Changes between Version 1 and Version 2 of Imperial Films Company

Jul 2, 2013, 10:46:12 AM (11 years ago)



  • Imperial Films Company

    v1 v2  
    44Est: 1926. Successor to the Majestic and Royal 
    5 Art Film companies set up by Ardeshir Irani 
     5Art Film companies set up by [[Ardeshir Irani]] 
    66as a diversification of his exhibition interests in 
    7 partnership with Esoofally, Mohammed Ali 
     7partnership with [[Esoofally]], Mohammed Ali 
    88and Dawoodji Rangwala. Organised as a 
    99vertically integrated combine with its own 
    1010exhibition infrastructure. Started following the 
    11 decline of Kohinoor, it continued many of the 
    12 latter’s Mohanlal Dave-inspired genres, often 
     11decline of [[Kohinoor]], it continued many of the 
     12latter’s [[Mohanlal Dave]]-inspired genres, often 
    1313with the same stars and film-makers. Imperial 
    1414became closely associated with the costumed 
    1515historical genre launched with Anarkali (1928), 
    1616shot 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 
     17competition to [[Charu Roy]]’s [[The Loves of a 
     18Mughal Prince]] (1928). Irani also rushed out 
     19[[Alam Ara]] (1931), released as India’s first full 
     20talkie narrowly beating [[Madan Theatres]] 
     21[[Shirin Farhad]] (1931). Imperial was the first 
    2222studio to shoot scenes at night (in Khwab-e- 
    2323Hasti, 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 
     24owned India’s top silent star, [[Sulochana]], and 
     25promoted her along with [[Zubeida]], Jilloo and, 
     26for a while, the young [[Prithviraj Kapoor]]. This 
    2727was perhaps the first major instance of a 
    2828deliberate manufacturing of a star-cult as a 
    2929marketing 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 
     30include [[R.S. Choudhury]], [[B.P. Mishra]] and 
     31[[Mohan Bhavnani]], whose film-making set the 
     32house style, as did [[Nandlal Jaswantlal]]’s 
    3333sound films. A fair number of the studio’s 
    3434talkies were remakes of its own silent hits with 
    35 Sulochana (Anarkali, 1928 & 1935), Wildcat 
    36 of Bombay (1927) became Bambai Ki Billi 
     35Sulochana (Anarkali, 1928 & 1935), [[Wildcat 
     36of Bombay]] (1927) became [[Bambai Ki Billi]] 
    3737(1936), etc. It made films in at least nine 
    3838languages: Hindi, Gujarati, Marathi, Tamil, 
    4040first Iranian sound film, Dukhtar-e-Lur (aka 
    4141Dokhtare Lor Ya Irane Diruz Va Emruz, 1932) 
    42 was also made here. Kisan Kanya (1937) by 
    43 Gidwani was India’s first indigenously 
     42was also made here. [[Kisan Kanya ]](1937) by 
     43[[Gidwani]] was India’s first indigenously 
    4444manufactured colour film, made with the 
    4545Cinecolour process. When it closed in 1938, its 
    4646economic and generic inheritance was 
    47 continued by Sagar Movietone. 
     47continued by [[Sagar]] Movietone.