When I think of the complete Hindi film (Hindi Pictures as they called it back then) experience, my mind harkens back to the glorious days of the single-screen cinema halls. A time when exquisitely hand-painted posters adorned the exteriors of the cinema. Where lobby cards heightened the anticipation of the upcoming film. Where serpentine lines outside the theatre were a regular occurrence, with people erupting into fistfights when dreaded the ‘Housefull’ board made an appearance on the show timetable.
Above all, the name “AMITABH BACHCHAN” in big red capital letters above the name of the film ensured halls packed with an enthusiastic audience. These crazy film fanatics added volumes to the film viewing experience. They talked back to the screen, stood up and danced to their favourite songs, shed tears during emotional scenes, and kicked the seat in front of them (unintentionally most of the times) when the villains received their comeuppance at the hands of the Big B.
The chairs were usually creaky and uncomfortable. Despite the letters ‘A.C’ at the entry doors, the air conditioning seldom worked, giving the viewers a sauna experience. The ceiling sometimes had orifices such that beams of light illuminated sections of the screen and during the monsoon raindrops kept falling on our heads. There were rats, bed bugs, and even dogs (yes, I once saw a little dog amble around) in the auditorium. Then unlikely but the unforgettable combined aroma of popcorn and pan masala permeated all over the auditorium.
For the contemporary audiences, all these would be enough to stage a walkout and demand a refund from the theatre manager. But for the audiences back then, these were minor distractions as the focus was total, complete, and undivided on the big screen.
I recall during the screening of an underrated Amitabh caper, The Great Gambler, a mischief-monger set of some fireworks in the cinema hall. At that moment just a few rushed to the exit, but they returned to their seats in minutes. A majority of the audience didn't care was the madness of the movies.
In today's time, the audience would have been out and the cinema hall would have been shut down for a month.
In fact, such was the level of anticipation that even the booking of tickets was an important milestone. The gathering of bits of information about the film from people who had already seen it, that usually turned out to be fallacious.
In fact, such was the level of anticipation that even the booking of tickets was an important milestone. The gathering of bits of information about the film from people who had already seen it, that usually turned out to be fallacious.
Once entry was permitted, the speculation continued as we looked at the various lobby cards. "Looks like a dual role for Amitabh, he looks like a pauper in this photo and a complete prince in the other photo' was a comment I will not forget, it was in reaction to a group of lobby cards for the film Kaalia
There were no 24X7 movie channels, no on-demand film channels, and no streaming services that allow you to watch films while sitting in the park or walking down the street. The national TV channel broadcasted movies on Sunday, but they were usually old or what was referred to back then as 'art' cinema. The cinema hall was hence the only place you could watch a big blockbuster movie, which made it sort of a shrine for entertainment.
There were no 24X7 movie channels, no on-demand film channels, and no streaming services that allow you to watch films while sitting in the park or walking down the street. The national TV channel broadcasted movies on Sunday, but they were usually old or what was referred to back then as 'art' cinema. The cinema hall was hence the only place you could watch a big blockbuster movie, which made it sort of a shrine for entertainment.
The multiplexes may have provided us with comforts that we could scarcely imagine back then but somewhere the raw edge and soul is lost in all the luxuries
The opportunity to revisit, Amar Akbar Anthony, what many call the greatest entertainer in Hindi film history, forty years after its first release was irresistible. The screening of a restored print was to occur on the big screen of the renovated New Excelsior, which continues to be a single-screen cinema.
Despite being screened countless times on TV and available free on YouTube, the cinema hall for Akbar Anthony was packed. The audience knew every line and song by heart and repeated it along with the characters. Cheers and wolf whistles reverberated across the hall during the scenes and dialogues that have become legendary.
The opportunity to revisit, Amar Akbar Anthony, what many call the greatest entertainer in Hindi film history, forty years after its first release was irresistible. The screening of a restored print was to occur on the big screen of the renovated New Excelsior, which continues to be a single-screen cinema.
Despite being screened countless times on TV and available free on YouTube, the cinema hall for Akbar Anthony was packed. The audience knew every line and song by heart and repeated it along with the characters. Cheers and wolf whistles reverberated across the hall during the scenes and dialogues that have become legendary.
It was almost like traveling back in time. For nostalgiophiles such as me, this was a god sent.
At the time of its release during the mid-70s, Amitabh Bachchan had established himself as an angry young man with intense dramatic roles in films such as Zanjeer and Deewaar. But Amar Akbar Anthony tapped on Bachchan’s incredible comedic skill. The wisecracking, smooth-talking likable bootlegger Anthony Gonzales stole hearts and indeed the entire picture.
At the time of its release during the mid-70s, Amitabh Bachchan had established himself as an angry young man with intense dramatic roles in films such as Zanjeer and Deewaar. But Amar Akbar Anthony tapped on Bachchan’s incredible comedic skill. The wisecracking, smooth-talking likable bootlegger Anthony Gonzales stole hearts and indeed the entire picture.
In the old days, Hindi movies always needed a comedian to provide relief when the proceedings were too dark or serious. After Amar Akbar Anthony, the comedian was not needed, Amitabh Bachchan was now a one-man variety show
I am told by friends who were active movie watchers from the mid-70s that tickets for this film were simply not available even after twenty-five weeks of its release. There were young men who bought leather jackets (until they realized it was too hot), coloured vests and caps like Anthony Bhai. They even mimicked his Bombay-style Hindi. Anthony was is a phenomenon. Amitabh was able to rise above the film to deliver something outstanding/
Amar Akbar Anthony presents an intoxicating cocktail of drama, comedy, action, great dialogue, song, and dance and it even had a message. In the end, good triumphs over evil. The good live happily ever after.
I am told by friends who were active movie watchers from the mid-70s that tickets for this film were simply not available even after twenty-five weeks of its release. There were young men who bought leather jackets (until they realized it was too hot), coloured vests and caps like Anthony Bhai. They even mimicked his Bombay-style Hindi. Anthony was is a phenomenon. Amitabh was able to rise above the film to deliver something outstanding/
Amar Akbar Anthony presents an intoxicating cocktail of drama, comedy, action, great dialogue, song, and dance and it even had a message. In the end, good triumphs over evil. The good live happily ever after.
The theme of unity despite diversity all omnipresent in the film, in fact, the lyrics of the title song literally say “The impossible is made possible when Amar (Hindu), Akbar (Muslim), and Anthony (Christian) put their minds together”.
1977 was still the age of innocence for Hindi Cinema. There was no foul language, lovers didn't have their breakfast out of each other's mouths, there was ‘action’ but no violence, and a great deal of emphasis on morality. Woke social justice warriors may find a lot to whine about but this is how things were back then.
There may be those who scoff at the proceedings for the lack of realism, logic, or non-adherence to the principles of medical science. If it is realism you are looking for you are watching the wrong film. Here you don't just suspend your disbelief, you park a thousand miles away from the cinema hall, the same way you would do when you watch superhero or fantasy films. This in many ways is fantasy without fantasy-like settings.
After the screening was done and the crowd was on its way out, I overheard an elderly gent dressed in black with a haircut similar to Amitabh Bachchan of the 70s saying “After a long time I have had so much fun at the cinema. For three hours I forgot that I am a bum. I felt it was me up there on the screen. I am Amitabh Bachchan. The tallest and the mightiest. Don't mess with me” he said triumphantly mimicking the Big B as Anthony Gonsalves.
1977 was still the age of innocence for Hindi Cinema. There was no foul language, lovers didn't have their breakfast out of each other's mouths, there was ‘action’ but no violence, and a great deal of emphasis on morality. Woke social justice warriors may find a lot to whine about but this is how things were back then.
There may be those who scoff at the proceedings for the lack of realism, logic, or non-adherence to the principles of medical science. If it is realism you are looking for you are watching the wrong film. Here you don't just suspend your disbelief, you park a thousand miles away from the cinema hall, the same way you would do when you watch superhero or fantasy films. This in many ways is fantasy without fantasy-like settings.
After the screening was done and the crowd was on its way out, I overheard an elderly gent dressed in black with a haircut similar to Amitabh Bachchan of the 70s saying “After a long time I have had so much fun at the cinema. For three hours I forgot that I am a bum. I felt it was me up there on the screen. I am Amitabh Bachchan. The tallest and the mightiest. Don't mess with me” he said triumphantly mimicking the Big B as Anthony Gonsalves.
I saw him walk towards one of the small huts near the Excelsior theatre with a big smile on his face.
This euphoric mania from the audience was what made the film viewing experience back then very special. There were people from all strata of society packed in one auditorium experiencing it all at the same time. Cinema was a truly unifying experience.
It provided an escape for those struggling with their daily lives. They walked out of the cinema as if they were intoxicated, they could take on the entire world and win, simply because they had seen the Big B take on everybody for three hours and win. They truly don’t make them like that anymore.
In most countries, cinema is regarded as an important part of the culture. Restoration and preservation of old cinema is part of the tradition of the film industry. There are non-profit cinema halls run especially to screen old classics. So that younger generations can experience the classics on the big screen, the way they were intended by the filmmakers. Not much happened on this front in India, until now.
Kudos to Mukta Cinema and 1018 for dedicating their Sunday morning slot to classic cinema. The audience gets an opportunity to relive some of the magic in a single-screen cinema at an affordable price every Sunday morning at the New Excelsior Cinema. The exquisitely renovated New Excelsior is a great throwback to the grand cinema halls of the golden age. It would be nice if every multiplex could dedicate some slots to screening classics
PS: My late grandpa watched Laurel and Hardy in this very cinema, back in the 1930s. That was the time the audience dressed up in suits for an outing at the cinema and meals were served around tables as the film played. It was his trip to Bombay as a young man.
In most countries, cinema is regarded as an important part of the culture. Restoration and preservation of old cinema is part of the tradition of the film industry. There are non-profit cinema halls run especially to screen old classics. So that younger generations can experience the classics on the big screen, the way they were intended by the filmmakers. Not much happened on this front in India, until now.
Kudos to Mukta Cinema and 1018 for dedicating their Sunday morning slot to classic cinema. The audience gets an opportunity to relive some of the magic in a single-screen cinema at an affordable price every Sunday morning at the New Excelsior Cinema. The exquisitely renovated New Excelsior is a great throwback to the grand cinema halls of the golden age. It would be nice if every multiplex could dedicate some slots to screening classics
PS: My late grandpa watched Laurel and Hardy in this very cinema, back in the 1930s. That was the time the audience dressed up in suits for an outing at the cinema and meals were served around tables as the film played. It was his trip to Bombay as a young man.
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