| 1 | '''Imperial Films Company''' |
| 2 | |
| 3 | |
| 4 | Est: 1926. Successor to the Majestic and Royal |
| 5 | Art Film companies set up by Ardeshir Irani |
| 6 | as a diversification of his exhibition interests in |
| 7 | partnership with Esoofally, Mohammed Ali |
| 8 | and Dawoodji Rangwala. Organised as a |
| 9 | vertically integrated combine with its own |
| 10 | exhibition infrastructure. Started following the |
| 11 | decline of Kohinoor, it continued many of the |
| 12 | latter’s Mohanlal Dave-inspired genres, often |
| 13 | with the same stars and film-makers. Imperial |
| 14 | became closely associated with the costumed |
| 15 | historical genre launched with Anarkali (1928), |
| 16 | shot and released almost overnight in direct |
| 17 | competition to Charu Roy’s The Loves of a |
| 18 | Mughal Prince (1928). Irani also rushed out |
| 19 | Alam Ara (1931), released as India’s first full |
| 20 | talkie narrowly beating Madan Theatres’ |
| 21 | Shirin Farhad (1931). Imperial was the first |
| 22 | studio to shoot scenes at night (in Khwab-e- |
| 23 | Hasti, 1929) using incandescent lamps. It |
| 24 | owned India’s top silent star, Sulochana, and |
| 25 | promoted her along with Zubeida, Jilloo and, |
| 26 | for a while, the young Prithviraj Kapoor. This |
| 27 | was perhaps the first major instance of a |
| 28 | deliberate manufacturing of a star-cult as a |
| 29 | marketing strategy. Top Imperial film-makers |
| 30 | include R.S. Choudhury, B.P. Mishra and |
| 31 | Mohan Bhavnani, whose film-making set the |
| 32 | house style, as did Nandlal Jaswantlal’s |
| 33 | sound films. A fair number of the studio’s |
| 34 | talkies were remakes of its own silent hits with |
| 35 | Sulochana (Anarkali, 1928 & 1935), Wildcat |
| 36 | of Bombay (1927) became Bambai Ki Billi |
| 37 | (1936), etc. It made films in at least nine |
| 38 | languages: Hindi, Gujarati, Marathi, Tamil, |
| 39 | Telugu, Burmese, Malay, Pushtu and Urdu. The |
| 40 | first Iranian sound film, Dukhtar-e-Lur (aka |
| 41 | Dokhtare Lor Ya Irane Diruz Va Emruz, 1932) |
| 42 | was also made here. Kisan Kanya (1937) by |
| 43 | Gidwani was India’s first indigenously |
| 44 | manufactured colour film, made with the |
| 45 | Cinecolour process. When it closed in 1938, its |
| 46 | economic and generic inheritance was |
| 47 | continued by Sagar Movietone. |
| 48 | |
| 49 | [[Studio]] |