Indian Cinema Analysis

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After this extreme Bollywoodisation of Indian Cinema, I don't really have much hopes that it can produce substantially good movies. Today what sells is the stardom of the actor and Honey Singh's item numbers for the promotion of the movie, with this it gets into the 100cr club, irrespective of the fact that if the movie has any substance in terms of narrative, acting, cinematic skills etc. But yes, the 1990's were tough period when it came to producing contemporary cinema, in terms of content, thought, and also production values. On one hand low budget movies were churned out and on the other hand, there were these art- house films, which kept the appreciation and understanding of good cinema alive. So today when this so called Popular Cinema…show more content…
They are having different genre movies reflecting the changing trend of Tollywood in sync with the changes in Hindi film industry. But we still keep looking back to the history of Ray, Ghatak and Sen. These three became very important to India as they brought the dawn of Parallel Cinema in 1950s. Parallel cinema was considered an adversary to conventional cinema, a brand of cinema that churned out economical films and focused mainly on social realism, humanitarianism, expressionism and societal issues like caste. Their films held to be their masterpieces are so much less subtle, poignant, and powerful than some of their lesser-known works. Their filmmaking shared a tendency to showcase society within the microcosm of a family, as well as the technique of doing this by pulling dramatically into long shots from close-up scenes. They use songs, whose tune and lyrics would enhance the symbolism in the story. While going through the list of recent movies…show more content…
There are adaptations from incidences in his films and his actors, assembled in a collage put together with care to tell Ghatak’s story. Madness meets a certain artistic discipline in the film, so that even chaos looks beautiful and not disturbing. The raw animalistic energy of the protagonist infuses the cinematography with such unrelenting friction that the whole film acquires a dissonant quality – it seems as if the whole film is on fire, much like Nilkantha himself. The mise-en-scene, cinematography, and editing keeps the anguish within the film burning and not letting the tempo slide for even one moment. The screenplay and the dialogue emerges as the master, with the taut script, the narrative is build with hallucinations and memories and sets a chronology so deftly that confusion is kept at a bay, that engaged audience in their own terms. It is starkly similar to the Ghatak movie's that consist of crisply written dialogues, beautifully merging dialects, lacks flab that serves as both poignant and hard hitting. The intelligent use of music fusing both western classical pieces, Bengali folk and Rabindra sangeet heightens the effect but I do have concern with the climax of the movie, where soundtrack fails to create the create climatic madness. The choreography is contemporary of Phulmoni's final dance where she does

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