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How the Mighty Fall!

Ever wondered what life would be like if we didn’t discuss the latest fling for a Kiara Advani? Or if we didn’t know what Disha Patani is doing right now, this moment? And what about long conversations with friends about a movie you caught up on last night with the scenes and dialogues still running through your mind?


The evergreen stories we come across and the impact cinema has on our lives is inescapable. The romance of cinema, the charm of its actors, the beauty of its songs, the capability of its cinematography, the beat of its music – Bollywood had absorbed and encompassed every quality of classic cinema and recreated it to help us traverse through the realities of life, with the hope that there is still goodness in the world.


But does the ruling Hindi Film Industry still live up to its expectations? Is it still as competitive as it used to be at its peak? Do they still strive hard to keep us entertained and enamoured or are they resting on past laurels to merely drag through yet another generation? In this feature, we take you through the Golden Journey of Bollywood from its beginning days of Shri Dadasaheb Phalke’s ‘Rajah Harishchandra’ in 1913 to the current remixes of a Tanishk Bagchi all wrapped into one single hope that the glorious journey hasn’t come to an end, yet.


From the Early 1900’s to the 21st Century…


 


 


From Shantaram’s Dharti Ke Lal to Sohrab Modi’s Pukar and Mehboob Khan’s Mother India – Bollywood had captured the world’s attention. Gemini Studios’ Chandralekha was perhaps one of the greatest films ever – in both its Tamil and Hindi forms.


Wikipedia


And then came, Satyajit Ray … who could set cash registers ringing at the box office with every release. Movies like Pather Panchali (1954), Nayak (1966), Aguntak (1991) etc. - Ray’s work traced the essential outline of the middle class in modern India. But only one of his works was in Hindi – Shatranj ke Khiladi.


The 50’s brought colour to an otherwise Black and White yet beautiful cinematic landscape. Sohrab Modi Jhansi Ki Rani (1953) was India’s first colour feature film. Even though it had flopped at the box office, the film heralded a new age of Indian cinema via the capable hands of Bollywood.


 


And a new age too, as two stalwarts named Raj Kapoor and Guru Dutt took on the reigns of the mighty industry. 


Wikipedia


Raj Kapoor began his career with Bombay Talkies. An actor who acted and directed his own films, Raj Kapoor moved on from a Mera Naam Joker and an Awara to catalyzing many other careers in Bollywood via a Bobby and a Ram Teri Ganga Maili.


Guru Dutt, of course, excelled with a Pyaasa and a Kaagaz ke Phool – bringing romance in tragedy for the ardent fans of the Hindi Film goer. Shantaram’s Jhanak Jhanak Payal Baje (1955), a light entertainment genre with song-and-dance extravaganza and Mehboob Khan’s Mother India (1957), that showed a mother’s suffering and sacrifice were movies that brandished unimaginable prowess of the Bollywood filmmaker.


 


 Mughal-e-Azam (1960), with its luxurious sets, epic dance and music sequences and serenading Urdu dialogue showed the Indian audience, the opulence that Hindi film cinema could bring to his silver screen.


Sholay (1975) ushered in the era of the Angry Young Man! For the next decade or so, excessive violence became the norm of mainstream Hindi cinema as Amitabh Bachchan had just taken over the Hindi film audience’s new found imagination.


Zanjeer (1973), Amar, Akbar, Anthony (1977), Deewar, Don – Hindi Film Cinema had the perfect anatomical design for the quintessential Indian Male – Romantic, angry, comedic yet sensitive just like their Vijay!


Oh, the era of Bappi Lahiri and Mithun was one of discos and dance. Snazzy storylines accompanied the new personification of the Hindi Film Hero – He could now dance as well.


But the ‘90s brought with them the charm of ensemble and the coyness of sweet romance.  This was the time when family dramas and innovative storylines collided with fresh-blooded talent and massive budgets. Bollywood had finally pulled off all stops! Sooraj Barjatya’s Hum Apke Hain Kon, Aditya Chopra’s Dilwale Dulhania Le Jaayenge, Karan Johar’s Kuch Kuch Hota Hai and J.P. Dutta’s Border proved that the second generation of Bollywood had the talent as well as the guts to make their stories grander than life.


 


Directors like Ram Gopal Varma and David Dhawan too had the industry backing them for punchy storylines and hyper-family dramas. While a Rangeela broke all records and some censorship scissors as well, a No. 1 lineup from David Dhawan ensured that the public had seeti-maar entertainment to look forward to, every few months.


Wikipedia


The closing years of 20th century brought a superstar like Hrithik Roshan and the established stars with a common last name – Khan – to the absolute ruling roost of Bollywood’s box office roster.


And then came the 21st century.


As the Khans started to age and the slapstick comedy genres of the likes of Rohit Shetty and Sajid Nadiadwala started to bore more than entertain, Bollywood began to see the world around it moving faster than it could pivot.


 


The early decades of the 21st century witnessed several dramatic developments in Indian cinema. Perhaps, the biggest impetus to the film industry was the rapid proliferation of ‘multiplexes and digital cinema theatres enticing the ‘classes’ back to film viewing in theatres.


The mainstream Bollywood films such as Kabhi Khushi Kabhi Gham, Hum Dil De Chuke Sanam, Chak De India and Om Shanti Om were hits on the home ground and bigger hits in overseas markets. The NRI diaspora was suddenly the new feeding ground for the Badshahs of Bollywood.


Internet connectivity and the spread of digital literacy were welcomed with open arms by Bollywood since that enabled larger masses and diverse audiences to watch their creations in their respective geographies without the restraints of borders or language. But that wasn’t a one-way street. An international-cinema-conscious movie-goer had now aggressively started exploring foreign cinema with a keener interest and more inclination to spend his ticket money on.


 


And thus began the unidirectional slide downwards…


 The connection between Bollywood and the underworld was not unheard of. After all, glamour and blitz attention from all quarters – some we like, some we don’t. But Bollywood seemed to be getting along just fine with the Bhai. The 1993 Bombay Blasts brought out Bollywood’s links with the underworld as Sanjay Dutt went to jail for alleged involvement, was where the mask came off the Hindi Film Industry’s pretty face. 


The Print


The unworthy mentions of D-company became all too frequent making Indian audiences realize that their stars aren’t the cleanest at the fame game.


News18


Music Mogul Gulshan Kumar’s daylight murder was a shocker for even those who knew Bollywood’s dirty secrets by now. T-series had captured 65% of the Bollywood music industry share.  His success was a threat to many like music makers Nadeem Saifi who wanted him either compliant or removed.


 The audience still forgave as they continued to be entertained… until they weren’t anymore. Salman Khan’s rehashes of his Tiger and Shah Rukh Khan’s failed attempts to stay lead hero despite abysmal fitness levels had begun to frustrate ticket-buying audiences. Remixes of old classics and repetitions of the same old ghisa-pita themes was sounding the death of Bollywood’s creativity as we knew it.


The Pandemic was the last straw…


 


Whatever was left of Bollywood’s shine was scraped off by the pandemic. Top actors and filmmakers took shelter in their homes as the rest of the country found newer ways to get entertained. By 2020, the number of cinema screens came down to 10,500 owing to the closure of single-screen theatres but more significantly, the competition from the ‘video streaming services’ offered by over 40 OTT and on-demand subscription-based platforms like Netflix, Amazon Prime Video, Zee5 and Disney+ Hotstar.


Bollywood now had a new enemy- the small-time actor who it never even acknowledged through its tinted BMW windows outside film studios was now placing his bucketful of talent on national display via the ‘web series.’


Bollywood is making only movies for multiplexes; the majority of the budget goes to the actors instead of getting invested in movie making.”


Sanjay Ghai


 


 This one they hadn’t seen coming. But they nonetheless, tried to ride the charging bull. Saif Ali Khan, Ajay Devgn, Kajol, Sushmita Sen, and Abhishek Bachchan tried their talent and their luck on the new-found silver screen of their ardent fans – the Smartphone! OTT had started capturing unprecedented attention enough to sound out those films that had been half completed till the pandemic struck.


Hindustan Times


All things die but the love for your child doesn’t ... and so doesn’t the nepotism for filmi kids. The son of Amitabh Bachchan, the daughter of Mahesh Bhatt, the grandkid of Raj Kapoor, the cousin of Kajol, and the girlfriend of Tiger Shroff – Bollywood was all about making and taking favours and no longer about finding the right casting fit for the once-in-a-lifetime role.


This unfair adherence to giving ‘chances’ to one’s own and leftovers to the genuinely talented outsiders, brought Bollywood failure after failure at the Box office. Until Sushant Singh Rajput died.


Google


The panga with the Central Government was not something they could have afforded at this hour. But their arrogance and multiple decades of unimaginable success blinded them and they began openly opposing the Modi Government’s policies. As a result, they lost favour with the one entity that had definitely become more popular than them during these 2 years of the pandemic.


The extensive promotions by the Government machinery for a Kashmir Files as a Bachchan Paandey and a Gangubai Kathiawadi fell by the wayside, did not go unnoticed to the trained eye. The proposed setup towards the ambitious Noida Film City is perhaps also a method to deflect attention from the Hindi Film Industry’s home – Mumbai.


 


 Internet


But the camel’s back was broken by the South Power Stars…


 Consistent super hits, strong storylines, good music, powerful acting displays began to endear South Indian Films to the Hindi movie-going audiences as well. Films like Baahubali, Pushpa, KGF, RRR, Jagame Thandiram started being appreciated by audiences that didn’t even understand a bit of the native language but loved the action sequences, the daring cinematography and larger than life persona of their common-looking hero.


Wikipedia


Move over Bollywood’s unflinching conformism to six pack abs and hunked-up heroes. Here, the average looking, heavily bearded, body confident common man was doing unimaginable things on screen – making the theatre audiences believe in themselves as they lived the three hours of fantasy again with these unsophisticated superstars.


 Cinema is the art of today, just as drama was in earlier ages.  A synthesis of each and every element- the oral, the visual, the philosophical; it is our opportunity to translate the world with all its lines and shadows into a new art form that has succeeded and will supersede all the other arts, for it is the supreme medium in which we can express today and tomorrow.


 The poster boy of Indian cinema at one point – Bollywood today has become a ‘cash trap industry’. The commercialization of every aspect in every frame of Hindi Cinema does not allow improvement in a movie’s worth. Bollywood needs to bring back its A-game and concentrate on returns beyond turnover and box office collections. Movies like ‘Gangs of Wasseypur’, Queen, Shubh Mangal Savdhaan, Masaan give us hope that this industry can revive itself if they shed their age-old arrogance and come back to doing what they did best – entertain the Indian public. And unfortunately, if they still don’t, we have a message written on the wall for our fellow movie-lovers….


 Smile Baby. You’re alive. You’ve got options


-Sonya Teclai


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