Reality check on reel!

Films have held our collective attention captive ever since the first Indian-made full-length feature film, Dadasaheb Phalke���s Raja Harishchandra was released in 1912.
Providing fodder for the dreams of movie-goers, who flock to theatres in a bid to escape their day-to-day drudgery ��� critics have always been lavish in hurling accusations of cinema being only a means of escapism.Escapist it may be, but there���s no denying that our films have always been a strong reflection of the society.
A country fighting for freedom from the British rule, but bound by religion in the early 20s saw the films quench their thirst for grand stories from mythology, Indian epics and fantasy flicks. Hatim Tai, Lanka Dahan, Mohini Bhasmasur, Satyavati Savitri, Krishna and Kaliya Mardan ruled the roost in the silent era. These were slowly replaced by films ike Chalu Zamana, Maya Bazaar and England Returned with a subtle slant towards the socio-political issues.
The talkies took the industry with a storm with Alam Ara in 1931. With this the silent era ended and a new era was ushered in. Women-centric films like Veer Bala, Amar Jyoti, Aurat, Miss 1933, found prominence.
Reeling under the world wars and witnessing major socio-political upheavals post-the independence, in the 40s, the industry underwent a major change too. The Golden Era was ushered in. New ideas were encouraged, but the old values were retained. Films that captured the optimism of a dream come true and swallowing the bitter truth of hopes being dashed under evils of capitalism. Filmmakers ��� like V Shantaram, Mehboob Khan, Bimal Roy, Chetan Anand, Kedar Sharma ��� gravitated towards neo-realism. Ek Hi Raasta, Do Aankhen Baarah Haath, Roti, Dharti Ke Lal, Naya Daur, Jaagte Raho, Boot Polish, Mother India, Neecha Nagar ��� films that made the changing society it���s muse. Music and dance became intricate parts of a film and as important as the story itself. Films like K Abbas���s Shaher Aur Sapna and Raj Kapoor���s Aawara romanticised the footpaths of then Bombay, giving the industry the stereotypical rich urban villain and the victimised migrant hero.
By the late 60s stars were known for their flamboyant ways, as the society aped not only their fashion, but also lifestyles, and entertainment openly became a vehicle for escapism. Helen came to represent the high-society that accepted smoking and drinking as part of their modern and westernised outlook. Acquiring this high quality of life, even if that means compromising on ethics and morals became the norm, and filmmakers did not let it go unnoticed either. Smugglers made a welcome entry on the big screen with their molls. The youth disconnecting from the culture and families reeling under the attack of urbanisation were highlighted.
The Indo-China war changed some dynamics again. Films like Upkar became the flavour and Manoj Kumar as Bharat became immortal in cinema history. The decade also saw the hero giving into the temptations and toeing the line to the negative side, mostly driven by circumstances though ��� Ganga Jamuna, Waqt, Guide, Johnny Mera Naam, Sangam, etc...
By the late 60s, masses tired of fighting social injustices, and sobbing through maa-beta melodramas were yearning for a young change. Rajesh Khanna hit filmland in the 70s and movie-goers drowned their problems in the budding on screen loves of the superstar. However, there was discontentment brewing post the emergency. And an angry young man exploded on screen all the pent up frustrations of the youth. Amitabh Bachchan came and washed out the romance with his anger in Zanjeer. Masses had found their hero, who was ready to abandon all ideals for justice ��� what people felt was the need of the hour too. A string of similar films followed. By now the line between the virginal actress and sexy vamp was diminishing too. By 80s, the violent vendetta sagas degenerated to rebel without a cause and diverted attention towards desh ke dushman in form of smugglers and arm dealers. The violent outbursts and sex overdose on screen were balanced by family entertainers like Anand, Bawarchi, Chupke Chupke, Parichay, Mili and Guddi.
Running parallel to this mainstream format cinema was another format led by filmmakers who refused to give into the popular demands of providing meaningless entertainment, that came to be known as art or parallel cinema. Mohan Joshi Haazir Ho, Saara Akash, Jaane Bhi Do Yaaron and Manthan were some of the films that delved into contemporary realism and took a hard look at common man���s problems. While filmmakers like Mahesh Bhatt delved intricately into the lives and issues of urban couples.
By this decade there was a divide among the movie-goers ��� masses and classes. While the masses were happy with their dose of action and dance, the classes whetted their appetite for meaningful cinema in parallel cinema. Sunny Deol, Sanjay Dutt, Anil Kapoor, Madhuri Dixit, Sridevi, Jeetendra, Jackie Shroff were for the masses. The classes were happy with Nasseruddin Shah, Smita Patil, Om Puri, Farroque Sheikh, Deepti Naval and Shabana Azmi.
The late 80s saw filmmakers tap the underbelly of Mumbai���s crime scene, and the action from smugglers on the high seas, shifted to the dingy gullies of the city. Films like Tezaab, Ankush and Parinda were in. Followed by a decade of violence, politicians emerged as the ultimate villains.
The late 80s saw the action shift to young romance once again with films like Qayamat Se Qayamat Tak, Maine Pyar Kiya and Dil. With globalisation on the cards, Gen Y was in charge and the decade saw a string of designer romantic films catering to the taste of NRIs like Dil, Hum Aapke Hain Koun...!, Kuch Kuch Hota Hai, Dilwale Dulhaniya Le Jayenge, Pardes that gave the new generation a new set of poster boys like Aamir Khan, Salman Khan, Shah Rukh Khan and Akshay Kumar.
The 90s saw Rangeela���s Urmila Matondkar become every girl���s dream and every man���s fantasy. Ram Gopal Varma broke his own mould with hard-hitting films like Satya and Company, and organised crime came to rule Mumbai���s crime scene.
By 1998, multiplexes had ushered in a new genre of experimental and Hinglish films spear headed by the success of Nagesh Kukunoor���s Hyderabad Blues that found instant connect with the youth. Young films like Dil Chahta Hai followed, balanced well with Madhur Bhandarkar���s reality checks on all sections of society with hard-hitting films like Chandni Bar.
This decade too is reflective of the eclectic and indulgent taste of movie-goers who���ve been exposed to world cinema. Not happy with just a dose of masala, they crave for a little of everything. And the films prove that. Be it films addressing social issues like AIDS or a look at homosexuality in a lighter vein with Dostana. The audience has matured and their taste reflects that. The line between parallel cinema and mainstream is also diminishing, with filmmakers getting as real as possible on reel.
Check out Priyanka Chopra���s Homepage