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Art Cinema in India
Art Cinema in India

Nilanjana Rai
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Tuesday, July 14, 2009
Indian Cinema was primarily divided into two genres: Art and Commercial. Has time bridged the gap between the two?

Posted On : 09/05/09 5:47:41 AM

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Amreeta DG
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Friday, September 18, 2009
What we generally comprehend from Art cinema is that it is primarily non commercial and was targeted for a particular group of audience. In India the division between art and commercial cinema was once, indeed, huge. Bereft of the usual songs, dances, larger that life characters and glamour, art films catered only to a selected few. But I, do agree, that with time the difference between the two has abridged. Audiences in India, today, look for good films and for them serious films are far better than mindless songs and dance sequences.

Posted On : 09/18/09 11:52:49 PM

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Amreeta DG
Reward Points : 8900
Member Since :
Friday, September 18, 2009
What we generally comprehend from Art cinema is that it is primarily non commercial and was targeted for a particular group of audience. In India the division between art and commercial cinema was once, indeed, huge. Bereft of the usual songs, dances, larger that life characters and glamour, art films catered only to a selected few. But I, do agree, that with time the difference between the two has abridged. Audiences in India, today, look for good films and for them serious films are far better than mindless songs and dance sequences.

Posted On : 09/19/09 12:25:10 AM

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Rashid Ashraf
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Wednesday, February 24, 2010
I as a Pakistani would always admire Mr Amitabbachan for his brilliant acting in MAIN AZAD HOON. It is true that Mr Bachhan acted in lots of hindi movies in some unforgettable roles, however, if one wants to see the actual Amitabh, he must see the movie. Who can forget the roles of Naseer uddin shah in Khandar, Masoom, Paar, Albert Pinto ko ghussa kyoon ata hai, Katha etc, likewise, Samita patel will alsways be remember for her role in CHAKRA. Shatergun Sehna in ANTARJALI JATRA can be seen at the top of his acting. Mandi, Eik doctor ki maut pankaj kapoor , salam bombay, arvind desai ki ajab dastan, saleem landre pai mat ro, gidth, dharavi, ardh satya etc etc etc are simply superb and refelct the intellect of Indian film producers of parellel cinema. I as a Pakistani Karachi admires the unmatched team work of writers, producers and actors of these movies.

Posted On : 02/25/10 10:59:38 PM

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Dipen Guha
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Friday, December 25, 2009
To categorise cinema as Art and Commercial is a result of our implied fallacy over the decades. A commercial film may have plenty of art-materials and vice versa. In order to arrest the lion s share of the population, the lion s share of our films supply raw-materials like high-voltage emotions, unnecessary songs, blatant background music, romancing in the green in unpragmatic manner, flirting, coqutry, dramatic climax with ungoverned sentiments and dreaded sanguinary scenes, and a happy ending in the long run so that the members of audiences can come out of the auditoriums with relieved disposition. At a time, when this genre used to rule the roost, some makers came out to make subtle fusion between art and commerce. Mother India by Mehboob Khan, Mughal-e Azam by K.Asif, most of the films made by Bimal Roy can be cited as examples. As far as international recognition is concerned, Chetan Anand s Neecha Nagar, Madhu Bose s Alibaba, Dharti Ke Lal by K.A Abbas made during the pre-independence era can be reckoned with. It was in 1955, Pather Panchali by Satyajit Roy made his advent felt and made the world feel that INDIA CAN MAKE FILMS. Resultantly, a trend was set and was attributed as Art Cinema. Contemporarily, Indian filmdom was blessed with the film makers like Ritwik Ghatak, Mrinal Sen, Tapan Sinha, G.Arvindan, Girish Kasaravpally, Adur Gopalkrishnan, Bhabesh Saikia, and a little later, Basu Bhattacharya, Mani Kaul, Basu Chatterji, Ketan Mehta and others who brought about novelty in this most popular visual medium. It was Bhuban Som made by Mrinal Sen in 1969, the New Wave Cinema set forth. Of course, the masses, by and large, stuck to the tearjerkers. But, tastes of masses started drifting by and by. Unfortunately, the films which earned national and international awards or acclaims were branded as Art films, while rest or major amount was Commercial. But it could be understood that films being commercially hit had profuse materials of art. The nomenclature Main-Stream Cinema and Parallel Cinema came to be introduced. Fallacy again Geometrically, the word parallel means extending in the same direction and always being the same distance apart. But, presently the films like Black, Tare Zamin Pe, Trffic Signal, Page Three, Three Idiots and a host are commercially hit though they have abundant potentials of art and message for the masses. Hence, either the main stream is coming to merge with the PARALLEL or the parallel is being a foil to keep equal distance apart from the main-stream. Now, cine-world seems to have realised that to make a SHOLAY is no easier than making an ART film. To conclude, one must remember, there are films of two categories-GOOD FILMS AND BAD FILMS.

Posted On : 03/02/10 1:25:32 AM

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