The recent episode of a stampede at a cinema hall in Hyderabad resulting in the tragic death of a woman and the fate of a child whose life hangs in suspended animation once again brings to the fore the role of cinema and the need for state intervention. That cinema has come to occupy a significant part of our lives is undeniable. Over the decades this medium of entertainment has been influencing human behavior in ways that have become the subject of study by behavioural scientists, not to ignore the attention of the state. Such has been cinema’s evolution and transformation that the state and its organs are compelled to intervene and address attendant issues of the industry such as the number of screenings, prices of tickets, incentives for local filmmakers, and not the least the creature aspects of those depending on it. However, insiders of the industry feel that policy interventions have created an asymmetry in the industry with major benefits flowing to the affluent few leaving the vast majority, notwithstanding their talent, with no alternative but to sub-serve their interests, professional and financial. The fallout of lopsided policy initiatives has impacted filmmakers, artistes, and technicians of Telangana more severely and without justification. It is not as if Telangana had no creative talent. A peep into the past presents a testimonial to the talent of Telangana artistes and technicians.
The past
Telangana cinema comprising films made by Telangana artists or based on Telangana themes had a humble beginning. Way back in the days when silent movies were being made Dhiren Ganguly, a fine arts teacher of Nizam College, made a film titled “England Returned” that tried to capture the change that occurs in the life an Indian exposed to Western society. The theme is treated in a sarcastic way to emphasize the change. The genre chosen for the theme was so apt that the film earned huge profits at the box office. Dhiren went on to set up a film company named “Lotus” in the year 1922. With permission from the Nizam to shoot royal palaces, Dhiren made “The Lady Teacher,” “Sadhu aur Saitan,” “Indrajit,” The Stepmother,” “Yayati,” etc., In all, Dhiren made 10 films. However, Dhiren had to leave Hyderabad when his film “Razia Begum” based on the theme of love between her and a Hindu ruler annoyed the Nizam. However, he later on received the Dadasaheb Phalke Award in the year 1976. Later another film company Mahavir Photo Place made seven silent films between 1929 -1931. The decade saw a gradual rise of talkie films. About 1931 National Film Company (Deccan) was formed in Hyderabad. The company made four films (Peace of Iraq, Pieco of the Wild, Deshbandhu, and Mary Mata) in two years. Post Dhiren Hyderabad did not witness filmmaking making though films based on Telangana themes were made in Madras. Mention must be made of “Ramadasu”, “Kalasivunte Kaladusukham”, and “Vemulavada Bhimakavi” etc., Later on in the seventies (1974) Shyam Benegal, a Hyderabadi, made ANKUR, with the theme of feudal excesses that characterized Telangana in the days before becoming a democratic state. Benegal also made “Sushman” (1987) depicting the travails of handloom weavers.
For one with a sense of history, the film “Maa Bhoomi” directed by Gautam Ghosh and made by B. Narsing Rao and G. Ravindranath stands as a milestone in Telangana cinema. The film portrays the armed struggle of peasants against feudal nature of the state. More films with social themes followed in the eighties though their number was less. Sagar Sarhaudi’s “Bazaar” and another film by KVK Shiva Reddy “Pratyusha” revolve around the marriage of poor girls of Hyderabad to Gulf sheiks and the practice of Jogini respectively. Likewise, films such as “Mandi”, “Nikha” and “Hero Hiralal” are set in the backdrop of Telangana. B. Narsing Rao’s “Daasi” (1988), captures the pathos of women taken in to the fortresses of feudal lords. This is the only Telugu film to have won 5 National awards to date. However, despite international acclaim, the film could not get exhibited in the movie halls. Similar was the fate of Komaram Bheem, a film depicting the revolt by the oppressed tribal hero of Adilabad. Only recently after nearly two decades of lying in the cans did the film hit the screens. The fate of the film made by Syed Rafi titled “INKENNALLU” was no different. This is the paradox of Telangana cinema. The content gets international acclaim but the audience at home is denied the opportunity to view the film. This is largely attributable to the vice-like grip of a few rich in the industry over the distribution and exhibition channels. This is proving fatal to good cinema.
The Paradox
In the years from 1980s some films with a Telangana backdrop were made though not necessarily by Telangana filmmakers. Films based on agrarian relations, social tensions between classes, the plight of the oppressed found receptive audiences. These films were commercially successful and interestingly enriched the Andhra filmmakers. In a majority of such films, neither Telangana artistes nor technicians were given opportunity. Thus, Telangana themes proved fertile for Andhra filmmakers.
The fate of Telangana artistes despite their talent has been not very different from the fate of the films they made. One of the earliest lead actors Pydi Jayaraj, a former student of Nizam College, left for Bollywood in search of greener pastures. Warangal-born Hamid Ali Khan better known as Ajit’s name became synonymous with the “Lily don’t be silly” dialogue in Bollywood and TV shows. The relatively later-order artistes like T.L. Kantha Rao known as “Katti Kanta Rao” (for his dexterous skills for sword fight) and Dr.M. Prabhakar Reddy known for his villainous roles did not get their due place in the film field notwithstanding their talent for lead roles. They had to play second fiddle to Andhra actors.
Initiatives taken by Chief Ministers Vengal Rao and Dr. M Channa Reddy resulted in a shift of the industry to Hyderabad from the erstwhile Madras state. However, this shift of artistes and technicians did not impact the Telangana film nor of those who had talent or inclination for filmmaking. Incentives in the form of lands given were largely
appropriated by the Andhras and grossly misused for personal gain in violation of
rules. The rich few who dominated the scene also enjoyed political patronage. Money and political power make for a deadly combination.
The Present
The present status of the film industry is anything but inspiring for the enthusiastic and talented Telangana artistes and filmmakers. The unhealthy and larger-than-life image of hero, the cost of production and publicity, and the monopoly of a few over distribution and exhibition channels detract many. The economic status of many technicians and prospects of improving their conditions is no different from that of Telangana filmmakers and artistes. There is no gainsaying that they form part of Telangana society and the need for improving their lot cannot be ignored. The situation warrants an initiative by the government to break the monopoly and mafia-like grip of the few over the industry.
In to the future
Policy initiatives on the following lines could save the industry from near extinction.
- Film making and exhibition thereof should be accorded ‘Industry’ status for purposes of taxes, fees, tariff and other regulatory provisions.
- Provide subsidy to a tune of 50% on cost of production for the films made in Telangana with Telangana producers, artistes and technicians subject to an upper limit of Rs. 50 Lakhs.
- Films made in compliance with the above criterion should be exempt from ‘Location fees/charges.
- Such films should be exempted from Entertainment Tax.
- The state should take the initiative to impart skills related to filmmaking by setting up an Academy/ Institute on the lines of FTII, Pune.
- Telangana is known for its linguistic uniqueness. Deccani language is popular in this region. Films made in the Deccani language should be encouraged by extending similar incentives.
- Land should be allotted by the government for the construction of studios and mini-theatres.
- House sites should be allotted to cine workers.
- State should take the initiative to organize film festivals, identify films with aesthetic values, and sponsor them for international film festivals.
These initiatives have the potential to bring about change in the status quo and unleash the talent of Telangana artistes and technicians. It will produce and present creative actors and not ‘stars’ of any humongous size or attributes or ‘heroes. As a result, the aura that the present ‘star’ system creates will disappear. In place of aura and a larger-than-life image of heroes, appreciation and admiration for talent arise. A sober community of film-goers that the new ecosystem creates will not throng the cinema halls. Stampedes and casualties pass into history. The change will be for the better. (The producer is also co-author of this article)
