POSTCOLONIAL

BOLLYWOOD
OSCARS
AWARDS
1947-1970

Postcolonial Bollywood Oscars Awards

Presented by

Sandra Martn Segura

Aina Vim Soler
Brbara R. Mallotti

TIMELINE

1913
1st full-length Indian silent film
Raja Harishchandra

1960
New trend and concepts:
Comedy, rock music, love
and happiness.

1931
1st Indian film with sound
Alam Ara

1937

1950

1st Indian color movie

1970-1990
Indian cinema go back to previous roles
of recreation the difficult everyday life.

-Difficulties in the country.

-Indias biggest movie stars were born.
-Movies represent problems and
Struggles that the society was facing.

1990s
The industry goes back to the romantic movies
And comedies of the late 60s.

BEST POSTCOLONIAL MOVIE

The Postcolonial Academy has finally decided to award the Oscar for best postcolonial movie to Mother Indias film. It has not been an easy
decision, yet the Award Academy has opted for this choice, because it considers that the film summarizes quite well the history of India, from a
very wide perspective.
The main character of the film, and which the plot is told is Radha, a poverty-stricken village woman who, in the absence of her husband,
struggles to raise her sons and survive against a cunning money-lender amidst many troubles. Despite her hardship, she sets a goddess-like
moral example of an ideal Indian woman.
Regarding to the themes that have made this film deserves the award for the category of best postcolonial movie, are the wide references to
the Indian culture, not only in the most significant and historical facts, but also in the less remarkable issues. Taking into account this, by using
the character of Rahda, the spectator can observe that the themes of this film revolves around Hindu mythological goddesses and characters,
by identifying her character with them, such as Radha (the lover of the god Krishna, personifying love and romance), Sita (the divine heroine of
the Hindu epic Ramayana, personifying high moral value), Savitri (representing great morality and loyalty to husband), Draupadi(personifying
duty and morality), Dharti-mata (earth-mother goddess) and Lakshmi (Hindu goddess of prosperity).Consequently, the Mother Indias figure is

an icon in several respects: being associated with a goddess, her function as a wife, as a lover, and even compromising her femininity by playing
the role of Vishnu the Preserver and Shiva the Destroyer, masculine gods.
Another reason why Mother India has been chosen as the winner of this category, is because, it breaks stereotypes in Hindi film. In lots of
movies, the role of the mother was seen as subservient or dependent on her husband. However, Radha redifinites the relationship to the male
gender or patriarchal social structures. For this reason it could be state that, Radha transforms from a submissive wife to an independent
mother.
The term "Mother India" has been defined as a common icon for the emergent Indian nation in the early 20th century in both colonialist and
nationalist discourse. The film could be interpreted as an allegory of patriotism and the changing situation in the newly independent nation,
and how India was functioning without British authority. It echoes the tale of a modern India, liberating itself from feudal and colonial
oppression.
So, the film focus on the main issue which has been worried Indian people from the very beginning of British settlements: the independence of
their country.
Taking into account all the information , Mother India is seen as a film which highlights problems of a nascent nation, including rural
exploitation of farmers by money-lenders. It also represents the agrarian poverty and hardship of the people at the time.
Nevertheless, the Postcolonial Academy has been in some predicaments to decide what film deserves the postcolonial award for the best
postcolonial film. Between the other nominates were: Awaraa. However, this film was dismissed as a winner film, because the main
character defends the inmobility of people, by the castes system, which is so dominant in India. By reading the words of Judge Raghunath(the
main character) that "good people are born to good people, and criminals are born to criminals.", it can be appreciated this fact.

Regarding to the cultural diversity, Chaudhvin Ka Chand was considered as one of the possible award-winning films, because of its treatment
of another important theme in The Indians culture: the Islamic culture, specially, the place (Lucknow), in Northern India, where it was
flourished.
However, Chaudhvin Ka Chand not was the only film which plot revolves around religion. So, Jaal set in the fishing village of Goa, this film
depicts the ties between Tony, a good-for-nothing man from the city, and Maria, a village girl who loves him innocently. The spirit of Christian
love and forgiveness lies at the base of the story.
Another film which is related to the castes system and the differences between social classes is Kaagaz Ke Phool. In this production, the film
tells in flashback, the story of Suresh Sinha (Guru Dutt), a famous film director. His marriage to Bina is on the rocks because her wealthy family
sees filmmaking as a job lacking in social status. He is also denied access to his daughter Pammi ,who is sent to a private boarding school in
Dehradun.
As it was mentioned before, the religion in India includes all kinds of religions (not just the main one, but also the beliefs less practised). So, in
Indian films such as Mahal hindi film, which plot is about reincarnation in Hindus religion, the main theme of the movies is the God and
goddess of the Hinduism, the main religion in the country.
Finally, The Postcolonial Academy declined the nominated film Parakh. Although it is focus on Indian democracy in its early years, the
satirical look of this theme did not convinced the Academys judges.
In a different context, the film Solva Saal was nominated too, for making reference to one of the most important issues in India: arranged
marriages.

BEST LYRICS

AWAARA HOON from Awara (1951)

MERE DESH KI DHARTI from Upkar (1967)
JAPANI from Shree 420 (1955)
KAR CHALE, HAM FIDAA, JAAN-O-TAN From Haqeeqat (1964)
NA MAIN BHAGWAAN HOON from Mother India (1957)

AWAARA HOON from Awara (1951)

A vagabond am I, A vagabond am I.

Or am I in the horizon, a star in the sky.

A vagabond am I.
No home or hearth, not a roof above.

I do not have anyone to love

No wish to meet anyone on the other Side

I do not have anyone to love

Of a desolate city and an unknown road, the beloved am I

A vagabond am I......
If I have prospered not, destroyed I'd rather be

Yet I sing the songs full of happiness and glee

I do have a wounded soul and body

But a smile in my twinkling eyes you can see

World!
World I am slain by thy slings or the arrows of outrageous.

Fortune!!!!

A vagabond am I.

MERE DESH KI DHARTI from Upkar (1967)

Mere desh ki dharti, sonaa ugale, ugale hiire, moti

The soil of my country is made of gold, diamonds, and pearls

Mere desh ki dharti

The bells around the necks of the bullocks chime to the melody of life

Bailo.N ke gale mei.N jabghungaruu, jeevan kaa raag sunaate hai

Sadness and regret go away, and joyous lotuses smile

Gham kos duur ho jaataa hai, khushiio.N ke kamal musakaate hai.N

Listening to the sounds of the waterwheels, it seems as if auspicious

flutes are playing somewhere

Sun ke rahaT ki aawaaze, yuu.N lage kahii.N shahanaaii baje

Aate hii mast bahaaro.N ke dulhan ki tarah har khet saje
Mere desh ki dharti
Jab chalte hai.N is dharti pe hal, mamtaa angadaaiiyaa.N leti hai.N
Kyu.N na puje is maaTii ko, jo jeevan ka sukh deti hai?

Every field adorns itself like a bride when the thrill of spring arrives
When ploughs till this land, the love of its mother is activated
Why would we not worship this soil that gives us the joy of life?
Whoever was born on this land, obtained your love

Is dharti pe jis ne janam liyaa, usne hii paayaa pyaar teraa

Here there is no difference between a stranger and one of our own,

for Mother, you are benevolent to all

Yahaa.N apnaa paraayaa koii nahii.N, hai.N sab pe, Maa.N, upkaar
teraa

This is the garden of Bhudda and Guru Naanak, here bloom the
flowers of peace

Mere desh ki dharti

Ye baagh hai.N Gautam Naanak ka, khilte hai.N aman ke phool
yahaa.N
Gandhi, Subhaash, Tagore, Tilak, aise hai.N chaman ke phool yahaa.N
Gandhi, Subhash, Tagore, Tilakthese are the kinds of flowers of this
garden
RangharaaHari Singh Nalwe se, rang laal hai Lal Bahadur se
Rang banaa basanti Bhagat Singh, rang aman ka viirJawaahar se
Mere desh ki dharti

Its green color is from Hari Singh Nalwa , and its red color is from Lal
Bahadur
The color became saffron with Bhagat Singh and the color of peace
(white) is from the brave Jawaahar

JAPANI from Shree 420 (1955)

Meraa juuta hai Japaanii, yeh patluunEnglishtaanii

My shoes are Japanese, these pants are British

Sar pe laaltopiiRuusi, phir bhidil hai Hindustanii

On my head is a red Russian hat, nonetheless my heart is Indian

Nikal paDe hai khuliisaDak par, apnaa seenaa taane

I set out upon the wide open road confidently

Manzil kahaa.N, kahaa.N ruknaa hai, uparwaalaa jaane

Where is my destination, where must I stop, only God knows

BaDhte jaaye.N hum sailaanii, jaise ek Dariyaatoofanii

We advance forward relentlessly, as if a hurricane in a river

Sar pe laal topi Ruusi phir bhi dil hai Hindustani

On my head is a red Russian hat, nonetheless my heart is Indian

Mera juuta hai Japaanii

High to low, low to high, the waves of life flow

Uupar-niiche niiche-uupar, leher chale jeevan kii

Those who wait by the shore are naive, ask for the path toward
the motherland

Nadaa.N hai jo baiThekinaare, puuchhe raah watan kii

Chalna jeevan kii kahaanii, rukna maut kii nishaanii
Sar pe laal topi Ruusi phir bhi dil hai Hindustani
Mera juuta hai Japaanii
Ho.Ngeraaje rajkanwar ham bigaDe dil shehzaade
Ham singhaasan par jaa baithe.N jab jab kare.N iraade.N
Surat hai jaani-pehchaanii, duniyaa walo.N ko hairanii
Sar pe laal topi Ruusi phir bhi dil hai Hindustani
Mera juuta hai Japaanii

Going is the story of life while stopping is a sign of death

On my head is a red Russian hat, nonetheless my heart is Indian
I will become the prince of fallen hearts
I will sit upon a throne whenever I desire
My face will become familiar; it will be a surprise to the world
On my head is a red Russian hat, nonetheless my heart is Indian

KAR CHALE, HAM FIDAA, JAAN-O-TAN From Haqeeqat (1964)

We are finished sacrificing our lives and bodies, companions

Now we entrust the country to you, companions
Our breaths kept halting, our pulses kept congealing, but we did not allow our
advancing footsteps to pause
If our heads were cut, we felt no sorrow, for we did not allow the head of the
Himalayas to bow
As we died, our chivalry remained, companions
Now we entrust the country to you, companions
There are many seasons to live; however, the time to give your life does not come
every day
What displeases beauty and love are youth that do not bathe in blood
Today the earth became our bride, companions
Now we entrust the country to you, companions
Let the path of sacrifice not become barren, you must continue to adorn it with new
processions
The celebration of victory is after this victory in which life and death are embracing
Tie the funeral shroud upon your heads, companions
Now we entrust the country to you, Draw out a line upon this earth with your blood
and do not let any demons come this way
Break the enemys hand if his hand raises [against you] and let no one dishonor Sita
You are both Ram and Lakshman, companions
Now we entrust the country to you, companions
We are finished sacrificing our lives and bodies, companions
Now we entrust the country to you, companions

NA MAIN BHAGWAAN HOON from Mother India (1957)

na main bhagwaan hoon na main shaitaan hoon

duniyaa jo chaahe samajhe main to inasaan hoon
mujh mein bhalaaii bhii mujh mein buraaii bhii

Neither am I the God nor am i the Devil

Let the world think whatever they want to, I am human
Goodness exists in me and so does evil/bad things

laakhon hain mail dil mein thodii safaaii bhii

Millions of dirt (wrongs exist in heart but also a little good

also)

thodaa saa nek hoon thodaa beiimaan hoon

Am a little good/gentle but also a little cheat

duniyaa jo chaahe samajhe main to inasaan hoon

Let the world think whatever they want to, I am human

na koii raaj hai na sar par taaj hai

phir bhii hamaare dam se dharatii kii laaj hai

Neither is there a throne nor a crown on head

Even then in my last breath is the modesty of earth
In body I am poor but in heart I am rich

tan kaa Gareeb hoon man kaa dhanavaan hoon

Let the world think whatever they want to, I am human

duniyaa jo chaahe samajhe main to inasaan hoon

The whole world is confused in the want or obtaining of food

jeevan kaa geet hai sur mein na taal mein

Let the world think whatever they want to, I am human

The song of life, there is no tune nor beats

ulajhii hai saarii duniyaa rotii ke jaal mein
kaisaa andher hai main bhi hairaan hoon
What injustice there is, i am surprised too
duniyaa jo chaahe samajhe main to inasaan hoon

MERA JOOTA HAI JAPANI FROM SHREE 420. To understand the song we have to keep in mind the historical context that India went
through that period. With the independence from Britain in 1947, the country faced many barriers. The freedom for which they had fought for
generations was now realized. The Northern of the nation was divided between Muslims and Hindus, a rapid industrialization distanced the
surrounding villagers from the urbanites, and a booming economy isolated the working class. Society struggles to achieve a balance the
traditions of old and the advantages of Westernization.
The plot of Shree 420 is the story of a young man, Raju, who wanders from the countryside to find opportunity in city society. With an innocent
smile and optimism, he strolls down the street famously singing love for his homeland in Mera Joota Hai Japani. His humble cheerfulness and
patriotic pride captures the spirit of hopes and ideals for the blooming nation of a newly independent India threatened by corruption. 420, the
well-known number from which the film derives its title, is the Indian penal code for fraud and dishonesty, and foreshadows Rajus discovery of
the means to survive in modern society.

BEST ACTRESS

1.Rekha is one of the rare Bollywood actresses to make it big in both fields, of the Commercial Hindi Cinema and
Parallel Cinema. She started her career as a child actress in 1966 in a film in her mother's mother-tongue, Telugu. Telugu
film industry of Hyderabad, is also nicknamed Tollywood. After having appeared in these South Indian languages , soon
she got a chance to act in her first Hindi Film.

2. Madhuri Dixit Madhubala and Maryln Monroe of Bollywood, is one of the most famous, successful and Iconic
Bollywood actress till date. She is one of those actors who have struggled in their life to reach the no 1 slot in the Indian
film industry. She dominated Bollywood as a leading actress and an accomplished dancer. She acts more then 100 films
including such box-office hits as Dil (1990), Saajan (1991), Beta (1992), Khalnayak (1993), Hum Aapke Hain Koun..! (1994)
Raja (1995), Dil To Pagal Hai (1997), Mrityudand (1997), Pukar (2000), Lajja (2001) and Devdas (2002) and finaly Aaja
Nachle in 2007.

3.Sridevi was born to Ayyapan and Rajeswari on 13 August 1963 in Virudhunagar, Tamil Nadu. She was the only actor,
perhaps, who was able to say no to films with Amitabh Bachchan and yet come up trumps. She started her career as a
child actor in the 1967. She was in movies such as Guru, Sankarlal, Sigappu Rojakkal, Thaayillamal Naan Illai, Meendum
Kokila, Vazhvey Maayam, Varumayin Niram Sivappu, Neela Malargal, Moondram Pira, 16 Vayathinile, Gayathri, Dharma
Yuddham, Priya, Johnny, Ranuva Veeran, Pokkiri Raja, Thanikattu Raja, Adutha Varisu, Naan Adimai Illai, Pilot Premnath,
Kavariman, Viswaroopam, and Santhippu.
She is regarded as one of the greatest and most popular actresses of Hindi Cinema.She is also often cited as The First
Female Superstar of the Indian Cinema. After establishing herself as one of the leading actresses of Hindi cinema, she
left the industry in 1997. During her career, she has won four Filmfare Awardstwo for Hindi films, and one each for Tamil and Telugu films.
Sridevi is often cited by film media as one of the best actresses of Indian Cinema.

4.Madhubala was born as Mumtaz Jahan Begum Dehlavi in New Delhi, India on 14 February 1933. She was the fifth child
among eleven children of a conservative Muslim couple. She starred in several successful movies in the 1950s and early
1960s, many of which have attained a classic status. With her contemporaries Nargis and Meena Kumari, she is widely
regarded as one of the most influential and talented Hindi movie actresses.
Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted
in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that
Madhubalas beauty was greater than her acting ability. It was the film Mughal-e-Azam that marked what many consider to
be her greatest and definitive characterization as the doomed courtesan Anarkali.

5.Dream Girl Hema Malini Chakravarty was born into a Tamil Iyengar family in Ammankudi, Tiruchirappalli to V.S.
Ramanujam Chakravarthy and Jaya Chakravarthy on 16 October 1948.
Hema Malini is among the most successful female film stars in the history of Indian cinema. Appearing in over 150 films in a
career span of 40 years, she has starred in a large number of successful films, and her performances in both commercial
and arthouse cinema, were often recognised.
She has been nominated 11 times for the Filmfare Award for Best Actress. In 2000, she was presented with the Filmfare
Lifetime Achievement Award. In the same year, she was honoured with the Padma Shri, the fourth-highest civilian honour,
by the Government of India.
Hema Malini and her husband have been involved in politics, as members of the Bharatiya Janata Party (BJP).

MADHURI DIXIT

She has been awarded five times in Filmfare Awards . She is considered to be Bollywood icon of the cinema during the
1980s and 1990s. In Bollywood she is known as the queen bee and the Dixit .

BEST DIRECTOR

Raj Kapoor

Guru Dutt

Mehboob Khan

Chetan Anand

Ram Mukherjee

GURU DUTT

Considered to be a man ahead of his time, Guru Dutt was one of the greatest icons of commercial Indian cinema. His films
are believed to be the best to come from Bollywood's Golden Age, known both for their ability to reach out to the
common man and for their artistic and lyrical content, and they went on to become trend-setters that have influenced
Bollywood ever since.