How Indian Cinema Evolved over the Years Essay Example for Free

How Indian Cinema Evolved over the Years Essay A hundred years ago on this date, India’s first film Raja Harishchandra was released. Over the past hundred years, our cinema and its facets have evolved and how!! The hero From mooch to macho From a bulky mustached Raj Kapoor in the 40s to a six-pack flaunting, butt-baring John Abraham now, the Bollywood hero has had quite a makeover. The 50s was the era of method-acting with the likes of Dilip Kumar, while in the 60s, Rajesh Khanna and Dev Anand epitomised romance on screen. After Khanna’s guru kurtas and fluffy hairtop, Amitabh Bachchan brought the angry young man into the picture in the 70s and 80s with Zanjeer, Deewar and Agneepath, also bringing to the fore, bell bottoms and side burns. The 90s was the time of the lover boys Shah Rukh Khan, Aamir Khan and Salman Khan dancing in exotic foreign locales. Now, the Bollywood hero is not restricted by genre or style and fits into every mould. He is a looker, chocolatey, experimental and total paisa vasool, read Ranbir Kapoor and Imran Khan. The heroine From feeble to fabulous In the early decades, the heroine in Indian cinema had only one objective in life, that of being a sati-savitri, who never looked beyond her family and husband. The kitchen was her cocoon, and she epitomised all things good. Through the 1940s, 50s and 60s, heroines such as Mala Sinha, Meena Kumari, Madhubala, Nanda and Asha Parekh ruled these roles. It was only in the 80s and 90s that she evolved as a strong character (Rekha in Khoon Bhari Mang, 1988), (Meenakshi Sheshadri in Damini, 1993). While in the early 2000s, she was still the demure girl, she managed to live her life on her terms like Rani Mukerji in Kabhie Alvida Naa Kehna. And the heroine today is the sexy, uber cool woman who cares for little more than her own life. Way to go girl! The villain From scary to suave From the usual lot of wicked village zamindars, smugglers, murderers, rapists, dacoits and terrorists, the larger-than-life Bollywood villains have become rare in new age cinema. Thus the traditional villain, Loin, Shakal, Mogambo, Dr Dang and Badman, has died a natural death. The wigged, cigar-smoking avatars played by the likes of Pran, Prem Chopra, Amrish Puri, have made way for smart and sometimes more-adorable-than-the-hero kind of villains. Exhibit A- Saif Ali Khan (Omkara) and Shah Rukh Khan (Don). No lines are drawn now and black characters have became grey with lead actors playing antagonists in films, almost replacing the dedicated villains. This marked the end of ever reverberating iconic one liners like â€Å"Kitne aadmi the?† and â€Å"Saara sheher mujhe Loin ke naam se jaanta hain.† The maa Rona-dhona to supercool From the God fearing and homely mum to a party freak, mothers in Bollywood have come a long way since 1930s. While Nargis in Mother India (1957) played a mother who went through hardships and struggled to bring up her offsprings, Nirupa Roy in the 70s became synonymous with white saris and a melancholic look. Then came Reema Lagoo, with her bindi and sindoor, an ideal middle class Indian mother in Qayamat Se Qayamat Tak (1988) and Maine Pyar Kiya (1989), who tried to be a friend to her son. But now, mothers are the uber cool women who are ready to accept even same-sex couples, case in point, Kirron Kher in Dostana (2008). And now there are mom who drink and dance at weddings, ala Dolly Walia in Vicky Donor (2012). The item girl Taboo to must-haves The dancing girl evolved from the Cabaret seductress, the free-spirited banjaran, the sensuous courtesan to dancing temptresses in half-saris. In the 40s and 50s, Cuckoo Moray, hotted up the screen with her innocent charm. The 50s saw Vyjayanthimala woo the audience in songs such as Chad Gayo Papi Bichua in Madhumati (1958) in ghagra cholis, and junk silver jewellery. Helen ruled the 60s and 70s, emerging in a bold avatar with dramatic ensembles. The 80s saw the trend of heroines appear in item numbers with Zeenat Aman in Qurbani (1980). Madhuri Dixit’s Choli Ke Peeche Kya Hai became the ultimate tease in the 90s. The item girls of 2000s are sexy, not afraid to show skin and love to play hard to get, be it Malaika Arora Khan in a mid-riff baring choli dancing atop a train or Katrina in Sheila Ki Jawani. The comedian Funny face to frontman The comedian in the 40s, was the fat man with funny facial expressions, whose mere presence made audiences laugh. In the 1950s, the lean Johnny Walker broke that trend and managed to win hearts with his slapstick humour. Kishore Kumar, essentially a singer, redefined comedy by using his songs like Meri Pyari Bindu (Padosan 1968) as elements of fun in films. But it was Mehmood, with his fringed hair and impeccable dialogue delivery who became the king of comedy in the 1970s. The next big thing in comedy was Johnny Lever, who left audiences in splits with his body language and dialogues in films like Raja Hindustani (1996) and Dulhe Raja (1998). Now, it’s the heroes — Akshay Kumar (Hera Pheri), Ajay Devgn (Golmaal) who are doubling as comedians. The friend Sidekick to the right-hand man The side kick or hero’s best friend, every Bollywood film has had one. The role could be that of a fun buddy who provides comic relief to the film or that one jigari dost who stays with the hero through thick and thin (in other words, fights for the hero and often dies in the end). From the days of Mukri and Mehmood, who played the hero’s good friend in the 1950s and 60s to the current time where actors like Arshad Warsi and Sharman Joshi play as powerful characters as the hero himself, this portrayal has had a sea change. Mehmood in Humjoli (1970), for instance, played a sidekick who brought the house down with his antics, but Arshad Warsi in the Munnabhai series (2003/06) played the ideal Robin to Sanjay Dutt’s Batman, and got some of the best lines in the films. The romance Touch-me-not to pre-marital sex Romance in Bollywood turned from bold to coy and back to racy and bold. The silent film, ‘A Throw of Dice’ (1929) saw actor Seeta Devi kiss actor Charu Roy. Post-independence, in the 1940s, romance became conservative. The Cinematograph Act in 1952, called kissing on screen indecent and romance became associated with clasping hand and staring into each other’s eyes. Kissing was shown with two flowers coming together or honey bees sucking nectar from flowers. 1970s was Raj Kapoor’s era that brought a passion back to romance with movies such as Bobby (1973), Satyam Shivam Sundaram (1978). It was the 90s that romance took a pure and sweet form the two blockbuster hits Hum Aapke Hain Kaun (1994) Dilwale Duhaniya Le Jayenge (1995). Now, in the 2000s, pre-marital sex shown in films like Salaam Namaste (2005) and Rockstar (2011), is considered cool. The music Melodies to racy tracks The 1930 and 40s, were defined by nasal renditions by the likes of KL Saigal (Jab Dil Hi Tooth Gaya, Shahjahan, 1946) and Noorjehan. The 50s were all about soul-soothing melodies. Songs like it Pyaar Huya Ekraar Huya (Shree 420 1952) or Jaane Woh Kaise Log The (Pyaasa 1957) became epics. However, it was R D Burman, who single-handedly changed the course of Bollywood film music, and introduced westernised tunes in songs in the 60s. While 70s remained the decade of a mix of soft and fast numbers, the 80s turned Bollywood music on its head, as Bappi Lahiri brought in disco music. Disco Dancer (1982) marked the beginning of a range of high-on-noise, low-on-lyrics songs. The 1990s churned out several hugely forgettable numbers, except for musical hits like 1942 a Love Story (1994), Saajan (1991). The 2000s have been the decade of experimenting thus Sonu Nigam and Yo Yo Honey Singh both find place in the same film. The dialogues Melodrama to quirky Power-packed dialogues get the maximum seetis from the audience, and why not. A film is often remembered for its iconic dialogues. Kaun kambakth bardasht karne ke liye peeta hai, from Devdas that’s a favourite even with the ‘daarubaaz’ of today. However, dialogues like Kitne aadmi the, and â€Å"Kuttey main tera khoon pi jaunga† from Sholay, â€Å"Pushpa, I hate tears† from Amar Prem and â€Å"Mere paas maa hai† from Deewar; have gone on to become epic. In the 1990s, heroes impressed their lady love with dialogues. Thus came, â€Å"I love you Kkk Kiran† (Darr), â€Å"Bade bade shehron mein aisi chhoti chhoti baatein hoti rehti hain.† (DDLJ 1995). In 2000, quirky dialogues such as, Main apni favourite hoon (Jab We Met), Picture Abhi Baki Hai Dost (Om Shanti Om) are the big hits among film buffs.

The Life and Work of Robert Browning :: essays papers

The Life and Work of Robert Browning Robert Browning was born on May 7, 1812, in Camberwell, which is now a part of London. He had no real formal education so he was largely self educated. His father was a smart man with an extensive library. His mother was kindly, religious minded woman, who loved music and her brilliant son. He lived at his parents house almost until the time of his marriage. He attended a boarding school near Camberwell and spent a little bit of his time traveling to places like Russia and Italy. But he preferred to have his education at home, where he was tutored in foreign languages, boxing, music, and horsemanship, and where he read "omnivorously." At the age of 14 he first discovered Percy Shelly works and was strongly influenced by it. After reading Shelly, He made the decision to be an atheist and a liberal. But in a few years he grew away from atheism and the extreme phases of his liberalism. The things he learned from the books he read would largely influence his poems later in his life. His earlier poetry was regarded with indifference and largely misunderstood. It was not until the 1860's that he would at last gain publicity and would even be compared with Alfred Lord Tennyson, another very famous poet of the time. Some of his early poetry was influenced by his unusual education. The poet also had an anxious desire to avoid exposing himself explicitly to his readers. The first poem he wrote called Pauline, was written in 1883 at the age of twenty-one, but he did not sign it because of his fear of exposing himself to the public too much. Since Browning did not want to expose himself too personally, he decided to try his hand at writing plays. He was encouraged by the actor W.C. Macready. Browning began work on his first play, Strafford, a historical tragedy. Unfortunately, the play only lasted four nights when it was first put on in London in 1837. For ten more years, the young writer would continue to struggle to produce a play that would better hold the attention of the audience, but they all remained failures. Not only did Browning profit from this otherwise disheartening experience, but writing the dialogue for the characters helped him explore the "dramatic dialogue." The dramatic dialogue, "enabled him to, through imaginary speakers, to avoid explicit autobiography and yet did not demand that these speakers act out the story with the speed or simplifications that a stage production demands.

The Good Shepherd and the Black Sheep: Paradoxical Irony in “The Lame Shall Enter First”

â€Å"[W]hen thou doest alms, let not thy left hand know what thy right hand doeth† counsels the Bible, thus setting the precedent for all well-meaning members of western society concerning their charitable intentions (Matt. 6. 3). Humanity's motivation to aid others, regardless of the outcome, is oft times spotted by the subtle struggle between selflessness and selfishness. Flannery O'Connor captures this classic conflict between good and evil in Southern Grotesque fashion through her characters, the protagonist Sheppard and his foil, Rufus Johnson, in [comment2] â€Å"The Lame Shall Enter First†. comment3] Challenging the literal paradigm of light and darkness, O'Connor weaves together well crafted characterization, cryptic dialogue, and both biblical and literary allusion in this paradoxical plot and, by way of Sheppard and the antithetical Rufus, blends the black and white of Christian dogma into an ironic grey. The contrast of light and dark begins with the descrip tion and characterization of the apparently angelic [comment4] Sheppard, and continues with the introduction of the obscure and ominous Rufus Johnson. O'Connor is not pretentious in her description and development of either character. Sheppard's white hair and â€Å"halo† are obvious references to his protagonistic status as the story's do-gooder [comment5] (Norton 371). The narrator continues on by lauding his charitable contribution to the community as a counselor and weekend volunteer for â€Å"boys no one else cared about† (372). The reader's only initial clue toward Sheppard's self-righteous mania is his deliberate, guilt-implying sermon towards Norton, his disconcerted and doomed son. It is not, however, until the arrival of the dim, drenched Rufus that seemingly stark white coat of Sheppard loses its untainted radiance. comment6] Johnson is literally cast as the black sheep from the moment he limps into the house in his soaking â€Å"wet black suit† (376). The ultimate personification of evil comes when he is physically compared directly to the perennial villian Adolf Hitler (378). His opaque character is developed as dark as his appearance through his unending ingratitude and spiteful words toward his supposed savior, Sheppard. The ambiguous dialogue between the two main characters continues to blur the line between the traditional literal concept of good versus evil and the author's own Grotesque version. comment7] O'Connor's use of foreshadowing and plot development through dialogue is essential to the work, and is much more obvious upon rereading it. Though Sheppard's works are concrete and compassionate, his words are abstract and empty. His answers to both Norton and Rufus come in rehearsed, logical explanations. [comment8] Sheppard's attempts to animate either child about their future are thwarted by his own uncertainty. The clearest example of this comes from one of the most crucial sections of the story, when Sheppard fails to satisfy Norton's desire to know where his deceased mother is: â€Å"She doesn't exist [. . ] That's all I have to give you, [. . . ] the truth† (383). [comment9] Where the â€Å"good† shepherd fails, the black sheep pr evails. The dark character that Rufus is developed into shows an admirable assurity and for once a faint light flickers from behind the â€Å"black sheen [that] appear[ed] in the boy's eyes† (375) as he describes the existence of heaven and hell to Norton, confirming that the boy's mother is â€Å"saved† (383). Then, in one of the most obvious uses of foreshadowing in the story, Rufus goes on to tell Norton [comment10] that â€Å"Right now you'd go where she is [. . . but if you live long enough, you'll go to hell† (383). Once again Sheppard and his voice of reason seem to grow grayer as he immediately tells Norton to close the window, as if to separate him from the stars and his newly found hope in the existence of his mother (383). Admittedly influenced by her orthodox Christian background (408), O'Connor scatters both biblical and assorted literal allusions throughout her story, creating somewhat of a parody of common Christian themes. The use of Sheppard as the name of the protagonist binds the character to some religious comparison immediately. This is only reinforced when Rufus pronounces bitterly: â€Å"He thinks he's Jesus Christ! † (381) [comment11]Another use of allusion with reference to Sheppard is Rufus' [comment12] crudely accurate accusation of him as a â€Å"big tin Jesus† (395). Like the forlorn tin man from The Wizard of Oz, Rufus' statement argues that Sheppard is just as hollow as that empty, heartless shell of a man, regardless of his outwardly good deeds. Perhaps the most encompassing phrase in the story is O'Connor's allusion to the verse in St. Matthew quoted in the first paragraph. [comment13] Repeated both at the beginning of the story and in his final appearance, Rufus declares that Sheppard â€Å"don't know his left hand from his right! † (377, 395). Clearly O'Connor is alluding to Sheppard's selfish or misguided agenda well illustrated when he tells Norton of his desire to help the orphaned Rufus. Sheppard's publicly done deeds are challenged by Rufus, the unwilling recipient of a well-meaning man going through the motions, yet craving some sort of reward for his actions. The once polarized characters grow ever closer with the equalizing power of reality. â€Å"The Lame Shall Enter First† ends as abruptly as it begins. There is no cathartic victory for the alleged [comment14] â€Å"good shepherd†, only the agony of total defeat. Sheppard's epiphany comes too late and the stark contrast that once distinguished him from the dark object of his alms turns into the faded realization that he is no better than the beleaguered beneficiary. Through O'Connor's strategic literary devices, deft character contrast, and parody of entrenched Christian values, the reader is left to digest and dissect the fact that maybe the entire flock [comment15] isn't worth one black sheep. Between the black and white islands of moral certainty, good and evil, there lies a sea of ironic grey. Works Cited The King James Version. Great Britain: Cambridge UP, 1996. O'Connor, Flannery. â€Å"The Lame Shall Enter First. † The Norton Introduction to Literature. Eds. Jerome Beaty and J. Paul Hunter. 7th ed. New York: Norton, 1998. 371-414.

Black Codes, Redemption, And Jim Crow - 1042 Words

David W. Blight of Yale University said, â€Å"The nation needed to heal the sectional divide in order to function as one country.† Healing to African Americans meant trying to understand their role as a citizen, reuniting family members, and establishing their new freedoms as citizens. Many problems interfered with this process. Black codes, Redemption, and Jim Crow are all examples of initial offering and then revoking of freedoms toward African Americans throughout Reconstruction. African Americans did not lose without a fight though; some even maintained it. Blacks resisted their revocation of their freedom through the development of Alliances and Leagues, which helped them liberate themselves of black codes and white supremacy. African†¦show more content†¦Land ownership was another one of those obstacles. Important to African Americans because they felt they had a right to something that had been developed by their own hands. Eventually African Americans assert their status as freemen to voice their opinion, and as time passes African Americans grow increasing knowledgeable of their rights as citizens, and knowing those rights made life a little easier for blacks in the south. That voice eventually got louder, so when they saw owning land as the highest form of freedom, African Americans everywhere demanded land from the federal government as compensation for the years of slavery they had gone through. (40 acre Wiki) Though most African Americans never received their land, they developed a â€Å"nothing is impossible† attitude and it built confidence and courage for any further challenges against their freedoms and rights as citizens. Knowledge and understanding is key to success and that’s what African Americans developed over the previous battle with black codes. Blacks saw opportunity in adverse situation, such as overcoming black codes which led to overcoming sharecropping. 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