Journal : Jiefang Daily (Chinese) Date : Author : NA Page No. : 10
URL : NA

12 bollywodd

A full length article unabashedly admiring the Indian film industry, Bollywood a well as others, which the author points out have not received due attention in China.  Their capacity to tell a good story is worth learning from, as Chinese films are far behind in this respect, the author avers. Extracts:

…….. Bollywood’s mature film industry in the last hundred years …. rooted in the subcontinent of South Asia. ……The rich and profound cultural soil that has accumulated in the history of the nation. ……… Indian movies ………. form a movie powerhouse ………….. Chinese films still have a long way to go…………. big productions that rely heavily on special effects can’t evoke recognition.

Indian cinema beats like a rising tide,. Thanks to its superb reputation, ………….. from India comes “the power of a simple and good story.”

…………………… New realistic style movies represented by Amir Khan have successfully tried out cultural exports and opened up new overseas markets; Indian cinema represented by Bollywood is transforming

Indian movies no longer stop at “stereotypes”

The perception of Indian cinema by most Chinese audiences has also been fixed 30 years ago. The first Indian films such as “Rangers,” “Caravan,” “Nuri” and others, made a huge sensation while also shaping the stereotype of Indian cinema: serious strata and class conflict, and the repercussions of conflict between good and evil, eternal, immortal love and non-stop song and dance scenes, themes full of fighting and revenge  …… In Bollywood’s own words, since the 70s of the last century, the Indian cinema has imitated western movies …………… Since the beginning of this century, with the rise of a new generation of middle-class audiences, Indian cinema has been undergoing transformation and upgradation.  The face of Indian films has long since changed in terms of creative ideas and expressions.

Some people think that Indian movies are synonymous with lengthy stage plays. This is only touching the nose of this giant elephant. In fact, the richness of Indian cinema is far beyond our imagination.
Indian cinema is not a simple construct of the film industry. It maps a complex and diverse cultural system. In one country, with at least 15 major languages, hundreds of dialects, dozens of mainstream religions, thousands of tribes, classes, and castes, Indian cinema has the most complex film industry in the world. In addition to Mumbai as a Hindi film production center, which constitutes half the country’s industry, there are five major film production bases in Bangalore (Kannada), Chennai (Tamil), Madras, Hyderabad (Telugu). Each year, it produces 1,500 to 2,000 films in more than 30 languages, and derives a film industry industrial chain with 3 million employees and a production value of 2 billion U.S. dollars. Most Indian films are oriented to the local market, and only a small percentage of them are exported overseas, but they represent the highest level of art ……………….

Indian movies bear a long and deep tradition of realism. In addition to commercial-type films, Indian cinema has been an important source of artistic films. It was influenced by Italian neorealist films in the 1950s. The great Indian director Satyajit Ray launched the “Apu trilogy”, “The Song of the Earth,” “Song of the River,” and “Song of the Tree,” stunned the world. These Bengali movies are presented in another India. They are bleak and quiet. They are naturally slow and concerned about civilisation and lives. They have no entertainment element and they are large and simple, full of poetry. In fact, most of the North Indian films are based on reality, facing the countryside and blossoming in spring.

Since 2000, Indian films have been gradually transformed along with the economic take-off. The trend of love songs and dances has receded. In Amir Khan’s “Wrestling!”, in the film  Daddy, My God, etc., we can find the shadow of neo-realism. They don’t show off their skills or exaggerate, they pay attention to the value of ordinary people, they find the drama (story) of simplicity and daily life, and they are full of allegory and critical of reality.

Indian films also incorporate Indian religions and lifestyles. Since ancient times, India’s land has been divided across countless clear and insurmountable gaps in terms of class, class, caste, religion, gender, ethnicity, and geography. Films have become a bridge that bind society and eliminate estrangement.  They wipe out differences. Creating dreams has become a favorite art for all Indians. Having the world’s largest film population has in turn shaped the personality of Indian cinema. The length of the movie is generally about 3 hours because India has a hot climate that caters to people’s desire to enjoy air conditioning in cinemas. There are many singing and dancing scenes, which are psychological factors such as the poor looking to relax in air conditioned comfort for some time as value for the money paid as  fare.  ………….

Good at balancing sexuality, love and accomplishments on the screen, the  “Hindu dream”

In terms of aesthetics, Indian cinema is a lyrical affair. It is like a double-sided mirror. On the ne hand, it is chaotic, multi-faceted and full of turbulent vitality. On the other hand, it is peaceful and sloppy, sticking to the traditional concept of beauty. This technique of rationality and perceptual balance has enabled Indian films to …………. connect rural and urban areas, and straddle East and the West. They have always maintained a unique aesthetic character.

One of the characteristics: mythological features and realistic metaphors

Indian films have been drawing upon myths and legends from the epics. India’s first film was based on mythological stories. This kind of origin deeply affects the film narrative. The fullness of characters and the popularity of stories in Indian films are all related to mythological traditions.

They focus on three aspects:

First, they are strongly dramatic. Indian movies are good at showing tension of stories in multiple conflicts. ………….

Feature II: Song and Dance wonders with Shiva worship

Because of their attachment to the element of song and dance, Bollywood movies are probably the most beautiful and recognizable films in the world. If we say that 20 years ago, the insertion of six song and dance sequences in Indian cinema was a kind of formula, then Indian films have been compressed to match the pace of urban entertainment, and song and dance scenes have been curtailed. The main line of song and dance has gradually receded  into the background. However, music and dance is still the mainstay of the plot, and blends in with the story. ……………..It is not difficult to understand that Indians appreciate movies for their songs and dances. Song and dance are not affiliated tools, but are the soul of the film.

Feature 3: Spirit of comedy and love salvation

Indian movies make  us feel empathy as well as generate laughter. The theme of most Indian commercials is revenge and salvation, but the tune is not dark, bloodless, and optimistic. They are good at making serious content easy to deal with. ……………… The “Masala” model popular in Bollywood films (meaning “mixed spices” in Hindi) is often criticized by Chinese people. This narrative combines love, action, song and dance, comedy elements, and happy endings, Despite making the film appear lengthy, it is deeply loved by Indians and it is more tolerant than …………. In Hinduism, tolerance is a responsibility, not just understanding by way of compromise. ………….. Even though early films of Ray reflected the hardships of rural India, there was  restraint in anger, this anger did not spill out but flowed slowly through gentle visuals and lyrical poetry. Remember “Awaara”?  The story of Raj and Rita made a relentless attack on the doctrine of caste under the caste system. The final solution was grand love. Love is all ……….. This is the eternal narrative of Indian cinema. Even the seemingly deadlocked relationship between India and Pakistan, Bollywood often dissolves with love. The Indian helicopter lifeguard in “Love Without Borders” rescues Pakistani girls. The Hindu  monkey god in “Bajrangi bhaijaan”  brings the Pakistani dumb girl home. The Indian female reporter in “Oh My God” holds hands with a Pakistani Boy … …In short, relyiance on love, and belief in love, is a good way to solve all problems. This is Bollywood’s (projection of the) “Indian Dream”.

“Indian narrative” worth recognizing and using for reference

 

…………(contd.)

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