SIES COLLEGE OF ARTS,SCIENCE & COMMERCE

SYBAMMC
ACADEMIC YEAR 2021-2022
SEMESTER-3
FCO
Maitri Panchal-SMM2122049
Presents
 GOLDEN ERA OF INDIAN CINEMA
The period from the late 1940s to the early 1960s, post-India's independence is known as the
Golden Age of Indian cinema by film historians. The origins of the term "Golden Age" is
found in this period where highly stylized and sometimes intensely melodramatic films
became popular, both within India and abroad. It led to the development of new styles,
genres, and themes in Indian cinema. As a recently freed nation, there was a wave of
optimism among the masses and the cinema of the time took pains to reflect and address that
reality. The period witnessed a remarkable outstanding transformation of the film industry.
Significant filmmakers Satyajit Ray and Bimal Roy made movies that fixated on the daily
miseries of the lower class. The historical and mythological subjects took a back seat and the
films with public messages began to dominate the industry. The motto was not only to
entertain the audience but to also educate the masses. These films were based on the themes
such as dowry, polygamy, prostitution, and other malpractices which were prevalent in our
society.

In the 1960s contemporary directors like Ritwik Ghatak, Mrinal Sen, and others focused on
the real issues of the common man. They directed some outstanding movies which enabled
the Indian film industry to carve a niche in the International film scenario. The 1950s and
1960s saw the rise of some memorable actors like Guru Dutt, Raj Kapoor, Dilip Kumar,
Meena Kumari, Madhubala, Nargis, Nutan, Dev Anand, Waheeda Rehman,Sadhana among
others.Some of the most evergreen films were made during this year. Some of the examples
are Shree 420 (1955) which gave us the popular anthem of the newly independent India was
directed by Raj Kapoor and written by Khwaja Ahmad Abbas, Kaagaz Ke Phool directed by
Gurudutt, written by Abrar Alvi which proved to be a critical and commercial disappointment
but since has been resurrected as a cult classic dismayed by the failure of the film Dutt never
directed again and in 1964 died of an overdose of sleeping pills and alcohol, Bimal Roy’s
Devdas (1955) which gave viewers a psychological peek into Dilip Kumar’s self-destructive
streak, last but not the least Mother India (1957) which became a cultural definitive cultural
classic and is regarded as one of the best films in Indian cinema which was directed by
Mehboob Khan became one of the first Indian Films to get nominated for the Academy
Award for the Best Foreign Language Film. Indian cinema has grown exponentially since the
introduction of sound in the 1930s. It was during this period that several distinctive
movements emerged, including social realism, double-edged message films, and art cinema.
During this time Indian film directors used cinematic techniques such as close-ups, long takes
and deep focus to depict nuanced performances by actors within their frame.Film producers
soon realized that people had little interest in or knowledge about the domestic industry so
they relied heavily on foreign content for movies for decades.

The three most admired male Indian actors of the 1950s and 1960s were Dilip Kumar, Raj
Kapoor, and Dev Anand each with eccentric acting styles. Kapoor’s 1951 film Awaara
(translated as Vagabond) introduced Kapoor's “tramp” persona, which he would develop
throughout several films, though undeniably influenced by Charlie Chaplin's iconic character
Kapoor's tramp was more swagger and the charm than endearing slapstick, Anand modeled
himself on sauve Hollywood stars like Gregory Peck and Cary Grant and Kumar pioneered a
form of method-acting which predated Hollywood method actors such as Marlon Brando.
Kumar, who was given the title of the“ultimate method actor” by Satyajit Ray, inspired future
generations of Indian actors. Coming to the female actresses of the golden era who ruled the
screens through the 50s and 60s, each one of these was an icon by herself. Sadhana is
immortalized for her cult dressing and hair-style, the famous “Sadhana-cut” unfortunately the
most beautiful feature of her facial beauty, the lotus shaped-eyes were affected due to the
thyroid malfunction & became the reason for her to be a last recluse in her last phase of life.
Meena Kumari, The “Great Tragedienne”of Hindi Cinema experienced many glorified highs
in her professional life at the same time atrocious lows in her personal life. Whenever Meena
shed tears on the screen, the entire theatre wept! Such was her portrayal of roles laced with
tragedy. Meena’s love affair and subsequent marriage with already married, talented writer-
director Kamal Amrohi, her bitter split-up with him later and her growing proximity with
Dharmendra made frequent headlines in film tabloids Somewhere in this period Meena got
immersed in the bottle. Her on-screen role of ‘Choti Bahu’ in Gurudutt’s

Classic “Saheb, Biwi aur Ghulam” caught up with her in real life, which led to heavy
alcoholism and eventual untimely death; just few weeks after the release of her swan song
film “Pakeeza” directed by her estranged husband ,Kamal Amrohi. And finally Madhubala A
Cursed-Angel from heaven! Venus of the Indian Cinema!! Blessed with the ethereal beauty ,
she was the most obedient child of her Pathan father Ataullah Khan. Started as a child artist
like Meena and Nimmi, to provide financial support to her big family with seven sisters,
Madhu became a hit-star in her first film in a lead role, Kamal Amrohi’s “Mahal”. She was
just 16 or 17 then. A committed to her job & very punctual actress she was, she remained
aloof by herself on sets. Many good-looking handsome heroes were enamoured by her
ravishing looks and slightly crooked smile that enhanced her appeal multifold.. Shammi
Kapoor,Premnath , Bharat Bhushan to name a few! But she was head over heels in love with
Dilip Kumar, many years senior to her. Madhu was frightful of crowds & avoided public
functions,even her own film premieres. Grand premier of magnum opus “Mughal-e-Azam”
was not an exception. These divas of yesteryears have entertained many generations of Indian
Cinema lovers, their personal lives were laden with extreme pain and sorrow of unimaginable
magnitudes still thode mystic angelic faces bide on in our minds bringing nostalgic notion
and a smile on our faces.

While Hindi cinema was flourishing, the 1950s also saw the development of the parallel
cinema movement. Although the moment was led by Bengali Cinema it gained prominence in
Hindi cinema. Early examples of parallel cinema consist of Do Bigha Zameen (1957) by
Bimal Roy which was inspired by Victoria De Seeker’s Bicycle Thieves, Neecha Nagar
(1946) by Chetan Anand, and written by Khwaja Ahmad Abbas. The critical recognition
paved the way for Indian neorealism and the Indian New Wave. Internationally renowned
Hindi filmmakers involved in the movement included Mani Kaul, Ketan Mehta, Govind
Nihalani, Vijay Mehta, and Shyam Benegal. Also during this period, Hindi cinema gathered a
huge fan base in the Soviet Union while the classic Mother India was dubbed in many
European languages and screened in countries across Latin America, Southeast Asia, and
North Africa. The 1950s were when some of the greatest talents in Bollywood music from
Mohammed Rafi to Kishore Kumar and Lata Mangeshkar to Naushad. From legendary
composer S.D Burman’s collaboration with poet and lyricist Sahir Ludhianvi for Pyaasa
(1957) to musical duo Shankar Jaikishan's incomparably popular soundtrack Awara (1951),
The era celebrated music and laid the foundation of its integral role in Indian cinema.
V.Shantaram was one of the visionary filmmakers who thought ahead of time and made
movies that promoted brotherhood, discrepancies in society, and had great music.
Filmmakers, lyricists, and musicians of that era took Hindi cinema to greater heights with the
mastery they had on craftsmanship. After getting independence the producers were ambitious
to showcase the aspiration of young India instead of depicting a society that bled during the
struggle.

Talking about the achievements of the Hindi cinema, ever since the social realist film Neecha
Nagar won the Grand prize at the first Cannes film festival, Hindi films were frequently in
competition for the Palme d'Or at the Cannes Film festival throughout the 1950s and 1960s
with some of them winning major prizes at the festival. Initiation of National Film Awards,
the establishment of the Film Finance Corporations, National Film Archives of India, and the
set up of Film and Television Institute were some of the notable initiatives that contributed to
the steady growth of the industry. The organization of the Premier International Film festival
in 1952 at Bombay, Chennai, Delhi, and Calcutta also opened International horizons to the
Indian Filmmakers and encouraged them to think and work from the global perspective. It
was the decade that witnessed both the boom of commercial Hindi cinema as well as the rise
of an emerging parallel Hindi cinema led by Bengali filmmakers.