70 years of Independence: Hindi cinema from the 1940s to 2017

Indian cinema began in 1913 with Dhundiraj Govind 'Dadasaheb' Phalke's Raja Harishchandra, a full-length feature based on the life of Harishchandra, a righteous king of Ayodhya of yore. During its inception, Indian cinema was more like an extension of theatre. Plays that made it big on stage, especially mythological stories, were adapted for the reel.

However, a few decades later, the real potential of cinema was recognized and it no longer remained a reflection of society, becoming also a means to influence society. As Bertolt Brecht, the famous poet, playwright and theatre director of the 20th century, once said, “Art is not a mirror held up to reality but a hammer with which to shape it.” Thus, films began to bring awareness on social and political progress.

Over the years, subjects and ideas in films changed, as per the dictates of time.

70 years of Independence: Walking down the film lane of 1947

Celebrating India's 70th year of Independence, we chart dominant themes and events in the nearly eight decades of Hindi cinema since the early 1940s.

1940–1949

This decade proved to be politically eventful, not only for India, but for the entire world. World War II and India's Independence affected and brought responses from cinema as well. Owing to World War II, a Film Advisory Board was set up in Bombay to mobilize public support through war propaganda films in 1940. The board was given the monopoly to control the raw film stock in the country, which resulted in a sudden drop of productions in Hindi cinema. By 1941, only 78 films were produced as against 154 films produced in 1935. The monopoly was done away with only in 1945.

By the start of the decade, filmmakers were attempting to contribute to the freedom struggle, beginning with Ram Daryani’s Hindustan Hamara (1940), Shailen Ghose’s Amar Asha (1942) and Najmul Hasan Naqvi’s Naya Tarana (1943), among others. The Quit India Movement of 1942 also saw severe efforts at censorship from the British Raj. References to Indian political leaders, the Indian flag and any patriotic slogans and songs were asked to be omitted from films.

On the other side were the typical love stories. Amiya Chakrabarty’s Basant (1942), M Sadiq’s Ratan (1944), Mehboob’s Anmol Ghadi (1946), and others were tales of love.

The most commercially successful film of this decade was Gyan Mukherjee’s Kismet (1943), which is said to have earned a record Rs1 crore nett. While the film was based on the identity mismatch trope, it hosted a few themes never seen before on the Hindi screen — the idea of an anti-hero and the pregnancy of a girl outside wedlock. The film also included the patriotic song ‘Dur Hato Aye Duniya Walo’, which became an instant hit among the masses.

Another film from the decade that requires attention is Ramesh Saigal’s Shaheed (1948). Released the very next year after Independence, the film was based on the freedom struggle. The year 1948 also marked the establishment of RK Films with its first production Aag, produced and directed by Raj Kapoor.

1950–1959

The 1950s were a crucial decade for Indian cinema. It was now time to reflect on the newly independent country’s state of affairs. Two prominent filmmakers leading the pack were Raj Kapoor and Guru Dutt.

While Raj Kapoor’s blockbusters Awara (1951) and Shree 420 (1955) commented on societal evils, Guru Dutt’s Pyaasa (1957) questioned the very integrity of the political freedom the country had achieved, pointing to its state of existential crisis. The song ‘Jinhe Naaz Hai Hind Par Woh Kahan Hai?’ from the film was a severe criticism of the country and its leadership.

Filmmakers during this time also tried to delve into the idea of India. While Mehboob Khan’s Mother India (1957) was a cry on the concepts of motherhood and motherland, Bimal Roy’s Do Bigha Zamin (1953) explored the heart-wrenching hardships faced by ordinary people in rural India. Do Bigha Zamin received a special mention at the Cannes Film Festival. Another film by the director, Sujata (1959), took on the topics of caste and untouchability.

V Shantaram’s Do Ankhen Barah Haath (1957), based on the subject of reformation of criminals, too stressed on the inherent purity of beings; that people become bad only because of their socio-economic conditions. This film walked away with the Best Picture award at the Berlin Film Festival and the Samuel Goldwyn International Film award in 1958 for Best Foreign Motion Picture.

This decade, therefore, was devoted towards inward reflection on the political and social state of an India free of British rule.

1960–1969

This decade saw a shift towards the romance genre. K Asif’s period drama Mughal-e-Azam (1960) became the highest grosser with an earning of approximately Rs5.5 crore. This film was followed by many other love stories, HS Rawail’s Mere Mehboob (1963), Raj Kapoor’s Sangam (1964) and Shakti Samanta’s Aradhana (1969) among them.

The craze for shooting abroad began in 1964 when Raj Kapoor’s Sangam was extensively shot abroad and the trend of family dramas began with Yash Chopra’s Waqt (1965).

Another important trendsetter was Mrinal Sen’s Bhuvan Shome (1969), which became a precedent for the success of low-budget films. Owing to the subject and popularity of Bhuvan Shome, the Film Finance Corporation, founded in 1960, declared its new policy of backing low-budget films on offbeat topics.

However, the same year also came the superhit Aradhana that brought all attention to the new star, Rajesh Khanna. And with him came the romance dramas that primarily revolved around a couple, their separation and subsequent union.

1970–1979

Picking up on the success of Bhuvan Shome, a new group of filmmakers emerged with films that were not meant only for the box office. Often based on the lives of ordinary people, the films were made on low budgets, often using new artistes.

Typically serious in content and aimed at a niche audience, the films that came to be categorized as ‘arthouse’ films were Basu Chatterji's Sara Akash (1969), Rajinder Singh Bedi's Dastak (1970), Mani Kaul's Uski Roti (1971) and Duvidha (1973), Kumar Shahani's Maya Darpan (1972), Avtar Kaul's 27 Down (1974), MS Sathyu's Garm Hava (1974), and Shyam Benegal's Ankur (1974).

Rajesh Khanna had catapulted to stardom by the end of the previous decade. From 1970 to 1979, on an average, he starred in five films each year. These films were more often than not love stories, with an angle of societal evils added in. A few examples are Kati Patang (1970), Anand (1971), Mehboob Ki Mehndi (1971), Haathi Mere Saathi (1971), Mere Jeevan Saathi (1972) and Amar Prem (1972).

Amitabh Bachchan, on the other hand, came with a new twist to Hindi cinema with the image of the ‘Angry Young Man’. After a few side roles in films like Reshma Aur Shera (1971) and Anand (1971), he came on screen with a bang as inspector Vijay Khanna in Zanjeer (1973). This was followed by blockbuster hits like Deewaar (1975), Sholay (1975), Amar Akbar Anthony (1977) and Don (1978).

The Indian public, exasperated by economic distress, growing corruption and two years of the Emergency which was clamped in 1975, welcomed this Angry Young Man with open arms. He became their representative on the big screen, angry and fighting the system and its oppression.

1980–1989

Colour television was introduced with a live telecast of the Independence Day speech by Prime Minister Indira Gandhi on 15 August 1982. This was followed by live telecast of the Asian Games, which were held in New Delhi in November-December the same year. (source: Doordarshan website)

According to an India Today report, the audiences were so amazed at the sight of colour on TV that they were ready to spend as much as Rs8,000 on an Indian set and up to Rs15,000 on an imported one. This came as a hit to the film industry as a diminishing turnout at cinema halls resulted in tremendous losses.

Films continued to be made, of course, but the decade saw a mix of themes on the big screen. Films like Arth (1982), Katha (1982), Ardh Satya (1983), Ustav (1984) and Mirch Masala (1987) came from the arthouse stable.

Romance films like Chashme Buddoor (1981), Ek Duuje Ke Liye (1981), Silsila (1981), Hero (1983), Qayamat Se Qayamat Tak (1988) and Maine Pyaar Kiya (1989) called for the advent of love stories set against the backdrop of Indian culture and traditions.

1990–1999

This decade was dominated by the big-budget films from the stables of Dharma Productions [Kuch Kuch Hota Hai (1998)], Rajshri Productions [Hum Aapke Hain Koun..! (1994) and Hum Saath-Saath Hain (1999)], Mukta Arts [Taal (1999)], and Yash Raj Films [Dil To Pagal Hai (1997)]. The characters in these films were larger-than-life and lived in a larger-than-life Indian cultural setting.

Hum Aapke Hain Koun..! became the biggest hit in the history of Hindi cinema, with a total collection estimated at Rs69.75 crore nett in 1994, according to trade website BoxOfficeIndia.com.

The violence in the early years of the decade also affected cinema. The communal frenzy that was triggered by the demolition of the Babri Masjid in Ayodhya, Uttar Pradesh, in December 1992 reached Bombay and ultimately resulted in 10 bombs rippng through key areas in March 1993. In 1995, Mani Ratnam’s Bombay was released in three languages, Tamil and dubbed versions in Hindi and Telugu. The film won two National awards [Nargis Dutt award for Best Feature Film on National Integration and Best Editing], and two Filmfare awards [Best Film (Critic) and Best Performer (Critic)].

2000–2009

The turn of the century also marked a new era for Hindi cinema. Films now had more drama than ever. Beginning from Kaho Na... Pyaar Hai (2000), Mohabbatein (2000) and Kabhi Khushi Kabhi Gham... (2001) to Devdas (2002), Kal Ho Naa Ho (2003), Koi... Mil Gaya (2003) and Main Hoon Na (2004). The underlining theme of these films was parental love and family culture, showcased with an overflow of melodrama.

Interestingly, this decade also marked the rise of film franchises. Sequels to box-office hits became almost the norm. Examples are Munna Bhai M.B.B.S (2003) and Lage Raho Munna Bhai (2006), Koi... Mil Gaya and Krrish (2006), Sarkar (2005) and Sarkar Raj (2008), Dhoom (2004) and Dhoom 2 (2006), Raaz (2002) and Raaz: The Mystery Continues (2009).

2010–2017

By the end of the previous decade, audiences had been saturated with drama and were ready for plots closer to reality. The years from 2010 to the present have tried to fulfil just that. A plethora of themes have floated around — from book adaptations [Aisha (2010)] to women's empowerment [English Vinglish (2012), Pink (2016)]; from biopics [Paan Singh Tomar (2012) and Bhaag Milkha Bhaag (2013)] to modernistic experiments [Dev.D (2009) and LSD: Love Sex Aur Dhoka (2010)]; from gangland stories [Gangs Of Wasseypur 1 and 2 (2012)] to social issues [Peepli (Live) (2010), Vicky Donor (2012)]; and from action [Dabangg (2010) and Singham (2011)] to comedy [Jolly LLB (2013)].

Hindi cinema has come a long way from its humble beginnings. In the last two decades films came to be measured not by their content but by the star cast. This trend, too, is slowly turning around.

The recent failure of star-studded films like Tubelight (2017), Jagga Jasoos (2017) and Jab Harry Met Sejal (2017) suggest that the audience now is not looking for faces in a film, but stories. Offbeat actors like Irrfan Khan and Nawazuddin Siddiqui have enjoyed a meteoric rise with their stellar performances.

Actors and actresses from India are also exploring avenues on international grounds with Priyanka Chopra, Deepika Padukone, Irrfan Khan, Aishwarya Rai Bachchan and others bagging important roles in Hollywood productions.

Here's looking forward to the next 70 years of Hindi cinema.

70 years of Independence: Lyrics that defined freedom, but would never clear the first cut today