The most visible image of India, particularly to the country’s masses, is unarguably the multicoloured pictures of actors and actresses figuring in the movies of multiplicity of languages. The less the players on the big screen are attired, the more conspicuous in their image and that of the land. Undoubtedly, the least covered anatomy of the film actors ought to be that of the females, both heroines and the bunch of gyrating support actresses. These characters have come to be described as stars a parody of the shining stars in the clear skies after dark. Global rating agencies, whose verdicts on various sides to the images of countries, have so far kept the status of cinema in different countries, have so far kept the status of cinema in different countries out of their purview. India is currently given the top billing for the number of biopics produced annually for any country in the world, that number having exceeded 2,500. Needless to remark, as the discreet connoisseurs of India’s films agree, the rank that can be assigned to quality of the land’s film is far from top.
Thanks to technology that has galloped from a primitive stage to the present days of glitz and glamour, the shows of the big screen have made a big splash on the small screen, expanding the viewership of film God-Knows-how-many-times over, compared to a few decades ago. One doesn’t have to make a bothersome trip to any cinema hall to enjoy the rich scenes and music that cinema has to offer.
If one digs into the film archives created by an autonomous agency, One is rewarded richly by viewing the thespians of early years of Indian cinema. Films with storylines drawn from the country’s epics and also history can never fail to enthral the connoisseurs with refined tastes of entertainment. One can get exposed to a galaxy of film actors and actresses who were not only household names of their days but also virtually immortalised themselves. Those films have come to be rated as classics unlike the run-of-the-mill flicks offered by film-making fraternity in our times. The outlook of offering clean cinema that members of families can view sitting together is no longer valued in the cinema industry. The film-makers and their patron-mass have entered into a mutually acceptable company as it were, unfazed by the adverse rating of films in some circles of critics.
As of now, the Central Board of Film Certification is a mute witness to the nationally disturbed ambience created by one or the other controversy being pinpointed by vested interests. India’s cinema industry, providing jobs and income to more than 20 lakh, has to put itself on even keel for the good of the country in particular and general public at large.