Cinema of West Bengal, also known as Tollywood or Bengali cinema, is an Indianfilm industry of Bengali-language motion pictures. It is based in the Tollygunge region of Kolkata, West Bengal, India. The origins of the nickname Tollywood, a portmanteau of the words Tollygunge and Hollywood, dates back to 1932.[4] It was a historically important film industry, at one time the centre of Indian film production.[4] The Bengali film industry is known for producing many of Indian cinema's most critically acclaimed global Parallel Cinema and art films, with several of its filmmakers gaining prominence at the Indian National Film Awards as well as international acclaim.
Another prominent Bengali filmmaker is Mrinal Sen, whose films have been well known for their Marxist views. During his career, Mrinal Sen's films have received awards from major film festivals, including Cannes, Berlin, Venice, Moscow, Karlovy Vary, Montreal, Chicago, and Cairo. Retrospectives of his films have been shown in major cities of the world.[22] Bengali filmmaker Ritwik Ghatak began reaching a global audience long after his death; beginning in the 1990s, a project to restore Ghatak's films was undertaken, and international exhibitions (and subsequent DVD releases) have belatedly generated an increasingly global audience. Some of his films have strong similarities to later famous international films, such as Ajantrik (1958) resembled the Herbie films (1967–2005) and Bari Theke Paliye (1958) resembled François Truffaut's The 400 Blows (1959). Other eminent Bengali filmmakers included the trio of Tapan Sinha, Ajoy Kar and Tarun Majumdar, collectively referred as "TAT". Their films have been well known for Best Literature Adaptation and displaying larger than life perspectives. Ajoy Kar directorial numerous films created many new milestones and broke existing box office records in the Golden Era.
The cinematographer Subrata Mitra, who made his debut with Ray's The Apu Trilogy, also had an important influence on cinematography across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming Aparajito (1956), the second part of The Apu Trilogy.[23] Some of the experimental techniques which Satyajit Ray pioneered include photo-negativeflashbacks and X-raydigressions while filming Pratidwandi (1972).[24]
Etymology
Tollywood was the very first Hollywood-inspired name, dating back to a 1932 article in the American Cinematographer by Wilford E. Deming, an American engineer who was involved in the production of the first Indian sound film. He gave the industry the name Tollywood because the Tollygunge district in which it was based rhymed with "Hollywood", and because Tollygunge was the centre of the cinema of India as a whole at the time much like Hollywood was in the cinema of the United States.[4]
In that same March 1932 article, Deming was also considering the name "Hollygunge" but decided to go with "Tollywood" as the nickname for the Tollygunge area due to "Tolly being a proper name and Gunge meaning locality" in the Bengali language. It was this "chance juxtaposition of two pairs of rhyming syllables," Holly and Tolly, that led to the name "Tollywood" being coined. The name "Tollywood" went on to be used as a nickname for the Bengali film industry by the popular Kolkata-based Junior Statesman youth magazine, establishing a precedent for other film industries to use similar-sounding names.[25] Tollywood later went on to inspire the name "Bollywood" (as the Bombay-based industry overtook the one in Tollygunge), which in turn inspired many other similar names.[4][25]
Hiralal Sen, India is credited as one of Bengal's, and India's first directors. These were all silent films. Hiralal Sen is also credited as one of the pioneers of advertisement films in India. The first Bengali-language movie was the silent feature Billwamangal, produced by the Madan Theatre Company of Calcutta and released on 8 November 1919, only six years after the first full-length Indian feature film, Raja Harish Chandra, was released.[29]
The early beginnings of the "talking film" industry go back to the early 1930s when it came to British India, and to Calcutta. The movies were originally made in Urdu or Persian to accommodate a specific elite market. One of the earliest known studios was the East India Film Company. The first Bengali film to be made as a talkie was Jamai Shashthi, released in 1931. At this time the early heroes of the Bengali film industry like Pramathesh Barua and Debaki Bose were at the peak of their popularity. Barua also directed movies, exploring new dimensions in Indian cinema. Debaki Bose directed Chandidas in 1932; this film is noted for its breakthrough in recording sound. Sound recordist Mukul Bose found a solution to the problem of spacing out dialogue and frequency modulation.[citation needed]
The most well-known Bengali superstar to date has been Uttam Kumar while Suchitra Sen is regarded as the most beautiful and influential actress of Bengali cinema. Kumar and Sen were known as "The Eternal Pair" in the late 1950s. This pair worked in the 1961 epic Romantic drama Saptapadi (1961 film) by Kar besides others. Suchitra Sen got her first International Award for Saat Pake Bandha (1963) by Kar . Apart from Sen, Sabitri Chatterjee and Sumitra Devi were very popular actresses of the 1950s. Soumitra Chatterjee is a notable actor who acted in many films in different genres. He was considered as a rival to Uttam Kumar in the 1960s. Soumitra is famous for the characterisation of Feluda in Sonar Kella (1974) and Joi Baba Felunath. Ganadevata, written and directed by Ray and Ganadevata(1978), Directed by Tarun Majumdar. He also played the adult version of Apu in The World of Apu (1959), directed by Ray. In 70's, Ranjit Mallick is famous for Youth Characterization of Interview, Calcutta 71. Rabi Ghosh and Anil Chatterjee is a notable actor for his Versatile Acting which impressed the Audience in short time. [citation needed]
In the 1960s, Bengal saw a host of talented actresses like Aparna Sen, Sharmila Tagore, Madhabi Mukherjee, Sandhya Roy and, Supriya DeviandJayashree Kabir. Aparna Sen was one of the most successful actresses of the Golden Era. She became the leading heroine of the 1970s and since 1981 she has been directing films. One of the most well-known Bengali actresses was Sharmila Tagore, who debuted in Ray's The World of Apu, and became a major actress in Bengali cinema as well as Bollywood. Despite Suchitra Sen being the greatest actress, Sharmila was the most commercially successful actress in history with films like The World of Apu (1959), Devi (1960), Nayak (1966), Simabaddha (1967), and Aranyer Dinratri (1970).[citation needed]
Utpal Dutt is internationally known for his acting in movies and plays, especially Shakespearean plays. Bhanu Bandopadhyay, Rabi Ghosh, and Anup Kumar were best known for their comic timing, and with their versatile acting talent they stunned the audience and critics.[citation needed]
Bombaiyer Bombete, produced by Ramoji Films at a cost of Rs 8 million, recovered its costs within three weeks and earned 20 million in all. The movie has brought back the concept of family entertainment with Sandip Ray's gambit of contemporising the plot paying him a rich dividend. Admitting that he did not expect this success, he told Life that he was now lining up another such film for release next year. Earlier, a film by award-winning director Buddhadeb Dasgupta's Mondo Meyer Upakhyan (The Tale of a Fallen Girl) produced by Arjoe Entertainments netted nearly Rs 7 million through the sale of overseas rights against a cost of Rs 0.6 million. Haranath Chakraborty His film Sathi (Companion) created a record by recouping over five times its production cost, although the film Chokher Bali, with big names like Aishwarya Rai Bachchan, Rituparno Ghosh and Tagore, failed to yield expected results. The movie, billed at Rs 16.5 million (the highest among Bengali films).[68]
Hollywood houses like Columbia TriStar have made their debut in distributing Bengali movies. According to industry experts, several issues need to be addressed to build on this resurgence and consolidate it. These include inadequate infrastructure, which often compels moviemakers to go outside the State for facilities pushing up costs, poor marketing and distribution, and increasing competition from Bangladeshi films.[69][70]
In 1998, the critics' poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy (ranked No. 1 if votes are combined), Ray's Charulata and The Music Room (both tied at #11), and Ghatak's Subarnarekha (also tied at #11).[75] In 1999, The Village Voice top 250 "Best Film of the Century" critics' poll also included The Apu Trilogy (ranked No. 5 if votes are combined).[31] In 2005, The Apu Trilogy was also included in Time's All-Time 100 Movies list.[33] In 1992, the Sight & Sound Critics' Poll ranked Ray at No. 7 in its list of "Top 10 Directors" of all time,[76][77] and Days and Nights in the Forest (ranked No. 81 in 1982).[78]
Academy Honorary Award: Satyajit Ray (1992- "In recognition of his rare mastery of the art of motion pictures, and of his profound humanitarian outlook, which has had an indelible influence on filmmakers and audiences throughout the world.")[80]
The National Film Awards, established in 1954, are the most prominent film awards in India that merit the best of the Indian cinema. The ceremony also presents awards for films in various regional languages.
Regional awards
Bengal Film Journalists' Association Awards - The oldest Association of Film critics in India, founded in 1937, by the inspiration and determination of the handful of pioneers amongst the then thin section of scribes that were drawn to film journalism with a lofty mission to serve the developing film journalism and film industry.
70 years of Indian Cinema, ed. by T.N. Ramachandran, Cinemaa India International, Bombay, 1985
A Pictorial History of Indian Cinema, Firoj Rangogoonwalla, The Hamlyn Publishing Group, London, 1979
Cinematography to Videography: Aesthetics and Technology by Chakraborty Piyali, Banerjee Santanu, Published by Kalyani Foundation, 1st ed. (2013); ISBN No.: 978-81-927505-3-8
Encyclopedia of Indian Cinema – Ashish Rajadhyaksha, Paul Willemen, Oxford University Press, New Delhi, 1994
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