On reflecting on Indian Independence, a set of important historical figures and stories of resistance emerge in my mind. Whether it was tactical agitation and subterfuge of British policy by Indian politicians or the raw indignation and defiance of protesting masses, Independence was fought and achieved on many battle grounds and diverse arenas.As a child, I remember hearing narrations of the freedom movement from my grandparents and aunties as they tried to pass down the spirit of the time they lived through. Today in a boisterous era of Indian patriotism and pride, the colonial struggle is represented to a new generation in sensational Bollywood films we've all seen like Laagan, Ghadar, and most recently Rang de Basanti which have been much appreciated in the national and international arena.However, Indian cinema was not always the exuberant powerhouse we see today. Like many other movements in colonial India, Indian cinema had to unite crowds and earn its right to exist freely. In the 1920's, 80% of the films shown in theatres were imported from America. High British tariffs on raw film stock made domestic film production very expensive and there was absolutely no financial support for production from the British Government.
As a result, importing foreign films was the easiest way for exhibitors to ensure a steady supply of films and turn profits at the theatres. Disturbed by the dominance of America's film product, England attempted to impose a 1927 British Film Quota act that would require distributors and exhibitors to carry an annually increasing number of British made "empire films." The act required the percentage of empire films must start at 7.5 percent of the total market and rise to 20 percent in the first 10 years. In effect, the act served to compete with the "morally objectionable" Hollywood imports, boost British film sales, and perhaps most frighteningly maintain British cultural influence and imperialism. Coupled with England's dismissive stance on Indian cinema, it seems like enough competition and regulation to discourage any attempts at producing homegrown films.
The first time maverick Indian filmmakers and the pictures they created for an underserved local market despite financial and technical production constraints are worth noticing. Risk takers like Save Dada, F.B. Thanwala, Hiralal Sen, and R.G. Tomey jumped into this unknown art form from different backgrounds armed with only a desire to tell stories. Black money was the only money that trickled into Indian silent film productions and although they couldn't compete on quantity or technical grounds or with the imports, these movies were more revered by their audiences. Charming and rooted in mythology or live performance traditions, Indian films started showing returns on their investments over long theatrical runs.
By the time the 1927 "empire film" quota was introduced to the colonial market, an underestimated domestic Indian film product was already connecting with two thirds of Indian audiences in their hearts. The introduction of sound in 1930 was a revolutionary element that only excited audiences further and ramped up domestic production. The British were too late and producing too irrelevant a film product to stake a claim in the emerging market. These small pictures collectively proved to be the key to stopping the British agenda of controlling the movies Indians watch. New Indian filmgoers didn't watched foreign films because they had an alternative.
These audiences preferred the rickety but authentic stories reflecting Indian values and lives. The story of Dhundiraj Govind "Dadasaheb Phalke" is a significant moment in the formation of India. Phalke is credited with premiering the country's first Indian feature film, Raja Harishchandra (50 min) on May 3, 1913. The production was completely Indian and of course it was very successful. Originally a photographer, he found filmmaking after the death of his wife and child to Bubonic plague. A creative spirit at heart, he formed Hindustan Films with a group of investors and went on to produce 4 more credited feature films.
He eventually left Hindustan films when he opposed the new profit driven direction of the company. Hindustan films turned out flops without the crafty spark of their founder and ultimately begged him to return. This story resonates because the same battle occurs at production houses today; determining a balance between art and commerce. Yet this was 90 years ago. Could Dadasaheb have ever envisioned the industry his creative pursuit would become one day? Considering the challenges in any film production, I see remarkable spirit in his vision for an independent Indian film production company during that time. Financial failure or success, Dadasaheb found a way to make films on his terms and set an example for new Indian possibility which is admirable. Around 1200 silent Indian films were made between the years of 1897 to 1930-the earlier films were shorter while full length production took off in the 1920's. In 1920, 18 full lengths were produced in the year.
In 1921, the number jumped to 40 and by 1925, 80 feature films were made in the year. By 1927, the top 3 Indian film theatres had out grossed the top 3 foreign film theatres in Bombay and Indian cinema had arrived. The persistence and curiosity of Dadasaheb and the other Indian filmmakers of the time marked a significant shift in media possibilities. Instead of passively accepting the British and foreign imported productions or folding when faced with limited resources, the first film artists rushed in and created with what they had. They made films for much less money, saw similar returns and unified people with Indian stories in a time leading up to independence Unfortunately, what remains of this formative silent era hardly fits on to 6 video cassettes at the National Film Archives of India. Silent films and directors can be seen as part of a revolutionary semiotic movement that discovered and energized the first receptive Indian film audience.
They laid the groundwork for something vital to a colonial state struggling to emerge from the psychological grip of British Rule: an esthetically independent storytelling art form in a time of emerging Indian freedom.Bollywood movie industry churns out 1000 films a year featuring Indians in every type of role in every type of movie from corny comedies to socially challenging art film. Criticism of content aside, the mere existence of this industry is an often overlooked component to our sense of free India. Can you imagine an India that still features 80% Hollywood movies in the theatres like in 1920? I think people never truly grasp what a unique revolution Indian film in this foreign market sales driven world that Hollywood economics control - most other countries are trying everything possible to generate the autonomous, enthusiastic and publicly endorsed national cinema that India boasts. None of them will ever achieve the passionate domestic spectatorship India has. On India's Independence Day, the trailblazers that gave birth to the most independent film tradition on the planet are worth a salute!
Guest writer Tanuj Chopra is a New York based writer - film director. His work "Punching at the Sun" won Best Narrative at the San Francisco International Asian American film festival and he is currently working on "Clap Clap."
