The begining of films in India

Source: http://www.indiamarks.com/guide/The-First-movies/242
and http://en.wikipedia.org/wiki/Dadasaheb_Torne

Hindi Cinema has come a long way. New technologies are being introduced in bollywood every other day. But this wasn't the situation Cinema when it was first introduced to India on July 7, 1896. It began with the Lumiere Brothers' Cinematography, unveiling six silent short films at the Watson's Hotel in Bombay, namely Entry of Cinematographe, The Sea Bath, Arrival of a Train, A Demolition, Ladies & Soldiers on Wheels and Leaving the Factory. In the same year, the Madras Photographic Store advertised "animated photographs". Daily screenings of films commenced in Bombay in 1897 by Clifton and Co.'s Meadows Street Photography Studio.

Pundalik- First Indian feature film

An ad from The Times of India
dated 25/05/1912 for Pundalik

The first narrative feature film made in India by N.G. Chitre and Dadasaheb Torne (real name: Ramchandra Gopal) .The movie 'Pundalik' was a recording of a play. That time the camera used to be fixed on one platform and was a very heavy opto-mechanical-electrical instrument. So only "one angle" movie recording was possible. There was no concept of editing or close up shots etc. After watching the recorded movie Dadasaheb was not happy with the overall performance and the effect it was giving. So he decided to record it in parts and then join the film together. This is the job now professionally done by the film "Editor" and is an important job in the entire movie industry today. Many effects will be ineffective if the Editor does not do his job properly.

Dadasaheb Torne was an original Director, Special effects person, Editor, Sound Recordist etc. and was a master of many other techniques now commonly used in the modern movie-making. It is sad that such a prodigy was not appreciated very much in the public due to his low-key or low profile nature.

Raja Harishchandra- Regarded as the first Indian feature film

It was  made in 1913 and released commercially in May that year, by Dadasaheb Phalke.

Although Torne made his first film just under a year before Phalke made his, it is the latter who is regarded as the father of Indian cinema. The distinction may lie with the fact that, unlike Phalke, Torne sent his film overseas for processing. Moreover, Torne's Pundalik was only 1,500' (c. 22 minutes) long, about 1,200' shorter than Phalke's Raja Harischandra, which ran for about 40 minutes.

A still from Raja Harishchandra

Phalke had attended a screening of 'The Life of Christ' at P.B. Mehta's American-Indian Cinema and was inspired to make films himself. He was convinced of the possibility of establishing an indigenous film industry by focusing on Indian themes.

Phalke brought an impressive string of qualifications to the cinema: painter, printer, engraver, photographer, drama teacher, and magician. The last distinction is particularly notable. He explained that his decision to make Hindu mythological films was due not only to his religious-minded audiences, but also because such subjects allowed him "to bring in mystery and miracles."

The film was about an honest king. For the sake of his principles he sacrifices his kingdom and family before the gods, who are impressed with his honesty and restore him to his former glory. The film was a success, and Phalke went on to make more mythological films till the advent of talkies, and commercialization of Indian films lessened his popularity.

At the time when Phalke's first films were released in Bombay, it was said that the cinema was displacing traditional entertainments, such as the theatre and circus, because of its astounding popularity. When Phalke took his films to Poona in 1913, they were screened at a theatre which normally exhibited performances of Tamasha, a western Indian dramatic form.

In Raja Harischandra, the priest as comic character—a staple of the western Indian stage—was used. Moreover, it was because of the development of the theatrical tradition that Phalke was able get the women performers he sought for his female roles—even prostitutes had refused to associate themselves with films. A lay-off in a theatrical company briefly secured for him the services of Durgabhai Gokhale and her daughter, Kamalabhai, the first women actresses of the Indian cinema.

Alam Ara - The first Indian talkie

Alam Ara

March 14, 1931 was a historic day for Indian cinema. Ardeshir Irani of Imperial Movietone released Alam Ara, the first full-length Indian talkie film at the Majestic cinema in Bombay. This film very effectively broke the golden silent era and laid a milestone that marked the steeping into the new talkie era as well as rang the death knell to silent films.

Alam Ara (The Light of the World),was the first Indian sound film. Irani recognized the importance that sound would have on the cinema, and raced to complete Alam Ara before several other contemporary sound films. Alam Ara debuted at the Majestic Cinema in Mumbai (then Bombay) on March 14, 1931. Both the movie and its music were widely successful, marking the beginning of filmi music in Indian cinema.

The film was based on a Parsi play written by Joseph David. David later served as a writer at Irani's film company. The story centers on an imaginary, historical royal family in the kingdom of Kumarpur. The main characters are the king and his two warring wives Dilbahar and Navbahar. Their rivalry escalates when a fakir predicts that Navbahar will bear the king's heir.

Dilbahar, in revenge, attempts to have an affair with the kingdom's chief minister Adil. The affair goes sour and a vengeful Dilbahar imprisons him and exiles his daughter, Alam Ara (Zubeida).In exile, Alam Ara is brought up by Gypsies. Upon returning to the palace at Kumarpur, Alam Ara meets and falls in love with the charming young prince (Master Vithal). In the end, Adil is released, Dilbahar is punished and the lovers marry.

Apparently this film is no longer available in any format and even the National Film Archive does not have a copy.

Kaagaz Ke Phool- The first cinemascopic film

A still from Kaagaz Ke Phool

The cinematographer of Kaagaz Ke Phool was the legendary V.K. Murthy and it has the distinction of being the first Indian film made in wide 75 mm CinemaScope.The film also won critical acclaim in direction, lyrics and poetic songs.

Produced, directed and acted by Guru Dutt in 1959, the film was a box office disaster of its time but was later resurrected as a world cinema cult classic in the 1980's. Technically the film is perhaps his best film. The camera work with its use of light and shadows is magical. The frames have been beautifully composed keeping in mind the cinemascope format. The relationship between the director and his protégé is delicately handled on a very human plane. The film making scenes are shot with meticulous attention to detail. The ambiance of the film studios is most effectively created. The songs in the films are very popular - 'Dekhi Zamaane ki Yaari' and 'Waqt ne Kiya Kya Haseen Situm', the latter being perhaps the best ever song sung by Geeta Dutt.Ironically, today 'Kaagaz ke Phool' enjoys a cult following and goes house full whenever re-released.