Cinema & literature have a symbiotic relationship in India, deeply intertwined since the beginning of narrative cinema
Mrinal Chatterjee
Cinema and literature has had a close relationship almost from the beginning of narrative cinema. The first feature film of the world, ‘The Story of the Kelly Gang’ (1906), a 70-minute film directed by Charles Tait was adapted from an Australian stage play, based on an Australian historical event in 19 century.
In India cinema and literature (including folk-tales, poetry and songs) has had an almost symbiotic relationship from the beginning.
Consider this: ‘Raja Harishchandra’ (1913), the first Indian film is based on a popular play about the legend of King Harishchandra, which was prevalent on Marathi and Urdu stages at the time when Dadasaheb Phalke decided to adapt the story into his film; essentially, the movie drew inspiration from a pre-existing theatrical performance of the Harishchandra story.
The first Tamil film Keechaka Vadham (1918) was based on an episode of Mahabharata.
The first Bengali feature film Bilwamangal (1919) was based on a popular Bengali play of the same name by Dinabandhu Mitra. This silent film was directed by Rustomji Dhotiwala and produced by Madan Theatre Company.
Alam Ara (1931), the first talkie of India was based on a Parsi play of the same name by Joseph David Penkar, who was the producer and playwright of the Parsi Imperial Theatre Company.
Vishma Pratigna is generally considered the first Telugu feature film, released in 1921. Bhakta Prahlada, released in 1932, was the first Telugu talkie (film with sound track).
The first Malayalam film Vigathakumaran (1930) was based on a story by J.C. Daniel. Known as the father of Malayalam cinema, Daniel produced, directed, wrote, photographed, edited, and acted in the film Joymoti (1935), the first Assamese film was based on a play by Lakshminath Bezbaroa. Sita Bibaha (1936), the first Odia film was based on a play of the same name written by Kamapala Mishra.
Besides the story, songs have been an integral part of Indian cinema. The use of songs of all ‘rasas’ both as a driver of the narrative and a relief is a uniquely Indian phenomena. And see the literary merit of the songs – from spiritual to sensual, from philosophical to pure fun – one would find all hues of literature.
I spoke at length on this subject recently at a conference on this organised by Bhubaneswar based ASBM University.
Alam Ara
India’s first ever talkie (film with sound), Alam-Ara (The Light of The World), was released on 14 March 1931 at Majestic Theatre in Bombay (now Mumbai). Directed by Ardeshir Irani, Alam Ara was more than just entertainment; it was a revolutionary leap forward that forever changed the course of Indian filmmaking.
The film was shot using the Tanar single-system camera, which recorded sound directly onto the film strip. This innovation, though primitive by today’s standards was groundbreaking for the time.
As the first Indian talkie, Alam-Ara marked the transition from silent films to sound (One of its early posters introduced the films as ‘All Living. Breathing. 100 per cent Talking’), ushering in a new era that redefined cinematic storytelling. Revolutionary in the technology used and in its story telling, language and casting, Alam-Ara was a trailblazer that shaped Hindi cinema for decades. Made at a time when the Indian market was dominated by American films, Alam-Ara’s huge success led not just to the birth of the talkie in the subcontinent but also pushed ‘Indianness’ onto the screen.
Alam-Ara is a love story filled with drama, intrigue, and music. It follows the tale of a prince, his romance with a commoner, and the conflict surrounding royal conspiracies. Though its plot was engaging, what truly captivated audiences was the inclusion of dialogue and seven songs, a format that would go on to define Bollywood.
One of its songs, ‘De de khuda ke naam pe’, sung by actor Wazir Mohammed Khan, holds the distinction of being the first recorded song in Indian cinema. This moment set the stage for the integration of music into Indian films, a tradition that remains a cornerstone of Bollywood today.
Dr. Falguni Ray
Dr. Falguni Ray is a Bhubaneswar based Plastic and Reconstructive surgeon by profession. By temperament he is an artist interested in drawing, painting, photography and occasionally story writing.
His paintings and photographs have been exhibited in several cities in India and abroad. Some of his photographs have found place in National Geographic website.
Recently he has compiled some of his paintings, drawings and and photographs into a coffee table book titled: Triphalaka. I’ll strongly recommend the readers of this column to go through the book.
Tailpiece: Spelling
A teacher told me not to worry about spelling because in the future there will be autocorrect, for which I am eternally grapefruit.
Tailpiece: Holi
There will always be that one guy who screams in the middle – ‘Holi Hai’ just so everyone doesn’t get confused and start thinking it’s Diwali.
(The author is Regional Director Indian Institute of Mass Communication, IIMC Dhenkanal. Views expressed are personal.)
