Entertainment
MUMBAI: Amitabh Bachchan and India’s battle to preserve its film heritage
MUMBAI: Five years ago, the Bollywood superstar handed over the prints to a temperature-controlled film archive run by a city-based non-profit, which had begun restoring and preserving Indian films. Led by Shivendra Singh Dungarpur, an award-winning filmmaker, archivist and restorer, the Film Heritage Foundation has been at the forefront of these efforts. It has “built an international reputation for excellence”, according to director Christopher Nolan, and Bachchan is its brand ambassador.
For years he has been tirelessly advocating and actively helping in trying to preserve India’s fast-decaying film heritage.
And on Friday, Bachchan will be feted for this little-known facet of his work. The 78-year-old actor will be conferred this year’s International Federation of Film Archives award. Nolan and fellow filmmaker Martin Scorsese will give away the award, whose stellar past recipients include the two acclaimed directors themselves and such auteurs as Ingmar Bergman, Agnes Varda and Jean-Luc-Godard.
Bachchan, Dungarpur says, has “always been deeply invested” in the idea of preserving and archiving cinema. During a conversation, the star once agonised over the fact that he couldn’t watch some of the earlier films of the thespian Dilip Kumar because “they were simply lost”.
India has 10 major film industries – including Bollywood, the world’s largest – and produces close to 2,000 films a year in some 36 languages.
But it has only two film archives – a state-run one in the western city of Pune and the non-profit, run by Dungarpur. “This is woefully inadequate given our rich and prolific film history,” Dungarpur says.
Not surprisingly, much of India’s storied film heritage has been lost and damaged because of spotty conservation and preservation of film.
India’s first talkie Alam Ara (1931) and its first locally-made colour film Kisan Kanya (1937) are untraceable. Newer films have fared no better. Original footage of a documentary on freedom heroine Lakhshmi Sahgal made by Sai Paranjpye (1977) and Shyam Benegal’s Bharat Ek Khoj (1988) no longer exists. The negative of a 2009 film called Magadheera made by SS Rajamouli “disappeared in just six years”, according to the director.
As Dungarpur tells the grim story, only 29 of 1,138 silent films made in India survive. Some 80% of the more than 2,000 films made in Mumbai – then Bombay – between 1931 and 1950 are unavailable for viewing.
Last year, Dungarpur and his team found 200 films languishing in sacks in a warehouse in Mumbai. “They were prints and negatives, and someone had just dumped them,” he says.
That’s not all. According to government auditors 31,000 reels of film held by the state-run film archives have been lost or destroyed.
In 2003, more than 600 films were reportedly damaged in a fire in the state-run archive – among them were original prints of the last few existing reels of the 1913 classic Raja Harishchandra, India’s first silent film. “You have to respect your past. To respect your past you need to preserve and restore your films,” says director Gautam Ghosh.
Before digital arrived, films were usually preserved as original negatives, duplicates of those negatives and prints that were released for viewing. After most Indian filmmakers stopped shooting on film in 2014, Dungarpur says, many film labs digitised their stock, and threw away the negatives, thinking that they had no use for them. “The original camera negative has a much higher resolution than digital today. That’s what they didn’t know.”
Now, preservationists in India mainly work on prints.
“It’s a complete disaster. We had to try create a completely new awareness about celluloid film and its history”.
Over the last six years, Dungarpur and a faculty comprising of experts from leading film archives and museums around the world have held workshops all over India and trained over 300 people in restoration and preservation of film.
The foundation has collected and preserved more than 500 films of top Indian filmmakers, footage of the independence movement and Indian home movies in its facility in Mumbai. Its collection includes such rarities as two 16mm reels of Oscar-winning director Satyajit Ray in conversation with legendary Italian-American director Frank Capra. Dungarpur also has an impressive collection of Indian film memorabilia: tens of thousands of old photographs, photo negatives and film posters.
Bachchan has always been outspoken about the need to take charge of India’s crumbling film heritage. Two years ago, at an international film festival in Kolkta, he said: “Our generation recognises the immense contribution of the legends of Indian cinema, but sadly most of their films have gone up in flames or have been discarded on the scrap heap”.
“Very little of our film heritage survives and if we do not take urgent steps to save what remains, in another 100 years there will be no memory of all those who came before us and captured our lives through the moving image.”
Entertainment
NEW DELHI: Karan Johar’s Dharma Productions Sells 50% Stake
NEW DELHI: Business tycoon Adar Poonawalla has acquired a 50% stake in Karan Johar‘s Dharma Productions and Dharmatic Entertainment (collectively known as Dharma). According to a press note released by Dharma Productions, the deal, finalised for ₹1,000 crore, involves Poonawalla’s Serene Entertainment. The remaining 50% ownership will remain with Karan Johar, who will lead the company’s creative vision as the Executive Chairman.
As the Chief Executive Officer, Apoorva Mehta will collaborate with Karan to guide the strategic direction and ensure operational excellence within the organisation.
Adar Poonawalla expressed his happiness to join hands with Karan Johar. He said, “I am delighted to have the opportunity to partner with one of the most iconic production houses in our nation, along with my friend Karan Johar. We hope to build and grow Dharma and scale even greater heights in the years to come.”
Talking about the partnership, Karan Johar said, “From its inception, Dharma Productions has been synonymous with heartfelt storytelling that captures the essence of Indian culture. My father dreamed of creating films that would leave a lasting impact, and I’ve dedicated my career to expanding that vision.”
KJo added, “Today, as we join forces with Adar, a close friend and an exceptional visionary and innovator, we’re poised to elevate Dharma’s legacy to new heights. This partnership represents a perfect blend of our emotional storytelling prowess and forward-thinking business strategies. It’s about honoring our roots while embracing the future of global entertainment. Dharma’s journey has been remarkable, and this collaboration opens up a world of possibilities for creating content that will resonate across borders and generations.”
The CEO of Dharma, Apoorva Mehta said that this partnership allows the production house to take “bigger creative steps.” He said, “Over the years, I’ve witnessed Dharma’s transformation into a multi-faceted content powerhouse. This partnership with Adar realizes our vision and marks a new era where cinema, streaming, and global content converge. It enables us to explore new avenues in content creation and distribution, elevating the Indian entertainment ecosystem. More importantly, this investment allows us to take bigger creative steps.”
Dharma Productions was founded in 1976 by Karan Johar’s father, Yash Johar. The production house has been behind films such as Kuch Kuch Hota Hai, Kabhi Alvida Naa Kehna, Student of the Year, Good Newwz and Brahmastra: Part One – Shiva.
On the other hand, Dharmatic Entertainment was launched in 2018 and focuses on a wide array of projects, including web series, documentaries and feature films. Ajeeb Daastaans, Ae Watan Mere Watan, Koffee With Karan, Fabulous Lives of Bollywood Wives and The Tribe are produced by Dharmatic Entertainment.
Entertainment
MUMBAI: Shahid Kapoor opens up about the challenges faced by character actors in Bollywood
MUMBAI: There is a prejudice against star kids that every actor’s child is born with a silver spoon in his mouth. However, according to Shahid Kapoor, this is not true, as the power lies in the hands of superstars, big directors, producers, and not character actors.
In a conversation with Neha Dhupia on her chat show, Shahid Kapoor, who is the son of veteran actor Pankaj Kapur, delved into the nuanced dynamics of privilege and struggle within the Bollywood industry. Despite his lineage, Kapoor candidly addressed the challenges faced by character actors, highlighting the stark reality that only superstars wield significant influence while character actors often lack power.
Shahid expressed his belief in the importance of earning success through hard work, emphasizing the satisfaction derived from overcoming obstacles and earning recognition on merit. He said starting your struggle in a luxury car and then buying a luxury car after being successful doesn’t have any fun. One needs to know the challenge of traveling on local trains, and the complexity of arranging money for the first photoshoot, as the victory after this hard work tastes sweet.
He even reflected on being a background dancer during his initial days. He said, forget about enjoying a star status among the other background dancers, when you are working with choreographer Shaimak Dawar, you need to earn your place in the center. He expressed that there was a struggle and fight among his contemporaries to get a spot in the first row.
Amid these reflections, Kapoor remains focused on his craft, having recently commenced shooting for his upcoming action thriller, ‘Deva,’ which was announced last year.
Entertainment
MUMBAI: Pyaar Kiya To Darna Kya turns 26: Kajol says THIS was the symbol of an innocent girl back then
MUMBAI: One of the most successful movies of the 90s, Pyaar Kiya To Darna Kya brought on-screen Kajol and Salman Khan for the first time, in a simple boy meets girl love story. The movie also starred Arbaaz Khan and Dharmendra in key roles, and was directed by Salman’s brother Sohail Khan.
Today, the movie completed 26 years of its release, and marking the occasion, Kajol took to her IG handle to share some stills with Salman, Dharmendra and Arbaaz. In the movie, Kajol plays Muskaan, a simple village girl, who goes to the city for higher studies, where she meets the rich Suraj (Salman), and falls in love with him, despite their contrasting backgrounds. Sharing the same, Kajol wrote, “When tying ur hair in a plait was a symbol of an innocent girl 👧🤪 #26yearsofpyaarkiyatodarnakya”
While on Kajol, earlier this month, on Women’s day, March 8, Kajol posted a video paying tribute to the wonderful women in her life including her mother Tanuja, sisters Tanishaa Mukerji and Rani Mukerji, daughter Nysa Devgan and mother-in-law Veena Devgan. She shared a throwback video and said, “Happy #womensday to all these amazing women who don’t need a day to celebrate themselves coz they’re running their worlds everyday and they can and do take a day off when they need it without anyone’s permission! Cheers and kudos to this breed of #badasswomen!#internationalwomensday.”
On the work front, Kajol will next be seen in Kriti Sanon’s maiden production venture, ‘Do Patti’. The film marks the first-ever collaboration of Kajol and Kriti Sanon. The teaser of the film was launched in February, and Kajol essays the role of a cop in the film. Speaking about the film earlier , Kajol said, “Do Patti has a standout script that promises a unique blend of adventure and mystery. It is a story that is not only rooted in India but also promises the thrill that can be enjoyed by entertainment enthusiasts across borders ’’
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