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Jingoism is in the air – or at least in Bollywood movies. Filmmakers tell stories that glorify India's military campaigns, sports stars, and historical personalities, all with large sets of flags and declamations about the greatness of the nation. Contemporary references are sneakily inserted into the sagas of the past, as in the Stanan Kangana Ranaut Manikarnika – in which the warrior queen speaks of serving her land without governing it – suggesting that she will simply be a Pradhan Sewak . Historians can shake their heads, but filmmakers claim to know the audience better.
This is not the first time that the film industry of Mumbai is aligning with the national mood. In the years following independence, the films became involved in the conversation by making films about the issues raised by the country's leaders. The colossus that Jawaharlal Nehru was meant to say that his exhortations set the tone and direction for the country. He spoke of India's civilization values such as "unity in diversity". He also talked about science, dams – the temples of modern India – and how India had to leave the village and this mentality. Filmmakers followed. But there was pride, no jingoism
The films of the 15-year period, from 1947 to 1962, when a war broke India's illusions about her friend neighbors – reflected those values. In 1950, the republic appeared and India was now more than a nation: it was a state endowed with equal rights for all. It was a matter of great pride.
The country was changing, but not everything was optimistic – there was desperation too – and the movies reflected it. On the occasion of Republic Day, here are songs that speak of an emerging Indian identity, with all the joys, problems and upheavals that it entails.
E Ek Thi Ladki & # 39; (1949)
At first glance, it's little more than a silly song about three brothers with funny names. But here too, the lyricist succeeds in introducing a message on community harmony. The constant chorus of "Hindus, Muslims, Sikhs, Isais," all Indians, was part of the popular culture of the country. This is particularly relevant today as attempts are underway to define Indian identity. Do not miss the orchestra composed of all the girls and the Anglo-Indian singer.
& nbsp; Shri 420 & # 39; (1955)
Raj Kapoor's Raju commented on his heart beats for India even though his clothes and cap come from all over the world. The tone was a sweet irony, since it is clearly poorly dressed, but the feeling was pretty clear – we are of the world but we are, in our hearts, Indian and we must continue to progress towards the 39; future (& # 39; Chalna Jeevan ki kahani, rukna maut ki nishani & # 39; ).
The film also addresses the issues of migration in the big city (a theme also taken up in other films of the period such as Taxi Driver ). but without sentimentalizing the village, which many other filmmakers tended to do. In accordance with the socialist spirit of the time, the writer K.A. Abbas and the director Kapoor set up the conflict between the honest poor and corrupt rich.
& nbsp; New Delhi & # 39; (1956)
The edification of the nation was also to get rid of parochial identities and to think Indian. This film was about a young man who came from Amritsar to Delhi but had trouble renting a room. Each prospective landlord wants a tenant belonging to his own community. Kishore Kumar urges people from different communities – Maharashtrians, Gujaratis, Bengalis – to stay temporarily in a guesthouse, to step out of their narrow-minded state and to experience the joys that the world can offer and aim for. the moon. There is reference to "Atomi ghoda", echoing the emergence of nuclear energy and the race to space.
"Naya Daur" (1957)
The title itself was significant – a new age – where tradition and innovation could coexist. The film spoke of the conflict that arises when a young owner of a factory wants to mechanize his business and introduces a bus that takes away the custom of the car driver, who was until then the main transport service.
The villagers naturally resist and in a race between the bus and the carriage, the latter wins. The film is dangerously oriented towards a Luddite philosophy, but it is finally softened by a message of coexistence.
"Pyaasa" (1957)
But was not all joy and brotherhood. The nation was not paying attention to its weakest and most vulnerable. In Pyaasa, Guru Dutt sang Sahir Ludhianvi's words that those who are proud of India should be ashamed of the way they treat the marginalized. Dutt, who until then made police films and police comedies, took a dramatic and somewhat nihilistic turn with Pyaasa – the story of a poet dropped by society.
Although the film and its songs largely reflect the loss. of innocence, the fact is that the story was written as early as 1947 and that the Nazm Chakley, on which rests the song, was also written by Sahir well before the film
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"Phir Subah Hogi" (1958)
But Sahir was also optimistic and dreamed of a better world. In "Phir Subah Hogi" – based on Crime and Punishement – he wrote a satirical version of Iqbal's patriotism infused "Chin-o-Arab Hamara". The first lines of Sahir's song speak of unemployment, homelessness and poverty, but the last stanza is an urgent call to unite his efforts to create a new nation that the world would admire.
"Hindustani Hum" (1960)
The Day of the Republic parades, which became very popular, testified to the 39, ancient civilization and military prowess of India. The images of the parade were often used in patriotic songs. 'Hum Hindustani' said that if the past is glorious, Indians should stop living there and move on. " Abhi palatna hai rukh dariyaon ka, kitne parbat raahon hain aaj hatane .
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. & # 39; Sound of India & # 39; (1962)
& nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; & nbsp; was also the cry of the little boy Sajid Khan in "Son of India". In the song "Nanha Munna Rahi Hoon", he takes us on a journey of India with his monuments, his fields, his big cities and, of course, the parade of Republic Day.
[1965] Phool Bane Angarey & # 39; (1963)
But dark clouds were forming. Tensions between India and China were mounting and Indians, like their prime minister, felt betrayed. The armed forces have been called to defend India. It was a good time for valor and sacrifice, not only from the soldiers, but also from their loved ones.
The impact of the conflict and the loss was such that, in less than a year, the first film – with the war as the backdrop – was released. Although in the film, China is not named – the soldier is called to Korea! – the lines Hamare ik padosi do hamare ghar ko loota hai ' leave no doubt about the identity of the aggressor.
The industry participated in the drumming effort. patriotic support in different ways. In this non-cinematic song, prominent actors of the time sang "Awaaz Do Hum Ek Hain " a bit like "Mile Sur Mera Tumhara" in the 1980s. The idea Central, however, was to promote national integration and not to cause divisions.
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