Download Film Bollywood

[Silvana Fleischacker]

Thisis a ranking of the highest-grossing Indian films, which includes films from various languages based on the conservative global box-office estimates as reported by reputable sources. There is no official tracking of domestic box-office figures within India, and Indian sites publishing data are frequently pressured to increase their domestic box-office estimates.[1]

Indian films have been screened in markets around the world since the early 20th century.[2] As of 2003, there are markets in over 90 countries where films from India are screened.[3] During the first decade of the 21st century, there was a steady rise in the ticket price, a tripling in the number of theatres and an increase in the number of prints of a film being released, which led to a large increase in the box office collections.[4]

As of 2014, Hindi cinema represents 43% of the net box office revenue in India, while Telugu and Tamil cinema represent 36%, and other industries constitute 21%.[5] In 2022, the Hindi film industry represented 33% of box office revenue, followed by the Telugu film industry, representing 20% and the Tamil film industry, representing 13%.[6] Other prominent languages in the Indian film industry include Kannada (8%) and Malayalam (6%), as well as Bengali, Marathi, Odia, Punjabi, Gujarati and Bhojpuri. As of 2020, the combined revenue of all other language film industries has surpassed that of the Hindi film industry,[7] By 2021, Telugu cinema became the largest film industry of India in terms of box-office.[8][9][10]

Bengali cinema was the center of Indian cinema in the 1930s,[99] and accounted for a quarter of India's film output in the 1950s.[100] Cinema in South India accounted for nearly half of India's cinema halls in the 1940s.[2]

Bengali cinema, also known by the nickname Tollywood, a portmanteau of the words Tollygunge and Hollywood, is the Bengali language film industry centered in the Tollygunge neighbourhood of Kolkata, West Bengal.

The Gujarati cinema produces films in Gujarati language and is primarily focused on the audience in Gujarat and Mumbai. The film industry is sometimes referred to as Dhollywood or Gollywood.

The Hindi language film industry, based in Mumbai, India, is frequently known as Bollywood.[128] Bollywood is one of the largest film producers in India and one of the largest centres of film production in the world.[129][130][131]

Malayalam cinema is a part of Indian cinema based in Kerala dedicated to the production of motion pictures in the Malayalam language. It is sometimes known by the nickname "Mollywood" by certain media outlets.

The Marathi cinema industry produces films in the Marathi language and is based in the state of Maharashtra, India. India's first full-length film, Raja Harishchandra, was released in 1913 in Marathi.[176]

Odia cinema is primarily based in Odisha state producing movies mainly in the Odia language and a few movies in Sambalpuri language. The first Odia movie was Sita Vivaha which was released in 1936.

Telugu cinema, also known by its nickname "Tollywood," is a part of Indian cinema producing films in the Telugu-language, in the states of Andhra Pradesh and Telangana and is centered in the Hyderabad neighbourhood of Film Nagar.[212]

This romantic comedy fits the Bollywood template perfectly: it boasts flamboyant colours, songs and dance and, more importantly, a big fat Indian wedding. It tells of two characters, Bunny (Kapoor) and Naina (Padukone), and their group of friends, who we first meet as they leave university before the film flashes forward to the end of their twenties. What made the film doubly successful was that its two stars were former lovers in real life, lending them a special chemistry onscreen.

The big scene

The entire film is a series of highlights, including a boxing match, a glass mansion on fire and a climactic song with the three heroes and their girls dressed as characters including matadors, Cossacks and Chaplin.

This 1961 drama helped to set the template for what would become a Bollywood staple: stories of brothers on opposite sides of the law. Poverty-stricken villager Gunga (Kumar) scrapes together just enough money to fund an education for his younger brother Jumna (Khan). Jumna becomes a police officer, while Gunga joins a group of bandits after heroically defending his love against a powerful landowner. The brothers head towards an unavoidable face-off.

The big scene

When Insia tells her mother that they should flee their abusive home, leaving her young brother, Guddu, behind, and her mother says that Guddu will grow up to be just like his father if they abandon him.

Believe it or not, this massive action extravaganza and even bigger box-office hit is actually based on two real-life historical figures during the British rule in India. Director SS Rajamouli does give their lives a fully fictionalised and highly bombastic skew, imbuing the men with superhuman powers, fighting against (and, for good measure, with) a myriad of CG animals, as well as the evil Brits, and throws in some musical bangers and some top-notch dance choreography for good measure. The story revolves around tribal leader Komaram Bheem (NT Rama Rao Jr), the protector of a village and its children, and his bromance with A Rama Raju (Ram Charan), a policeman with a hidden identity. They work together to save Malli, the daughter of Loki (not the God of Mischief, but a tribal Indian mum), who is forcefully taken from a forest as a trophy for a colonial wife and her brutal husband, the governor of the district. Cue, well, total mayhem.

The big scene

Just when a colossal battle at the British colonial headquarters seems to have capped-out for explosions, fights and all-round chaos, someone turns up with a truck full of ferocious wild animals.

The first Hindi film to be nominated for Best Foreign-Language Film at the Oscars, this is a heartbreaking story of the complexities of rural farming in newly independent India and the exploitation of farmers by their feudal landlords. It follows the hardships faced by Radha (Nargis), a village mother of three sons who is abandoned by her husband and forced to toil the paddy fields to survive. The film entrenched the idea of the pure, self-sacrificing mother figure as synonymous with the notion of an idealised Indian (Hindu) nation.

Despite cultural differences, the countries of South Asia share a strong connection through trade, history, and, of course, Indian film. Bollywood is no stranger to Afghanistan and Pakistan. Posters of Indian actors adorn streets from Kabul to Karachi, and bootleg movies are widely available.

The "bad women," the courtesans that entertained members of the high society, would dance the night away and recite poetry only to be sold to the highest bidder at the end of the night. Sought after for their beauty; they are shown to intoxicate men with their skills, dancing in such a way that would only be seen in such settings. Countless movies display this, such as Umraoo Jaan, Pakeezah, Sharafat and Mughal-e-Azam. They depict men who sitting on cushions, smoking, and chewing betel leaves. The only women in their scenes were the courtesans and the madame who gives her prized possession, the courtesan, to the man offering the most money, displayed in gold coins.

The madame in these films loves her young possessions and raises them as daughters. She appears to do the girls a favor by taking them off the streets where they would otherwise beg for food and shelter. Instead, they become dancers for elite men, regaled with gifts and beautiful clothes. Most of these women were trafficked domestically as young girls and then raised to dance and entertain with a poise not found in other areas of society.

Powerful men in these films visit such establishments with little repercussion, but it is the women who are left to face the real blowback. The men still marry well, hold high ranks in society, and have their lawful wives accept the fact that they have a second life with other women. The most a woman could do was approach the courtesan dancer and ask her to stop luring her husband.

Bollywood movies have shed light on the plight of Afghan and Pakistani women as well (though they continue to play to the stereotypes). The Afghan woman is often portrayed as a warrior, able to fight next to a man. On the other hand, she is still a prize to be won. In the movie Khuda Gawa, the heroine, an Afghan woman, promised her hand in marriage to the hero if he would kill her worst enemy, the man who murdered her father. She was a Buzkash, a champion of the extreme Afghan sport of buzkashi; she had power within her community. Yet, at the end, she was still weaker because she needed this man to carry out her mission, and she was willing to give herself to him should he be successful.

For their part, Bollywood films have changed somewhat in recent years to depict the woman as more of an equal to her male counterpart and less of an object; their roles are more career-driven and less subservient. Women are standing up to society and their families where injustices such as forced marriages exist.

Humira Noorestani is a Human Rights Activist and the Founder/Director of Ariana Outreach, an NGO dedicated to building bridges between the United States and Afghanistan, primarily through connecting women of both countries.

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Bollywood is well known, because it is said to be the largest film industry in the world, in terms of number of films released. This is sort of correct. There seems to be some confusion surrounding the term Bollywood and what it actually refers to.

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