This movement is distinct from mainstream Bollywood cinema and began around the same time as the French New Wave and Japanese New Wave. This cinema borrowed heavily from the Indian literature of the times, hence became an important study of the contemporary Indian society, and is now used by scholars and historians alike to map the changing demographics the and socio-economic as well political temperament of the Indian populace. Right from its inception, Indian cinema has had people who wanted to and did use the medium for more than entertainment.
They used it to highlight prevalent issues and sometimes to throw open new issues for the public. An early example was Chetan Anand’s Neecha Nagar (1946), a social realist film that won the Grand Prize at the first Cannes Film Festival. Since then, Indian independent films were frequently in competition for the Palme d’Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival. * Adoor Gopalakrishnan extended the Indian New Wave to Malayalam cinema with his film Swayamvaram in 1972.
Long after the Golden Age of Indian cinema, Malayalam cinema experienced its own ‘Golden Age’ in the 1980s and early 1990s. Some of the most acclaimed Indian filmmakers at the time were from the Malayalam industry, including Adoor Gopalakrishnan, G. Aravindan, Padmarajan, John Abraham (director), T. V. Chandran andShaji N. Karun. Gopalakrishnan, who is often considered to be Satyajit Ray’s spiritual heir, directed some of his most acclaimed films during this period, including Elippathayam (1981) which won the Sutherland Trophy at the London Film Festival, as well as Mathilukal (1989) which won major prizes at the Venice Film Festival.
Parallel Cinema India
Shaji N. Karun’s debut film Piravi (1989) won the Camera d’Or at the 1989 Cannes Film Festival, while his second film Swaham (1994) was in competition for the Palme d’Or at the 1994 Cannes Film Festival. His third film Vanaprastham (1999) was also selected to Cannes Film Festival, making him the only Indian film maker who could take consecutively three films to Cannes. * Cinema attracts and inspires alike over the ages. The youth can be commonly seen following the dressing or the hair styles donned by the film stars.
It can be well concluded from thus that films constitute an integral and inseparable part of our society and our lives. Vice-versa our films have also portrayed the gradual changes in our society and the schema of people. * With the economic progress of India, the filmy hero left the cycle and drove a bike and then a car. The major problems in protagonist’s life changed from financial to romantic. The Indo-China war revived the wave of patriotism in people. Films like ‘HAQIQAT’ were made then.
Similarly when the war in Kargil triggered, ‘BORDER, was released which banked upon the revived patriotic feeling in the audience. * The past, the currant fashions and the blind icon worship by the Indian audience bestows a unique power to the directors and other people associated with this industry. It could be rightly said that they hold the ability to mould the public opinion and change the scenario more effectively than the political leaders because cinema is the mirror of society.