Changes between Version 1 and Version 2 of Imperial Films Company

Timestamp:

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

Author:

UshaR

Comment:

--

Imperial Films Company

@@ -3 +3 @@
 
 Est: 1926. Successor to the Majestic and Royal
-Art Film companies set up by Ardeshir Irani
+Art Film companies set up by [[Ardeshir Irani]]
 as a diversification of his exhibition interests in
-partnership with Esoofally, Mohammed Ali
+partnership with [[Esoofally]], Mohammed Ali
 and Dawoodji Rangwala. Organised as a
 vertically integrated combine with its own
 exhibition infrastructure. Started following the
-decline of Kohinoor, it continued many of the
-latter’s Mohanlal Dave-inspired genres, often
+decline of [[Kohinoor]], it continued many of the
+latter’s [[Mohanlal Dave]]-inspired genres, often
 with the same stars and film-makers. Imperial
 became closely associated with the costumed
 historical genre launched with Anarkali (1928),
 shot and released almost overnight in direct
-competition to Charu Roy’s The Loves of a
-Mughal Prince (1928). Irani also rushed out
-Alam Ara (1931), released as India’s first full
-talkie narrowly beating Madan Theatres’
-Shirin Farhad (1931). Imperial was the first
+competition to [[Charu Roy]]’s [[The Loves of a
+Mughal Prince]] (1928). Irani also rushed out
+[[Alam Ara]] (1931), released as India’s first full
+talkie narrowly beating [[Madan Theatres]]’
+[[Shirin Farhad]] (1931). Imperial was the first
 studio to shoot scenes at night (in Khwab-e-
 Hasti, 1929) using incandescent lamps. It
-owned India’s top silent star, Sulochana, and
-promoted her along with Zubeida, Jilloo and,
-for a while, the young Prithviraj Kapoor. This
+owned India’s top silent star, [[Sulochana]], and
+promoted her along with [[Zubeida]], Jilloo and,
+for a while, the young [[Prithviraj Kapoor]]. This
 was perhaps the first major instance of a
 deliberate manufacturing of a star-cult as a
 marketing strategy. Top Imperial film-makers
-include R.S. Choudhury, B.P. Mishra and
-Mohan Bhavnani, whose film-making set the
-house style, as did Nandlal Jaswantlal’s
+include [[R.S. Choudhury]], [[B.P. Mishra]] and
+[[Mohan Bhavnani]], whose film-making set the
+house style, as did [[Nandlal Jaswantlal]]’s
 sound films. A fair number of the studio’s
 talkies were remakes of its own silent hits with
-Sulochana (Anarkali, 1928 & 1935), Wildcat
-of Bombay (1927) became Bambai Ki Billi
+Sulochana (Anarkali, 1928 & 1935), [[Wildcat
+of Bombay]] (1927) became [[Bambai Ki Billi]]
 (1936), etc. It made films in at least nine
 languages: Hindi, Gujarati, Marathi, Tamil,
@@ -40 +40 @@
 first Iranian sound film, Dukhtar-e-Lur (aka
 Dokhtare Lor Ya Irane Diruz Va Emruz, 1932)
-was also made here. Kisan Kanya (1937) by
-Gidwani was India’s first indigenously
+was also made here. [[Kisan Kanya ]](1937) by
+[[Gidwani]] was India’s first indigenously
 manufactured colour film, made with the
 Cinecolour process. When it closed in 1938, its
 economic and generic inheritance was
-continued by Sagar Movietone.
+continued by [[Sagar]] Movietone.
 
 [[Studio]]