represent real Republic Day. It is also note worthy that the Government of India announced the national relay by Dhooradharsan. For the first time sign language will be included for the deaf people, who compose approximately 18 million of the total population. This year’s Chief Guest of Honor is the Japanese Prime Minister, and this may help better business and defense relations with Japan. FIA celebrate two main functions: Republic and Independence Day, and it requires funds to make it a strong organization, which can be achieved with the help of our community. FIA is working on several fronts with children in encouraging them to participate in educational works. Our members are also working in various charitable organizations. I would like to take this opportunity to thank all the executive members, volunteers, sponsors and supporters of FIA for their effort in making this function a grand success. Dr. Rao Emandi, MD. FACRO. Chairman Federation of India Association of Tampa Bay

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100 Years of Indian Cinema

Message from President of the FIA Executive Committee Mr.Ravi Narayanan

ith great pleasure, I would like to welcome you all to celebrate India’s Republic day. We celebrate this day remembering the moment when India’s constitution went into effect.

While India attained Independence in 1947, it was functioning under the laws enacted and implemented by the British until 1949. On 26th January 1950, the amended constitution took full-fledged effect, reflecting a milestone in India’s struggle for democracy. Incidentally, our celebrations this year happen to coincide with the exact date. While India celebrates this landmark occasion with a lot of fanfare and festivities, Indians all over the world take pride in celebrating the day through their associations and formal groups of members. On this day, with gratitude, we remember all the heroes and martyrs who have sacrificed their lives for the sake of their motherland. It is customary for the President of India to confer significant prestigious awards to those heroes. FIA of Tampa bay has been celebrating this day since its inception with participation from all its member associations and members of the Indian community. This year, we have chosen ‘100 Years of Indian Cinema’ as the theme, celebrating another significant milestone. Our member associations along with a score of volunteers will be highlighting the contributions made by the regional language movies to Indian cinema in the past century. While it is a very vast topic to showcase, every effort has been made to highlight the major contributions through these display booths, articles in the e-souvenir and the cultural events. FIA is honored to have Mr. Ananth Prasad, Secretary of the Florida Department of Transportation and Lion Andrew J Moos as Guests of Honor for this

event. Our sincere thanks to them for accepting our invitation and join us in the celebration. An event of this magnitude is difficult to conduct without the active involvement of several dedicated volunteers and member associations. Our board and executive committee members have been a source of major support, and the event chair and co-chair have contributed painstaking efforts to organize several areas of this event. Our sports coordinators successfully conducted FIA’s first table tennis tournament and our youth coordinators along with Gurukulam of Tampa Bay organized the essay writing and art competitions, which were all well attended. Coordinators of the cooking competition, organizers of vendor booths and our editorial committee instrumental in putting together the e-souvenir have all put in enormous efforts towards the success of this event. Our advertisers and vendor booth participants have provided support on the much needed revenue front. Our member associations, along with several interested volunteers, have contributed a great deal in presenting the respective regional booths showcasing the contribution to Indian cinema. My heartfelt gratitude and since thanks to one and all who have assisted in all possible ways to conduct this event successfully. It is a privilege to be part of the FIA team working along with representatives from all the member associations. Though many of us are citizens of this great country, celebrations like this are instrumental in realizing India’s rich cultural heritage and diversity. Thank you for taking the time and joining us on this memorable occasion. We truly hope that you will enjoy the cultural events and the related festivities. - Ravi Narayanan

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100 Years of Indian Cinema

Message from President Elect, FIA of Tampa Bay Dr. Kotha Sekharam

t has become a tradition to bring all service-oriented community organizations under one umbrella for special events like India’s Republic Day Celebration. Once again, we are meeting here for the celebration, under the backdrop of hundred years of Indian Cinema. Indian cinema is unique, It is the only medium that could break all the barriers, including language, region, culture, local traditions and reach every corner of India. In fact, it could reach places far beyond India. We will have an opportunity to show case some of the unique aspects of Indian Cinema.

While emphasizing unity in diversity and service to community, FIA is bringing in youth for service and developmental activities. While every member organization is conducting programs and activities for their own members, FIA is bringing an opportunity to expand the visibility of those members’ activities to all organizations. This inter-organizational experience helps all. We are glad to have Secretary Ananth Prasad from the Florida Department of Transportation as our guest of honor for this event. Mr. Prasad, an immigrant of Indian origin and technocrat, rose to the ranks of Government with his hard work and dedication. He could be a good role model for our youth. Happy Republic Day to you all. Enjoy the daylong event, filled with sports, youth activities, cultural programs, food, and friends. Dr. Kotha Sekharam President Elect, FIA of Tampa Bay Jan 26, 20

100 Years of Indian Cinema • www.fia-tampabay.com

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100 Years of Indian Cinema

Message from the Event Chair Sheila Narayanan

epublic Day honors the day the constitution of India came into force. Indians worldwide celebrate this day with pride regardless of religion, language or any other cultural barriers. Each year, FIA (Federation of Indian Associations) of Tampa Bay celebrates India’s lic day with festivities to mark the occasion. As s worldwide celebrate a landmark “100 Years an Cinema”, and Tampa proudly welcomes A awards, we have chosen this Republic Day k back at those 100 years with pride.

The talents range from novice children who want to participate to artistically creative adults who have graciously agreed to share their talents with the community.

us have our favorite movies, our favorite and actresses, our favorite dancers and our e directors and musicians. But have you ever red what makes them so special? What makes ovie so loved and one movie so hated? Of , that would be solely our personal opinion, e, Team FIA, took this opportunity to explore th these movies that we love so much. ie starts as a small spark in someone’s mind oves onto paper as a story. From there it moves on to a two-hour entertainer for us. s is not done in one night or one week or one . Many times the movie takes years from a o fruition.

I must mention my co-chair, Sunitha Saravanan and the impressive team that worked with me on the souvenir , Priya Menon and Jaimin Amin.

p of us have teamed together to showcase the the bad, the ugly, the beautiful, the forgotten, e best of Indian Cinema. These dedicated nd women have spent hours bringing to you derful array of cinema from several languages. ng the themes of cinema and patriotism in our member associations and local talents ome together to provide you with a cultural aganza, a feast for the eyes and ears.

On a personal note, having grown up in NY and being a part of the nation’s first FIA uniting all Indians under one banner, FIA is a very important part of my life. It is always a wonderful feeling to bring our different yet vibrant and beautiful cultures together. In this journey to this Republic Day celebration, we have had the pleasure of working with several amazing people.

I would be remiss if I did not mention the collaborative efforts of the Board and Executive committee of FIA along with all the great people who have put together the cultural booths, vendor booths, competitions, programs, stage decorations and many unseen ‘behind the scene’ things. And lastly, our daughter Shreya, who has always been our rock. Without everyone’s support and commitment, an event of this magnitude would not be possible. It is with great pride that we welcome you all to India’s 65th Republic Day celebrations, celebrating the joy of Indian cinema! On behalf of Team-FIA Sheila Narayanan Event Chair

100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema

Message from the Event Co-Chair Mrs. Sunitha Saravanan

would like to thank Ravi Narayanan and the FIA committee for giving me this excellent opportunity to serve as co- chair for the Republic day function this year. It gives me immense pleasure to work with Sheila and Ravi Narayanan and everyone on Team-FIA for this event. Sheila and I have worked together on many of our dance school programs in the past. We look forward to organizing a fantastic Republic day program this year. Hope everybody enjoys the day and encourages the participants and our wonderful teams to do many more programs like this.

Thank you! Sunitha Saravanan

For More Information on FIA log on to: www.fia-tampabay.com

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100 Years of Indian Cinema

Message from the Editorial Committee Priya

O ,

n this occasion of India’s 65th Republic Day, I would like to extend my warmest greetings to the Indian community in Tampa and share my pride in being part of our wonderfully diverse, often times challenging but always awe-inspiring country. Despite our intrinsic cultural, linguistic, religious and socio-economic differences, there is a magic mantra that transcends these barriers and invariably brings us all together and makes us unanimously burst with pride at our Indianness and shared idiosyncrasies- the magic of CINEMA! They make us laugh, they make us cry; they fill our hearts with wonder, they make us sigh. They entertain and educate, inform and inspire; they mould popular opinion, inspire the latest fads and fashions and most importantly, they encourage us to believe in the power of dreams. They are our panacea to a stressful day; the perfect cloud of fluff to escape into when we don’t want to deal with the mundane realities of everyday life. Our matinee idols are our childhood crushes and the objects of our adolescent fantasies; they are who we want to fashion ourselves after as young adults and who set the prototype for who we want to be with, for the rest of our lives. It is mystifying, mesmerizing and absolutely mind boggling just how powerful this incredible medium is and this year, as we celebrate 100 supremely eventful years since this spell was first cast upon our nation, one cannot help but be amazed at this wondrous medium and the strange power it seems to wield over all of us! Perhaps, that is why 100 Years of Indian Cinema was the unanimous choice when we sat around one afternoon trying to decide what the theme of this year’s Republic Day celebrations and the corresponding souvenir needed to be. By the coolest of coincidences, the Indian community in Tampa is in the throes of film fever at the moment, as our beautiful city prepares to host the 15th International Indian Film Academy (IIFA) awards on April 26th. What an unexpected honor and what a great memory it will be for us residents for years to come! Thus, all things considered, cinema just *had to* figure big in this year’s plans.

Sheila

Jaimin

When deciding to dedicate the January souvenir entirely to Indian Cinema over the last hundred years, as excited as we were about doing something unique, we were also apprehensive about how daunting a task this would be, considering we had merely a few weeks to get this done in. We wanted a souvenir that would comprehensively cover every aspect of Indian Cinemaits glorious past, its ever increasing global appeal, our state of the art movie making techniques and world class artistes; the path breaking movies in every major regional language from the last century, the music, the dances, the costumes, interviews with cine personalities, personal reminiscences of interactions with legendary movie icons......in short, we wanted this souvenir to be a veritable treasure trove of information on everything pertaining to Indian Cinema in the last 100 years! Five weeks into that first brainstorming session, here she is, all finished and awaiting your perusal. It has been a pretty intense, yet extremely exciting experience, putting this souvenir together. A dedicated team of creative, out-of-the box thinkers, united in our resolve to do something different from the norm, have helped realize this vision. Special thanks to FIA of Tampa Bay’s President, Mr. Ravi Narayanan for his commitment to bringing our community together and his valuable inputs on the content, his talented and exceedingly hard working wife, the amazing Mrs. Sheila Narayanan, the wonderful Mr. Jaimin Amin for his enthusiasm and open minded reception of all our various ideas; every single writer who, through their insightful and thought provoking contributions added to the personality of this souvenir and also our very talented designer/graphic artist duo Karen and Julio, who in turn incorporated our collective ideas beautifully into the good looking souvenir that you see. Our heartfelt thanks also go out to all our sponsors who have helped this cause. Needless to say, we are proud of what we have achieved together and believe with all our hearts that we have created a truly one-of-a-kind souvenir that will interest, inform, entertain and inspire. Most importantly, we hope it is a worthy tribute to the spellbinding magic that is Indian Cinema. We hope you enjoy reading this souvenir as much as we enjoyed putting it together! Sincerely, Priya Menon for the FIA Editorial Committee 2014.

100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema

FIA Board 2014

Dr. Emandi Rao

Dr. Ram Reddy

Dr. Madhavi Sekharam

Dr. Krishan Batra

Mrs. Rashmi Jakhotia

Vice Chairman

Chairman

Dr. Shyam Mohapatra Treasurer

Member

Mr. Chandrakant Patel First President

100 Years of Indian Cinema â&#x20AC;˘ www.fia-tampabay.com

Secretary

Member

FIA 2014 100 Years of Indian Cinema

Executive and Event Committee

Mrs. Jaya Reddy

Mr. Satisk K Sharma

Mrs. Sheila Narayanan

Mrs. Sunitha Saravanan

Mr. Jaimin Amin

Mr. Himatlal Parekh

Mr. Vijaya Prakash

Mr. Lalji Goswami

Dr. Kaushal Chari

Mr. Prasanna Meenakshi

Mr. Vijayan Nair

Mrs. Priya Menon

Mr. Ravi Narayanan

Dr. Kotha Sekharam

Mr. Bhanuprakash Dhulipalla

President

Secretary

Vice Presindent

Member

President Elect

Chair

Vice Presindent

Member

Executive Vice President

Co-Chair

Vice Presindent

Treasurer

Vice Presindent

Member

100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema

Guest of Honor India’s Republic Day Celebrations In Tampa

nanth Prasad on April 18, 2011 was named Secretary of the Florida Department of Transportation (FDOT) by Governor Rick Scott. Prasad will be responsible for managing the $7-billion agency which oversees infrastructure projects that are vital to Governor Scott’s 7-7-7 Jobs Plan, including port dredging, highway expansion and maintenance projects. Prior to his appointment as Secretary of FDOT, Prasad served as the Assistant Secretary for Engineering and Operations for the agency. Prasad rejoined FDOT in July 2010 after a brief two-year stint as a vice president of a construction-services firm. Prasad has a total of 22 years of experience in the transportation industry, including 20 years with FDOT where he previously held the positions of the Chief Engineer and Director of Construction. He was responsible for implementing various innovative contracting techniques, including public-private partnerships. Prasad earned a master’s degree in civil engineering from the University of Florida .

ions District Governor Andrew Moos became a Lion in 1990 and is a member of the Tampa Downtown Lions. Governor Moos has served as his Club President, and currently serves as Club Chaplain, and is a member of the “Ye Notorious Krewe of Roaring Lions”.

He served as Host Peace Poster Chair of the 2012 USA/Canada Lions Leadership Forum held in Tampa. Governor Moos has been recognized with many awards including the Lions International President’s Certificate of Appreciation, and the Lions International Leadership Medal. He is a life member of the Florida Diabetes Awareness Foundation, a Grand Lion for the Florida Lions Foundation for the Blind, and is a Lions Clubs International Melvin Jones Fellow. He is responsible for the Bus Benches around Florida that promote Lions Clubs, Boys & Girls Clubs, Big Brothers-Big Sisters, Meals on Wheels, Special Olympics and other charities. In addition to his Lions activities, Governor Moos was named a Guardian Angel for Angels Against Abuse, and “went to jail” for Wheel Chairs for Kids. He is a board member of the Tiger Bay Club of Tampa and is the Governmental Affairs Chairman for the South Tampa Chamber of Commerce.

100 Years of Indian Cinema • www.fia-tampabay.com

100 Years of Indian Cinema

Happy Republic Day Best wishes from

Gogi Ramappa, MD Renuka Ramappa, MD Arun Ramappa, MD Kelly Ramappa Arathi Ramappa 100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema 100 Years of Indian Cinema

By Priya Menon

a land as vastly diverse as ours, where languages, regional cultures and traditions, dressing and even outlook and collective mentality are so wildly different as one traverses from the north to the south of the country, it is something of a wonder how when it comes to two things, everybody seems to come together- Cinema and Cricket. These two hugely popular national pastimes may well be called our national obsessions. Their appeal is unanimous, regardless of age, class, education or wealth. Cinema especially is what India is best known for internationally. Since the beginning of the 20th century, Indian cinema has became a global enterprise. With over a thousand films produced annually in our country, India ranks first in the world in terms of annual film output, followed by films from Nigeria, the Unites States (Hollywood) and China. In 2009, India produced a total of 2961 films on celluloid, that include 1288 feature films. The Indian film industry is a multi-billion industry which reached overall revenues of $1.86 billion (Rs 93 billion) in 2011. This is projected to rise to $3 billion (Rs 150 billion) in 2016! Our greatest heroes are the ones that are immortalized on celluloid. We consider our greatest laurels, the ones they bring home. They are who we emulate, whose wardrobes and perfect bodies we secretly aspire to possess, it is they who dominate our dinnertime conversations, who we turn to, to de-stress and relax. They are our collective idea of consummate entertainment. Just to give an idea of the influence of cinema on the common man’s life and how sometimes, the thin line between the two seem to dissolve, get this: when yesteryear Tamil superstar and erstwhile Tamil Nadu Chief Minister MG Ramachandran died in 1987 at 71, his death sparked off a frenzy of looting and rioting all over the state. Shops, movie theaters, buses and other public and private property became the target of violence. The police had to resort to issuing shoot-at-sight orders! Tamilians from Bangalore rushed to Madras in trains to see the mortal remains of MGR. The TN government even announced free train facilities specifically for this. The violence during the funeral alone left 29 people dead and 47 police personnel badly wounded. This chaos prevailed in the state for over a month. Around one million people followed his remains to the crematorium, around 30 followers committed suicide and several more had their heads tonsured in grief. After his demise, his wife opened up a temple in his name! Likewise, when Bollywood’s greatest icon, the legendary Amitabh Bachan suffered his near fatal accident on the sets of Coolie, the entire nation mourned; fans thronged temples offering to sacrifice limbs in exchange for their hero’s recovery! Such is the allure of cinema to the Indian junta! Suffice to

100 Years of Indian Cinema • www.fia-tampabay.com

say that this nation of our’s thrives of celluloid drama....it is in the blood that courses through our veins; it is in a way, part of our very essence. Today, as India celebrates 100 years of Indian cinema, it would be a good idea to show our tribute by taking a trip back in time and re-walking the long, winding path that we have traversed to get to the enviable spot that we are at today. History Cinema in Pre-independent India Following the screening of the Lumière moving pictures in London (1895), cinema became a sensation across Europe and by July 1896, the Lumière films were being shown in Bombay to a captive audience. This was unlike anything they had seen before and it set many Indian film visionaries dreaming. 1- The first Indian film released in India was Shree Pundalik a silent film in Marathi by Dadasaheb Torne on 18 May 1912 at Coronation Cinematograph, Mumbai. Some argue that Pundalik does not deserve the honor of being called the first Indian film because it was a photographic recording of a popular Marathi play, and because the cameraman—a man named Johnson—was a British national and the film was processed in London. 2- Silent Film: The first full-length motion picture in

100 Years of Indian Cinema India was produced by Dadasaheb Phalke. Dadasaheb is considered the pioneer of the Indian film industry and was a scholar on India’s languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harishchandra (1913), a silent film in Marathi. The female roles in the film were played by male actors. The film marked a historic benchmark in the film industry in India. Only one print of the film was made and shown at the Coronation Cinematograph on 3 May 1913. It was a commercial success and paved the way for more such films. 3- Talkies: Ardeshir Irani released Alam Ara which was the first Indian talking film, on 14 March 1931. H.M. Reddy, produced and directed Bhakta Prahlada (Telugu), released on 15 September 1931 and Kalidas (Tamil) released on 31 October 1931. Kalidas was produced by Ardeshir Irani and directed by H.M. Reddy. These two films are south India’s first talkie films to have a theatrical release. Jumai Shasthi was the first Bengali talkie. Following the inception of ‘talkies’ in India, some film stars were highly sought after and earned comfortable incomes through acting. An actor of that time, Chittor V. Nagaiah, was one of the first multilingual film actors, singers, music composers, producers and directors in India. He was known as the Paul Muni of India in the media. 4- The Indian Masala film: A slang used for commercial films with song, dance, romance et al came up following the second world war. South Indian cinema gained prominence throughout India with the release of S.S. Vasan’s Chandralekha (Tamil). During the 1940s, cinema in South India accounted for nearly half of India’s cinema halls and cinema came to be viewed as an instrument of cultural revival. 5- Patriotic Films: The partition of India following its independence divided the nation’s assets and a number of studios went to the newly formed Pakistan. The strife of partition would become an enduring subject for film making during the decades that followed. The Indian People’s Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s. A number of realistic IPTA plays, such as Bijon Bhattacharya’s Nabanna in 1944 (based on the tragedy of the Bengal famine of 1943), prepared the ground for the solidification of realism in Indian cinema, exemplified by Khwaja Ahmad Abbas’s Dharti Ke Lal in 1946. The IPTA movement continued to emphasize on reality and went on to produce Mother India and Pyaasa, among India’s most recognizable cinematic productions.

Satyajit Ray made his entry into the Indian film scene with his Pather Panchali (1955), the first part of The Apu Trilogy (1955–1959).The Apu Trilogy won major prizes at all the major international film festivals and led to the Parallel Cinema movement being firmly established in Indian cinema. Its influence on world cinema can also be felt in the youthful coming-of-age dramas that have flooded art houses since the mid-fifties, which all owe their their central themes to Ray’s Apu Trilogy. Cinematographer Subrata Mitra, who made his debut with Satyajit Ray’s The Apu Trilogy, also had an important influence on cinematography across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. Ray’s 1967 script for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the inspiration for Steven Spielberg’s E.T. (1982) Satyajit Ray and Ritwik Ghatak went on to direct many more critically acclaimed art films and they were followed by other acclaimed Indian independent filmmakers such as Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. Commercial Hindi cinema also began thriving, acclaimed films at the time include the Guru Dutt films Pyaasa (1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara (1951) and Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India. Epics like Mehboob Khan’s Mother India (1957) and K. Asif’s Mughal-e-Azam (1960) were nominated for the Academy Award for Best Foreign Language Film and V. Shantaram’s Do Aankhen Barah Haath (1957) is believed to have inspired the Hollywood film The Dirty Dozen (1967). Madhumati (1958) , directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of reincarnation in Western popular culture. After Chetan Anand’s social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival, Indian films were frequently in competition for the Palme d’Or at the Cannes Film Festival for nearly every year in the 1950s and early 1960s, with a number of them winning major prizes at the festival.

Post Independence: The Golden Age of Indian cinema Following India’s independence, the period from the late 1944s to the 1960s are regarded by film historians as the Golden Age of Indian cinema. Some of the most critically acclaimed Indian films of all time were made during this period. This period saw the emergence of a new Parallel Cinema movement, mainly led by Bengali cinema. Early examples of films in this movement include Chetan Anand’s Neecha Nagar (1946), Ritwik Ghatak’s Nagarik (1952), and Bimal Roy’s Do Bigha Zameen (1953). These films laid the foundation for Indian neo-realism. 100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema A number of regional language films from this era are often included among the greatest films of all time in various critics’ and directors’ polls. The Tamil film industry produced the first nationally distributed film across India in 1948 with Chandralekha. Telugu and Tamil cinema experienced their respective golden ages during this time, especially in the production of Indian folklore, fantasy and mythological films like Narthanassala (1963) and Mayabazar (Telugu, 1957), which is listed by IBN Live’s 2013 Poll as the greatest Indian film of all time. In 2005, Ray’s The Apu Trilogy and Guru Dutt’s Pyaasa were also featured in Time magazine’s All TIME 100 best movies list.

The Malayalam film industry, highly regarded for the superior quality of its films, experienced its Golden Age in the 1980s and early 1990s. Some of the most acclaimed Indian filmmakers at the time were from the Malayalam industry, including Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N. Karun. Adoor Gopalakrishnan, who is often considered to be Satyajit Ray’s spiritual heir, directed some of his most acclaimed films during this period, including Elippathayam (1981) which won the Sutherland Trophy at the London Film Festival, as well as Mathilukal (1989) which won major prizes at the Venice Film Festival. Shaji N. Karun’s debut film Piravi (1989) won the Camera d’Or at the 1989 Cannes Film Festival, while his second film Swaham (1994) was in competition for the Palme d’Or at the1994 Cannes Film Festival. Commercial Malayalam cinema also began gaining popularity with the films of popular actors like Prem Nazir, Jayan, Soman and Sukumaran, followed by the films of Mammootty and Mohanlal, who continue to be Kerala’s reigning superstars. The Tamil film industry is one of the most prolific in the country. It is estimated that over 5,000 Tamil films were produced in the 20th century. Tamil films have also been dubbed into other languages, thus reaching a much wider audience. Tamil films have enjoyed consistent popularity among populations in South East Asia. Blockbuster Tamil films Chandralekha and Muthu were dubbed into Japanese and grossed a record $1.6 million in 1998. In 2010, Enthiran grossed a record $4 million in North America. Tamil films have been submitted by India for the Academy Award for Best Foreign Language on eight occasions, next only to Hindi. Mani Ratnam’s Nayagan (1987) was included in Time magazine’s All-TIME 100 best movies list. The Telugu film industry is one of the three largest film producers in India. In the years 2005, 2006 and 2008 the Telugu film industry, has produced the largest number of films in India exceeding the number of films produced in Bollywood. The industry holds the Guinness World Record for the largest film production facility in the world. Telugu films Patala Bhairavi (1951), Malliswari(1951),Devadasu (1953), Mayabazar (1957), Nartanassala(1963) ,Maro Charithra (1978), Maa Bhoomi (1979), Sankarabharanam (1979), Sagara Sangamam (1983), and Siva (1989) are the ten Telugu films, listed among CNN-IBN’s 100 finest Indian films of all time

Modern Indian cinema: While realistic parallel cinema continued to be made by filmmakers such as Shyam Benegal alongside Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun, John Abraham and G. Aravindan in Malayalam cinema; Nirad Mohapatra in Oriya cinema and Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani and Vijaya Mehta in Hindi cinema, the 70s also saw the rise of commercial cinema through films like Sholay (1975) and Yash Chopra’s Deewar (1975) which firmly entrenched Amitabh Bachan as the leading man in Bollywood. Sankarabharanam(Telugu, 1979) and Tabarane Kathe (Kannada, 1987) were great commercial successes of this time, winning even international laurels.

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The Kannada film industry spearheaded the parallel cinema movement in India along with Hindi, Bengali and Malayalam cinemas. B. V. Karanth’s Chomana Dudi, Girish Karnad’s Kaadu and Girish Kasaravalli’s Ghatashraddha are the biggest names touted in Kannada parallel cinema. Vamshavruksha, Prema Karanth’s Phaniyamma, Kadu Kudure, Hamsageethe, Accident, Akramana, Mooru Dhaarigalu,Tabarana Kathe, Bannadha Vesha and Puttanna Kanagal’s Naagarahaavu were some of the important movies of this era. Late actors Vishnuvardhan and Rajkumar are considered the greatest pillars of the Kannada film industry. Ambareesh, Shankar Nag, Prabhakar, Ananth Nag, Lokesh, Ashok, Srinath, M. P. Shankar, and Sunder Krishna Urs were other actors who made their own mark in the industry.

100 Years of Indian Cinema Commercial Hindi cinema further grew throughout the 80s and 90s with the release of blockbusters such as Ek Duje Ke Liye (1981) Mr India (1987), Qayamat Se Qayamat Tak(1988), Tezaab (1988), Chan dni (1989), Maine Pyar Kiya (1989), Baazigar (1993), Darr (1993), Dilwale Dulhaniya Le Jayenge (1995) and Kuch Kuch Hota Hai (1998), Dil Chahta Hai (2001) and more recently, 3 Idiots (2009).

Varma’s Company (2002), Anurag Kashyap’s Black Friday (2004), Rahul Dholakia’s Parzania, Irfan Kamal’s Thanks Maa (2009), and Deva Katta’s Prasthanam (2010). The 2000s saw a growth in Bollywood’s popularity in the world. This led the nation’s filmmaking to new heights in terms of quality, cinematography and innovative story lines as well as technical advances in areas such as special effects, animation etc. India at the Oscars: The three Indian movies that have been nominated for the Oscars thus far are Mother India (1957), Salaam Bombay (1988) and Lagaan (2007).

In the late 1990s, Parallel Cinema began experiencing a resurgence in Hindi cinema, largely due to the critical and commercial success of Satya (1998), a low-budget film based on the Mumbai underworld, directed by Ram Gopal Varma and written by Anurag Kashyap. The film’s success led to the emergence of a distinct genre known as Mumbai noir, urban films reflecting social problems in the city of Mumbai. Later films belonging to the Mumbai noir genre include Madhur Bhandarkar’s Chandni Bar (2001) and Traffic Signal (2007),Ram Gopal

India’s Oscar winners till date are 1983- Bhanu Athaiya- Best Costume Design for Gandhi 1992- Satyajit Ray- Honorary Award for enriching world cinema 2009- Resul Pookutty- Best Sound Mixing for Slumdog Millionaire 2009- A. R. Rahman- Best Original Score for Slumdog Millionaire 2009- A. R. Rahman & Gulzar - Best Original Song for Slumdog Millionaire Indian cinema continues to get bigger and better. And as always, we can’t seem to get our fill of them. Let us continue to take pride in them, because if it isn’t obvious already, our films are some of the best in the world. Here’s to the next 100 years...happy movie watching! -Compiled by Priya Menon

“2009- A. R. Rahman & Gulzar Best Original Song”

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100 Years of Indian Cinema From Dandiya to Dhol, Bollywood’s Love for Gujarati Culture Grows By Juhi Desai

arba and Raas are the two dance forms we see kicked into high gear each year during Navratri in India and around the world. These dance forms are also often depicted in artwork scenes of Hindu deity Lord Krishna dancing with his beloved friend Radha and the Gopis. High-energy competitions around parts of India and all around the United States have encouraged the continuing growth of Garba and Raas teams in innovative and creative ways.

lywood films, but also the backdrop of Gujarat and the integration of Gujarati characters in storylines, is the work of director Sanjay Leela Bhansali, who is of Gujarati descent himself. From the Garba-filled song-and-dance number “Dholi Taro Dhol Baje” in his blockbuster film “Hum Dil De Chuke Sanam” to the portrayal of strong-willed Gujarati characters like Nandini (played by Aishwarya Rai in “Hum Dil De Chuke Sanam”), and Leela (played by Deepika Padukone in “Goliyon Ki Raasleela Ram-Leela”), Bhansali has created mesmerizing and memorable films that put Gujarati settings, characters, and art forms on the current map of mainstream Bollywood.

Another place where there have been more and more clapping hands and twirling Dandiya is Bollywood. From the golden days of Amitabh Bachchan and Rekha playing Raas in the song “O Sheronwali” from the film “Sargam,” to the more current Garba swaying of Deepika Padukone and Ranveer Singh in “Nagaada Sang Dhol” from the film “Goliyon Ki Raasleela Ram-Leela,” there are no signs of slowing down for these popular forms of folk music and dance in the mainstream.

A number of films that have stories set to the backdrop of Gujarat feature music with a Gujarati flavor, even if they don’t feature the dance of Garba and Raas. One such example is the song “Shubhaarambh” from the film “Kai Po Che.” A huge catalyst in the in the modern-day usage of not only Garba-Raas in song-and-dance numbers in Bol-

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This is not to take away from the handful of other directors who have done similarly. Acclaimed director Mani Ratnam directed and co-produced the film “Guru,” loosely based on the life of Gujarati business mogul Dheerubhai Ambani, founder of Reliance Industries. Ashutosh Gowarikar, director of the Oscar-nominated film “Lagaan,” based his story and characters in the Gujarati village of Champaner. The film even featured a Raas-based song-and dance number in “Radha Kaise Na Jale,” where Gauri, played by Gracy Singh, adamantly tries to woo Bhuvan, played by Aamir Khan, away from all the other girls in the village, which is based on the stories of Krishna, Radha, and the Gopis, as mentioned earlier. The examples of Garba-Raas and other Gujarati cultural components in Bollywood films go beyond the lines of this article. A statement that can be made quite confidently, though, is that this inclusion of Gujarati culture in Hindi cinema will continue for a long time, as its vibrancy and significance shine on.

100 Years of Indian Cinema

Best Wishes to th 65 India Republic Day

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100 Years of Indian Cinema Chaos And CamaraderieGrowing Up In The Narayanan Household By Shreya Narayanan

ey, Shrey? When you get a chance, bring whatever you’re going to need for the next few days to our room. Make sure you have everything.” What sounds like the start to a Jimmy Kimmel style “we surprised our kids with a trip to Disney World, and here’s how they reacted!”

My knowledge of music is limited to its role in dance, and their own memories of grade school were fuzzy, but we bonded over things as simple as TV shows, board games, and snacks. They became part of surprise 16th birthday celebrations and theory of knowledge homework assignments and late-night laughs over Everybody Loves Raymond reruns. These people whom I had only seen on TV or in movies were real people, with families and friends and interests outside of their work. Suddenly, they became a part of my own life, and I would sometimes find myself surprised when I did see them in their professional roles. Growing up, our house sometimes felt more like a hotel than anything else. It was not unusual to come home from school one day to a house full of people, and to come back from school the next day to a house full of different people. Sometimes it felt like an absolute madhouse, but I wouldn’t trade the homework help, laughs, people who paid attention to me when my parents didn’t feel like it, and good friends for anything in the world.

was actually a regular occurrence in my home, and never had anything to do with either Jimmy Kimmel or a trip to Disney World.

Shreya Narayanan is a second year medical student at the University of South Florida. She is also an accomplished dancer and has a passion for performance arts.

What typically followed was an explanation that my dad had gone to the airport and was, in fact, coming back with a surprise: guests! I should take a moment to note that my dad is notorious for coming home from the airport (well, anywhere he goes, really) with guests. Whether those guests were new or old friends, or visiting artistes from India, they were always welcome in our home.

Much like her parents, Shreya thoroughly enjoys having a house full of people and loves few things more than the combination of good food and great friends.

It was the same every time. My dad would leave to the airport with the idea of picking up the artistes, dropping them off somewhere else, and continuing to plan for whatever program was coming up. 45 minutes later, the phone would ring and my dad would say, “Sheila, (insert name of guest(s) here) vandhirrukaa… [silence, although I’m certain my mom knew what was coming next] Namma aathulla vandhu irundhaa paravaaillaya?”* And thus, my clothing, books, and I were temporarily displaced and my mom began her Chopped-worthy meal preparations. Our guests would arrive shortly after, and somehow the line between guest and friend was quickly blurred, and just as soon entirely forgotten when people who were not long ago strangers became family. We have been fortunate enough to host some of the leading actors, singers, and dancers from India, and luckier still to be able to get to know them as people rather than simply the beautiful voice behind a three-hour kutcheri** or the expressive face in an award-winning role on the silver screen.

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India Cinema: A Non-Indian Perspective 100 Years of Indian Cinema

By Christina “Twigg” Matheney

s a child growing up in Pennsylvania I had always held an interest in cultures worldwide. In my youth I also made many friends from around the world. One day while I was hanging out with a co-worker who was from India, she stated “You should find out about Bharathanatyam. You’d like that.” Little did I know that while watching classic Bollywood movies in her living room with her, that this simple suggestion would change my life forever. From that moment on I was hooked and soon after I began my newfound cultural quest. In the process I became enamored with Bollywood cinema, both new and classical. I found many aspects of Indian film alluring, informative and also a little frustrating at times. During this transformative time in my life I became a student of Bhrathanatyam and have been studying for 6 years now. Surprisingly I found a lot of the same dance movements that I was learning in many of the movies I was watching, some more subtle than others. I admired many of Padmini’s classic films, such as Shiv Bhakta (1955 “Kailaashnath Prabhu Avinaashi”) and Mannadhi Mannan (1960), in which she performed dances similar to what I was learning. Other films such as Sampoorna Ramayana (1961), Bhakta Prahlada (1967) and Jhanak Jhanak Payal Baje (1955) I found fascinating even though their dances were a little more stylized. Even newer films of today with their highly choreographed dance numbers are breathtaking in their complexity. I also find the music of many Bollywood films, both new and old, appealing. One thing that immediately stood out were the singers’ voices, especially the women. Their pitch was very different from what I am used to in traditional Western music. It was certainly something to get used to. Bollywood movies almost always have a catchy tune that manages to get stuck in your head for days. I find myself singing “Om Shanti Om” (2007) and “No Problem” (2010) from time to time. “Aaja Nachle Nachle” (2007) is currently the ringtone for my cell phone. I’m a huge fan of songs that have rhythmic beats and Bollywood film always provides them without fail. Reminiscent of popular Western films both present and past, many Bollywood films take place in exotic locations and the actors are adorned in stunning costumes. I became enamored by the glittering jewelry and spectacular garments as well as the spectacular surroundings. Jodhabai , played by Aishwarya Rai in the epic “Jodhaa Akbar” (2008), is bedecked in jewels and exotic silks from head to toe. Many scenes take place in numerous historically significant monuments. Umrao Jaan from the self titled film, also played by Aishwarya Rai in the 2006 remake, and by Rekha in the 1981 release, is a veritable princess in her rich and elaborate attire. The possibly more obscure film Sri Krishna Tulabharam (1966) showcases some of the most dazzling outfits and heavenly settings. Even The Mistress of Spices (2005), one of my favorite films to this day, starts off in India and later moves to an unassumingly simple shop in the U.S. which contains colorful spices that echo the richness of the story. There is one thing that I find frustrating about Bollywood films; the language barrier. Not being fluent in anything other than casual phrases that I have picked up from my studies, I find it difficult to rely on subtitles. I sense that there are subtle cultural jokes that I will never fully understand, a play on words eludes me and often times I feel that I am missing out on an integral part of many films. Many times the translation does not ring true and I find myself decoding the subtitles and missing out on the scene taking place. Sometimes I end up trying to pick up on visual cues from the actors themselves, but often times this only serves to further emphasize the cultural gaps and differences. Overall, Bollywood has earned a special place in my heart and on my DVD shelf. Indian cinema has never been more accessible than it is today especially with the advent of YouTube and Netflix. Through thick and thin, Bollywood will always be an integral cultural adventure to me. Christina “Twigg” Matheney is a recent graduate of USF St. Pete. She has earned her BA in Anthropology and a minor in Art History with a focus on India cultural studies.

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100 Years of Indian Cinema

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100 Years of Indian Cinema

Campus | Evening | Online

800-800-9776 | gcu.edu Grand Canyon University is regionally accredited by the Higher Learning Commission of the North Central Association of Colleges and Schools. (800-621-7440; http://www.ncahlc.org/).

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The Call of the Raaga: Classical Music in Hindi Cinema 100 Years of Indian Cinema

By Lavanya Dinesh

Indians all over the world come together to celebrate one hundred years of Indian cinema, we harken back to the non-talkie era when history was created with the very first film made in India – the period piece called “Raja Harishchandra” in 1913 by the great Dadasaheb Phalke. Fortuitously however the very fabric of Indian culture is rooted in a very rich hoary tradition of omnipresent music, be it the classical, semi-classical, light or folk genres. Therefore with the advent of talkie-era in cinema, Indian films soared beautifully with mellifluous, memorable melodies and songs. Most importantly, the influence of classical music in Hindi cinema is very momentous and pervasive. Legend has it that our Indian Classical Music was passed down by the Gods themselves and is as ancient as the hills and rivers. Classical music was and still is all around us, waiting to be discovered by sages, saints and even pure simple aesthetes. Hindustani Classical Music which dates as far back as our primordial Hindu spiritual tradition known as “Sanathana Dharma” is held in a high place of honor in society. Classical music is inseparable from the fabric of life and has influenced all creative spheres including the ubiquitous Hindi cinema industry now popularly known as Bollywood. This is different from the dozens of regional language cinema churned out by the thousands every year in different parts of India. Almost all of the early composers, musicians, singing-stars and playback singers of Hindi cinema were trained in or exposed to Indian classical music. Our illustrious Indian classical music tradition is raaga-based, raaga-centric or Raagdhari. Raaga denotes a unique melodic entity which has a set scale and parameter, evokes a particular emotion or conveys a specific mood. Hence raagas pervaded our Hindi film songs that were essentially glorified enjoyable musicals. Feelings, emotions and stories expressed predominantly through songs on the celluloid screen are definitely an Indian anomaly. Until the emergence of feature films, Indian music was enjoyed in a more austere setting like classical Mehfils or concert gatherings and through live performances in its purest form. While semi-classical, devotional and lighter genres of music were in vogue via musical theater and drama, there had never been such a transformational process set in motion to change the face of existing musical morés to make them so widespread, accessible and popular. Masterful composers like Anil Biswas, R.C. Boral, Bulo C. Rani, Husnalal Bhagatram, C. Ramachandra, S. D. Burman, Salil Choudhury, Madan Mohan, Jaidev, Roshan, ShankarJaikishan, Sajjad Hussein, Ghulam Mohammad, O. P. Nayyar, Khayyam, the unparalleled Naushad, and even singer-composers like Hemant Kumar and Kishore Kumar

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brought Indian classical music into the popular mainstream of Hindi film music. The songs and compositions caressed by classical raagas/melodies like Bhairavi, Bageshri, Bhoopali, Basant Bahar, Malkauns, Pilu, Malhaar, Darbari, Ahir Bhairav, Lalit, Yaman and so on continue to live in our collective consciousness. The 1940s to the 60s was not only considered the golden era for Hindi cinema but also the most opportune time for classical influences in film music. Dapper singing heroes like K. L. Saigal, Karan Dewan, Surendra, C. M. Durani, Shyam and exotic singing heroines like Zohrabai Ambalawali, Noor Jehan and Suraiya became all the rage, not just for their alluring screen presence but also for their magnetic voices. A bevy of immensely talented diverse young singers burst forth into the Hindi film music scene. Queens of the semi-classical Thumri genre like Begum Akhthar and Ameenbai Karnataki lent their heavenly voices to meaningful poetic movie songs. Singers like Kurshid, Raajkumari, the vocal typhoon that was Shamshad Begum and the mesmerizing songstress Geeta Roy – later known as Geeta Dutt tugged at our heart-strings with their sensational songs and styles. In the 1940s, along came an exceptional teenager with a voice as sweet as honey, mercurial as an ocean wave, seasoned as a maestro and poignant as the deepest longing. The vocalist was none other than Lata Mangeshkar who went on to become one of the greatest living legends of music and the nightingale of India. Lata’s younger sister, the super versatile and extremely talented Asha Bhosle with an undeniably distinguishable style established herself as a legendary playback singer in her own right. Amazing towering male playback singers like the unmatched Mohammad Rafi, Mukesh, Manna Dey, Talat Mehmood, Kishore Kumar, Hemant Kumar breathed classicism into many a song and became beloved household names. Lyricist and poets par excellence like Shakeel Badayuni, Sahir Ludhiyanvi, Majrooh Sultanpuri, Shailendra, Hasrat Jaipuri and Rajendra Kishan used the rich Hindi language with hints of inspiration from Sanskrit, Urdu, Persian, Arabic, Braj Bhasha, Punjabi, Gujarati, and Kashmiri languages to weave magical word-tapestries for these unforgettable classical songs in Hindi cinema. Who can forget the beautiful vocal renditions of the colossal classical maestro Ustad Bade Ghulam Ali Khan Saheb in film maker K. Asif’s magnum opus “Mughal-EAzam” (1960) starring breath-taking beauty Madhubala as courtesan Anarkali and Dilip Kumar as the lovelorn medieval Mughal prince Salim. Under the highly effective and sublime music direction of Naushad, Ustab Bade Ghulam Ali Khan masterfully rendered “Shubh Din Aayo Raj Dulara” in raaga Rageshree and the romantic hymn “Prem Jogan Ban Gayi” in raaga Sohni. The latter is an evergreen ode to the intoxication of love. Lata

100 Years of Indian Cinema Mangeshkar’s playful lilting ‘Mohe Panghat” based on raaga Ghara from the same movie is another attractive example of the percolation of classical music into Hindi cinema. The strong foundation of North Indian classical music has influenced, inspired and initiated many genius creations in the field of Hindi film music. Versatile singer Manna Dey specialized in rendering classical based film songs, thus popularizing raagas even amongst lay listeners. The singer’s “Laga Chunari Mein Daag” (raaga Bhairavi), “Kataki Gulab Juhi” (duet with Pandit Bhimsen Joshi in raaga Basant Bahar), “Bhay Banjana Vandana” (raaga Sur Malhar), “Aayo Kahan Se” (raaga Khamaj), “Phul Gendava Na Maro” (raaga Bhairavi), “Tu Chupi Hai Kaha” (raaga Malkauns), “Poocho Na Kaise Maine” (raaga Ahir Bhairav) are only some of the songs that have touched the hearts of music lovers. One of the first Hindi talkie films was “Achhut Kanya” (1936) starring a very young Ashok Kumar the royal Devika Rani. Music by composer Saraswati Devi included a few memorable classical songs. Singing star Kurshid Bano’s “Ghata Ghana Ghor Ghor” based on raaga Sarang from the 1942 classic Tansen is another hauntingly captivating song. Honey-voiced thespian legendary singer Mohammad Rafi has also rendered many memorable classical based melodies, chief among them being “Man Tarapat Hari Charan” based on raaga Malkauns and “Oh Duniya Ke Rakhwale” (raaga Darbari) from the 1952 classic movie Baiju Bawra. Every song by composer Naushad in the film is a masterpiece in itself. Ustad Amir Khan has lent his inimitable voice to various compositions for this musical – a biopic based on the life of the singer/bard Baiju who is believed to have existed during the era of Mughal emperor Akbar in medieval North India when Mian Tansen reigned as musician supreme. “Mohe Bhool Gaye Sanwariya” by Lata is a resplendent gem based on raaga Kalingada. The most compelling musical duel based on raaga Desi belongs to a scene that pits the characters of Tansen (played by Surendra) and Baiju (played by Bharat Bhushan) in a battle of notes and vocal prowess powerful enough to melt stone. The playback vocal rendition by classical maestros Pandit D. V. Paluskar and Ustad Amir Khan is absolutely breathtaking. Sitar maestro and composer extraordinaire Pandit Ravi Shankar has painted the most stunning melodies onto the canvas of the 1960 Hindi film Anuradha. Lata Mangeshkar’s vocal artistry shines in songs like “Saanware Saanware” in raaga Bhairavi and “Jane Kaise Sapano Mein” based on Tilak Shyam which is a raaga created by Panditji himself. Whether it is Asha Bhosle’s adroit “Chota Sa Balma” from Raagini, Lata’s “Na Bole Na Bole” (Azaad), “Maayiri” and “Baiya Na Dharo” from Dastak or the queen of pure classicism - Kishori Amonkar’s “Geet Gaya Pattharo Ne”, the seduction of classical music is undeniable. South Indian singer Vani Jayaram became an overnight sensation in Hindi film music through classically influenced songs “Bole Re Pappi Hara” in raaga Malhar and “Hum ko Man Ki Shakti Dena” in raaga Kedar. Karnatic classical stalwart Yesudas became a household name amongst Hindi film music listeners with the pleasing melody “Jab Deep Jale

Aana” in raaga Yaman from the film Chitchor. In the dance ditty “Jhanak Jhanak Payal Baaje” the song “Nain So Nain” peerlessly sung by Lata and Hemant Kumar is based on the rare raaga Malgunji. Even slapstick comedies like Dekh Kabira Roya gained some gravitas with classical compositions like Lata’s “Meri Veena Tum Bin Roye” (Raaga Ahir Bhairav). From the seamless songs of Seema (1955 – composer Shankar-Jaikishan) to the enthralling elegies of Anarkali (1953 – music by C. Ramchandra), from the glorious ghazals of Mirza Ghalib (1954 – composer Ghulam Mohammad) to the quotable qawwalis of “Barsat Ki Raat” (1960 – music director Roshan), Indian classical music in its various forms, styles, melodies, raagas, genres and sub-genres is totally happily entrenched in Hindi cinema.

While classicism in Hindi cinema music plateaued in the 1970s, 80s and 90s with a few exceptions, it has made a welcome return through the efforts of a whole new generation of composers and vocalists. With increased influence of popular and global culture, Hindi film music has changed and morphed into myriad exciting colors and forms. But the impact of classical music is still palpable and every now and then we are pleasantly surprised by a classical composition or two. There is a whole new breed of musicians putting its own unique twist on Hindi film music, creating dynamic fusions while still preserving the essence of classical music in Hindi cinema. Whether it is Shankar Mahadevan’s “Sapnon Se Bhare Naina” (Luck By Chance) based on raaga Bhairavi, Pritam’s “Mere Dholna” (Bhool Bhulaiya) based on raaga Jaijaiwanti or Shreya Ghoshal’s raaga Gurjari Todi duet with the late Ustad Bade Ghalam Ali Khan orchestrated through the magic of technology (from the movie Delhi 6), melody continues to live on. Lavanya Dinesh is an accomplished performer and teacher of Hindustani classical vocal music and resides in Tampa, Florida. Lavanya regularly performs at musical venues both in India and the US. The singer has three album releases to her credit. The artist has worked as a music critic and feature writer for The Times of India and Deccan Herald for five years. Since 2006 she contributes monthly music columns to the Florida publication Khaas Baat. Ms. Dinesh can be reached at lavanya@lavanyadinesh.com

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100 Years of Indian Cinema

The influence of Karnatic Music on Film Music

By Kanniks Kannikeswaran

he largest source of popular music in India is the film-world. Films without songs are rare. Karnatic music pervades South Indian film music in several ways and its presence has influenced the ‘form’ and content of the ‘film-song’. The earliest songs were derived from the kriti form of Karnatic music particularly from the ‘dvi dhatu kriti’ that has two distinct sections - the pallavi and the charanam (say, sections A and B). Early films featured leading musicians as stars. The doyenne of Karnatic music, MS Subbulakshmi made her name through movies, through her debut Seva Sadanam in 1938. The composition ‘Maa Ramanan’ featured in this film was authored by the composer Papanasam Sivan and this film song has been appropriated later into the Karnatic Kucheri paradigm. The 1945 film Meera made both in Hindi and in Tamil again features the classical vocalist MS Subbalakshmi in the role of the Saint Poetess Meera of the mid 2nd millennium. The songs for this film were penned again by Papanasam Sivan. interludes were played on the jalatarangam and on the violin and a piano. The 1947 film Bhakta Tulsidas featured the leading classical singer BS Raja Iyengar and the HIndustani Classical singer Lakshmi Shankar. Although the film is based on the Banaras based renaissance saint Tulsidas of the 2nd millennium, the songs were all written by Papanasam Sivan and tuned by maestro S. Balachander. In the early years of film music in South India there was a sense of fidelity to the kucheri platform both to the raga and to the dvidhatu kriti to the extent that popular compositions from this period were co-opted into the kucheri platform itself and popular tunes from the kucheri were borrowed into film scores. The 1950s witnessed a greater organization in the orchestra and the growth of playback singing. Leading singers such as TM Soundararajan, P Sushila, P Leela and others began to make a name for themselves as did music directors and composers such as G. Ramanathan. By this time the structure of the film-song had solidified with interludes in between the sections. Well known examples of raga based compositions would be mullai malar mele from uttamaputtiran in 1958 in the raga kanada and vasanta mullai from the same period in raga charukesi. The 1960s saw the increasing modernization of the film song repertoire with a larger number of socially themed movies and the growth in popularity of songwriter Kannadasan and the musical duo Viswanathan Ramamurthy. In the midst of these social movies, were produced historical films and films based on mythological themes. Most noteworthy amongst these is Karnan, an evergreen hit released in 1964. Such is the popularity of this film that it was digitally remastered and released in 2012.

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The movie tells the story of the protagonist Karnan and the fateful relationship between him - his brothers and his cousins in a situation where the lines between the good and the bad are blurred in gray. Karnan sings and so does his lover/wife (a character created with care for the sake of the film) , so do his subjects and courtiers and so does Krishna. The sound track of Karnan is revered as a classic and it features songs rendered in karnaticized versions of several Hindustani ragas such as Kedar, dhani, Piloo, Shudh Sarang, pahadi as well as several other karnatic ragas such as kharaharapriya and ananda bhairavi. Here the resemblance to a kriti is absent and the presence of the mature film-song is felt complete with full orchestral interludes featuring a string section, the shahnai, the sarangi, the esraj, flutes, veenas, sitars, sarods, tabla, pakhawaj, mridangam, harps and more. Fidelity to the raga is adhered to with utmost care. Karnan and other classics aside, the 60s and the 1970s saw a move away from the raga oriented approach of the earlier era. The 1970s witnessed the birth of a new era, that of composer Illaiyaraja who wrought a musical revolution through his syncretic approach weaving folk music with western classical orchestral techniques. Illaiyaraja continued to use the same tiraippadal format yet started delivering long musical interludes in between the A and B sections that had no repetitions. After a decade of turning away from ragas, tamil music got a new tryst with Karnatic ragas, first in the form of a composition in the film Kavikkuyuil (1977) sung by none other than the leading classical star Dr M. Balamurali krishna in the karnatic raga riti gaula. While the early film music capitalized on well known refrains and ‘generalized tunes’ in typically Karnatic ragas laden with gamakas, Illayaraja brought several of the scalar and the newer ragas of Karnatic music into the fold of film music giving consideration only to the particularized scale degrees, not taking into account precedents in those ragas. Here are some examples of his work with ragas. The 36th melakarta raga chhala nata acquired the garb of pani vizhum malarvanam in 1982. Similarly the composition tamtananamtana gave a totally different feel for the raga shanmukhapriya as compared to the 1964 classic maraindirunde paarkum marumam enna in the same raga in the blockbuster film Tillana Mohanambal. The composition ‘Sangitame en deivame’ in the 72nd melakarta raga rasikapriya also featured a change in sruti in the midst of the song leading to a modal shift of the tonic causing a perception of the 15th melakarta mayamalavagaula. Illaiyaraja was a lone trailblazer in the usage of classical modes with fidelity to the particularized structure even in the polyphonic orchestration. The musical structure was

100 Years of Indian Cinema that of the evolved film-song and not the classical kriti. ragas handled by him include a litany of melas such as kanakangi, hanumatodi, subhapantuvarali, latangi, sarasangi, vachaspati, kiravani, gowri manohari, dharmavati, hemavati, ramapriya mechakalyani, sulini, pavani, vagadisvari and ragas such as hamsadhwani just to name a few. The year 1991 saw the rise of the music of composer A. R. Rahman who brought a new soundscape to Tamil Films straight out of the corporate jingle world what with impeccable recording, emphasis on individual instruments and a focus on recallability. AR Rahman created a record of sorts with his first film Roja where the song kadal rojave was based on techno beats, but the melody was based the raga kapi, a raga of folk origin used commonly in Karnatic music. Rahman’s approach to music continues to change with time. He has changed the format of the film-song in some places. The use of classical ragas has changed from being those dominating an entire composition to those being added just for effect. Granted, Rahman has delivered full fledged raga based songs in a manner similar to Illaiyaraja in films such as Sangamam (1999) in ragas - as mandu, yamuna kalyani and sindhu bhairavi , in Udaya and Swadesh (raga Charukesi) and in Duet (1995). Yet, in the same film, he delivers the characteristic Rahman style of giving a hint of a flavor of a raga yet not dwelling completely in it. The song ‘naan paadum sandam’ is a generic tune not based entirely on a raga, yet it has lines that feature the karnatic raga saranga. He freely mixes ragas in compositions such as malargale in Love Birds (1997) and in various other compositions. Showing a contrast from Illaiyaraja’s preference for scales or melas of the 18th century, Rahman uses ‘generalized tunes’ from older ragas in the midst of a soundscape that has nothing to do with ragas.

The later developments have to be seen in context. The 2000s have seen a resurgence in popular Karnatic music thanks to the reach of the media, reality shows such as ‘Karnatic Idol’ and the lure of the Cleveland Tyagaraja Festival that attracts over a 1000 performers of Karnatic music each year; the 2000s have also seen the integration of several world music styles into Indian film music simply thanks to the increased access to music on the internet. Karnatic and Hindustani music in contrast to the 1930s and even the 1950s are no longer the driving force behind film music - but their presence is highlighted and used for effect as the context demands. This trend will continue to be seen in the songs of the future. About the Author: Kanniks Kannikeswaran is a musician/composer/music educator based in Cincinnati Ohio with several musical creations to his credit. He is well known for his award winning work on the Indo Colonial music of Muthuswamy Dikshitar (1775-1835). Kanniks is also the pioneer of the Indian American choral movement and has founded Indian American choirs in 8 cities in North America. He is a powerful speaker and has presented lectures on various subjects around the world. Kanniks was recently featured on a nationwide broadcast on NPR. He is the winner of various awards such as the Ohio Heritage Fellowship and the McKnight Fellowship. His work ‘Chitram - A Portrait of India’ was performed in Tampa in 2009 and 2010. Kanniks is an adjunct faculty at the College Conservatory of Music, University of Cincinnati, where he has been teaching the theory and history of Indian music since 1994. He can be reached at www.kanniks.com

!The 2005 film anniyan by the celebrated director Shankar saw a re-creation the singing of the pancharatna kritis at the samadhi (memorial site) of the Saint composerTyaga raja. Enormous sums were spent in enrolling classical music stars to perform traditional compositions in a congregation just for the sake of a 2 minute sequence in the film leading to a duet between a classically trained heroine and her lover. To summarize, we have seen the mimicking of the classical compositional forms by the film-songs of the 1930s. We have seen the free borrowing of semi classical compositions into the film world. We have also seen the appropriation of raga based film compositions even of the 1950s into the kucheri repertoire. The kriti based tiraippadappaadal evolved into a mature compositional form with a repeating interlude between sections. It retained its roots in Karnatic music in the 1950s. The 60s saw a divergence from the raga based orientation. The late seventies with the advent of Illaiyaraja saw the rediscovery of many scalar ragas in the form of film songs. The 1990s and even the 2000s have seen the selective use of older ragas in the midst of modern soundscapes.

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100 Years of Indian Cinema

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100 Years of Indian Cinema A Comprehensive Look Into The Various Stages of Making An Indian Movie By Priya Menon Introduction:

ilmmaking involves a number of stages including an initial story idea or commission through script writing, casting, shooting, editing, and screening the finished product before an audience, that ultimately results in the film’s release and exhibition.

Film production involves several major stages: • Development — The first stage in which the ideas for the film are created, rights to books/plays are bought etc and the screenplay is written. Financing for the project has to be sought and green lit. • Pre-production—Preparations are made for the shoot, in which cast and film crew are hired, locations are selected, and sets are built. • Production—The raw elements for the film are recorded during the film shoot. • Post-Production—The images, sound, and visual effects of the recorded film are edited. • Distribution—The finished film is distributed and screened in cinemas and/or released on Home entertainment. Development: This is the 1st stage. The producer selects a story, which may be an original idea or inspired by a true story/book/ another film/play etc. After identifying a theme or underlying message, he works with writers to prepare a synopsis. Next they create a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then, they prepare a treatment, a description of the story, its mood, and characters. Next, a screenwriter writes a screenplay over a period of several months. The producer and screenwriter prepare a film pitch and present it to potential financiers. If the pitch is successful, the film receives a green light, meaning someone offers financial backing: typically a major film studio or independent investor. The parties involved negotiate a deal and sign contracts. Once all parties have met and the deal has been set, the film may proceed into the pre-production period.

The producer hires a crew. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Most Indian blockbusters employ a cast and crew of hundreds, while a low-budget, independent film may be made by a skeleton crew of eight or nine (or fewer). These are typical crew positions: • The Director is primarily responsible for the storytelling, creative decisions and acting of the film. • The Unit Production Manager manages the production budget and production schedule. They also report, on behalf of the production office, to the studio executives or financiers of the film. • The Assistant Director (AD) manages the shooting schedule and logistics of the production, among other tasks. There are several types of AD, each with different responsibilities. • The Casting Director finds actors to fill the parts in the script. This normally requires that actors audition. The Location Manager finds and manages film locations. Most pictures are shot in the controllable environment of a studio sound stage but occasionally, outdoor sequences call for filming on location. • The Cinematographer supervises the photography of the entire film. • The Director of Audiography (DA) supervises the audiography of the entire film. • The Production Sound Mixer is the head of the sound department during the production stage of filmmaking. They record and mix the audio on set dialogue, presence and sound effects in mono and ambience in stereo. • The Sound Designer creates the aural conception of the film, working with the Supervising Sound Editor.

Pre-production In pre-production, every step of actually creating the film is carefully designed and planned. The film is pre-visualized by the director, and may be story boarded with the help of illustrators and concept artists. A production budget is drawn up to plan expenditures for the film. For major productions, insurance is procured to protect against accidents. 100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema • The Composer creates new music for the film • The Production Designer creates the visual conception of the film, working with the Art Director The Art Director manages the art department, which makes production sets • The Costume Designer creates the clothing for the characters in the film working closely with the actors, as well as other departments. • The Make Up and Hair designer works closely with the costume designer in addition to create a certain look for a character. • The Storyboard Artist creates visual images to help the director and production designer communicate their ideas to the production team. • The Choreographer creates and coordinates the movement and dance - typically for musicals. Some films also credit a Fight Choreographer/Stunt Director Post-production: When the entire film is in the can, the video/film is assembled by the Film Editor. The shot film material is edited. The production sound (dialogue) is also edited; music tracks and songs are composed and recorded if a film is sought to have a score; sound effects are designed and recorded. Any computer-graphic visual effects are digitally added. Finally, all sound elements are mixed into stems, which are then married to picture, and the film is fully completed (locked).

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Distribution This is the final stage, where the film is released to cinemas or to consumer media (DVD, VCD, VHS, Blu-ray) or direct download from a provider. The film is duplicated as required and distributed to cinemas for screening. Press kits, posters, and other advertising materials are published and the film is advertised and promoted. Film distributors usually release a film with a launch party, press releases, interviews with the press, press preview screenings and film festival screenings. The film plays at selected cinemas and the DVD typically is released a few months later. The distribution rights for the film and DVD are also usually sold for worldwide distribution. The distributor and the production company share profits. -Compiled by Priya Menon

100 Years Making of Indian Cinemaof The Directors View: What gives Indian Cinema Thamizhselvanum Thaniyaar Anjalum its universal appeal By Sheila Narayanan& Priya Menon Written and Directed by Premsai Produced by : Gautham Menon Cinematography: Om Prakash Editing: Anthony Music: Karthik Studio: Photon Kathas __________________________________________________ Note: As this souvenir process began, Priya, Ravi, Jaimin and I met up to discuss the preliminary plans of the souvenir. With child-like enthusiasm, Priya and I eagerly charted out all the exciting things we wanted to do for the souvenir. Could we put together an entire package on movies? Could we document the making of a movie? Could we interview an actor? Writer? How about a movie director? The hard work and dedication of these creative people go above and beyond our range of comprehension. How did they come up with their stories? How did they decide who would play the main roles? How did they decide who could best direct their story? How did they convince the producers to finance their film? How easy was it to convince the actors to essay those roles? In short, we wanted to know what went into the making of a movie from beginning to end. Immediately, my mind went to my good friend Premsai, who is an actor, writer and director! I couldn’t think of anyone better than him to answer our myriad questions. With Priya on board as well, we decided to see if Premsai would be willing to answer a few questions for us. - Sheila __________________________________________________

me the opportunity to work along with Prabhu Deva. After working on a few films with him, I am now directing. It was a conscious effort from my part to move on from television after a decade or so. Films interested me a lot. I had a flair for writing- I would write about everything I saw and felt. I wanted to challenge my own writing skills by putting together a possible story line for a movie. That is how it started. One such story happened to interest one of the television channels and they expressed their interest in filming it for television. That’s when I decided to direct it as well. Prabhu Deva, who happened to see my work, was impressed. When he acknowledged the work I did, I thought I would work under him for a couple of films.

any in the south know the young, handsome and articulate actor turned director Premsai for his portrayal of both hero and villain characters in Tamil tele-serials. He is extremely convincing, essaying roles in both categories. After several years as a television actor, Premsai moved onto directing a tele-serial and was chosen by Prabhu Deva to assist in his films. With his keen sense of observation and deeply ingrained habit of putting his thoughts down on paper, Premsai has now written and is also directing an upcoming romantic-action film. It is a bi-lingual film, simultaneously being made in Telugu and Tamil as Courier Boy Kalyan and Tamilselvanum Thaniyar Anjalum, respectively. Premsai was gracious enough to spend some time with us answering questions about his thoughts on his upcoming movie. FIA: Thank you so much for taking the time to talk with us, Premsai, appreciate it. Premsai: No formalities please... FIA: You are such a gifted actor. What drew you away from acting to making movies? Premsai: There’s no specific reason as such. I was into television. Everybody gets to a point where they decide it is time to move on or they have to stay content with what they do. At that point of time when I was acting in television, I felt that I have done enough of it and needed to move on to something else. My interest in writing gave

FIA: What was the inspiration for the story of your upcoming movie? Premsai: I wanted to make a good film, an entertainer, without any clichés. That was the basic intention before I even sat down to write the story. I wanted to have a say in the casting, and the characterization. I wanted to do a film with a protagonist who would be your average guy next door. I didn’t want him to be a super hero. Once I fixed that, something inspired me to make this protagonist a courier boy or messenger. Everyone interacts with the postman on some level, but in the case of a courier boy, we barely even look at his face. We just sign the slip and send him off. There is no communication. I am talking in terms of India and Indian culture, where we interact freely with the vegetable vendor, the flower seller, the auto driver or electrician. Except when it comes to these 100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema courier boys. I was fascinated with this idea and did some research about their lives. I wanted to know what sort of people became messengers. They have an extremely responsible job- they carry valuables belonging to so many people and deliver them on time. This was interesting to me and I wanted my hero to be a messenger. I met with a number of courier boys and spent hours talking to them about their job- what are their thrills, what challenges they face in their daily lives. Their stories inspired me and that is how this story came about. It has all the ingredients for entertainment. It has romance, it has humor, it has action, it has substance. FIA: How easy or difficult was it to find a veteran producer like Gautham Menon and convince him of the cinematic possibilities of this story? Premsai: It is always very difficult to get people on board for something you create in your own head, which only you can see. And when I decided I need Gautham for this, we had a meeting and I narrated my story. Thankfully, Gautham really liked the story and he was ready to produce it. It is the director, producer and the hero, who get most involved in the production of a movie. If these three people share the same wavelength and feel as strongly about the story and its possibilities, that is the most important thing. In this case, that is precisely what happened. FIA: How certain were you of who you wanted to cast in the movie? Did you go with the original actors you had in mind or did you have to make changes? Premsai: My only choice for the hero was Jai (Tamil). I have been lucky in that I got to have all the same actors I had visualized in these roles. I didn’t compromise on casting and my producers also cooperated in getting who I wanted. FIA: What locations is the film shot in? Premsai: The story is based in Chennai. All the locations where a messenger goes- houses, offices, the courier office etc FIA: How long did the entire shoot take? Premsai: It is still going on. Over a year so far. Hopefully in another couple of months, we should be done with filming. FIA: It is interesting how you work for years to put something beautiful like this together for us, and we see it in 2-3 hours, comment and walk away. Premsai: That is how this profession goes. We need to accept it. Some movies happen in 3-4 months, some take years. There are so many reasons why one particular project gets delayed. It is part and parcel of this business. Despite that, I have now finished more that 3/4 of the film. It is being made in Tamil and Telugu simultaneously. The Telugu version is almost done. FIA: Who did the costumes for this movie? Premsai:Costumes were done by two different designers,

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one for Tamil and one for Telugu. FIA: Did you have a general theme in your mind for costumes? Premsai: The entire story is based on real life characters, so the protagonist had to look like any other courier boy in Chennai. We’ve stuck to that, except for any fantasized songs or situations like that. Otherwise it is all quite realistic looking. FIA: Do you have dance sequences in the movie? Premsai: Yes, of course! It’s a Tamil film, so there will be dances... goes without saying. I told you I wanted to make films for entertainment, so definitely songs are there. FIA: Who is the choreographer for the dances? Premsai: We have a couple and not just one. FIA: Were there any unexpected situations or crises that you had to overcome during the film’s shooting? Premsai: As I told you, its taking a while. I’ve been shooting for more than a year and half. Just filming challenges, but one goes into this business expecting all this. I like challenges, so I face it as it comes. It just makes me stronger. FIA: Anything else you want to say about the movie? Premsai: It is a wholesome entertainer which will give you your money’s worth in entertainment value. It will be a trendsetter in Tamil cinema in terms of the screen play and story. The songs have come out well. The comedy, done by Santhanam is quite hilarious. All things considered, it is the whole package! FIA: Thank you so much for your time. Good night! Premsai: Anytime! ~ Sheila Narayanan& Priya Menon

100 Years of Indian Cinema

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100 Years of Indian Cinema

Indian Movies & Common Sense An Oxymoron

By Dr. G. Rajasekharan

hhh….. the Movies! The younger

movies, somebody asked Baburao Patel(Saturday

you are, the more you love’em!

Evening Post), “How come there were no trailers

It’d help even more if you are

for Indian movies?”. The clever answer: “when they

naïve. I’ve never understood how

see the exciting highlights of the western trailers,

it is that the most beautiful girls

more people come to the theaters, whereas if they

end up having the most cruel

showed all the exciting highlights of Indian movies

fathers in our Indian movies. Most of them happen

in the trailers, people are not going pay to watch the

to be despicable Dhadhas, scandalous smugglers

unexciting rest”.

or monstrous morons. I know most of you have married beautiful women. Let me ask you how many

I often hear that most movie actresses really wanted

of you have had to fight off (usually in the vegetable

to become doctors. Rather, they end up having the

market, with live electrical wires hanging around)

unfortunate luck of meeting this movie director in

10 to 20 thugs at a time sent by your future father-

the Chandai(Market) who tells them he’s not going

in-law, always with a machete or chainsaw etc. but

to make that movie without her because she is so

never with a gun because the fight scene will be over

perfect for that movie part. Thank god for the movie

in few seconds?

industry for preventing potential health hazard to the innocent public!

Yes, I like watching group dances, but having five per movie is a little too much.

My hats off to the movie industry for employing thousands of our fellow countrymen for below-

Since all the social evils rampant in our county like

minimum wages. The big money is actually made by

corruption and bribery are eliminated by Rajinikanth,

the Khans and the Kanths. Even the most popular

Vijaykanth and Kamal, people are lulled into thinking

female heartthrobs make only a small pittance of

that they don’t actually have to be concerned.

what their male counterparts make.

How many of you’ve had 4 jobless bums always hanging around you, whose sole duty is to help you

Still, we watch every movie we set our eyes on

to get the girl?

because with all our problems that are real, we need an escape to the unreal world!.

Maybe I’m watching all the wrong movies on thiruttuvcd.com (pirated vcd) . Sometimes I know the

Shubham

movies are bad, but being the eternal optimist that I am, I always hope against hope that it will get better.

Dr. G. Rajasekharan, practicing Internist and Tamil

For heaven’s sake, please know that bad movies only

enthusiast, is a long time resident of the Tampa Bay

get worse! They never get better.

area. He was the first president of the Tampa Tamil Association, and was instrumental in organizing

Eons ago when there were trailers only for western

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several movie and other key events in Tampa.

100 Years of Indian Cinema

SANSKAR PSYCHIATRIC CLINIC 16725 Racetrack Road. Odessa. Fl 33556 www.SanskarOnline.com Phone: 813-926-4700 Fax: 813-926-4704 813-963-9857 (24 hour pager)

Best Wishes for 65th India Republic Day

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100 Years of Indian Cinema

The Many Faces of Padmini- A Shishya Remembers By Sheila Pitchumoni Narayanan

ward winning, legendary actress and dancer Padmini, who dominated the Indian cinema industry with over 100 movies in languages including Hindi, Tamil, Malayalam and Telugu, was a dream girl for many. Her beauty was considered picture perfect. Her acting skills were treasured. She was paired only with the most respected names of the silver screen. Her beauty, grace, agility, and unparalleled expressions as a dancer earned her the respect of noted audiences including then Prime Minister Nehru, Queen Elizabeth, Premier Khrushchev, and President Nasser. In 1971, she left behind a dazzling career and settled in as a homemaker: as wife to Dr. K. Ramachandran and mother to PremAnand, their son. Soon after, she opened a dance school, Padmini Institute of Fine Arts, in Hillsdale, New Jersey. The dancer and actress had become a teacher to five-year-olds like me. As her legendary acting career slowed down, she dramatically altered the lives of hundreds of Indian-American families in the US, including my own. My recollection of my first class is vague, but I do remember my parents’ excitement. Prior to that first class, I was told how beautiful she was, what a great actress she was, what a fantastic dancer she was, and most of all how lucky I was that she was willing to teach me. Of course, none of this made sense to me at the time. This was a time when videos and Indian movies were not easily accessible to the common person in the US, and many of us young Indian-American children had never heard of Padmini the actress. I had no realistic idea of who she was, apart from the fact that she and her husband were friends of my parents. My parents had told me that she was like Elizabeth Taylor in India. My young mind had no idea who Elizabeth Taylor was either. They explained to me that she had acted with Raj Kapoor and Shammi Kapoor in Hindi, and Sivaji Ganesan and M.G.Ramachandran in Tamil, and Prem Nazir in Malayalam. Again, I had no idea who Raj Kapoor or Sivaji Ganesan were, or who any of the others were either. Had my parents said Marcia Brady, it would have rung a bell. But really Padmini was... way beyond multiple Marcia Bradys. With all this prelude, I was taken to dance classes at her home. What I thought was a once a week class spanned the next 30 years of my life and now has literally become my life! I was part of her first group of students. During the next several years, she expanded her dance classes and traveled to various states to teach. These dance classes instilled in the second generation Indian child not only an ancient art, but also the Indian culture, the classic stories of the Puranas, and the values associated with our culture.

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As a dancer, Padmini was given the title ‘Natya Peroli,’ which translates to ‘torchbearer of the world of dance.’ There is no doubt that she was a torchbearer of the world of dance. She brought Indian dancing to the mainstream when it was still under a stigma. She brought Indian dancing to the local American society by bringing programs to malls, museums, parks, and colleges as well as Carnegie Hall and other prestigious venues. She gave many kids who grew up in the US in the early 70’s a link with their parents’ homeland. With her love, blessings and guidance, several of her students are able to continue sharing the great art. Having traveled with her for long-distance performances, we were all shown by example her courtesy, friendliness, and affection to her hosts. Things may not always have been perfect in our performing cities, but we performed happily. She taught us not to complain about what was missing, but be thankful for what we did get. During these years, I had the opportunity to admire her skills as a homemaker, wife, mother, dancer, performer, teacher, friend and grandmother! In the early days, she and her husband would often invite people to dinner at home: dinner cooked & served by Padmini! Her cooking skills were not only for her guests, but also for her students. We, her students, would often ‘camp-out’ at her home (in the true gurukulam style), during rehearsals or after late night out of state programs. We teenage girls could easily take over the house with our dancing, chatting, giggling and eating. This gurukulam style class meant that her husband and son had to put up with our

100 Years of Indian Cinema nonsense as well! We knew the legend only as an aunty that loved us. Her husband was my uncle and her son was, and still is, a brother to me. Apart from taking over her home, we would often meet other legends at her home, including her sisters, Ragini and Lalitha, and others ranging from Sunil Dutt to Raj Kapoor, Kamala (Lakshman) Lakshmi-Narayanan, Sivaji Ganesan, Vani Jayram, Shakunthala Devi and many others. We knew all these legends only as uncles and aunties! Over the years, the Guru-Shishya relationship that we had changed to that of almost mother-daughter and friends. She traveled from her home in New Jersey to my wedding in Bombay. She was one of the first to visit my baby daughter. Her unconditional love to her students made her a grandmother to my own daughter, who spent several hours sitting on my Guru’s lap while I danced. She checked to make sure that the dance classes I taught were going well. She would call to wish my husband a happy father’s day. She would call to see what items I had selected for my daughter’s arangetram. She would check to see what I needed before she traveled to India! Aunty had a gift of making everyone feel special! Sadly, her husband, Ramachandran uncle, died at a young age, leaving her to raise their only son alone. Padmini Aunty’s son and his wife have one son who was the light of Aunty’s life. This little boy brought out the child in a legend. Her travels included buying sports memorabilia

for him. Her home, filled with museum-value photos of Padmini and Nehru, Ragini, Lalitha, Guru Gopinath (her Kathakali Guru), Guru Mahalingam Pillai (her Bharatha Natyam Guru), Sivaji, and her actress-dancer niece Shobana also hosted several pieces of art work by her treasured grandson. Padmini was many things to me: an aunt, a mother figure, a guru, and a friend. I knew that she took pride in me and my achievements, but it is her love that has guided me in my endeavors as a dance teacher. Now, in the era of Indian channels, dvd’s and the internet, I know what a legend she was as an actress. But beyond her life as an actress and a dancer, I believe her greatest gift to the world was her ability to make each of us, young or old, feel so special. One is granted certain blessings in life, and being her student was truly one of life’s biggest blessings to me. ~Sheila Pitchumoni Narayanan __________________________________________________ Sheila Pitchumoni Narayanan is a dancer, choreographer and dance teacher in the Tampa Bay area. With the blessings of Guru Padmini, (and at her request) Sheila transitioned from a programming job at IBM to opening her own dance studio in the Carrollwood are of Tampa.

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100 Years of Indian Cinema

One Little Red Book and a Lifetime of Memories By Sheila Pitchumoni Narayanan

y father, Dr.C.S.Pitchumoni, ( a prominet gastroenterologist) and mother, Prema Pitchumoni, (hostess par-excellence) exposed me to a world of education, caring, sharing, love and a unique world of glamour and glitz.

phers and directors. A tired and worn out little red autograph book, now sitting on a bookshelf in our home, suddenly seemed to be a lovely addition to our souvenir! (Although I decided that I was too old to get autographs when I was a teenager, the guests have not stopped coming to my parents home in New Jersey!)

Our household guest list ranged from friends and family from all walks of life, including Ambassadors, scientists, cinema artists, editors, authors, world cyclists, photogra-

A conversation between a few of us working on this event prompted me to bring this little book out and share my cherished memories in this souvenir.

Adoor Bhasi

G.Rajasree

Gemini Ganesan

Hema Malini

JayaLalitha

Kamal Hassan

Kamala

Kaviyoor Ponnamma and JayaBharathy

Mallika

MGR

Padmini

Prem Nazir

Saroja Devi

Sasikumar

Savithri

Sharadha

SriLatha

Thikkurisy Sukumaran Nair

Vincent

Vyjayanthimala Bali

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100 Years of Indian Cinema

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100 Day Years of Indian Cinemalife of the famous One in the film actress Katrina Kaif By Anshruta Dhanashekar, Grade 8 Prize winning essay from FIA’s 2014 essay writing competition. Prompt: Think about a very famous film personality you know of and then using first-person narrative (‘I’) pretend to be them and write about ONE day in their (your) life. The film industry has played a huge role in my life. Thanks to the extravagant and remarkable movies that I have been a part of, the Indian society has grown in a modern fashion, and I am well known throughout the country, as well as the rest of the world. I have witnessed and have seen clippings of many varieties of cinema when I was a young child. From action, to horror, to comedy, and to realistic fiction, Indian movies have grown through the stunts performed and the technology used to make the production. Black and white silent films, such as Raja Harishchandra, one of the first Indian movies produced, have been entertaining to society. I was really influenced by these movies, allowing me to act in modern movies such as Dhoom 3, the most recent film of India. Working hard and acting in movies today have been marvelous and extremely memorable. At first, I had found acting abstruse, and exceptionally difficult to comprehend. When I came to the screening of Dhoom 3, I had a blast and the most remarkable time of my life! Working with Amir Khan, one of my good friends, made my acting career unforgettable, while learning to just let loose and have fun. I enjoyed shooting the scene where my character auditioned for the “supposed” Great Indian Circus. I really love to dance, and feeling really normal doing this. Furthermore, when I acted as part of the circus, I needed a lot of mental and physical strength to perform the stunts, and needed to trust others. This scene taught me that hard work, perseverance, and determination would pay off and get the job done. When I signed up to pursue my career as an actress, I didn’t think and consider how exhausted and tired I would be after shooting a particular scene over and over again for hours together. Most directors rarely give snack breaks, but ironically, took some of their own to their best comfort and pleasure, and expect the actors to continue. Acting on an empty is difficult, believe me, I have tried. This is one reason my co-workers call me “a six year old”. I am always whining thinking that is supposed to get my work done, providing me with all of my necessities and desires, but no, I have to continue and persevere. Some people just don’t understand what happens behind the scenes of a cinema production, before the movie is shown in the theater. Hard work has made me who I am, and where I am and how I am viewed in the Indian culture. An actress’ job is not as easy and glamorous as it seems to the public. I have journeyed a long way to be where I stand today. Acting has been a huge passion for

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me since I was a little kid. I have viewed many historically important movies, including Raja Harishchandra, a black and white silent movie, to Gandhi, a non-fiction film visually explaining how Mohandas Karamchand (Mahatma) Gandhi, helped gain India’s independence through all of his hardships on August 15, 1947, all the way to even Slumdog Millionaire, a worldwide hit. Oscar winner and music director A.R. Rehman, has made all Indians proud, and has played a huge role in my career thus far. I am really pleased and honored to be part of the 100th year of the Indian film industry, and hope to act in many more thrilling movies filled with entertainment. Acting in Indian cinema has taught me many valuable life lessons, including not to judge a book by its cover. I have enhanced my personality, and I am not as self-centered as before. I have grown drastically, and have learned to be honest with one another, trustworthy, and dependable to all of my friends and co-workers. I viewed the struggle of humankind in my own native country of India, the poor who are begging for one meal, that I take for granted. Exploring and touring taught me to be grateful for what I have today, and to live each day to the fullest, and to enjoy life.

Note: All writings reproduced as submitted.

100 Years of Indian Cinema

One Day in the life of the famous film actor Amir Khan By Kaushik Guduru, Grade 7 Prize winning essay from FIA’s 2014 essay writing competition. Prompt: Think about a very famous film personality you know of and then using first-person narrative (‘I’) pretend to be them and write about ONE day in their (your) life. Who am I? A human being. An actor. Amir Khan. This list can go on and on, but really, who am I? I am an ordinary person like every other person in this world. The only thing different about me and others is that my name is Amir Khan. I have the same routine every day. I wake up at 5:30, brush my teeth, take a shower, and get ready for the day. A pair of skinny jeans, a white t-shirt, a vest, and a nice hat to top it off. I’m a very slick guy. I have a cool personality and I don’t pressure myself. I walk into the kitchen, and my chef, Tippu, has my breakfast ready. I am a healthy guy so I try to stay healthy by not eating food with too many calories or too much fat. I have the same breakfast every day. Two idlies with a bowl of sambar and one glass of Khan Juice. Khan juice is a juice that I made. It contains coconuts, tomatoes, guava, oranges, strawberries, blueberries, kiwi, raspberries, dark chocolate, coffee powder and pineapple. It is very healthy and it keeps you on a good diet. By the time all of this is done, the time is 10:30. Prayer time takes up a lot of time. And this is always done before breakfast. My driver, Ramu, is waiting for me outside with my Audi. My next stop is going to be at my production studio. My secretary told me that I have an 11:30 lunch appointment. Guess who is at my office? Aditya Chopra.

my own good.” After I said that remark, nobody followed me. I was able to freely walk into the store. I found a nice, Swiss Diamond necklace. After that, I left for home. I was thinking in the car about why I don’t get to have a normal life like others. Why I have to suffer every day of my life. I never thought being famous would be that hard. As I got out of the car, a guy popped out of my magnolia tree and took a few pictures of me and ran away. I was speechless. There was a plate salad with Italian dressing. I just ate it and sat down to watch the news. Almost every movie channel was talking about me rejecting the movie offer. I was so mad that I threw the TV remote on the floor and I broke it. I was furious. I couldn’t stand it. I ran into my bedroom shut the door. I went to bed immediately

Note: All writings reproduced as submitted.

The second I got there, he got up and hugged me so I hugged him back. Then, we congratulated each other on the release of Dhoom 3. Then we started talking. He wanted to direct a movie with me in it, but I was already working on my next movie. If I accepted the offer, I would have put too much pressure on myself. Therefore, I had to reject the offer. Aditya looked depressed. The storyline didn’t exactly amuse me either. He left immediately after I said no to his offer. We didn’t even get to eat lunch. I felt so guilty that I didn’t feel hungry anymore. A second ago, I was famished, but now I’m full ... of guilt. My next stop was to a jewelry store. My niece’s birthday is next week, so I decided to buy a diamond necklace for her. The second I got out of the car, news reporters and paparazzi were crowded around me asking why I rejected Aditya Chopra’s film offer. My answer was, “I did it for

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100 Years of Indian Cinema Noteworthy Kannada Films from The Last 100 Years By Priya Menon

1- Sati Sulochana Cast: M. V. Subbaiah Naidu, R. Nagendra Rao Director: Yaragudipati Varada Rao Year: 1934 Claim to fame: 1st Kannada talkie. Major commercial success 2- Mahakavi Kalidasa Cast: Honnappa Bhagavatar, B. Raghavendra Rao, Narasimharaju, B Saroja Devi Director: K R Seetharam Shastry Year: 1955 Claim to fame: National Award for Best Feature Film in Kannada; Certificate of Merit 3- Vamsavriksha Cast: Venkata Rao Talegiri, B V Karanth, Vishnuvardhan, Uma Shivakumar Director: Girish Karnad, B V Karanth Year: 1971 Claim to fame: National Film Award for Best Feature film in Kannada (1971), National film Award for Best Direction(1971) – Girish Karnad, B V Karanth 4- Naagarahaavu Cast: Vishnuvardhan, Aaarathi, K S Ashwath, Leelavathy, Ambarish Director: Puttana Kannagal Year: 1972 Claim to fame: Filmfare award for the Best Film(1972-73), Karnataka State Film Award for Best Actor(1972-1973)- Vishnuvardhan This was the movie that made Vishnuvardhan a star. Vishnuvardhan & Ambarish, who went on to become Kannada cinema’s greatest pillars came together in this movie. 5- Chomana Dudi Cast: M V Vasudeva Rao, Padma Kumta, Jayarajan, Sunder Rajan Director: B V Karanth Year: 1975 Claim to fame: National Film Award for Best Feature Film (1976), National Film Award for Best Actor (1976)- M. V. Vasudeva Rao , National Film Award for Best Story(1976)– K Shivaram Karanth 6- Ghatashraddha Cast: Meena Kutappa, Ajith Kumar H M Director: Girish Kasaravalli Year: 1977 Claim to fame: National Film Award for Best Feature Film(1977), National Film Award for Best Music Direction (1977)- B.V. Karanth, National Film Award for Best Child Artist(1977) - Ajith Kumar H.M 7- Ondanondu Kaladalli Cast: Shankar Nag, Sunder Krishna Urs Director: Girish Karnad Year: 1978 Claim to fame: National Film Award for Best Feature Film in Kannada(1978) The movie has influences of the early Samurai films of Japanese director Akira Kurosawa. Established actor Shankar Nag’s career in the industry 8- Tabarana Kathe Cast: Nalini Murthy, R Nagesh, Charuhasan Director: Girish Kasaravally Year: 1987 Claim to fame: National Film Award for Best Feature Film(1986), National Film Award for Best Actor(1986) - Charuhasan

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9- America America Cast: Ramesh Aravind, Akshay Anand, Hema Director: Nagathihalli Chandrashekar Year: 1995 Claim to fame: Mostly filmed in the US, the film was a huge box office success National Film Award for Best Regional Language Film (1995) 10- Thaayi Saheba Cast: Jayamala, Director: Girish Kasaravally Year: 1998 Claim to fame: National Film Award for best Film (1998), Special Jury Award(1988) for actress Jayamala, National Film Award for Best Costume Design(1998) for Vaishali Kasaravally, National Film Award for Best Art Direction(1998) for Mr Ramesh Desai. 11- Dweepa Cast: Soundarya, Avinash Director: Girish Kasaravally Year: 2002 Claim to fame: National Film Award for Best Feature Film (2002), National Film Award for Best Cinematography(2002) - H.M. Ramachandra Halkere 12- C/O Footpath Cast: Master Kishan Shrikanth, Jackie Shroff, Saurabh Shukla Director Master Kishan Shrikanth (aged 10) Year: 2006 Claim to fame: Directed by 10 yr old Kishan Shrikanth, who also played the protagonist in the movie, he found a place in the Guinness Book for being the world’s youngest movie director. Was dubbed into 5 languages. National Film Award for Best Children’s Film(2006) 13- Gulabi Talkies Cast: Umashree, K G Krishnamurthy, M D Pallavi Director: Girish Kasaravally Year: 2009 Claim to fame: Won the Best Film & Best Actress awards in the Indian section of the Osian’s Cinefan Festival of Asian and Arab Cinema(2008); National Film Award for Best Feature Film in Kannada(2009), National Award for best Actress(2009)- Umashree 14- Katari Veera Surasundarangi Cast: Upendra, Ramya, Ambarish, Doddanna Director: Suresh Krishna Year: 2012 Claim to fame: 1st full length 3-D film in Kannada. Huge commercial blockbuster 15- Lucia Cast: Ninasam Satish, Sruthi Hariharan Director: Pawan Kumar Year: 2013 Claim to fame: Best Film Audience Choice Award at the London Indian Film festival; It pioneered the ‘crowdfunding’ technique. It was funded by 110 investors who contributed to the project through a Facebook page and a blog run by director-actor Pawan Kumar. Having won great critical acclaim from the masses and critics alike, it is considered a landmark for Indian cinema. It was in the race for India’s official entry to the Oscars in 2013. -Compiled by Priya Menon

100 Years of Indian Films Cinema Noteworthy Gujarati from The Last 100 Years By Jigisha With release of its first Talkie Film, Narsinh Mehta, Gujarati Film Industry came in to existence in 1932. When India got her independence, Gujarati film industry was only 23 films old and when state of Gujarat came in to existence in 1960, the Gujarati Film Industry had merely crossed 100 film mark. It is just a mere coincidence that the industry, believed to be worth Rs 10-15 crore now, registered its 1000th film in the year of the state’s golden jubilee, 2010.

1970s In the year 1975 Tanariri, directed by Chandrakant Sangani, highlighted on the side of Akbar which was unknown to the world.

1-Prior to 1930s There were several Gujarati directors and production companies owned by Gujarati people that were active during the silent period from 1920 to 1931. Even the silent films had Gujarati flavors. For example, Calcutta-based Elphinstone Bioscope Co.’s 1919 full-length silent film Bilwamangal was based on a story by a Gujarati writer Champshi Udeshi and the film was directed by Rustomji Dotiwala, a Parsi Gujarati. Another important film was Bhakta Vidur from 1921 was directed by Kanjibhai Rathod and Gujarati song sung by Vidur’s wife.1930s

Ketan Mehta directed a Gujarati film in 1980 called Bhav Ni Bhavai, A Tale of Life – winner of Best Feature Film on National Integration, National Film Award for Best Art Direction at the 28th National Film Awards and an award at the Nantes festival in France. The film won many other awards and accolades when released, though more for its format than the story. It is also noted for its subject of untouchability via a folktale.

Nanubhai Vakil’s Narsinh Mehta released in 1932 was of the ‘saint’ genre and was on the life of the 15th century saint from Gujarat, Narsinh Mehta. Ghar Jamai, directed by Homi Master, was released in 1935. This was a comedy film and was a Major success in the Gujarati Film Industry. It was such a success in its first appearance that the director, Chandulal Shah, remade Gunasundari in 1934. Gunasundari is the story of an Indian poor woman who is disliked by her husband for her moral stand. The woman finally lands in street where she meets with a person just like her – a social outcast.

Sonbai Ni Chundadi was the first cinemascope Gujarati film directed by Girish Manukant and released in 1976. 1980s

1990s In 1990s, Upendra Trivedi produced, acted and directed movieManvi Ni Bhawai, based on the novel created by famous Gujarati writer-Pannalal Patel. The movie was widely appreciated and won the national award. In 1998, Desh Re Joya Dada Pardesh Joya directed by Govindbhai Patel became very successful and became super-hit. 2000+

Recently Little Zizou, a 2009 film in Hindi, Gujarati, and English, written and directed by Sooni Taraporevala won the “Silver Lotus Award” or “Rajat Kamal” in the National Film Award for Best Film on Family Welfare category at the 56th National Film Awards. Claim to fame: Best Film Audience Choice Award at the London Indian Film festival;

1940s In the immediate post-independence period there was a trend of Sant-Sati & films with mythological subjects such as Bhakta Tulsidas, Mahasati Ansuya, Sati Jasma, Bhakta Pundlik, Bhakta Prahalad, Okha Haran, Satyavan Savitri, Sita Vanvas etc. Most of these films addressed rural audiences who were familiar with the folk and mythological tale about their gods and goddesses. Gunasundari was made 3rd time. Changes, however, were made to meet demands of the time. 3rd version was made by Ratilal Hemchand Punater in 1948. Nirupa Roy made her debut as the Gunasundari in this film. Another notable film of this period was Mangalfera, produced and directed by Ratibhai Punatar which was a remake of 1941 film Shadi. Mangalfera was considered a social reform rather than melodrama. Nirupa Roy played lead role in this film as well. 1950s 1950 film Gadano Bel, directed by Ratibhai Punatar is notable for its surpassing technical advancement, strong realism and reform. 1960s Akhand Saubhagyabati, that starred Bollywood queen Asha Parekh, made a success in 1963. The film was directed by Manhar Raskapur. Liludi Dharti, directed by Vallabh Chokshi is the first Gujarati color film that made success in 1968. Daisy Irani was the lead star in this film.

It pioneered the ‘crowdfunding’ technique. It was funded by 110 investors who contributed to the project through a Facebook page and a blog run by director-actor Pawan Kumar. Having won great critical acclaim from the masses and critics alike, it is considered a landmark for Indian cinema. It was in the race for India’s official entry to the Oscars in 2013. The Good Road In history of Indian Cinema a Gujarati film is nominated for Oscar. Gyan Arora directed The Good Road was released in 2013 already won the National Award from the Indian Government. The Good Road is officially announced as India’s film to represent in the category of Foreign Language at the Oscar in 2014. -Compiled by Jigisha Desai Jigisha Desai is an Investment professional based in Tampa Florida. She is founder of Om Divine Group which promotes cultural activities among youth through classical and folk dances of India since 2003. Jigisha loves to get involved in community activities and serves as 2014 Treasurer of Gujarati Samaj of Tampa Bay. She can be reached at JigishaNYC@Yahoo.com or 813-731-7747.

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100 Years of Indian Cinema Noteworthy Tamil Films from The Last 100 Years By Sheila Narayanan, Rani Krishnaraj and Pavithra Muthukumar

Tampa Tamil Association: Sheila Narayanan, Rani Krishnaraj and Pavithra Muthukumar It is believed that over 5000 Tamil movies were produced in the 20th Century, beginning in 1916 when R. Nataraja Mudhaliar, made the first silent movie, Keechaka Vadham. *On October 31, 1931, the first Tamil talkie, Kalidas, was released, 7 months after India’s first talking picture, Alam Ara. By the end of the 1930’s Chennai had evolved into a Cinema hub and later became a secondary hub for Malayalam, Telugu, Kannada and Hindi Cinema. The Tamil Film Industry has been lovingly dubbed the ‘Kollywood’ industry, an amalgamation of the words Hollywood and the “Kodambakam” region of Chennai that houses most of the Tamil Cinema Industry. Tamil movies of yesteryear were greatly influenced by Tamil literary works, and epics such as the Mahabharatha and Ramayana, and stories such as Harishcandra. The works were brought to life on screen and made highly visual with the use of Bharatha Natyam and Carnatic music. Kalava was the first full length talkie made entirely in Tamil. Nandanar in 1935 was the first film released by Amreican film director, Ellis R. Dungan,. In 1937 Balayogini was simultaneously made in Tamil and Telugu. This was considered the first movie for children. The 1930’s proved to be quite an amazing year of cinematic advances. *The 1940’s brought on unique films such as Ellis Dungan’s Shakunthala staring two legendary carnatic musicians, M.S.Subbalakshmi and G.N.Balasubramaniam. M.S.Subbalakshmi once again created waves with her rendition of the poet saint Meera in 1945, in the movie Meera. This was subsequently remade in Hindi in 1947, starring the musical genius herself. The 1940’s also had several other hit movies including Naveena Tenali Raman, released in 1940 starring N.S. Krishnan and T.A. Madhuram, who were considered the best pair of that period. The 1940’s also brought out a few more much talked about movies including Naveena Vikramdithan (1940), Haridas (1944) and Chandralekha (1948). *The 1950’s proved to be a trendsetting decade with the movie Marmayogi, starring M.G.Ramachandran and M.N. Nambiar, becoming the first Tamil movie to receive and Adult rating. This movie was also remade in Hindi as Ek Tha Raja. This decade also brought out the highly acclaimed dance competition between two legendary dancers, Vyjayanthimala Bali and Padmini in the movie Vanji Kottai Valiban. This was also remade in Hindi as Raj Tilak, starring Gemini Ganesan, Padmini and Vyjayanthimala and Pran. This decade also released the first Tamil Color movie, Alibabavum 40 Thirudardargalum. *The 1960’s set forth new trends in the cinema world. The

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movie Bhagdad Thirudan starring M.G.Ramachandran and Vyjayanthimala had MGR in the role of a sort of Robin Hood, taking from the rich and giving to the poor. It also had actress S.N. Lakshmi, in a fight scene with a leopard, without a stand in. This movie was also partially edited by MGR himself. The 1960’s also introduced legendary writer, K. Balachandar. This period introduced Balachandar’s, Server Sundaram and a Tamil comedy, Kadhalikka Neramillai written and directed by C.V.Sridhar. This movie was remade in Telugu as Preminchi Choodu and in Hindi as Pyar Kiye Jaa , with actress Rajasree as the female lead in all 3. Thillana Mohanambal released in 1968 with Padmini and Sivaji, the undeniable ‘couple’ of Tamil cinema to date. Padmini is still credited as being the queen of Navarasa from her role as Mohana in the movie. The late 1950s and 1960’s are also rememembered for A. BhimSinghs movies that began with the Tamil syllable “Pa”. These movies include the hit movies Paasa Malar, Pava Manippu, and Paalum Pazhamum. Another classic Tamil movieof that period is A.P. Nararajan’s Thiruvilayadal. * The 1970’s set the stage for family stories, romances, comedies, thrillers and more. The hit movie Vietnam Veedu, starring Padmini and Sivaji Ganesan was released. Sivaji’s role as an honest man does not allow him to accept the changes in values of his growing children. The movie Gauravam, released in 1973, also starring Sivaji Ganesan, written by Vietnam Veedu Sun-

100 Years of Indian Cinema daram, was considered a triumph in the history of Tamil Cinema. K. Balachandar’s Aboorva Raagangal, released in 1975 starred both KamalHassan and Rajnikanth! It won 3 National Film awards and 3 Filmfare south awards and was remade in Hindi as Ek Nai Paheli, staring Kamal Haasan and Hema Malini. The movie Sigappu Rojakkal must also be mentioned. This thriller movie starred the cute pair of the 1970’s KamalHassan and Sridevi. Slightly moving away from Tamil movies, Sandow M.M.A. Chinappa Devar noted for his Tamil movies with animals and his devotion to Muruga, along with his brother, M.A.Thiramugam, and their film production company, gave Rajesh Khanna his biggest hit with the movie Haathi Mere Saathi. They also introduced the Salim-Javed duo as script writers to bollywood. *As the 1980’s began, the stage was set for creativity of a new kind. Movies like Bharathi Raja’s Kadhal Oviyam with dance and music became hits for its creativity. In 1982 Balu Mahendra’s blockbuster hit Moondram Pirai starring KamalHaasan and Sridevi was released. BaluMahendra won the National Film Award for Best Cinematography and Kamal Haasan won the National Film award for Best Actor. This movie ran for 329 days at the box office! The film was dubbed in Telugu as Vasantha Kokila and remade in Hindi as Sadma. Directors like Visu opened up a new genre of movies that left people with a lot to think about. His debut movie Kudumbam oru Kadambam was a much talked about movie for its sensitive story and dialogues infused with humor. Another blockbuster movie by Balachandar, Sindhu Bairavi, won three National Awards for Best Actress (Suhasini ManiRatnam), Best Music Direction (Ilayaraja), and Best Female Playback Singer(K.S.Chitra). Part II of this movie was brought out by Balachander as a tele-serial, Sahana. Mani Ratnam’s internationally acclaimed film Nayakan was released in 1987. Kamal Haasan’s performance earned him a National Film Award for Best Actor. The film itself earned the National Award for Best Cinematography (P.C.Sriram), and Best Art Direction (Thotta Tharani). The film represented India at the 60th Academy Awards in the Foreign Film category. In 2005, Time Magazine included Nayagan in its list of “All-Time 100 Best Films”.

1990’s could go was forward! Mani Ratnam’s Thalapathy, supposedly loosely based on the Mahabaratha, was a show stopper for both the acting and music. Mani Ratnam’s Roja won three National Film Awards catapulting Mani Ratnam to National Acclaim. This movie was dubbed remade and dubbed in several languages. This movie was the debut movie for now internationally acclaimed music director A.R.Rahman. Kamal Haasan’s Thevar Magan was another blockbuster hit that completed 175 days at the box office and was chosen by India as its entry to the 65th Academy Awards. The Tamil musical film Duet, combined the talents of K.Balachander with rising star Rahman for a treat for the eyes and ears! Award winning movie, Kadhalan, brought out the dancing talents of Prabhu Deva along with the musical talents of A.R.Rahman. Mani Ratnam’s Bombay released in 1995 became the one of the highest grossing films of that time period of the Chennai Film industry and earned A.R. Rahman his fourth Film Fare Award! 1998 Tamil film, Jeans proved to be another hit that was later translated into Hindi and Telugu. This movie was sent to the 1998 Academy awards. *The new Century started with Kamal Haasans Hey Ram, being simultaneously produced in Tamil and Hindi. This movie would be sent by India to the 2000 Academy Awards representing India. Mani Ratnam’s Kannathil Mutham Ittal, starring Madhavan, Simran and P. S . K e e r t h a n a proved to be another blockbuster hit, with 6 National Film Awards, 6 Filmfare Awards South and Best film awards at 6 international film festivals! Rajni’s Chandramukhi, a remake of the Kannada film Apthamitra (which was in itself a remake of the Malayalam film ManiChitrathazhu) completed a 700-day run at the box office. This film beat Rajni’s prior record for his own earlier hit movie Padayappa. Rajni would again beat his own record with his new movie, Sivaji, released two years later! Rajni’s 2010 film Endhiran would go on to win many National awards as well, making RajniKanth a household name all over India, and many parts of the world! * Kamal Haasan’s 2013 spy thriller, Vishwaroopam, written, directed and co-produced by Kamal Haasan, was released internationally on Jan 25, 2013 but not in Tamil Nadu. Although the film was released in fragments, the movie gained tremendous popularity and won several national awards. Looking forward to the release of Premsai’s movie, Thamizhselvanum Thaniyaar Anjalum! With such a glorious past behind us, we can only imagine the future!

*With such a powerful decade behind, the only place the 100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema Noteworthy Bengali Films from The Last 100 Years By Indranil Ghosh

engali or Bangla is an eastern Indo-Aryan language. It is native to the region of eastern South Asia known as Bengal, which comprises present-day Bangladesh, the Indian state of Paschim Banga or West Bengal, and parts of the Indian states of Tripura and Assam. It is written using the Bengali script. About 220 million natives and about 250 million people in total speak the Bengali language. Bengali is one of the seven most spoken languages in the world. The films made in the Bengali language are termed as Bengali Cinema. The popular acronym Tollywood, refers to the Tollygungearea based Bengali film industry in the city of Kolkata, West Bengal, India. American Cinematographer Wilford E. Deming, an American engineer who was involved in the production of the first Indian talkie, first mentioned the name Tollywood, a Hollywood-inspired name, back in 1932.

Film Co, the first Bengali owned production company, in 1918. The first Bengali feature film, Billwamangal, was produced in 1919, under the banner of Madan Theatre. A long history has been traversed since then, with international favorites, like, Satyajit Ray, Mrinal Sen and Ritwik Ghatak, who secured their place in the movie history. The Golden era of Bengali film is during period of 1952 through 1975. During this period, Bengali cinema enjoyed a large representation in Indian cinema, and produced two great film directors, Satyajit Ray and Mrinal Sen.

The Bangladeshi film industry, is based out of B a n g l a d e s h ’s capital, Dhaka, since 1956. As of 2004, it produced approximately 100 movies a year, with an average movie budget of about 1.5 million USD. In 2009, Bangladesh produced 64 films, which was the 19th most in the world. The film industry of Bengal is known for producing some of the most critically acclaimed parallel cinema and art films. Several of its filmmakers have garnered international acclaim, like, Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Rituparno Ghosh, Tapan Sinha, Aparna Sen, etc. from India, and Zahir Raihan, Alamgir Kabir, Salahuddin, Suvash Dutt, Sheikh Niamat Ali etc from Bangladesh.

Satyajit Ray’s Pather Panchali (1955) was awarded Best Human Document at the 1956 Cannes Film Festival Satyajit Ray won Academy Honorary Award, India’s greatest civilian honor, the Bharat Ratna, and France’s greatest civilian honor, Legion of Honor.

The history of cinema in Bengal dates back to the 1890s, when the first “bioscopes” were shown in theatres in Calcutta. Hiralal Sen, a stalwart of Victorian era cinema set up the Royal Bioscope Company, and produced scenes from the stage productions of a number of popular shows at the Star Theatre, Minerva Theatre, and Classic Theatre. Dhirendra Nath Ganguly established Indo British

Bengali films frequently appeared in international film festivals for the next several decades. This gave an opportunity to Bengali filmmakers to reach a global audience. The most influential among them was Satyajit Ray, whose films became successful among European, American and Asian audiences. His work subsequently had a worldwide impact, specially on the filmmakers such

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Mrinal Sen, won French distinction of Commander of the Order of Arts and Letters and the Russian Order of Friendship. Other prominent film makers in the Bengali film industry at the time included Bimal Roy and Ritwik Ghatak. The Bengali film industry has produced many classics in this period. The Apu Trilogy by Satyajit Ray, is now frequently listed among the greatest films of all time. The most well known Bengali actor to date has been Uttam Kumar. Soumitra Chatterjee is a notable actor, having acted in several Satyajit Ray’s films. Utpal Dutt is another class actor who is internationally known for his acting in movies and plays, especially Shakespearean plays. Music also played a vital role in the Bengali movies. The pioneers in Bengali film music include Raichand Boral, Pankaj Mullick and K. C. Dey. Other famous playback singers in Bengali film music were Hemanta Mukherjee, Shyamal Mitra, Manna Dey, Sandhya Mukhopadhyay and Kishore Kumar.

100 Years of Indian Cinema as Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Carlos Saura, Isao Takahata, Wes Anderson and Danny Boyle. Even Akira Kurosawa praised his work, saying, “youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy”. Another prominent Bengali filmmaker is Mrinal Sen, whose films have been well known for their leftist views. During his career, Mrinal Sen’s film have received awards from almost all major film festivals, including Cannes, Berlin, Venice, Moscow, Karlovy Vary, Montreal, Chicago, and Cairo. Another Bengali filmmaker, Ritwik Ghatak, began reaching a global audience long after his death. Some of his films have strong similarities to later famous international films, such as Ajantrik (1958) resembling the Herbie films (1967–2005) and Bari Theke Paliye (1958) resembling François Truffaut’s The 400 Blows (1959). In the 1980s the Bengal film industry went through a period of turmoil, with a shift from its traditional artistic and emotional inclinations to an approach more imitating the increasingly more popular Hindi (Bollywood) films, along with a decline in the audience and critical appreciation. Only a handful of directors, like Nripen Saha and Gautam Ghose stuck to the core philosophy of movie making in Bengali and showed a distinction. Toward the end of the 90s, with the a number of directors coming increasingly into prominence, including Rituparno Ghosh, Gautam Ghose, Aparna Sen, Sandip Ray etc, a number of popular and critically acclaimed movies have come out of the Bengali film industry in recent years, like, Unishe April, Titli, Mr. and Mrs. Iyer, Iti Mrinalini, Patalghar, Bombaiyer Bombete, Shatru Pakakkha, Jeeban Jodhha, etc. This period signals a resurgence of the Bengali film industry. Parallel Cinema is a film movement in Indian cinema that originated in the state of Bengal in the 1950s as an alternative to the mainstream commercial Indian Bollywood cinema Inspired by the Italian Neo-realism, Parallel Cinema began just before the French New Wave and Japanese New Wave, and was precursor of the Indian New Wave the next decade. The movement was initially led by Bengali cinema and produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha, etc. It later gained prominence in other film industries of India. It is known for its serious content, realism and naturalism, with a keen eye on the sociopolitical climate of the times, and for the rejection of the dance-and-song numbers that are typical of mainstream commercial cinema. The market for Bengali films has expanded to a 340-million-strong Bengali audience in Bangladesh, West Bengal, Tripura and Assam. The industry could truly flourish if films from this state have a proper distribution network. While around 50 films are produced in West Bengal every year, only 30 make it to the theatres. The decade 2000s saw emergence of sleekly-made commercial films in West Bengal, although many were copies of popular South Indian films. Technical development were notable in such films, as well as the increasing budget 2000s also saw the emergence of popular actors such as Jeet, and Dev, and music directors such as Jeet Ganguly. At the same time, West Bengal continued to produce many critically acclaimed art-house films. New directors such as Sekhar Das, Anjan Dutta, Atanu Ghose, Bappaditya Bandyopadhaya, Srijit Mukherjee and Koushik Ganguly showed immense talent and gave a new meaning to Bengali Cinema in recent days. In the last couple of decades, loose and unorganized production activities gave birth to sub-standard films, which also failed commercially. But recently, Hollywood houses like Columbia Tristar have made their debut in distributing Bengali movies in West Bengal, India, and abroad. According to industry experts, several issues need to be addressed to build on this resurgence, such as, inadequate infrastructure and poor marketing and distribution. The recent successes have come through some concerted effort by Parallel Cinema which has tapped the domestic market, even while scouting the overseas ones, hitting the festival circuit somewhere in between. As such, celluloid creations of award-winning directors like Gautam Ghosh, Rituparno Ghosh and Aparna Sen started bringing money for their producers. However, at around the same time, movies in the commercial circuit also started doing well, supported strongly by the response from the semi-urban areas. The big Bollywood banners such as Mukta Arts and Rajshri films are now showing interest in funding Bengali films. 100 Years of Indian Cinema | www.fia-tampabay.com

100 Years of Indian Cinema Telugu Films Noteworthy from The Last 100 Years By Deepak Chinthamalla

2000s 1990s

1980s

1970s

1960s

1950s

1940s

1930s

TITLE

DIRECTOR

CAST

Bhakta Prahalada Lava Kusa Raithu Bidda Vande Mataram Mohini Bhasmasurau

Hanumantha Muniappa Reddy Chittajalu Pullayya Gudavalli Ramabrahmam B.N. Reddi Chittajalu Pullayya

Venkata Subbaiah Munipalle, Surabhi Kamalabai Parepalli Subba Rao, Sriranjani Sr., Master Bhimarao, Malleshwara Rao Bellari Raghava, G.V. Sitapathy Chittor V. Nagaiah, Kanchanamala Pushpavalli, Dasari Kotiratnam, Subba Rao A.V

Bala Nagamma Mayalokam Gunasundari Katha Keelu Gurram

Chittajalu Pullayya Gudavalli Ramabrahmam Kadri Venkata Reddy Raja of Mirzapur

Kanchanamala, Govindrajulu Subba Rao, Relangi Venkata Ramaiah Akkineni Nageshwara Rao, P. Santha Kumari, C. S. R. Anjaneyulu Sriranjani, Siva Rao Kasturi, Sivaram Vallabhajosyula Anjali Devi, Akkineni Nageswara Rao

Swapna Sundari Malleshwari Patala Bhairavi Devadasu

Ghantasala Balaramaiah B. N. Reddi Kadri Venkata Reddy Vedantam Raghavaiah

Akkineni Nageshwara Rao, Anjali Devi, S. Varalakshmi, Siva Rao Kasturi N. T. Rama Rao, Bhanumati Ramakrishna N. T. Rama Rao, S. V. Ranga Rao, K. Malathi, Padmanabham, Savitri Akkineni Nageswara Rao, Savitri, S.V.Ranga Rao

Gundamma Katha Taene Manasulu Chilaka Gorinka Ave Kallu Manushulu Marali

Kamalakara Kameswara Rao Adurthi Subba Rao Kotayya Pratyagatma A.C. Trilogchander V. Madhusudan Rao

N. T. Rama Rao, Akkineni Nageswara Rao Savitri Krishna Ghattamaneni Uppalapati Krishnam Raju Krishna Ghattamaneni Sobhan babu

Mosagallaku Mosagadu Prem Nagar AnthuLeni Katha Adavi Ramudu Pranam Kharidu Punadi rallu

K.S.R. Das KS Prakasa Rao K Balachander K Raghavendra Rao K. Vasu Rajkumar

Krishna, Vijayanirmala Nagabhushanam ANR, Vanisri Jayaprada, Rajanikant, Kamal Hassan NTR, Jayaprada, Jayasudha Chiranjeevi, Jayasudha Chiranjeevi

Sankarabharanam Premabhishekam Challenge Kaliyuga Pandavulu Saagara Sangamam Simhasanam Siva

K Viswanath Dasari Narayana Rao Kodandarami Reddy K. Raghavendra Rao K. Vishwanath Krishna Ram Gopal Varma

J.V. Somayajulu, Manju Bhargavi A.N.R, Sridevi, Jayasudha Chiranjeevi, Suhasini, Vijayashanti Venkatesh, Khushboo Kamal Hassan, Jayaprada Krishna, Jayaprada, Radha Akkineni Nagarjuna, Amala

Jagadeka Veerudu Athiloka Sundari Aditya 369 April 1 Vidudhala Kshana Kshanam Pelli Pustakam Hello Brother Tholi Prema Samarasimha Reddy

K Raghavendra Rao Singeetam Sreenivasarao Vamshi Ram Gopal Varma Bapu E.V.V. Satyanarayana K. Karunakaran B Gopal

Chiranjeevi, Sridevi Balakrishna Rejandra Prasad Venkatesh, Sridevi Rajendra Prasad, Divyavani Nagarajune, Soundarya, Ramya Krishna Pawan Kalyan, Kirti Reddy Balakrishna, Simran

Aadi Khadgam Okkadu Tagore Godavari Pokiri

V. V. Vinayak Krishna Vamshi Gunasekhar V. V. Vinayak Shekar Kammula Puri Jagannadh

Jr. NTR, Keerthi Chawla Srikanth, Ravi Teja, Sonali Bendre Mahesh Babu, Bhoomika Chawla Chiranjeevi, Jyothika, Shriya Saran Sumanth, Kamalinee Mukherjee Mahesh Babu, Ileana D’Cruz

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100 Years of IndianFilms Cinema Noteworthy Marathí from The Last 100 Years Prabhakar and Medha Phadnis and Girish and Nayana Wable

Ayodhyecha Raja. The story of the Marathi film industry begins with the masterpiece ‘Ayodhyecha Raja ‘ produced by V. Shantaram at Prabhat Film Co. in 1932. It tells the story of Raja Harishchandra’s travails at the hands of his own Guru Vishvamitra and his passing the tests and ultimately winning the Guru’s blessings. Durga Khote and Baburao Pendharkar continued to figure in many more films. Music by Govindrao Tembe had the stamp of classic stage music. V. Shantaram went on to produce a long string of noted films in Marathi and Hindi.

Songadya Dada Kondke, known for his tongue in cheek comedies with double meaning dialogs, struck gold as a producer with his 1972 superhit film Songadya. Portraying the lead character, Dada enthralled the audiences with his rendering of a simpleton, enamored by the lead dancer of the Tamasha, a form of Maharashtrian song and dance show. The movie was the first in a series of 9 silver jubilee movies that made him a household name.

Shejari This was another blockbuster by V. Shantaram. The 1941 film told the story of two rural families, one Hindu and one Muslim, the long-standing friendship of the parents and the love of the Hindu son and Muslim daughter. It had as it’s backdrop, the famous Mulshi Satyagraha to protest against the Dam built by the Tatas near Pune. Keshavrao Date, a veteran from Marathi Stage and Gajanan Jagirdar played the main roles of Jivba and Mirza, who are friends and neighbors. Some excellent cinematography and Music made the black and white film hugely successful and memorable. A hindi version (Padosi) also appeared later.

Umbartha: The film is the story of a woman’s dream to step outside the four walls of her home and bring about a change in the society. The film was adjudged as the Best Feature Film in Marathi at the 29th National Film Awards for “a sincere cinematic statement on the theme of a woman seeking to establish her identity by pursuing a career, even at the risk of alienation from her family”. This pivotal role was played by Smita Patil. Set in a time in India where political corruption was rampant, she returns to her rural home, disillusioned with her failure to turn things around. She finds an unwelcome house with a husband that she may have to share, and returns to the city ever so determined to change society’s outlook towards women.

Shyamchi Aai A 1953 movie by Acharya Atre, based on the popular book by Sane Guruji a freedom fighter, about his mother and how she moulded his personality and character, made history. It won the Inaugaral Rashtrapti Gold Medal for best film among all the other Indian films of the year. Vanamala, who had almost retired after an illustrious film career, played the central role of the mother to perfection. Madhav Vaze played the role of the schoolboy Shyam. There was no other big name. Some of its melodious songs were popular in Marathi households for years.

“Ashi Hi Banwa Banwee” A hilarious comedy released in 1988, produced and directed by famous child actor, Sachin Pilgaonkar featuring many Marathi comedians like Ashok Saraf ad the Late Laxmikant Berde. It was a film based on series of lies that leads the characters into jeopardy and only their good character saves them in the end. This started the era of a string of successful Marathi comedy movies.

Simhasan A political satire based on two novels of Arun Sadhu, this film had a string of top class cinema and stage artists, old and new, seldom seen together. Nilu Phole the reporter, Arun Sarnaik, chief minister, Shreeram Lagu, the Finance minister wishing to take over and Mohan Agashe, Satish Dubhashi, Shrikant Moghe, Datta Bhat, Madhukar Todarmal and many others who played stellar roles. Rima Laagu, Nana Patekar and Jayaram Hardikar, new faces at that time, also excelled. The Machiavellian political game was well-filmed by Jabbar Patel. The film however had a somewhat elitist appeal. Pinjara A 1972 color film directed by V. Shantaram, had Shriram Lagoo and Sandhya in lead roles. Set in the backdrop of the Tamasha folk musical theatre form of Maharashtra, the film is about a morally righteous school teacher, who wants to reform a Tamasha performer but ends up falling in love with her and suffering a string of indignities. The film is known for its music and dance numbers with music by Ram Kadam. It was also the film debut of Shriram Lagoo. It was the last major film by veteran director Shantaram and went on to become one of biggest commercial successes of its time. In 1973, it won the National Film Award for Best Feature Film in Marathi for the year.

Shwaas A gut wrenching national award winning movie, released in 2004, was the first of the Marathi movies sent by India to the Oscars. This film depicted the story of a poor villager who comes to a major town to cure the eye ailment of his grandson only to find that that he has retinal cancer and might not have vision even after surgery. It ends in a dramatic mode where the grandfather takes the grandson to see the entire city a day before the surgery, so his grandson may cherish the memories for a long time to come. Made on a shoe-string budget of $500K, the movie was shot by debutant director Sandeep Sawant in 30 days. Harishchandrachi Factory A film in 2009 directed by Paresh Mokashi , shows the struggle of Dadasaheb Phalke, the doyen of indian cinema, in making the first Indian film, Raja Harishchandra in 1913. The movie unravels the story at quick pace and depicts a touching, humorous and realistic account of the conditions that prevailed at the time. It won lots of accolades and awards including being India’s official entry to the Oscars for Best Foreign Language film that year. The movie is available for live streaming on Netflix. The journey of Marathi movies and Indian Cinema which started in 1913, after 100 years, continues to progress rapidly, each taking the world by storm for their aesthetic appeal and technological advancements.

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100 Years of Indian Cinema Noteworthy Malayalam Films from The Last 100 Years By Priya Menon 1- The first silent feature film in Malayalam Vigathakumaran was released in 1928. Produced and directed by Chennai returned business man J.C.Daniel, who himself handled the role of the protagonist, the film stood apart with a social theme while mythological films ruled the film arena all over India.

Peruvazhiyambalam is an incisive examination of how violence or totalitarianism works in our society; it dealt with disturbing questions relating to masculinity and how people adore and dread it at the same time. It won the National Film Award for Best Feature Film in Malayalam.

2- The first Malayalam talkie was released in 1938. The film Balan produced by R.Sundaram and directed by Notani was a melodrama with more Tamil influence than Malayalam.

11- My Dear Kuttichathan (1984) is the first 3-D film made in India. This epoch making Malayalam movie was produced by Navodaya Appachan. The story was penned by writers Raghunath Paleri and T K Rajeev, and directed by Jijo Punnoose. It was dubbed into Hindi as Chhota Chetan in 1997 and Chutti Chathan in Tamil as recently as 2010. Both remakes became big box office hits. My Dear Kuttichathan is both a national milestone as far as Indian cinema is concerned and is an all time blockbuster in all the languages it was made into.

3- P.J.Cheriyan’s Nirmala (1948) was the first film to explore the possibility of music and songs in cinema. The lyrics of the film penned by the legendary Malayalam poet G.Shankara Kurup became so popular that song-dance sequences became essential ingredients of Malayalam cinema. 4- Jeevithanouka (1951) a melodramatic musical was the first super-hit film with the first Malayalam super-star, Thikkurishi Sukumaran Nair. The success formula of Jeevithanouka was repeated in many films that followed. 5- Neelakuyil (1954) broke away from the Tamil – Hindi influence of Malayalam cinema and had an authentic story penned by renowned writer Uroob. Directed by the duo of P.Bhaskaran and Ramu Karyat, the film dealt with the theme of untouchability that prevailed in the society then. This was also the first Malayalam film shot outdoors and also the first film to be recognized at the National level. 6- 1955 saw yet another novel venture in Malayalam cinema. A group of students, influenced by the wave of neo-realism in the West, ventured out to produce the film Newspaper Boy, directed by P.Ramadas. The film which came out even before Satyajit Ray’s Pather Panchali, dealt with the issue of poverty. 7- Chemmeen (1965) directed by Ramu Karyat was the first South Indian film to bag the President’s Golden Lotus Award for the best film. Based on the famous novel by renowned Malayalam writer Thakazhi Shivashanakara Pillai, Chemmeen pioneered the growth of Malayalam cinema in technical and artistic aspects. It brought together some of the best technical talents then available in India, Salil Chowdhri (music), Markes Burtly (cinematography) and Hrishikesh Mukherjee (editing). 8- The early 1970s witnessed a radical change in the perspective towards cinema by filmmakers as well as film viewers of Kerala. Influenced by the French and Italian New Wave, as elsewhere in India, the Malayalam New Wave was born. The arrival of young filmmakers from the newly constituted Film Institute in Pune acted as a catalyst for this radical change. Adoor Gopalakrishnan’s Swayamvaram (1972) spearheaded the genre called Parallel Cinema, which surpassed the superficiality of mere story telling and made maximum use of the possibilities of cinema as a medium. 9- Renowned writer M.T.Vasudevan Nair made his directorial debut with Nirmalyam (1973), which won the Golden lotus award, during this period. 10- K.G.George & P Padmarajan who later became the proponents of the stream of Middle Cinema made their debuts in 1976 & 1979 with their films Swapnadanam and Peruvazhiyambalam respectively. Swapnadanam, a marital psychodrama, rejected all the usual song-dance numbers of popular cinema, yet succeeded in reaching the masses. The film was a commercial success while maintaining its artistic quality. It won the Kerala State Film Award for Best Film and the National Film Award for Best Feature Film in Malayalam.

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12- Shaji.N.Karun’s Piravi (1988) created a stir in the International Film Festival circuits and refreshed the Malayali film sensibility. 13- Middle Cinema, which fused the artistic qualities of parallel cinema and popular cinema, resulted in the birth of a number of films with down to earth stories, but with most of them becoming commercial successes. K.G.George with his films Kolangal(1980), Yavanika (1982), Lekhayude Maranam Oru Flashback(1983), Adaminte Variyellu (1983) and Irakal (1985), P.Padmarajan with his films like Oridathoru Phayalwan (1981), Koodevide? (1983), Namakku Parkan Munthiri Thoppukal (1986), Moonnampakkam (1988) and Aparan (1988), Bharathan with Lorry (1980), Marmaram (1982) and Ormakkayi (1982), Mohan with Vidaparayum Munpe (1981), Lenin Rajendran with Chillu (1982) and Meenamasathile Sooryan (1985), Pavithran with Uppu (1986) and K.S.Sethumadhavan with Oppol (1980) were all strong presences in Malayalam cinema during the 80s. 14- Manichitrathazhu is an epic 1993 Indian Malayalam psychological thriller film written by Madhu Muttam, directed by Fazil. The film won the National Film Award for Best Popular Film Providing Wholesome Entertainment. It is considered as one the best thrillers ever made in India as well as one of the best Malayalam films ever made. 14- The new millennium can’t boast of too many critically acclaimed Malayalam movies though some works like Sarath’s Sayahnam (2000) and Stithi (2002), T V Chandran’s Susannah (2001), Padam Onnu Oru Vilapam (2003) and Kathavasheshan (2004), Adoor’s Nizhalkkuthu (2004) and Pradip Nair’s Oridam (2005) came out during this period. 15- Shyama Prasad, Blessy and Anjali Menon are the new age directors whose works stand out for the quality of their storytelling and aesthetics. Shyama Prasad’s complex Kallukondoru Pennu (National Award winner, 1998), BokshuThe Myth (National Award winner, 2002) and Ore Kadal(Kerala State Film Award for Best Film) are true standouts in Malayalam cinema. Blessy with his gut wrenching dramas like Kazhcha (Kerala State Award winner, 2004) and Thanmatra (National Award winner, 2005) is a formidable name in the Malayalam film world. Young and talented writer/director Anjali Menon’s Manjadikkuru (2008 FIPRESCI Award for Best Malayalam Film at IFFK and Kerala State Film Award for Best Screenplay) and Usthad Hotel (2012 - National Film Award for Best Screenplay), both wildly popular among the Malayalam film audience, have earned her a cult following for her simple yet sophisticated style of storytelling.

What gives Indian Cinema its universal appeal 100 Years of Indian Cinema

By Navya Jampani, Grade 9 Prize winning essay from FIAâ&#x20AC;&#x2122;s 2014 essay writing competition. Prompt: Indian Cinema has come a long way from what it was a decade ago. Today it is shown in more countries next only to Hollywood movies. Compare and contrast Indian cinema and Hollywood cinema and tell us what gives Indian Cinema its universal appeal.

There is a wide range of Indian movies. Some make viewers cry for their characters and others have viewers chanting on the hero about to defeat his villain. This wide range of topics and styles of Indian cinema allows for universal appeal. This universal appeal has Indian movies in competition with Hollywood movies. Even as competitors the two share many similarities. They arenâ&#x20AC;&#x2122;t as different as they seem. Hollywood and Bollywood have many similarities. They both embody many of the same themes. The two movie industries have their share of horror, romance and action movies. In Hollywood, itâ&#x20AC;&#x2122;s the Paranormal Activity movies while Chandramukhi is the epitome of Indian horror movies. Romance and action are two movie themes that not only Hollywood and Bollywood share. Both industries release movies by the day and both are very similar yet very different. The main difference between Indian and English movies is the dances that interrupt the movie. The songs and dances in between the movie express feeling at that moment in the plot. Movies from the two industries also contrast in the underlying problems that every movie tries to voice. The problems in Indian movies are specific to India. These include corruption and gender equality. Indian action movies also tend to be bloodier but more unrealistic than Hollywood movies. For example, Telugu movie, Nayak, has many fight scenes and it is easy to tell how fake it is while in the movie like The Expendables, everything looks very realistic. The universal appeal of Indian movies is also something that Bollywood shares with Hollywood. I think that the reason for the universal appeal of Indian cinema is the culture that every movie embodies. The Indian culture is visible in everything from setting to clothing. Many people are interested in Indian culture and, therefore, attracted to Indian movies. Indian cinema has become more popular than ever, in close competition with Hollywood. The two giant movie industries are similar and different in many ways. Indian movies are unique and embody our interesting culture. But, the themes present in Indian movies are also visible in Hollywood movies. I guess Indian kids in America get the best of both worlds.

Note: All writings reproduced as submitted. 100 Years of Indian Cinema | www.fia-tampabay.com

Thou Art Hundred, My Filmi Duniya! 100 Years of Indian Cinema

By Anjali Pant

nbelievable that “Escapism network” as I call it aka Bollywood is hundred. My introduction to this world of fantasy, romance, jealousy, love, fights, music, songs, lyrics and singers was as a child growing up in different military bases in India. Watching a movie was not just going to the theatres but it was more an interaction with our friends, socialization, and most of all the impatiently anticipated snacks that were served in a true military fashion in our Officers’ Mess. In other words, the movies were screened either in an Air Force theatre or ‘open air’ in our Officers’ Mess.

the house of whoever owned a television set on Sundays. One small room loaded with people, hustle bustle, chatty environment to the backdrop of the soothing voice of Lata Mangeshkar song slowly permeating the room and the aroma of different spices spreading through the room activating the taste buds. With the evolution of technology came VCR’s and the mushrooming of Video stores in the mid eighties and nineties. People rushed to get a video of their favorite film, and watch it multiple times. Movies with friends, movies with families, movies with co-workers and all it required was picking up a video tape and it was bollywood everywhere.

As a child I remember the thrill of the outdoors, joy of sitting under the twinkling stars and feeling the excitement of watching a good guy beating a group of ‘evil’ ones or the gentle breeze softly touching our faces those Friday evenings, reminiscent of the hypnotic sound of Kishore Kumar’s voice enchanting our hearts. One vivid recollection is of clear sky suddenly changing into a stormy night in the middle of the movie, leading to the screen flying in front of us in all directions, the movie projector still on. I still recall the hilarious sight of the distorted silhouettes of the protagonists. These are the moments I so cherish as an adult. What was also entertaining was the fact that there was just one operating projector, which resulted in multiple intervals, and of course opportunity for everyone to mingle and for some to be appropriately named as groups of gossip mongers.

Having said the prologue, I have often speculated at how the Indian Film Industry christened itself as “Bollywood” or who really was responsible for that name. Although the name was coined in the seventies, it gained popularity in the nineties. Personally, it feels like Americanization of a desi name, but I suppose with globalization comes assimilation and thus names that are easily pronounceable. Over the years I have let the name sink in and realized that saying I watched a Bollywood movie sounded better than saying a Hindi film, more so since living in United States.

As I got into my teens, the eagerly awaited Fridays wouldn’t come soon enough. No matter how strong our resolution to solve Physics problems or cram up the Chemistry equations, the urgency with which it was replaced by the charms of Rajesh Khanna or Dharmendra or Hema Malini is still a wonder to me. Each one of us would rationalize why being mesmerized by the captivating beauty of Waheeda Rehman or Rekha or charismatic screen presence of Amitabh Bacchaan was justifiable to sitting with a Biology book. The years passed by but the trend of entertainment in the Air Force bases remained intact, whether we were in Shillong, Lucknow, Guwahati or Jammu. The same delight I experienced as a child, I saw mirrored in other ‘military brats’. Then came the seventies-eighties, where what we looked forward to watching on big screen was now transferred to small screen, lovingly named ‘the idiot box’. Not to say that there was no television prior to the eighties, but more people started buying the television sets and popularity of ‘Chitrahaar’ and ‘film related’ shows became prevalent but most of all were the Hindi movies shown every Sunday, which families eagerly awaited collectively and looked forward to watching with all relatives. I remember visiting my grandmother for holidays, and what I noticed, which had become trendy during that period at least amongst the civilians (I say that as I grew up in military cantonments), was the congregation of neighbors at

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Beside the Hindi film industry getting a new name in the early nineties, we also saw a transitioning of the film making in 2000s, bolder themes, parallel cinema, innovative storyline and usage of “Hinglish” became prominent, and thus the popularity of Bollywood worldwide. American theatres started screening Bollywood movies and South Asians flooded the theatres to watch their favorite stars on the screen. I did that as well, getting together with friends and rushing to the theatres to relive that ‘aaha’ moment in the masala films. But no matter how hard I try, those days growing up watching a movie in the Air Force bases has left an indelible imprint. Only if I could be that child again!!

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100 Years of Indian Cinema

Volunteer at Metropolitan Ministries

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100 Years of Indian Cinema

FIA Past Presidents Mr. Chandrakant Patel – 2003 Dr. Pawan Rattan – 2004 Dr. G Ramappa – 2005 Dr. Shyam Mohapatra – 2006 Dr. Rao Emandi – 2007 Dr. Krishan Batra – 2008

Dr. Ram Reddy – 2009 Mrs. Rashmi Jakhotia – 2010 Mrs. Bela Sharma - 2011 Dr. Madhavi Sekharam - 2012 Mr. Manish Kharod - 2013

FIA Member Organizations

All Tampa Hindu Malayalee Association Asian American Convenient Stores Assoc Axon Circuit Bengali Association of Tampa Brahaman Samaj Tampa Brahmakumaris Tampa Chinmaya Mission Tampa Ekal Vidyalaya Tampa FAPI Gujarati Samaj of Tampa Bay Gurukulam of Tampa Bay Hindu American Foundation Hindu Samaj Hindu Students Council Hindu Swayamsevak Sangh Hindu Temple of Florida Indo-American Pharmacy Association Indo-US Chamber of Commerce Jain Society Tampa Marathi Mandal Tampa Malayalee Association of Tampa Malayalee Association of Central Florida Orissa Association of Tampa Bay 100 Years of Indian Cinema • www.fia-tampabay.com Overseas Friends of BJP

PEHCHAAN Pratham of Tampa Bay Punjabi Association of Tampa Bay Rajasthani Association of Tampa Bay Rath Yatra Association SASTA Sanatan Mandir Tampa Sikh Religious and Education Sindhi Association of Tampa Bay Srigandha Kannada Koota Students of India Association Swami Narayan (BAPS) Swaradhana Swaralaya Tampa Tamil Association of USA Tampa Bay Indian Muslim Alliance Tampa Bay Malayalee Association Tamil Sneham Association Telugu Association of Florida The Tampa Bay Inc U.P.Association of Tampa Vicas Group of Tampa Bay Vishnu Mandir Tampa W. Indies Indo-Caribbean Association

100 Years of Indian Cinema

www.ekal.org

Saturday March 1, 2014

Dinner: 5:30 PM - 7:30 PM Musical & Dance Concert: 7:30 PM - 10:30 PM Venue: India Cultural Center (ICC) 5511 Lynn Rd, Tampa FL 33624

General Admission Ticket: $25 Admission Ticket Includes Dinner & Parking Co-Sponsor FAPI Members ICC Trustees

2014 Ekal School Donors: 4 Complementary Tickets to both the Tampa Musical Concert & Lakeland Vibhari Yadav Concert

Co-Sponsor Punjabi Association of Tampa

FAPI Members & ICC Trustees : Free

For further information, please contact one of the following Tampa Bay Chapter Ekal Representatives: Dr. Chandresh Saraiya (813)309-0647 Dr. Jawahar Taunk (727)480-3829 Dr. Umesh Choudhry (727)507-0584

Mrs. Malti Pandya (813)431-9731 Mr. Sanjiv Jain (813)714-3555 Dr. Kaushal Chari (813)464-0403

Mr. Jaimin Amin (813)283-8125 Mr. Vivek Agarwal (813)846-4312 Mrs. Mrudula Patel (813)317-3475

Dr. Vijay Patel (813)618-0034

Mrs. Anjna Shah (813)431-7280

Mrs. Bela Sharma (813)962-6173

Mr. Ram & Rashmi Jakhotia (813)962-4172

Dr. Chirag Shah (813)713-6756

Mr. Kunal Jain (727)460-0419

Ekal Vidyalaya Foundation of USA, 501(c)(3) charitable organization - Tax ID 77-0554248

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• Movement disorders Years of Indian Cinema •100 Cervical dystonia We offer patients the convenience of having technologically advanced procedures performed in the comfort and convenience of our office. A partial list of procedures available in our facility include: • EMG/NCV • Electroencephalography • Ambulatory electroencephalogram • Migraine/headache treatment including Botox • General Neurology evaluations • Medical legal evaluations • Therapeutic Botox injections.

A partial list of the disorders evaluated by Dr. Reddy include: Expert Medical Advisor, State of Florida appointed by the Department of Worker’s Compensation •Carpal/Cubital Tunnel Syndrome Dedicated service•Ulnar to Tampa community•Peripheral for over 15 years Neuropathy Neuropathy •Tarsal Tunnel Syndrome •Seizures •Fainting •Back and neck pain •Radiculopathies •Pinched nerves •Degenerative disc disease • Migraines/headaches • Movement disorders • Cervical dystonia

4446 East Fletcher Avenue, Suite E, Tampa, FL 33613

Phone: (813) 558-8878

We offer patients the convenience of having technologically advanced procedures performed in the comfort and convenience of our office. A partial list of procedures available in our facility include: • EMG/NCV • Electroencephalography • Ambulatory electroencephalogram • Migraine/headache treatment including Botox • General Neurology evaluations • Medical legal evaluations • Therapeutic Botox injections. Expert Medical Advisor, State of Florida appointed by the Department of Worker’s Compensation Dedicated service to Tampa community for over 15 years

4446 East Fletcher Avenue, Suite E, Tampa, FL 33613

Phone: (813) 558-8878

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100 Years of Indian Cinema

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