ISBN 978-81-925489-2-0 - ramniranjan jhunjhunwala college

imagined gives new meanings to everyday experience and gain emotional legitimacy and it links political
fraternity and economic power in new ways. (Anderson 36) The process of othering becomes integral to
imagining the nation state, as emotional attachment and loyalty to the imagined homogenous culture can only
be achieved vis a vis the ‘other’.The people are made to remember and nurture their national identity based on
what they are not as much as what they are. The concept of other is articulated and reinforced through mediums
like films.(Ranganathan 41)
Hindi films have been responsive to this nationalist discourse since its inception. Contrary to Gandhi’s
belief that cinema is merely a cheap source of entertainment 16 , films of the pre independence era had embraced
Congress nationalist struggle in many ways. They reflected people’s social and political aspirations for
independence and developed its own distinct language to communicate its nationalist aspirations. 17 (Sharma
137) Dadasaheb Phalke, was probably the first to link Indian film industry to Indian politics and statehood.
Through films like Raja Harishchandra(1913)and Birth of Krishna(1928), had a vision of creating Indian
images on screen which would be able to replace the Western images(example Krishna replacing the image of
Christ). (Sharma 137) Though his films may not be overtly nationalist in content, Phalke’s primary interest was
to initiate an Indian industry with Indian finance dealing with Indian images. It provided an alternative to the
dominant culture imposed by the British that had succeeded in denigrating Indians as inefficient and weak.
Privileging Hindu mythologies as an indigenous form of culture not only appealed to majority Indian people, it
was also an act of decolonization as it also provided an alternative to the dominant culture imposed by the
British that had succeeded in denigrating Indians as inefficient and weak. Kanjibhai Rathod’s Bhakta
Vidur(1921)reflected the Congress’ political and social ideologies and the character of Vidur was moulded to
resemble the personality of Gandhi and was the first film to be banned by the British.(Rajyadhaksha 19)Films
like N. R. Acharya’s Bandhan(1940), Gyan Mukherjee’s Kismet(1940), Homi Wadia’s Jai Bharat(1941)
aroused nationalist aspirations with patriotic lyrics. 18 Historic films like Sohrab Modi’ Sikandar(1941) and
mythological films like Homi Wadia’s Amar Raj(1946), carried the nationalist message indirectly by praising
16 Gandhi had declared on several occasions that he had not seen a single film, in response to a questionnaire response requested by
Indian Cinematograph Committee Gandhi wrote “even if I so minded, I should be unfit to answer your questionnaire, as I have n ever
been to a cinema, but even to an outsider, the evil it has done and is doing is patent”(Kaul 44) He also believed that it was a social
evil like gambling and horse racing and his views were shared by several politicians of his times. Very few politicians like Jawaharlal
Nehru, Sardar Vallabhbhai Patel, Balgangadhar Tilak and Lala Latpat Rai saw potential in cinema for social and educational purposes,
yet they did not promote this medium enthusiastically in the pre independence era. (Kaul 38-41)
17 The film makers were also looking for support to resist British pressure on the Indian cinema in the form of censorship, tax and
control of raw materials.(Sharma 137) While the Indian politicians were generally sceptical and some saw no potential in cine ma, the
British could perceive the threat and through different repressive laws, like the Dramatic Performances Act of 1876 and
Cinematographic Act of 1918, banned or severely censored all images that indicated nationalism. On the other hand, films that
glorified the British and the pro empire rule, example, TheCharge of Light Brigade, Lives of Bengal Lancer and Gunga Din were
allowed to run in different provinces despite of the criticism from the Indian press. Indian politicians offered no help from this
repression as they lacked the creative insight into the expressive and communicative power of the new medium that could generate
popular support for the nationalist cause.(Sharma 135-136)
18 Though “Chal Chal Re Naujawan…” from Bandhan , “Door Haton O Duniyawalon Hindustan Hamara Hai” from Kismet and
“Ham Watan Ke Watan Hamara…” from Jai Bharat had no direct reference to British (which is why got through the censorship) the
hidden meaning got through the people.(Sharma 138)
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