The Indian film
industry is an important part of the culture and heritage of India. The longest running film in the history
of Indian cinema (Dilwale Dulhaniya Le Jayenge) was one of the first to deal with the lives of Indians living abroad and changed the face of Indian Cinema. Gone are the days when a typical Hindi heroine could not be anything but unbelievably sweet, innocent, humble and honest. Their bold hard hitting, scheming grey character, are totally different from what they have done earlier. The trend started with “Guide” and much later “Lamhe”, which attracted audiences globally with local
settings. Being considered as “ahead of time”, these movies paved an easy way to glocal market wherein all and sundry could identify with the characters. It was the same time when cinema found itself in the situation of playing a major role within the history, as an art tied to
industry and as an art tied to the nation. Boasting a billion plus audience in the Indian sub-continent alone, the Indian Film Industry, has come a long way since its inception in the year 1913 with Raja Harishchandra. Mythology is no more a synonym for Bollywood, today makers believe in packaging movies in subtle Indian outlook. Movies like Dhoom-2 and Krishh are no more trapped in the cocoon of particular culture or ideology. While ‘Krishh’ is the local embodiment of Superman, ‘Lage Raho Munnabhai’ takes “Gandhigiri” glocally without conventional settings. And not just that, Hollywood is also trying to reach wide and far with themes that appeal to beings all around the globe.When a director like Gurinder Chadhha tries to impress global audience she looks back to Indian backdrop. She takes up the classic “Pride & Prejudice” and presents it as a curry of Hinglish culture which again proves that global outlook with local settings works. The same happened with Vishal Bharadwaj with his recent ventures. He knew that Indian mass might not take in “Macbeth” or “Othello” in their classic fashion that spoke of global culture therefore he confined to Indian settings and it worked. It presents the unique way of treating a classic which is known globally in local perspective.May it be Page 3 or Black, today makers don’t restrict themselves to one language. Makers are resorting to sharper critic of culture. Gone are the days when movies didn’t have global market. In present day scenario, movies are released worldwide at the same time and needless to say, the whole phenomenon requires sharp skills so that the pulse of the glocal market could be caught. And it doesn’t reflect alone in the themes but in the Titles as well. Movie names like “Pyar ke side-effects” or “Murder” or “Being Cyrus” are no more alien to Indian crowd. Directors are thinking of situations wherein they can fit in an English song or actors. Going to Singapore or Switzerland is passé. Demand of the day is to visualize movies of international standards. If this glocal viewpoint is adopted then only one can survive as a film-maker otherwise downfall is certain.