Category Archives: ENTERTAINMENT

Parallel cinema – How art cinema is trying to sustain in modern era ?

How art cinema is trying to sustain in modern era

Movies have always been the most popular mode of entertainment in India. Every Friday there is buzz around cinema halls on a new release. According to the Central Film Board of India there were 1,288 feature films made in India in 2009 and 1,274 in 2010 but the number of art cinema films or better known as parallel cinema are still untraceable.

Parallel cinema known for its serious content, realism and depiction of social issues started in India way back in 1925 with V.Shantaram’s 1925 silent film classic ‘Savkari Pash’ as one of the earliest examples. The movement, initially led by Bengali cinema, began to take shape from the 1940s to 1960s – a period often referred to as the ‘Golden Age of Indian Cinema.’ Most films made during this period were funded by the State Governments with an aim of showcasing an authentic art genre.

In the 70s and 80s era the art cinema started widening its wings in Hindi cinema as well Shyam Benegal, Gulzar, Mahesh Bhatt the directors of this era, tried their hand at promoting realism in their own different styles while embracing certain conventions of popular cinema in some of their other ventures. Slowly in the 90s parallel cinema saw its decline phase, the Bollywood got dominated with typical melodrama embraces fight, dance and songs.

Although parallel cinema has the power to drive change in society, throwing light on the harsh reality of society has been the main aim of this genre but as mentioned above, the charm of drama, item numbers and fight cannot be pulled out from Indian audiences and thus it gave birth to new form of cinema which included social issues with Bollywood masala.

Movies like Dor, Gulaal, Udaan, Gangs of Wasseypur deal with some of the critical social issues but they have also included the entertainment factor which audiences demand. Today there is a vast difference between old and new parallel cinema. Directors Satyajt Ray, Bimal Roy and Guru Dutt started together a wave in Indian Cinema marked as the ‘Golden Period’. Now there are a few Indian directors trying to make impact. The current off-beat films, unlike the old parallel cinema, are less political and have little potential to create social impact. Due to more emphasis on business, movies are getting dominated by the commercial factor leading to fading point of parallel cinema.

Though there are some movies which have not compromised their content according to today’s scenario such as ‘The Ship of Theseus’ but at the end it is considered as an exceptional case. The question remains whether we are forgetting the essence of parallel cinema because of the influence of commercial factor in movies or whether we should blame ourselves for not appreciating the art cinema as a viewer?

Chennai Express and Madras café – Bollywood journey from entertainment to real cinema

Chennai Express and Madras café – Bollywood journey from entertainment to real cinema

Indian Bollywood has been almost like a train journey, with each boogie having different panels of surprises just like the different kinds of movies it has come up with. Almost every single movie has delivered something different and showcased different genres.

With the 100th year on a roll, the Indian cinema has majored films on almost all forte. Be it comedy, romance, action, drama, horror anything, Bollywood has gone through all possible roads to travel to zenith and this is the mark of successful tenure of our cinema world.

With so many movies hitting the silver screen every Friday, it has raised a sort of much identified question that has come to almost everyone’s mind- What are Bollywood movies heading towards?

A distinguished experience that has transformed the approach of Bollywood towards cinema and has earmarked a new high point to reach for it, is a roller coaster experience of comedy and action that pinches you every minute to bring out your laugher. It has the powerful combination of the Badshah along with the Thailava of the Bollywood. The Golmaal man who has set a new benchmark with the highest revenue earner of Bollywood, Chennai Express, is the take of the day.

In 2013, and we got to see two different movies from different ventures of life. One was Chennai Express, made with no logic or rationality, but just for the purpose of entertaining people and making them laugh out louder. The purpose had been fulfilled and is evident from the whooping 202 crore turnover it breached within a few weeks. The movie is a full time relaxation, every punch in the dialogue will tickle your belly to laugh, and obviously you have got some beautiful songs too to refresh your mind like the “Titli”song. Some super action scenes, such as cars jumping and turning around, with the villain-hero doing some Bollywood style dhishum-dhishum, are a trademark of a typical Rohit Shetty movie. It is a pure masala movie but made solely with the purpose of making people laugh and giggle.

The other one being a simple yet rustic movie was Madras Café.  Mr. Shoojit Sircar has done a work that has required guts to do. Bollywood has never gone so far to acclaim such a zenith that Madras Café has reached to. After watching the movie one can surely say that it is a rasping and calculus experience to go through it. It is definitely a movie that has picture- perfected Bollywood with its new genre and audiences who has critically acclaimed it too.
With the backdrop of Sri Lankan civil war and the assassination of former Indian Prime Minister, Rajiv Gandhi, the film is an espionage thriller. It is a sure shot bravery done by Mr. Sircar with no song, no melodrama and a serious tone that he took.  The major applaud that is bestowed to the film is that it is slightly apart from the normal genre. Rightly reviewed that it is a slow one, with mostly showing action and fighting, which might be boring to some, but all in all, if watched with a little attention, the movie is a spectacular presentation of the real-life incident and perfectly cinematographed. To sum up, it is a film of power and eloquence. Madras cafe has effectively portrayed the ravages of war. It is a movie that has the amalgamation of ambition and bravery.

Indian cinema – Journey of 100 years

Indian cinema – Journey of 100 years.

The unity in diversification is what is replicated in Indian cinema which is celebrating its 100 years of glory. The glory which it has earned over the years,  the glory which makes an Indian proud to be a part of, the glory which altogether has become a culture in itself, the glory which reinstates the variegated Indian culture under one roof  garnering the cinematic cultures which are produced nationwide. There is no doubt that Indian cinema has become a brand ambassador of Indian culture in the world.

Indian cinema has gone through lots of upheavals and changes and is not reluctant to adopt technological advancements.

The advancement in technology has improvised the established cinematic norms of delivering product which doctored the manner in which content used to reach the target audience earlier. Super hero and science fiction films like Krish , Enthiran, Eega and Ra.One are all visual effects based and emerged as the examples of technological advancements.

Be it Satyajit Ray, Mrinal Sen , Ritwik Ghatak, Shyam Benegal, Mani Ratnam etc  whose contributions have been enormous  in making Indian cinema realise it’s true potential .

The flower of Persia directed by Hiralal Sen became the first Indian short film produced in 1898. 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. However there were several controversies associated with it.Some have argued that Pundalik does not deserve the honour 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.

The first full length motion picture in India was produced Dadasaheb Phalke who brought together elements of Sanskrit epics to produce his Raja Harishchandra (1913) a silent film in Marathi. Dadasaheb Phalke is being considered to be the father of  Indian Cinema and The Dadasaheb Phalke award has been instituted in his honour by government in 1969  for the people for their lifetime contribution to Indian cinema.

The early twentieth century gathered popularity across Indian population. Tickets were made affordable to the common man at a low price and for the financially capable additional comforts were ensured by aggrandising the ticket price. The content of Indian commercial cinema was increasingly embellished to appeal to these masses. Young Indian producers began to stitch the red carpet with the elements of India’s social life and culture. Others brought with them ideas from across the world. This was also the time when global audiences and markets became aware of India’s film industry.

The golden age of Indian cinema followed after Indian independence. Most of the critically acclaimed films are produced during this time period.The period also marked the genesis of parallel cinema movement led by Bengali cinema. tO quote a few examples which belong to this movement were Chetan Anand’s Neecha Nagar (196), Ritwik Ghatak’s Nagrik(1952), Bimal Roy’s Do Bigha Zameen (1953) laying the foundations for Indian Neorealism , 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.

Some filmmakers like Shyam Benegal continued to produce realistic Parallel cinema throughout 1970s alongside Styajit Ray, Buddhadeb Dasgupta, Gautam Ghose in Bengali cinema,Adoor Gopalakrishnan , Shaji N karun, G. Aravindan in Malayalam cinema, Nirad Mohapatra in Oriya cinema, and Mani kaul , Kumar Shahani, Ketan Mehta,Vijay Mehta in Hindi cinema.

The rise of commercial cinema began since 1970’s with enduring films like Sholay, Deewar directed by Yash Chopra and it consistently grew throughout the period of 1980’s and 1990’s with the release of the films like quayamat se quayamat tak, Tezaab, chandni,Maine pyar kiya, Baazigar, Darr, Dilwale Dulhaniya le jayege and Kuch Kuch hota hai

How Sunny deol’s son Karan deol is preparing for his debut next year

Summary : Sunny deol’s sun Karan deol will be launched next year in bollywood.

Karan is playing assistant director role for Yamla Pagla Deewana 2.

Sunny deol’s son Karan deol is honing his skill as an assistant director for Yamla Pagla Deewana 2.


Sunny deol’s next film Yamla Pagla Deewana 2 ,releasing on June 7 , is truly a Deol family movie. Dharmendra and his sons Sunny and Bobby Deol is  playing main role.Sunny’s son Karan,Sunny’s wife Linda is also the part of movie in different role.

Sunny deol’s son Karan deol is honing his skills  as an  assistant director for Yamla Pagla Deewana 2.This film is being produced by Dharmendra and is being directed by by Samir Karnik.This is the best way to understand the basics of film making.

Deol family is planning to launch Karan next year and this role is being seen as an assignment for Karan.

Sunny deol is not taking any chance and wants to teach nuances of acting. As an assistant director Karan can learn the basics of acting.

Karan is not limited to direction. He has sung a song in the movie and played the role of lyricist also.

“He is young and is learning and enjoying the experience. He has assisted for this film. He will come here (in film acting) next year…he will join the industry next year,” Sunny Deol told reporters at the film’s first look launch in Mumbai.

Karan’s mother and Sunny’s wife Linda is contributing in writing department.She is providing ideas for the story.

“She has contributed in writing department. She has given ideas. The story is about UK…the recession. She came up with this great idea and was our writer worked on it,” Sunny said