| Cinema of India | |
|---|---|
.svg) | |
| No. ofscreens | 9,742 (2023)[1] |
| • Per capita | 6 per million (2021)[2] |
| Produced feature films (2021–22)[3] | |
| Total | 2886 |
| Number of admissions (2016)[4] | |
| Total | 2,020,000,000 |
| • Per capita | 1.69 |
| National films | 1,713,600,000 |
| Gross box office (2022)[7] | |
| Total | ₹15,000crore[5] |
| National films | $3.7 billion (2020)[6] |
| Part ofa series on the |
| Culture ofIndia |
|---|
 |
Thecinema of India, consisting ofmotion pictures made by the Indianfilm industry, has had a large effect onworld cinema since the second half of the 20th century.[8][9] Indian cinema is made up of variousfilm industries, each focused on producing films in a specific language, such asHindi,Telugu,Tamil,Malayalam,Kannada,Bengali,Marathi,Punjabi,Bhojpuri,Assamese,Odia and others.
Major centres of film production across the country includeMumbai,Hyderabad,Chennai,Kolkata,Kochi,Bengaluru,Bhubaneswar-Cuttack, andGuwahati.[details 1] For a number of years, the Indian film industry has ranked first in the world in terms of annual film output.[29] In 2022, Indian cinema earned₹15,000crore ($1.9 billion) at the box-office.[5]Ramoji Film City located in Hyderabad is certified by theGuinness World Records as the largest film studio complex in the world measuring over 1,666acres (674ha).[30]
Indian cinema is composed ofmultilingual andmulti-ethnic film art. The term 'Bollywood', often mistakenly used to refer to Indian cinema as a whole, specifically denotes the Hindi-language film industry. Indian cinema, however, is an umbrella term encompassing multiple film industries, each producing films in its respective language and showcasing unique cultural and stylistic elements.
In 2021,Telugu cinema emerged as the largest film industry in India in terms of box office, although the main revenue comes from Hindi-dubbed Telugu films.[31][32] In 2022,Hindi cinema represented 33% of box office revenue, followed byTelugu representing 20%,Tamil representing 16%,Kannada representing 8%, andMalayalam representing 6%, withMarathi,Punjabi,Bengali andGujarati being the other prominent film industries based on revenue.[33][34] As of 2022, the combined revenue ofSouth Indian film industries has surpassed that of the Mumbai-based Hindi-language film industry (Bollywood).[35][36] As of 2022, Telugu cinema leads Indian cinema with 23.3crore (233 million) tickets sold, followed by Tamil cinema with 20.5 crore (205 million) and Hindi cinema with 18.9 crore (189 million).[37][33]
Indian cinema is a global enterprise,[38] and its films have attracted international attention and acclaim throughoutSouth Asia.[39] Sincetalkies began in 1931, Hindi cinema has led in terms of box office performance, but in recent years it has faced stiff competition from Telugu cinema.[40][32] Overseas Indians account for 12% of the industry's revenue.[41]
The history of cinema in India extends to the beginning of the film era. Following the screening of theLumière and Robert Paul moving pictures in London in 1896, commercialcinematography became a worldwide sensation and these films were shown in Bombay (nowMumbai) that same year.[42]
In 1897, a film presentation by filmmaker Professor Stevenson featured a stage show at Calcutta's Star Theatre. With Stevenson's camera and encouragement, Indian photographerHiralal Sen filmed scenes from that show, exhibited asThe Flower of Persia (1898).[43]The Wrestlers (1899), byH. S. Bhatavdekar, showing a wrestling match at the Hanging Gardens in Bombay, was the first film to be shot by an Indian and the first Indian documentary film.[citation needed] From 1913 to 1931, all the movies made in India weresilent films, which had no sound and hadintertitles.[44]
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In 1913,Dadasaheb Phalke releasedRaja Harishchandra (1913) in Bombay, the first film made in India. It was a silent film incorporatingEnglish,Marathi, andHindiintertitles.[49] It was premiered inCoronation cinema inGirgaon.[50]
Although some claimShree Pundalik (1912) ofDadasaheb Torne as the first film ever made in India,[51][52][50] some film scholars have argued thatPundalik was not a true Indian film because it was simply a recording of a stage play, filmed by a British cameraman and it was processed in London.[53][54][49]Raja Harishchandra of Phalke had a story based on HinduSanskrit legend ofHarishchandra, a truthful King and its success led many to consider him a pioneer of Indian cinema.[50] Phalke used an all Indian crew including actorsAnna Salunke andD. D. Dabke. He directed, edited,processed the film himself.[49] Phalke sawThe Life of Christ (1906) by the French directorAlice Guy-Blaché, While watching Jesus on the screen, Phalke envisioned Hindu deitiesRama andKrishna instead and decided to start in the business of "moving pictures".[55]
InSouth India, film pioneerRaghupathi Venkaiah Naidu, credited as the father ofTelugu cinema, built the first cinemas in Madras (nowChennai), and afilm studio was established in the city by Nataraja Mudaliar.[56][57][58] In 1921, Naidu produced the silent film,Bhishma Pratigna, generally considered to be the first Telugufeature film.[59]
The firstTamil andMalayalam films, also silent films, wereKeechaka Vadham (1917–1918,R. Nataraja Mudaliar)[60] andVigathakumaran (1928,J. C. Daniel Nadar). The latter was the first Indian social drama film and featured the firstDalit-caste film actress.[citation needed]
The first chain of Indian cinemas,Madan Theatre, was owned byParsi entrepreneurJamshedji Framji Madan, who oversaw the production and distribution of films for the chain.[50] These included film adaptations from Bengal's popular literature andSatyawadi Raja Harishchandra (1917), a remake of Phalke's influential film.[citation needed]
Films steadily gained popularity across India as affordable entertainment for the masses (admission as low as ananna [one-sixteenth of a rupee] in Bombay).[42] Young producers began to incorporate elements of Indian social life and culture into cinema, others brought new ideas from across the world. Global audiences and markets soon became aware of India's film industry.[61]
In 1927, the British government, to promote the market in India forBritish films over American ones, formed theIndian Cinematograph Enquiry Committee. The ICC consisted of three British and three Indians, led byT. Rangachari, a Madras lawyer.[62] This committee failed to bolster the desired recommendations of supporting British Film, instead recommending support for the fledgling Indian film industry, and their suggestions were set aside.
The first Indiansound film wasAlam Ara (1931) made byArdeshir Irani.[50]Ayodhyecha Raja (1932) was the first sound film ofMarathi cinema.[44] Irani also produced South India's first sound film, the Tamil–Telugu bilingual talking pictureKalidas (1931,H. M. Reddy).[63]
The firstTelugu film with audible dialogue,Bhakta Prahlada (1932), was directed byH. M. Reddy, who directed the first bilingual (Telugu and Tamil) talkieKalidas (1931).[64]East India Film Company produced its first Telugu film,Savitri (1933,C. Pullayya), adapted from a stage play by Mylavaram Bala Bharathi Samajam.[65] The film received an honorary diploma at the2nd Venice International Film Festival.[66]Chittoor Nagayya was one of the first multilingual filmmakers in India.[67][68]
Jumai Shasthi was the first Bengalishort film as atalkie.[69]
Jyoti Prasad Agarwala made his first filmJoymoti (1935) in Assamese, and later madeIndramalati.[citation needed] The first film studio in South India, Durga Cinetone, was built in 1936 by Nidamarthi Surayya inRajahmundry, Andhra Pradesh.[70][contradictory] The advent of sound to Indian cinema launched musicals such asIndra Sabha andDevi Devyani, marking the beginning of song-and-dance in Indian films.[50] By 1935, studios emerged in major cities such as Madras, Calcutta and Bombay as filmmaking became an established industry, exemplified by the success ofDevdas (1935).[71] The first colour film made in India wasKisan Kanya (1937, Moti B).[72]Viswa Mohini (1940) was the first Indian film to depict the Indian movie-making world.[73]
Swamikannu Vincent, who had built the first cinema of South India inCoimbatore, introduced the concept of "tent cinema" in which a tent was erected on a stretch of open land to screen films. The first of its kind was in Madras and called Edison's Grand Cinema Megaphone. This was due to the fact that electric carbons were used for motion picture projectors.[74][further explanation needed]Bombay Talkies opened in 1934 andPrabhat Studios inPune began production of Marathi films.[71]Sant Tukaram (1936) was the first Indian film to be screened at an international film festival,[contradictory] at the 1937 edition of the Venice Film Festival. The film was judged one of the three best films of the year.[75] However, while Indian filmmakers sought to tell important stories, theBritish Raj bannedWrath (1930) andRaithu Bidda (1938) for broaching the subject of theIndian independence movement.[50][76][77]
The IndianMasala film—a term used for mixed-genre films that combined song, dance, romance, etc.—arose following the Second World War.[71] During the 1940s, cinema inSouth India accounted for nearly half of India's cinema halls, and cinema came to be viewed as an instrument of cultural revival.[71] TheIndian People's Theatre Association (IPTA), an art movement with acommunist inclination, began to take shape through the 1940s and the 1950s.[78] IPTA plays, such asNabanna (1944), prepared the ground forrealism in Indian cinema, exemplified byKhwaja Ahmad Abbas'sDharti Ke Lal (Children of the Earth, 1946).[78] The IPTA movement continued to emphasise realism in filmsMother India (1957) andPyaasa (1957), among India's most recognisable cinematic productions.[79]
Following independence, the 1947partition of India divided the nation's assets and a number of studios moved to Pakistan.[71] Partition became an enduring film subject thereafter.[71] The Indian government had established aFilms Division by 1948, which eventually became one of the world's largest documentary film producers with an annual production of over 200 short documentaries, each released in 18 languages with 9,000 prints for permanent film theatres across the country.[80]
The period from the late 1940s to the early 1960s is regarded by film historians as the Golden Age of Indian cinema.[84][85][86] This period saw the emergence of theparallel cinema movement, which emphasisedsocial realism. Mainly led by Bengalis,[87] early examples includeDharti Ke Lal (1946,Khwaja Ahmad Abbas),[88]Neecha Nagar (1946,Chetan Anand),[89]Nagarik (1952,Ritwik Ghatak)[90][91] andDo Bigha Zamin (1953, Bimal Roy), laying the foundations for Indianneorealism[92]
The Apu Trilogy (1955–1959,Satyajit Ray) won prizes at several major international film festivals and firmly established the parallel cinema movement.[93] It was influential onworld cinema and led to a rush ofcoming-of-age films inart house theatres.[94] CinematographerSubrata Mitra developed the technique ofbounce lighting, to recreate the effect of daylight on sets, during the second film of the trilogy[95] and later pioneered other effects such as thephoto-negativeflashbacks and X-ray digressions.[96]
During the 1950s, Indian cinema reportedly became the world's second largest film industry, earning a gross annual income of₹250 million (equivalent to₹26 billion or US$300 million in 2023) in 1953.[97] The government created the Film Finance Corporation (FFC) in 1960 to provide financial support to filmmakers.[98] While serving as Information and Broadcasting Minister of India in the 1960s,Indira Gandhi supported the production of off-beat cinema through the FFC.[98]
Baburao Patel ofFilmindia calledB. N. Reddy'sMalliswari (1951) an "inspiring motion picture" which would "save us the blush when compared with the best of motion pictures of the world".[99] Film historianRandor Guy calledMalliswari scripted byDevulapalli Krishnasastri a "poem in celluloid, told with rare artistic finesse, which lingers long in the memory".[100]
CommercialHindi cinema began thriving, including acclaimed filmsPyaasa (1957) andKaagaz Ke Phool (1959,Guru Dutt)Awaara (1951) andShree 420 (1955,Raj Kapoor). These films expressed social themes mainly dealing with working-class urban life in India;Awaara presented Bombay as both a nightmare and a dream, whilePyaasa critiqued the unreality of city life.[87]
Epic filmMother India (1957,Mehboob Khan) was the first Indian film to be nominated for the US-based Academy of Motion Picture Arts and Sciences'Academy Award for Best Foreign Language Film[citation needed] and defined the conventions of Hindi cinema for decades.[101][102][103] It spawned a new genre ofdacoit films.[104]Gunga Jumna (1961,Dilip Kumar) was a dacoitcrime drama about two brothers on opposite sides of the law, a theme that became common in Indian films in the 1970s.[105]Madhumati (1958,Bimal Roy) popularised the theme ofreincarnation inWestern popular culture.[106]
ActorDilip Kumar rose to fame in the 1950s, and was the biggest Indianmovie star of the time.[107][108] He was a pioneer ofmethod acting, predating Hollywood method actors such asMarlon Brando. Much like Brando's influence onNew Hollywood actors, Kumar inspired Hindi actors, includingAmitabh Bachchan,Naseeruddin Shah,Shah Rukh Khan andNawazuddin Siddiqui.[109]
Neecha Nagar (1946) won thePalme d'Or at Cannes[89] and Indian films competed for the award most years in the 1950s and early 1960s.[citation needed] Ray is regarded as one of the greatestauteurs of20th century cinema,[110] along with his contemporaries Dutt[111] and Ghatak.[112] In 1992, theSight & Sound Critics' Poll ranked Ray atNo. 7 in its list of Top 10 Directors of all time.[113] Multiple films from this era are included among thegreatest films of all time in various critics' and directors' polls, includingThe Apu Trilogy,[114]Jalsaghar,Charulata[115]Aranyer Din Ratri,[116]Pyaasa,Kaagaz Ke Phool,Meghe Dhaka Tara,Komal Gandhar,Awaara,Baiju Bawra,Mother India,Mughal-e-Azam[117] andSubarnarekha (also tied at No. 11).[112]
Sivaji Ganesan became India's first actor to receive an international award when he won the Best Actor award at the Afro-Asian film festival in 1960 and was awarded the title of Chevalier in theLegion of Honour by theFrench Government in 1995.[118] Tamil cinema isinfluenced by Dravidian politics,[119] with prominent film personalitiesC N Annadurai,M G Ramachandran,M Karunanidhi andJayalalithaa becomingChief Ministers of Tamil Nadu.[120][timeframe?]
By 1986, India's annual film output had increased to 833 films annually, making India the world's largest film producer.[121] Hindi film production of Bombay, the largest segment of the industry, became known as "Bollywood".
By 1996, the Indian film industry had an estimated domestic cinema viewership of 600 million people, establishing India as one of the largest film markets, with the largest regional industries being Hindi, Telugu, and Tamil films.[122] In 2001, in terms of ticket sales, Indian cinema sold an estimated 3.6 billion tickets annually across the globe, compared toHollywood's 2.6 billion tickets sold.[123][124]
Realisticparallel cinema continued throughout the 1970s,[125] practised in many Indian film cultures. The FFC's art film orientation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.[126]
Hindi commercial cinema continued with films such asAradhana (1969),Sachaa Jhutha (1970),Haathi Mere Saathi (1971),Anand (1971),Kati Patang (1971)Amar Prem (1972),Dushman (1972) andDaag (1973).[importance?]
By the early 1970s, Hindi cinema was experiencing thematic stagnation,[129] dominated by musicalromance films.[130] Screenwriter duoSalim–Javed (Salim Khan andJaved Akhtar) revitalised the industry.[129] They established the genre of gritty, violent,Bombay underworldcrime films withZanjeer (1973) andDeewaar (1975).[131][132] They reinterpreted the rural themes ofMother India andGunga Jumna in an urban context reflecting 1970s India,[129][133] channelling the growing discontent and disillusionment among the masses,[129] unprecedented growth ofslums[134] and urban poverty, corruption and crime,[135] as well asanti-establishment themes.[136] This resulted in their creation of the "angry young man", personified byAmitabh Bachchan,[136] who reinterpreted Kumar's performance inGunga Jumna[129][133] and gave a voice to the urban poor.[134]
By the mid-1970s, Bachchan's position as a lead actor was solidified by crime-action filmsZanjeer andSholay (1975).[126] The devotional classicJai Santoshi Ma (1975) was made on a low budget and became a box office success and a cult classic.[126] Another important film wasDeewaar (1975,Yash Chopra),[105] acrime film with brothers on opposite sides of the law whichDanny Boyle described as "absolutely key to Indian cinema".[137]
The term "Bollywood" was coined in the 1970s,[138][139] when the conventions of commercial Bombay-produced Hindi films were established.[140] Key to this wasNasir Hussain and Salim–Javed's creation of themasala film genre, which combines elements ofaction,comedy,romance,drama,melodrama andmusical.[140][141] Their filmYaadon Ki Baarat (1973) has been identified as the first masala film and the first quintessentially Bollywood film.[140][142] Masala films made Bachchan the biggest Bollywood movie star of the period. Another landmark wasAmar Akbar Anthony (1977,Manmohan Desai).[142][143] Desai further expanded the genre in the 1970s and 1980s.
Commercial Hindi cinema grew in the 1980s, with films such asEk Duuje Ke Liye (1981),Disco Dancer (1982),Himmatwala (1983),Tohfa (1984),Naam (1986),Mr India (1987), andTezaab (1988).
In the late 1980s,[timeframe?] Hindi cinema experienced another period of stagnation, with a decline in box office turnout, due to increasing violence, decline in musical melodic quality, and rise in video piracy, leading to middle-class family audiences abandoning theatres. The turning point came with Indian blockbusterDisco Dancer (1982) which began the era of disco music in Indian cinema. Lead actorMithun Chakraborty and music directorBappi Lahiri had the highest number of mainstream Indian hit movies that decade. At the end of the decade,Yash Chopra'sChandni (1989) created a new formula for Bollywood musical romance films, reviving the genre and defining Hindi cinema in the years that followed.[144][145] Commercial Hindi cinema grew in the late 1980s and 1990s, with the release ofMr. India (1987),Qayamat Se Qayamat Tak (1988),Chaalbaaz (1989),Maine Pyar Kiya (1989),Lamhe (1991),Saajan (1991),Khuda Gawah (1992),Khalnayak (1993),Darr (1993),[126]Hum Aapke Hain Koun..! (1994),Dilwale Dulhaniya Le Jayenge (1995),Dil To Pagal Hai (1997),Pyar Kiya Toh Darna Kya (1998) andKuch Kuch Hota Hai (1998). Cult classicBandit Queen (1994) directed byShekhar Kapur received international recognition and controversy.[146][147]
In the late 1990s, there was a resurgence of parallel cinema in Bollywood, largely due to the critical and commercial success ofcrime films such asSatya (1998) andVaastav (1999). These films launched a genre known as "Mumbai noir",[149] reflecting social problems in the city.[150]Ram Gopal Varma directed theIndian Political Trilogy, and theIndian Gangster Trilogy; film critic Rajeev Masand had labelled the latter series as one of the "most influential movies of Bollywood.[151][152][153] The first instalment of the trilogy,Satya, was also listed inCNN-IBN's 100 greatestIndian films of all time.[154]
Since the 1990s, the three biggest Bollywood movie stars have been the "Three Khans":Aamir Khan,Shah Rukh Khan, andSalman Khan.[155][156] Combined, they starred in the top tenhighest-grossing Bollywood films,[155] and have dominated the Indian box office since the 1990s.[157][158] Shah Rukh Khan was the most successful for most of the 1990s and 2000s, while Aamir Khan has been the most successful since the late 2000s;[159] according toForbes, Shah Rukh Khan is "arguably the world's biggest movie star" as of 2017, due to his immense popularity in India and China.[160] Other notable Hindi film stars of recent decades includeArjun Rampal,Sunny Deol,Akshay Kumar,Ajay Devgn,Hrithik Roshan,Anil Kapoor,Sanjay Dutt,Sridevi,Madhuri Dixit,Juhi Chawla,Karisma Kapoor,Kajol,Tabu,Aishwarya Rai,Rani Mukerji andPreity Zinta.
Haider (2014,Vishal Bhardwaj), the third instalment of the Indian Shakespearean Trilogy afterMaqbool (2003) andOmkara (2006),[161] won thePeople's Choice Award at the 9thRome Film Festival in the Mondo Genere making it the first Indian film to achieve this honour.[162][relevant?]
The 2000s and 2010s also saw the rise of a new generation of popular actors likeShahid Kapoor,Ranbir Kapoor,Ranveer Singh,Ayushmann Khurrana,Varun Dhawan,Sidharth Malhotra,Sushant Singh Rajput,Kartik Aaryan,Arjun Kapoor,Aditya Roy Kapur andTiger Shroff, as well as actresses likeVidya Balan,Priyanka Chopra,Kareena Kapoor,Katrina Kaif,Kangana Ranaut,Deepika Padukone,Sonam Kapoor,Anushka Sharma,Shraddha Kapoor,Alia Bhatt,Parineeti Chopra andKriti Sanon with Balan, Ranaut and Bhatt gaining wide recognition for successful female-centric films such asThe Dirty Picture (2011),Kahaani (2012),Queen (2014),Highway (2014),Tanu Weds Manu Returns (2015),Raazi (2018) andGangubai Kathiawadi (2022).
Salim–Javed were highly influential inSouth Indian cinema. In addition to writing twoKannada films, many of their Bollywood films had remakes produced in other regions, including Tamil, Telugu and Malayalam cinema. While the Bollywood directors and producers held the rights to their films in Northern India, Salim–Javed retained the rights in South India, where they sold remake rights for films such asZanjeer,Yaadon Ki Baarat andDon.[163] Several of these remakes became breakthroughs for actorRajinikanth.[130][164]
Sridevi is widely regarded as the first female superstar of Indian cinema due to her pan-Indian appeal with equally successful careers inHindi,Tamil,Malayalam,Kannada andTelugu cinema. She is the only Bollywood actor to have starred in a top 10 grossing film each year of her active career (1983–1997).[citation needed]
K. V. Reddy'sMayabazar (1957) is a landmark film in Indian cinema, a classic ofTelugu cinema that inspired generations of filmmakers. It blends myth, fantasy, romance and humour in a timeless story, captivating audiences with its fantastical elements. The film excelled in various departments like cast performances, production design, music, cinematography and is particularly revered for its use of technology.[165][166] The use of special effects, innovative for the 1950s, like the first illusion of moonlight, showcased technical brilliance.. Powerful performances and relatable themes ensure Mayabazar stays relevant, a classic enjoyed by new generations. On the centenary of Indian cinema in 2013,CNN-IBN includedMayabazar in its list of "100 greatest Indian films of all time".[167] In a poll conducted by CNN-IBN among those 100 films,Mayabazar was voted by the public as the "Greatest Indian film of all time".[168]
K. Viswanath, one of the prominent auteurs of Indian cinema, he received international recognition for his works, and is known for blendingparallel cinema with mainstream cinema. His works such asSankarabharanam (1980) about revitalisation of Indian classical music won the "Prize of the Public" at theBesançon Film Festival ofFrance in the year 1981.[169]Forbes includedJ. V. Somayajulu's performance in the film on its list of "25 Greatest Acting Performances of Indian Cinema".[170]Swathi Muthyam (1986) wasIndia's official entry to the59th Academy Awards.[169]Swarna Kamalam (1988) the dance film choreographed byKelucharan Mohapatra, andSharon Lowen was featured at theAnn Arbor Film Festival, fetching threeIndian Express Awards.[171][172]
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B. Narsing Rao,K. N. T. Sastry, andA. Kutumba Rao garnered international recognition for their works in new-wave cinema.[173][174] Narsing Rao'sMaa Ooru (1992) won the "Media Wave Award" of Hungary;Daasi (1988) andMatti Manushulu (1990) won the Diploma of Merit awards at the16th and17thMIFF respectively.[175][176] Sastry'sThilaadanam (2000) received "New Currents Award" at the7th Busan;[177][178] Rajnesh Domalpalli'sVanaja (2006) won "Best First Feature Award" at the57th Berlinale.[179][180]
Ram Gopal Varma'sSiva (1989), which attainedcult following[181] introducedsteadicams and new sound recording techniques to Indian films.[182]Siva attracted the young audience during its theatrical run, and its success encouraged filmmakers to explore a variety of themes and make experimental films.[183] Varma introducedroad movie andfilm noir to Indian screen withKshana Kshanam (1991).[184] Varma experimented with close-to-life performances by the lead actors, which bought a rather fictional storyline a sense of authenticity at a time when the industry was being filled with commercial fillers.[185]
Singeetam Srinivasa Rao introducedtime travel to the Indian screen withAditya 369 (1991). The film dealt with exploratory dystopian and apocalyptic themes, taking the audience through a post-apocalyptic experience via time travel and folklore from 1526 CE, including a romantic subplot.[186] Singeetam Srinivasa Rao was inspired by the classic sci-fi novelThe Time Machine.[187][188][189]
Chiranjeevi's works such as the socialdrama filmSwayamkrushi (1987),comedy thrillerChantabbai (1986), thevigilante thrillerKondaveeti Donga (1990),[190] theWestern thrillerKodama Simham (1990), and theaction thriller,Gang Leader (1991), popularised genre films with the highest estimated cinema footfalls.[191]Sekhar Kammula'sDollar Dreams (2000), which explored the conflict between American dreams and human feelings, re-introducedsocial realism to Telugu film which had stagnated in formulaic commercialism.[192] War dramaKanche (2015,Krish Jagarlamudi) explored the 1944 Nazi attack on the Indian army in theItalian campaign of the Second World War.[193]
Pan-Indian film is a term related to Indian cinema that originated withTelugu cinema as a mainstream commercial film appealing to audiences across the country with a spread to world markets.[196]S. S. Rajamouli pioneered the pan-Indian films movement with duology of epic action filmsBaahubali: The Beginning (2015) andBaahubali 2: The Conclusion (2017), that changed the face of Indian cinema.Baahubali: The Beginning became the first Indian film to be nominated for AmericanSaturn Awards.[197] It received national and international acclaim for Rajamouli's direction, story, visual effects, cinematography, themes, action sequences, music, and performances, and became a record-breaking box office success.[198] The sequelBaahubali 2 (2017) went on to win the American "Saturn Award for Best International Film" & emerged as thesecond-highest-grossing Indian film of all time.[199][200]
S.S Rajamouli followed up with the alternate historical filmRRR (2022) that received universal critical acclaim for its direction, screenwriting, cast performances, cinematography, soundtrack, action sequences andVFX, which further consolidated the Pan-Indian film market. The film was considered one of the ten best films of the year by theNational Board of Review, making it only the seventh non-English language film ever to make it to the list.[201] It also became the first Indian film by an Indian production to win anAcademy Award.[202] The film went on to receive several other nominations at theGolden Globe Awards,Critics' Choice Movie Award includingBest Foreign Language Film.[203] Films likePushpa: The Rise,Salaar: Part 1 – Ceasefire andKalki 2898 AD have further contributed to the pan-Indian film wave.
Actors likePrabhas,Allu Arjun,Ram Charan andN. T. Rama Rao Jr. enjoy a nationwide popularity among the audiences after the release of their respective Pan-Indian films.Film critics, journalists and analysts, such asBaradwaj Rangan and Vishal Menon, have labelled Prabhas as the "first legit Pan-Indian Superstar".[204]
Hindi cinema has been remakingTelugu films since the late 1940s, some of which went on to become landmark films. Between 2000 and 2019, one in every three successful films made in Hindi was either a remake or part of a series. And most of the star actors, have starred in the hit remakes of Telugu films.[205]
Tamil cinema established Madras (nowChennai) as a secondary film production centre in India, used byHindi cinema, other South Indian film industries, andSri Lankan cinema.[206] Over the last quarter of the 20th century, Tamil films from India established a global presence through distribution to an increasing number of overseas theatres.[207][208] The industry also inspired independent filmmaking in Sri Lanka andTamil diaspora populations in Malaysia, Singapore, and theWestern Hemisphere.[209]
Marupakkam (1991,K. S. Sethumadhavan) andKanchivaram (2007) each won theNational Film Award for Best Feature Film.[210] Tamil films receive significant patronage in neighbouring Indian statesKerala,Karnataka,Andhra Pradesh,Maharashtra, Gujarat and New Delhi. In Kerala and Karnataka the films are directly released in Tamil but in Andhra Pradesh and Telangana they are generally dubbed into Telugu.[211][212]
Tamil films have had international success for decades. SinceChandralekha (1948),Muthu (1995) was the second Tamil film to be dubbed into Japanese (asMutu: Odoru Maharaja[213]) and grossed a record $1.6 million in 1998.[214] In 2010,Enthiran grossed a record $4 million in North America.[215] Tamil-language films appeared at multiple film festivals.Kannathil Muthamittal (Ratnam),Veyyil (Vasanthabalan) andParuthiveeran (Ameer Sultan),Kanchivaram (Priyadarshan) premiered at theToronto International Film Festival. Tamil films were submitted by India for the Academy Award for Best Foreign Language Film on eight occasions.[216] Chennai-based music composerA. R. Rahman achieved global recognition with twoAcademy Awards and is nicknamed as "Isai Puyal" (musical storm) and "Mozart of Madras".Nayakan (1987,Kamal Haasan) was included inTime's All-Time 100 Movies list.[217]
Malayalam cinema experienced its Golden Age during this time with works of filmmakers such asAdoor Gopalakrishnan,G. Aravindan,T. V. Chandran andShaji N. Karun.[218] Gopalakrishnan is often considered to be Ray's spiritual heir.[219] He directed some of his most acclaimed films during this period, includingElippathayam (1981) which won theSutherland Trophy at theLondon Film Festival.[citation needed] In 1984My Dear Kuttichathan, directed by Jijo Punnoose underNavodaya Studio, was released and it was the first Indian film to be filmed in3D format. Karun's debut filmPiravi (1989) won theCaméra d'Or atCannes, while his second filmSwaham (1994) was in competition for thePalme d'Or.Vanaprastham was screened at theUn Certain Regard section of the Cannes Film Festival.[citation needed]Murali Nair'sMarana Simhasanam (1999), inspired by the first execution byelectrocution in India, the film was screened in theUn Certain Regard section at the1999 Cannes Film Festival where it won theCaméra d'Or.[220][221] The film received special reception at theBritish Film Institute.[222][223]
Fazil'sManichitrathazhu (1993), scripted byMadhu Muttam, is inspired by a tragedy that happened in anEzhavatharavad ofAlummoottil meda' (an old traditional house) located at Muttom, Alappuzha district, with a centralTravancoreChannar family, in the 19th century.[224] It was remade in four languages – inKannada asApthamitra, inTamil asChandramukhi , inBengali asRajmohol and inHindi asBhool Bhulaiyaa – all being commercially successful.[225]Jeethu Joseph'sDrishyam (2013) was remade into four other Indian languages:Drishya (2014) inKannada,Drushyam (2014) inTelugu,Papanasam (2015) inTamil andDrishyam (2015) inHindi. Internationally, it was remade inSinhala language asDharmayuddhaya (2017) and inChinese asSheep Without a Shepherd (2019), and also inIndonesian.[226][227][228]
Ethnographic works took prominence such asB. V. Karanth'sChomana Dudi (1975), (based onChomana Dudi byShivaram Karanth),Girish Karnad'sKaadu (1973), (based onKaadu bySrikrishna Alanahalli),Pattabhirama Reddy'sSamskara (1970) (based onSamskara byU. R. Ananthamurthy), fetching the Bronze Leopard atLocarno International Film Festival,[229] andT. S. Nagabharana'sMysuru Mallige (based on the works of poetK. S. Narasimhaswamy).[230]Girish Kasaravalli'sGhatashraddha (1977), won the Ducats Award at the Manneham Film Festival Germany,[231]Dweepa (2002), made to Best Film atMoscow International Film Festival,[232][233]
Prashanth Neel'sK.G.F (2018, 2022) is aperiodaction series based on theKolar Gold Fields.[234] Set in the late 1970s and early 1980s the series follows Raja Krishnappa Bairya aka Rocky (Yash), a Mumbai-based high rankingmercenary born in poverty, to his rise to power in the Kolar Gold Fields and the subsequent uprising as one of the biggest gangster and businessman at that time.[235][236] The film gathered cult following becoming thehighest-grossing Kannada film.[237]Rishab Shetty'sKantara (2022), received acclaim for showcasing theBhoota Kola, a nativeCeremonial dance performance prevalent among theHindus of coastal Karnataka.[238]
Marathi cinema also known as Marathi film industry, is a film industry based inMumbai,Maharashtra. It is the oldest film industry of India. The first Marathi movie,Raja Harishchandra of Dadasaheb Phalke was made in 1912, released in 1913 inGirgaon, it was a silent film withMarathi-Englishintertitles made with full Marathi actors and crew, after the film emerged successful, Phalke made many movies on Hindu mythology.
In 1932, the firstsound film,Ayodhyecha Raja was released, just five years after 1st Hollywood sound filmThe Jazz Singer (1927). The first Marathi film in colour,Pinjara (1972), was made byV. Shantaram. In 1960s–70s movies was based on rural, social subjects with drama and humour genre,Nilu Phule was prominent villain that time. In 1980s, M. Kothare andSachin Pilgaonkar made many hit movies on thriller, and comedy genre respectively.Ashok Saraf andLaxmikant Berde starred in many of these and emerged as top actors. Mid-2000s onwards, the industry frequently made hit movies.[44][49][239]
K. Moti Gokulsing andWimal Dissanayake identified six major influences that have shaped Indian popular cinema:[244]
Sharmistha Gooptu and Bhaumik identifyIndo-Persian/Islamicate culture as another major influence. In the early 20th century,Urdu was thelingua franca of popular performances across northern India, established inperformance art traditions such asnautch dancing,Urdu poetry and Parsi theatre. Urdu and relatedHindi dialects were the most widely understood across northern India, thusHindustani became the standardised language of early Indiantalkies.One Thousand and One Nights (Arabian Nights) had a strong influence on Parsi theatre, which adapted "Persianate adventure-romances" into films, and on early Bombay cinema where "Arabian Nights cinema" became a popular genre.[250]
Like mainstream Indian popular cinema, Indianparallel cinema was influenced by a combination of Indian theatre andIndian literature (such asBengali literature andUrdu poetry), but differs when it comes to foreign influences, where it is influenced more byEuropean cinema (particularlyItalian neorealism and Frenchpoetic realism) than by Hollywood. Ray citedVittorio De Sica'sBicycle Thieves (1948) andJean Renoir'sThe River (1951), on which he assisted, as influences on his debut filmPather Panchali (1955).
During colonial rule, Indians bought film equipment from Europe.[61] The British funded wartime propaganda films during theSecond World War, some of which showed theIndian army pitted against theAxis powers, specifically theEmpire of Japan, which had managed to infiltrate India.[251] One such story wasBurma Rani, which depicted civilian resistance toJapanese occupation by British and Indian forces in Myanmar.[251] Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global cinema.[50]
Early Indian films made early inroads into theSoviet Union,Middle East,Southeast Asia[252] andChina. Mainstream Indian movie stars gained international fame acrossAsia[253][254][255] andEastern Europe.[256] For example, Indian films were morepopular in the Soviet Union thanHollywood films[257][258] and occasionally domesticSoviet films.[259] From 1954 to 1991, 206 Indian films were sent to the Soviet Union, drawing higher average audience figures than domestic Soviet productions,[258][260] Films such asAwaara andDisco Dancer drew more than 60 million viewers.[261][262] Films such asAwaara,3 Idiots andDangal,[263][264] were among the 20highest-grossing films in China.[265]
Many Asian andSouth Asian countries increasingly found Indian cinema more suited to their sensibilities than Western cinema.[252]Jigna Desai holds that by the 21st century, Indian cinema had become 'deterritorialised', spreading to parts of the world where Indian expatriates were present in significant numbers and had become an alternative to other international cinema.[266]
Indian films frequently appeared in international fora and film festivals.[252] This allowed parallel Bengali filmmakers to achieve worldwide fame.[267]
Indian cinema more recently began influencing Western musical films, and played a particularly instrumental role in the revival of the genre in the Western world. Ray's work had a worldwide impact, with filmmakers such asMartin Scorsese,[268]James Ivory,[269]Abbas Kiarostami,François Truffaut,[270]Carlos Saura,[271]Isao Takahata andGregory Nava[272] citing his influence, and others such asAkira Kurosawa praising his work.[273] The "youthful coming-of-age dramas that flooded art houses since the mid-fifties owe a tremendous debt to theApu trilogy", according to the film criticMichael Sragow.[94] Since the 1980s, overlooked Indian filmmakers such as Ghatak[274] and Dutt[275] posthumously gained international acclaim.Baz Luhrmann stated that his successful musical filmMoulin Rouge! (2001) was directly inspired byBollywood musicals.[276] That film's success renewed interest in the then-moribund Western musical genre, subsequently fuelling a renaissance.[277]Danny Boyle'sSlumdog Millionaire (2008) was directly inspired by Indian films,[137][278] and is considered to be an "homage to Hindi commercial cinema".[279]
Indian cinema has been recognised repeatedly at the US-based Academy Awards. Indian filmsMother India (1957),Salaam Bombay! (1988) andLagaan (2001), were nominated for theAcademy Award for Best Foreign Language Film. Indian Oscar winners includeBhanu Athaiya (costume designer), Ray (filmmaker),A. R. Rahman (music composer),Resul Pookutty (sound editor) andGulzar (lyricist),M. M. Keeravani (music composer),Chandrabose (lyricist)Cottalango Leon andRahul Thakkar Sci-Tech Award.[280][281]
Masala is a style of Indian cinema that mixes multiplegenres in one work, pioneered in the early 1970sBollywood by filmmakerNasir Hussain,[282][128][142] For example, one film can portrayaction,comedy,drama,romance andmelodrama. These films tend to be musicals with songs filmed in picturesque locations. Plots for such movies may seem illogical and improbable to unfamiliar viewers. The genre is named aftermasala, a mixture of spices inIndian cuisine.
Parallel cinema, also known asart cinema or the Indian New Wave, is known for its realism and naturalism, addressing the sociopolitical climate. This movement is distinct from mainstream Bollywood cinema and began around the same time as theFrench andJapanese New Waves. The movement began in Bengal (led by Ray, Sen and Ghatak) and then gained prominence in other regions. The movement was launched by Bimal Roy'sDo Bigha Zamin (1953), which was both a commercial and critical success, winning the International Prize atCannes.[92][283][284] Ray's films include the three instalments ofThe Apu Trilogy which won major prizes at theCannes,Berlin andVenice Film Festivals, and are frequently listed among the greatest films of all time.[285][286][287][288]
Otherneo-realistfilmmakers wereShyam Benegal, Karun, Gopalakrishnan[87] and Kasaravalli.[289]
Some Indian films are known as "multilinguals", filmed in similar but non-identical versions, in different languages.Chittoor Nagayya, was one of the first multilingual filmmakers in India.[67]Alam Ara andKalidas are earliest examples of bilingual filmmaking in India. According to Ashish Rajadhyaksha and Paul Willemen in theEncyclopedia of Indian Cinema (1994), in its most precise form, a multilingual is
a bilingual or a trilingual [that] was the kind of film made in the 1930s in the studio era, when different but identical takes were made of every shot in different languages, often with different leading stars but identical technical crew and music.[290]: 15
Rajadhyaksha and Willemen note that in seeking to construct theirEncyclopedia, they often found it "extremely difficult to distinguish multilinguals in this original sense from dubbed versions, remakes, reissues or, in some cases, the same film listed with different titles, presented as separate versions in different languages ... it will take years of scholarly work to establish definitive data in this respect".[290]: 15
Pan-India is a term related to Indian cinema that originated withTelugu cinema as a mainstream commercial cinema appealing to audiences across the country with a spread to world markets.S. S. Rajamouli pioneered the Pan-Indian films movement with his duology of epic action filmsBaahubali: The Beginning (2015) andBaahubali 2: The Conclusion (2017).[291][292] "Pan-India film" is both a style of cinema and a distribution strategy, designed to universally appeal to audiences across the country and simultaneously released in multiple languages.[293]
Music andsongs are a big part of Indian cinema and it's not just for entertainment but they play a crucial role in storytelling. Music and dance are a core part of Indian culture, and films weave them in to tell the story. Songs are used to express emotions that spoken dialogue might struggle to convey. Songs often used to move the plot forward. Lyrics might reveal a character's inner thoughts, motivations, or foreshadow future events. Sometimes the song itself can become a turning point in the story. While some may find them disruptive, songs remain a deeply rooted tradition in Indian cinema, reflecting both its culture and what audiences love.
Music is a substantial revenue generator for the Indian film industry, with music rights alone accounting for 4–5% of net revenues.[294] The major film music companies areT-Series atDelhi,Sony Music India atChennai andZee Music Company atMumbai,Aditya Music atHyderabad andSaregama atKolkata.[294] Film music accounts for 48% of net music sales in the country.[294] A typical film may feature 5–6 choreographed songs.[295]
The demands of a multicultural, increasingly globalised Indian audience led to a mixing of local and international musical traditions.[295] Local dance and music remain a recurring theme in India and followed theIndian diaspora.[295]Playback singers such asMohammad Rafi,Lata Mangeshkar,Kishore Kumar,Asha Bhosle,Mukesh,S. Janaki,P. Susheela,K. J. Yesudas,S. P. Balasubrahmanyam,K. S. Chithra,Anuradha Paudwal,Kavita Krishnamurthy,Alka Yagnik,Sadhana Sargam,Shreya Ghoshal,Sunidhi Chauhan,Kumar Sanu,Udit Narayan,Abhijeet andSonu Nigam drew crowds to presentations of film music.[295] In the 21st century interaction increased between Indian artists and others.[specify][296]
In 2023, the song "Naatu Naatu" composed byM. M. Keeravani for the movieRRR won the Oscar forBest Original Song at the95th Academy Awards, making it the first song from an Indian film, as well as the first from anAsian film, to win in this category. This made it the first Indian film by an Indian production to win anAcademy Award.[202][297]
Afilming location is any place where acting and dialogue are recorded. Sites where filming without dialogue takes place are termed asecond unit photography site. Filmmakers often choose to shoot on location because they believe that greaterrealism can be achieved in a "real" place. Location shooting is often motivated by budget considerations.[citation needed]
The most popular locations for filming in India are the main cities of their state for regional industry. Other locations includeManali andShimla inHimachal Pradesh;Srinagar inJammu and Kashmir;Ladakh;Darjeeling inWest Bengal;Ooty andKodaikanal inTamil Nadu;Amritsar inPunjab;Udaipur,Jodhpur,Jaisalmer andJaipur inRajasthan;Delhi;Ottapalam inKerala;Goa andPuducherry.[298][299]
More than 1000 production organisations operate in the Indian film industry, but few are successful.AVM Productions is the oldest surviving studio in India. Other major production houses includeSalman Khan Films,Yash Raj Films,K Sera Sera Virtual ProductionsProductionsVyjayanthi Movies,T-Series, Aamir Khan Productions,Lyca Productions,Madras Talkies,AGS Entertainment,Sun Pictures,Red Chillies Entertainment,Arka Media Works,Dharma Productions,Eros International,Sri Venkateswara Creations,Ajay Devgn FFilms,Balaji Motion Pictures,UTV Motion Pictures,Raaj Kamal Films International,Aashirvad Cinemas,Wunderbar Films,Cape of Good Films,Mythri Movie Makers,Maddock Films andGeetha Arts.[300]
Films are made in many cities and regions in India includingAndhra Pradesh and Telangana,Assam,Bengal,Bihar,Gujarat,Haryana,Jammu,Kashmir,Jharkhand,Karnataka,Goa,Kerala,Maharashtra,Manipur,Odisha,Chhattisgarh,Punjab,Rajasthan,Tamil Nadu,Tripura andMizoram.
| 2022 Indian feature films certified by theCentral Board of Film Certification by languages.[301] Note: This table indicates the number of films certified by the CBFC's regional offices in nine cities. The actual number of films produced may be less. | |
| Language | No. of films |
|---|---|
| Hindi | 468 |
| Telugu | 438 |
| Kannada | 381 |
| Tamil | 377 |
| Malayalam | 355 |
| Bhojpuri | 222 |
| Marathi | 136 |
| Bengali | 111 |
| Gujarati | 82 |
| Odia | 74 |
| Punjabi | 53 |
| Hindustani | 33 |
| Manipuri | 27 |
| Urdu | 27 |
| Assamese | 24 |
| English | 13 |
| Chhattisgarhi | 12 |
| Awadhi | 8 |
| Tulu | 6 |
| Banjara | 5 |
| Maithili | 4 |
| Rajasthani | 4 |
| Sanskrit | 4 |
| Konkani | 3 |
| Nagpuri | 2 |
| Nepali | 2 |
| Kodava | 2 |
| Haryanvi | 2 |
| Beary | 1 |
| Garhwali | 1 |
| Himachali | 1 |
| Kurumba | 1 |
| Hajong | 1 |
| Irula | 1 |
| Khasi | 1 |
| Magahi | 1 |
| Mising | 1 |
| Rabha | 1 |
| Silent | 1 |
| Total | 2886 |
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TheAssamese-language film industry is based inAssam in northeastern India. It is sometimes called Jollywood, for theJyoti Chitraban Film Studio. Some films have been well received by critics but they have not yet captured national audiences. The 21st century has producedBollywood-style Assamese movies which have set new box office records for the small industry.[302]
TheBengali-language cinematic tradition ofTollygunge,West Bengal, is also known as Tollywood.[303] When the term was coined in the 1930s, it was the centre of the Indian film industry.[304] West Bengal cinema is historically known for theparallel cinema movement andart films.
Braj-language films presentBrij culture mainly to rural people, predominantly in the nebulous Braj region centred aroundMathura,Agra,Aligarh andHathras inWestern Uttar Pradesh andBharatpur andDholpur inRajasthan (northern India). It is the predominant language in the central stretch of theGanges-Yamuna Doab inUttar Pradesh. The first Brij Bhasha movie wasBrij Bhoomi (1982, Shiv Kumar), which was a success throughout the country.[305][306] Later Brij Bhasha cinema saw the production of films likeJamuna Kinare andBrij Kau Birju.[307][308]
Bhojpuri-language films predominantly cater to residents of western Bihar and eastern Uttar Pradesh and also have a large audience inDelhi and Mumbai due to the migration of Bhojpuri speakers to these cities. International markets for these films developed in other Bhojpuri-speaking countries of theWest Indies, Oceania and South America.[309]
Bhojpuri film history begins withGanga Maiyya Tohe Piyari Chadhaibo (Mother Ganges, I will offer you a yellow sari, 1962, Kundan Kumar).[310] Throughout the following decades, few films were produced. The industry experienced a revival beginning with the hitSaiyyan Hamar (My Sweetheart, 2001, Mohan Prasad).[311] Although smaller than other Indian film industries, these successes increased Bhojpuri cinema's visibility, leading to an awards show[312] and a trade magazine,Bhojpuri City.[313]
TheChakma language is spoken inTripura andMizoram (Northeast India), as well as in theChittagong Hill Tracts region of Bangladesh. Films in Chakma includeTanyabi Firti (Tanyabi's Lake, 2005,Satarupa Sanyal).[314]
TheChhattisgarhi-language film industry ofChhattisgarhi state, central India, is known as Chhollywood. Its beginnings are withKahi Debe Sandesh (In Black and White, 1965, Manu Nayak)[315][316][317] No Chhattisgarhi films were released from 1971[318] untilMor Chhainha Bhuinya (2000).[citation needed]
Indian filmmakers also produce English language films.Deepa Mehta,Anant Balani,Homi Adajania, Vijay Singh,Vierendrra Lalit andSooni Taraporevala have garnered recognition inIndian English cinema.
TheGujarati-language film industry, also known as Gollywood or Dhollywood, is currently centered in the state ofGujarat. During the silent era, many filmmakers and actors were Gujarati and Parsi, and their films were closely related toGujarati culture. Twenty film companies and studios, mostly located in Bombay, were owned by Gujaratis and at least 44 major Gujarati directors worked during this era.[319] The first film released in Gujarati wasNarsinh Mehta (1932).[319][320][321] More than one thousand Gujarati films have been released.[322]
Gujarati cinema ranges from mythology to history and from social to political. Gujarati films originally targeted a rural audience, but after its revival (c. 2005) catered to an urban audience.[319]
TheHindi language film industry ofMumbai (formerly Bombay), also known as Bollywood,[324] is the largest and most powerful branch ofHindi cinema.[325] Hindi cinema explores issues of caste and culture in films such asAchhut Kanya (1936) andSujata (1959).[326] International visibility came to the industry withRaj Kapoor'sAwara and later inShakti Samantha'sAradhana.[327] Art film directors include Kaul,Kumar Shahani,Ketan Mehta,Govind Nihalani,Shyam Benegal,[87]Mira Nair,Nagesh Kukunoor,Sudhir Mishra andNandita Das.Hindi cinema grew during the 1990s with the release of as many as 215 films annually. Magazines such asFilmfare,Stardust andCine Blitz popularly cover the industry.[328]
Kannada cinema, also known as Sandalwood or Chandanavana,[329] is the segment of Indian cinema[330] dedicated to the production of motion pictures in theKannada language, which is widely spoken inKarnataka state.[331][332][333]Sati Sulochana (1934,Y. V. Rao) was the first talkie film in the Kannada language.[334][335][336] Kannada films include adaptations of major literary works[229][337] andexperimental films.[231]
Kokborok-language films are mainly produced inTripura and parts ofBangladesh. These films are also clubbed as 'Tripuri cinema' as a blanket term that alludes to the film industry of Tripura, encompassing films made by and for the people of Tripura and Kokborok speaking people in Bangladesh, regardless of the multitude of languages in which cinema is produced in the region'.[338]
Konkani-language films are mainly produced inGoa, one of India's smallest film regions which produced four films in 2009.[339] The first full-length Konkani film wasMogacho Anvddo (1950, Jerry Braganza).[340] The film's release date, 24 April, is celebrated as Konkani Film Day.[341] An immense body of Konkani literature and art is a resource for filmmakers.Kazar (Marriage, 2009, Richard Castelino) andUjvaadu (Shedding New Light on Old Age Issues, Kasaragod Chinna) are major releases. The pioneering Mangalorean Konkani film isMog Ani Maipas.
Maithili cinema is made in theMaithili language. The first full-length film wasKanyadan (1965).[342] There are numerous films made in the Maithili over the years[343] The filmMithila Makhaan (2019) won a National Award in the regional films category.[344]
TheMalayalam-language film industry, also known as Mollywood, is India's fourth-largest film industry. It is mainly based atKochi,Kerala state.Neelakkuyil (1954) was one of the first Malayalam films to get national recognition.[346]Newspaper Boy (1955), made by a group of students, was the firstneo-realistic Malayalam film.[347]Chemmeen (1965, Ramu Kariat), based on a story byThakazhi Sivasankara Pillai, became the first South Indian film to win theNational Film Award for Best Feature Film.[348]
Malayalam cinema has been in the forefront of technological innovation in Indian filmmaking. The firstneorealistic film (Newspaper Boy),[218] the firstCinemaScope film (Thacholi Ambu),[349] the first70 mm film (Padayottam),[350] the first3D film (My Dear Kuttichathan),[351] the firstPanavision film (Vanaprastham), the firstdigital film (Moonnamathoral),[352] the firstSmartphone film (Jalachhayam),[353] and the first8K film (Villain)[354] in India were made in Malayalam.
The period from 1986 to 1990 is regarded as the Golden Age of Malayalam cinema,[355] with four Malayalam films recognised by selection at theCannes Film Festival—Shaji N. Karun-directedPiravi (1989),Swaham (1994) andVanaprastham (1999), andMurali Nair-directedMarana Simhasanam (1999).Piravi (1989) won theCaméra d'Or — Mention Spéciale andMarana Simhasanam has won theCaméra d'Or.[citation needed]
TheKerala State Film Awards established by theGovernment of Kerala recognises the best works in Malayalam cinema every year, along withJ. C. Daniel Award for lifetime achievement in Malayalam cinema.K. R. Narayanan National Institute of Visual Science and Arts (KRNNIVSA) is a training and research centre for film and video technology.[356]
Manipuri cinema is a small film industry ofManipur, encompassingMeitei language and other languages of the state. It began in the 1970s and gained momentum following a 2002 state ban on Hindi films. 80–100 movies are made each year. Among the notable Manipuri films areImagi Ningthem (1982,Aribam Syam Sharma),Ishanou,Yenning Amadi Likla,Phijigee Mani,Leipaklei,Loktak Lairembee,Eikhoishibu Kanano,Eikhoigi Yum andOneness.
Marathi films are produced in theMarathi language in Maharashtra state. It the oldest of India's film industries, which began inKolhapur, moved toPune and is now based in oldMumbai.[239]
Some of the more notable films areSangte Aika,Ek Gaon Bara Bhangadi,Pinjara,Sinhasan,Pathlaag,Jait Re Jait,Saamana,Santh Wahate Krishnamai,Sant Tukaram andShyamchi Aai.[citation needed]
Nagpuri films are produced in theNagpuri language inJharkhand state. The first Nagpuri feature film wasSona Kar Nagpur (1992).[357][358] With a mainly rural population and cinema halls closing, non-traditional distribution models may be used.[359]
Gorkha cinema consists of films produced byNepali-speaking Indians.
TheOdia-language film industry ofBhubaneswar andCuttack,Odisha state, is also known as Ollywood.[360] The first Odia-language film wasSita Bibaha (1936).[361] The best year for Odia cinema was 1984 whenMaya Miriga (Nirad Mohapatra) andDhare Alua were showcased in Indian Panorama andMaya Miriga was invited to Critics Week at Cannes. The film received the Best Third World Film award at Mannheim Film Festival, Jury Award in Hawaii and was shown at the London Film Festival.
ThePunjabi-language film industry, based inAmritsar andMohali, Punjab, is also known as Pollywood. K. D. Mehra made the first Punjabi film,Sheela (1935). As of 2009, Punjabi cinema had produced between 900 and 1,000 movies.[362]
The cinema of Rajasthan (Rajjywood) refers to films produced in Rajasthan in north-western India. These films are produced in various regional and tribal languages including Rajasthani varieties such as Mewari, Marwari, Hadoti etc.
TheSindhi-language film industry is largely based inSindh, Pakistan, and with Sindhi speakers in North Gujarat and Southwestern Rajasthan, India, and elsewhere among theSindhi diaspora. The first Indian-made Sindhi film wasEkta (1940).[363] while the first Sindhi film produced in Pakistan wasUmar Marvi (1956).[364] The industry has produced some Bollywood-style films.
The Sindhi film industry produces movies at intervals. The first wasAbana (1958),[timeframe?] which was a success throughout the country. Sindhi cinema then produced some Bollywood-style films such asHal Ta Bhaji Haloon,Parewari,Dil Dije Dil Waran Khe,Ho Jamalo,Pyar Kare Dis: Feel the Power of Love andThe Awakening. Additionally, numerous Sindhi have contributed in Bollywood, includingG P Sippy,Ramesh Sippy,Nikhil Advani,Tarun Mansukhani,Ritesh Sidhwani andAsrani.[relevant?]
Director Songe Dorjee Thongdok introduced the firstSherdukpen-language filmCrossing Bridges (2014). Sherdukpen is native to the north-eastern state ofArunachal Pradesh.[365][relevant?]
The Tamil-language film industry based in Chennai, also known as Kollywood, once served as a hub for allSouth Indian film industries.[366]The first South Indian talkie filmKalidas (1931,H. M. Reddy) was shot in Tamil.Sivaji Ganesan became India's first actor to receive an international award when he won Best Actor at the Afro-Asian film festival in 1960 and the title ofChevalier in theLegion of Honour by theFrench Government in 1995.[118]
Tamil cinema isinfluenced by Dravidian politics[119] and has a tradition of addressing social issues. Many of Tamil Nadu's prominent Chief Ministers previously worked in cinema: Dravidian stalwartsC N Annadurai andM Karunanidhi were scriptwriters andM G Ramachandran andJayalalithaa gained a political base through their fan followings.[120]
Tamil films are distributed toTamil diaspora populations in various parts of Asia, Southern Africa, Northern America, Europe, and Oceania.[367] The industry-inspired Tamil film-making inSri Lanka,Malaysia, Singapore and Canada.[citation needed]
The Film and Television Institute of Telangana, Film and Television Institute of Andhra Pradesh, Ramanaidu Film School andAnnapurna International School of Film and Media are among the largest film schools in India.[370][371] TheTelugu states are home to approximately 2800 theatres, more than any single state in India.[372] Being commercially consistent, Telugu cinema had its influence over commercial cinema in India.[373]
The industry holds theGuinness World Record for the largest film production facility in the world, Ramoji Film City.[374] The Prasads IMAX located in Hyderabad is one of the largest 3D IMAX screens, and is the most attended cinema screen in the world.[240][375][376] As per theCBFC report of 2014, the industry is placed first in India, in terms of films produced yearly.[377] In the years 2005, 2006, 2008, and 2014 the industry has produced the largest number of films in India, exceeding the number of films produced inBollywood.[378][379]
TheTulu-language film industry based in the port city ofMangalore, Karnataka, is also known as Coastalwood. A small industry, its origins trace to the release ofEnna Thangadi (1971) with about one release per year until growth was spurred by the commercial success ofOriyardori Asal (2011). Films are released across theTulu Nadu cultural region, with some recent films having a simultaneous release in Mumbai, Bangalore, and Arabian Gulf countries.[citation needed]
PVR Cinemas,INOX Leisure etc. are some top multiplexes chains inIndia, which have cinemas across the nation. Book My Show is the leading tickets selling mobileandroid application in India, it have tie-up with many such multiplexes. Although PVR and INOX also sell tickets through their application- websites. Due to the convince in tickets booking online most of the viewers pre-book tickets through mobile application. Since advancement of internet service in the country online ticket selling business having robust growth here.[380] 2010 decade onward online platform gained popularity in the nation thus Many film-makers many time prefer to release their films online through one of paid app :Netflix,WFCN,Amazon Prime,JioCinema,SonyLIV,ZEE5,Disney+ Hotstar etc. and avoiding theatrical release.[381]
TheDadasaheb Phalke Award, named for "father of Indian cinema"Dadasaheb Phalke,[45][46][47][48] is given in recognition of lifetime contribution to cinema. It was established by the government of India in 1969, and is the country's most prestigious film award.[382]
| Award | Year of inception | Awarded by |
|---|---|---|
| Bhojpuri Film Awards | 2001 | AB5 Multimedia |
| Sabrang Film Awards | 2014 | Godrej Consumer Products |
| International Bhojpuri Film Awards | 2015 | Yashi Films International |
| Filmfare Awards | 1954 | Bennett, Coleman and Co. Ltd. |
| Filmfare Awards South | ||
| South Indian International Movie Awards | 2012 | Vibri Media Group |
| IIFA Awards | 2000 | Wizcraft International Entertainment Pvt Ltd |
| IIFA Utsavam | 2016 | |
| Zee Cine Awards Telugu | 2017 | Zee Entertainment Enterprises |
| Zee Cine Awards | 1998 | |
| Sansui Viewer's Choice Movie Awards | Pritish Nandy Communications[citation needed] | |
| Santosham Film Awards | 2004 | Santosham film magazine |
| CineMAA Awards | Tollywood Movie Artistes Association | |
| Asianet Film Awards | 1998 | Asianet |
| Screen Awards | 1994 | Screen Weekly |
| Stardust Awards | 2003 | Stardust |
| Zee Gaurav Puraskar | Zee Entertainment Enterprises | |
| TSR TV9 National Awards Telugu | 2007–2008 | Associated Broadcasting Company Private Limited |
| Apsara Awards | 2004 | Apsara Producers Guild Awards |
| Vijay Awards | 2007 | STAR Vijay |
| Marathi International Film and Theatre Awards | 2010 | Marathi Film Industry |
| Punjabi International Film Academy Awards | 2012 | Parvasi Media Inc. |
| Prag Cine Awards | 2013 | Prag AM Television |
| Filmfare Awards East | 2014 | Bennett, Coleman and Co. Ltd. |
Government-run and private institutes provide formal education in various aspects of filmmaking. Some of the prominent ones include:
![Dadasaheb Phalke, c. 1930s[45][46][47][48]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aPhalke.jpg)
{{cite book}}: CS1 maint: multiple names: authors list (link){{cite book}}: CS1 maint: multiple names: authors list (link)THE INDIAN FILM INDUSTRY, said to be the second largest in the world, claims to have invested Rs.420 million and to have a gross annual income of Rs.250 million.
And then I had forgotten that lndia leads the world in film production, with 833 motion pictures (up from 741 the previous year).
As the Indian film industry (mainly Hindi and Telugu combined) is one of the world's largest, with an estimated viewership of 600 million, film music has always been popular.
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