The document summarizes the history of Indian cinema from its beginnings in 1913 to the present day. It traces the evolution from silent films to talkies and color films. Key events and films are highlighted for each decade, including Dadasaheb Phalke's Raja Harishchandra in 1913, Ardeshir Irani's first talkie Alam Ara in 1931, and the new wave cinema movements of the 1950s-1970s. The document also discusses the rise of regional cinema, increasing globalization of Indian films, and emergence of new filmmakers in the new millennium.

1. By
Tushar Tembhurne

2.  The Indian Cinema has undergone a massive
change over the years. It started in 1913 from
silent movies to the first talkie in 1931 to the
colored movies to the ones today.
 Indian cinema, along with all its peculiarities,
has been a reflection of the socio-economic,
political and cultural changes that took place in
the country.
 As the world has become a global village, the
Indian film industry has reached out further to
the international audiences too.

3. BIRTH OF THE INDIAN CINEMA
 Bal Gangadhar Tilak admired movies and supported
Dadasaheb Phalke in his attempts in creating a
swadeshi cinema.
 He was the first in Marathi press to carry film reviews in
his daily newspaper Kesari.
 Dadasaheb Phalke, released his epochal feature film
Raja Harishchandra on 3rd May 1913 and thus he was
called as the father of Indian Cinema. This was the first
motion picture premiered on 21st April 1913.

4.  Phalke made other films too- Shrikrishna Janma in
1917, Kaliya Mardan in 1919, etc which had strains
of nationalism. His filma introduced mythological
genre to the Indian Cinema merging his notion of
Swadeshi into his films.
 Inspired from these the youth at that time started
making patriotic films. For instance Baburao Painter
and his Maharashtra Film Company made Kalyan
Khajina(1924), Shahala Shah(1925) and others.
These films stirred the masses into revolt.
 Several others in Bombay and Madras were
making such silent movies. Raghupathi Venkaiah
Naidu, S.S. Vasan, A.V. Meiyappan had set up
production houses in Madras to make Telugu and
Tamil films.

5. THE FIRST TALKIE
 The silent era came to an end when Ardeshir Irani produced his
first talkie, 'Alam Ara' in 1931.
 If Phalke was the father of Indian cinema, Irani was the father of
the talkie. The talkies changed the face of Indian cinema.

6.  Apart from looks, the actors not only needed a
commanding voice but also singing skills, as music
became a defining element in Indian cinema.
 The year also marked the beginning of the Talkie era in
South Indian films. The first talkie films in Bengali
(Jumai Shasthi), Telugu (Bhakta Prahlad) and Tamil
(Kalidas) were also released in the same year.
Bhakt PrahladKalidas

7. THE 1930s
 The thirties is recognized as the decade of social protest in the history
of Indian Cinema. Three big banners - Prabhat, Bombay Talkies and
New Theatres gave the lead in making serious but gripping and
entertaining films for all classes of the wide audience.
 A number of films making a strong plea against social injustice were
also made in this period like V. Santharam's Duniya na Mane, Aadmi
and Padosi; Franz Osten's Achut Kanya.
Achut Kanya
Duniya Na Mane

8.  Others are Damle & Fatehlal's Sant Tukaram; Mehboob's Watan, Ek
hi Raasta and Aurat.
 For the first time Ardeshir Irani attempted a colour picutre in 1937
with Kisan Kanya.
Sant Tukaram Kisan Kanya

9.  The decade also witnessed the release of the first talkie films in
Marathi (Ayodhiyecha Raja- 1932); Gujarati (Narasinh Mehta -
1932); Kannada (Dhurvkumar - 1934); Oriya (Sita Bibaha - 1934);
Assamese(Joymati -1935); Punjabi (Sheela- 1935) and Malayalam
(Balan - 1938).
Balan
Sheela
Ayodhiyecha Raja
Sita Bibaha

10. THE TIMES OF WORLD WAR 2
AND THE INDEPENDENCE
 The forties was a tumultuous decade; the first half
was ravaged by war and the second saw drastic
political changes all over the world.
 In the middle of the Second World War in 1945
came 'Kismet' in 1943 starring Ashok Kumar which
became one of the biggest hits in the history of
Indian cinema.
 It had some bold themes - the first anti-hero and
an unmarried pregnancy. It clearly showed that the
filmmakers of the era were bolder than the times in
which they were living in.

11.  A close relationship between epic consciousness and the art of
cinema was being established.
 It was against this backdrop that filmmakers like V.Shantaram(Dr.
Kotnis Ki Amar Kahani), Raj Kapoor(Barsaat and Aag) and
Mehboob Khan(Roti) made their films.
 In the meantime, the film industry had made rapid strides in the
South, where Tamil, Telugu and Kannada films were taking South
India by storm.

12.  By the late 1940s, films were being made in
various Indian languages with religion being
the dominant theme.
 1940s to late 1950s was also the golden
era of music. The duo Shankar Jaikishan(S-
J), O.P. Nayyar, Madan Mohan, C.
Ramchandra, Salil Chaudhury, Naushad,
S.D. Burman - all had their distinctive style.
 Each vied with the other to produce some
of the most unforgettable melodies India
has ever known.
S-J
O.P. Nayyar
S.D. Burman

13. THE GOLDEN AGE
 50s and 60s were considered as the Golden
Age of Indian cinema.
 The first International Film Festival of India
held in early 1952 at Bombay had a great
impact on the Indian Cinema.
 The big turning point came in 1955 with the
arrival of Satyajit Ray and his classic Pather
Panchali which opened up a new path leading
the Indian film to the World Film scene.
Satyajit Ray

14.  International recognition came to it with the Cannes
award for best human document followed by an
unprecedented crop of foreign and national awards.
 The impact of neorealism was evident in some
distinguished films like Bimal Roy's Do Bigha ayal
BaajZamin, Devadas and Madhumati; Rajkapoor's
Boot Polish, Shri-420 and Jagte Raho;V.
Shantharam's Do Aankhen Barah Haath and
Jhanak Jhanak Pe; Mehboob's Mother India;
Gurudutt's Pyaasa and Kagaz Ke Phool and
B.R.Chopra's Kaanoon.

15.  The first Indo-Soviet co-production Pardesi by K.A.Abbas was
also made during the fifties.
 The transition to colour and the consequent preference for
escapist entertainment and greater reliance on stars brought
about a complete change in the film industry.
 The sixties was a decade of mediocre films made mostly to
please the distributors and to some extent, meet the demands of
the box office.
K.A. Abbas

16.  The sixties began with a bang with the release of K.Asif's Mughal-
E-Azam which set a record at the box-office.
 It was followed by notable productions, which include romantic,
musicals, and melodramas of a better quality. Rajkapoor's Jis Desh
Mein Ganga Behti Hai and Sangam; Dilip Kumar's Gungajamuna;
Gurudutt's Sahib Bibi aur Gulam; Dev Anand's Guide; Bimal Roy's
Bandini; S.Mukherji's Junglee; Sunil Dutt's Mujhe Jeene Do and the
experimental Yaadein; Basu Bhattacharya's Teesri Kasam; Pramod
Chakravorthy's Love in Tokyo; Ramanand Sagar's Arzoo; Sakhti
Samantha's Aradhana; Hrishikesh Mukherji's Aashirwad and
Anand; B.R. Chopra's Waqt; Manoj Kumar's Upkar and Prasad
Production's Milan were the significant Hindi films of the decade.

17.  Among the regional languages, Malayalam cinema derived
much of its strength from literature during the sixties.
 Malayalam cinema hit the head lines for the first time when Raim
Kariat's Chemmeen (1965) won the President's Gold Medal.
 Towards the end of the decade, Mrinal Sen's Bhuvan Shome,
signalled the beginning of the new wave in Indian Cinema.
 A cinema of social significance and artistic sincerity, presenting a
modern, humanistic perspective more durable than the fantasy
world of the popular cinema had developed by then.

18. 1970s
 The 70s completely changed the way films were made,
especially in Hindi film industry. Changing social norms and
changing economies influenced movies and the companies that
made them.
 The narrative style changed. The story structure changed.
Characters changed. Content changed. Masala films were the
demand of the time.
 The genre promised instant attraction and had great
entertainment value.
 The seventies further-widened the gap between multi-star big
budgeted off beat films.

19.  The popular Hindi hits of the decade include Kamal Amrohi's
Pakeeza; Rajkapoor's Bobby; Devar's Haathi Mere Saathi,
Ramesh Sippy's Sholay, Zanjeer, Deewar,Khoon Pasina,
Yaadon Ki Baarat, Yash Chopra’s Kabhi Kabhi;Dharamveer,
Amar Akbar Anthony, Hum Kisise Kum Nahin, and Muquaddar
Ka Sikandar.
 Of these majority of the films were action oriented with revenge
as the dominating theme.
 It was the age of the angry young man and Amitabh Bachchan
rose to prominence with the success of Sholay, Zanjeer and
Deewar.

20.  While Dev Anand, Rajesh Khanna, Jitendra and
Dharmendra continued to bask in the glory of back to
back hits, the actresses were not far behind. Right from
the time of Savitri, Vyjayanthi Mala, Nargis, Waheeda
Rahman and Sharmila Tagore to Sridevi, Rekha, Smita
Patil, Hema Malini, several actresses became the
heartthrobs of India.

21.  Down in the South, the new wave cinema originated in Karnataka
and Kerala. Pattabhi Rama Reddy's Samskara (1970) and Adoor
Gopalakrishnan's Swayamvaram (1972) were the trend setters in
Kannada and Malayalam respectively.
 This continued with a series of socially conspicuous films like
Chomana Dudi, Ghatasradha, Arangetram, Chuvanna Vithukal and
many more.
Chomana DudiChuvanna
Vithukal

22.  The Hindi new wave
reached its bloom period
towards the end of the
seventies with the
coming of film makers
like Saeed Mirza (Albert
Pinto Ko gussa Kyon
aata hai, Aravind Desai ki
Ajeeb Daastan),
Rabindra Dharmaraj's
(Chakr), Sai Paranjpe
(Sparsh), Musafar Ali
(Gaman) and Biplab Roy
Chowdhari (Shodh).

23. 1980s and 90s
 The new cinema movement
continued with full spirit in the next
decade (eighties) also. Shyam
Benegal presented some good
movies like Manthan, Bhumika,
Nishant, Junoon, and Trikal.
Nihlani's Aaghat and Tamas were
remarkable works.
 Other important films with new style
of treatment include Damul(Prakash
Jha), 36 Chowringhee Lane(Aparna
Sen), Umrao Jaan (Musafir Ali),
Andhi Gali (Buddhadeb Dasgupta),
Aajka Robin Hood (Tapan
Sinha), etc.

24.  The new wave masters of Kerala, Adoor and
Aravindan, consolidated their position in the
80s with their films Elippathayam,
Mukhamukham, Anantharam, Esthappan,
Pokkuveyil, Chidambaram, and Oridath.
 Elippathayam won the prestigious British film
Institute award for 1982.
 Shaji N. Karun's maiden film Piravi (1988)
bagged several national and international
awards and was shown in nearly forty film
festivals.
 Meera Nair, the young woman director, won
the Golden Camera award at Cannes for her
first film Salaam Bombay in 1989.
Chidambaram

25.  The late eighties and early nineties saw the revival of the musical
love stories in Hindi cinema.
 Mr. India, Tezaab, Qayamat Se Qayamat Tak, Maine Pyar Kiya,
Chandni, Tridev, Hum, Ghayal, Saudagar, Rakhwala, Jo Jeeta
Wohi Sikander,Heena,Hum Hain Rahi Pyarke, Baazigar, Aaina,
Yeh Dillagi, Hum Aapke Hai Kaun, Krantiveer, Raja, Rangeela
were some of the popular Hindi films of the last decade.

26.  90s was a mixed genre of romantic, thrillers, action and comedy
films.
 A stark upgrade was seen on the canvas as technology gifted the
industry Dolby digital sound effects, advanced special effects,
choreography and international appeal.
 The development brought about investments from the corporate
sector along with finer scripts and performances.
 It was time to shift focus to aesthetic appeal.
 Stars like Shah Rukh Khan, Rajnikanth, Madhuri Dixit, Salman
Khan, Aamir Khan, Chiranjeevi, Juhi Chawla,etc.,. enriched Indian
cinema with their performances.

27.  From Bengal, Orissa, Assam and Manipur came films like Tahader
Katha, Bagh Bahadur, Charachar (Buddhadeb Dasgupta), Uttoran
(Sandip Ray), Wheel Chair(Tapan Sinha), Unishe April (Rituparno
Ghosh), Adimimansa, Lalvanya Preethi (A.K.Bir),etc.
 In the South Malayalam Cinema presented some notable films. They
include Vasthuhara (Aravindan), Vidheyan (Adoor),etc.
 From Tamil and Telugu cinema, there came few films like Anjali, Roja
and Bombay (Mani Ratnam),etc.
 English films like Miss. Beatty's Children (Pamela Rooks), and
English August (Dev Benegal) were also produced during this
period.

28. THE NEW MILLENNIUM
 Now, the Indian cinema has reached the new
millennium and a revolution of sorts has
happened in terms of defining glamour,
entertainment, commercial values, budgeting,
marketing and box office reports.
 Today Indian Cinema ,especially, Hindi cinema
is not only popular in India but in parts of the
Middle East, Pakistan, UK and virtually every
other place where Indians live.
 Films like Lagaan, Salaam Bombay and
Monsoon Wedding making the international
market sit up and take notice definitely
indicate that India is poised for bigger things
as far as Cinema goes. Monsoon Wedding
was the all-time top 10 foreign box-office hits
in America.

30.  Apart from regular screenings at major international film
festivals, the overseas market contributed a sizeable chunk to
Bollywood’s box office collections.
 Regular foreign Investments made by major global studios such
as 20th Century Fox, Sony Pictures, and Warner Bros put a
stamp of confirmation that Bollywood had etched itself on the
global podium.
 Emergence of new age filmmakers like Anurag Kashyap,
Rajkumar Hirani, Dibakar Banerjee ,Vishal Bhardwaj,etc., has
changed the scene.
 There are movies on a number of themes. There are comedies,
thrillers, horror, fiction, movies with message like Taare Zameen
Pe, Vicky Donor, Munnabhai MBBS, Chak De India, Lajja, and
many more.