Bride and Prejudice - Wikipedia

• Directed by...........Gurinder Chadha
• Produced by.........Gurinder Chadha, Deepak Nayar
• Written by.............Paul Mayeda Berges, Gurinder Chadha
• Starring...................Aishwarya Rai, Martin Henderson, Nadira Babbar, Anupam Kher, Naveen Andrews, Namrata Shirodkar, Sonali Kulkarni

• Music by................................. Anu Malik
• Cinematography....................Santosh Sivan
• Editing by...............................Justin Krish
• Distributed by.......................Miramax Films
• Release date(s).....................Februay 11, 2004
• Running time(s)...................111 minutes
• Country.................................India, United Kingdom, United States
• Language...............................English, Hindi, Panjabi

Bride and Prejudice is a 2004 Indian/British/American romantic musical film. The screenplay by Chadha and Paul Mayeda Berges is a Bollywood-style adaption of Bride and Prejudice by Jane Austen. It was filmed primary in English, with some Hindi and Panjabi dialogue.

Plot

The plot closely follows the plot of Bride and Prejudice with many elements compacted to brief refences. Some character names remain the same, while others are changed slightly, using localized names with similiar pronunciaton (such as Lalita for Lizzy) Lalita Bakshi is a daughter of a farmer in Amritsar. She has three sisters, Jaya, Maya, and Lahki. Lalita is introduced to William Darcy, An American businessman, but initially deems hin to be self-absorbed and resist his advances. Meanwhile, Darcy's friend Balraj and jaya fall in love, much to the delight of Jaya's mother (who wants her daughter to marry rich men). Kholi is unromantic, vain and disgusting however, and Lalita quickly rejects his offer. Kholi leaves the house and settles for marrying Lalita's best friend, Chandra Lamba. Lahki falls in love with Johnny Wickham, whose mother was Darcy's childhood nanny. Darcy tries to warn Lalita about Johnny, without revealing he impregnated Georgie, Darcy's younger sister, when she was sixteen-years-old, but she assumes Darcy is simply jealous of his romantic rival. Lalita, her maother and sisters go to Los Angeles to attend the wedding og Chandra to Kholi. Darcy proposes to her, but Lalita declines because Darcy discouraged his friend Balraj from having a relationship with her sister, and she leaves for India, stopping over in London. Darcy flies back to London and, with Lalita's help, rescues the younger sister. They fly back to India where Lalita and Darcy and Jaya and Balraj get married in a double wedding.

Sountrack

• Deh Shiva Bar Mohe
• Punjabi Wedding Song
• A Marriage Has Come to Town
• Dola Dola
• Take Me to Love
• No Life Without Wife
• El Tilingo Lingo
• Nagin
• Take Me to Love (Part Two) - PJ Lequerica
• Ride with Me - Nelly
• Touch My Body - Ashanti
• My Lips Are Waiting (Reprise) - Ashanti and Aishwarya Rai

Lagaan ( Land Tax)- Wikipedia,

Lagaan (Bhojpuri/Hindi: लगान; Urdu: لگان; translation: Land tax), also known as Lagaan: Once upon a time in India, is a Bollywood feature film made in India. It became the third Hindi language film to be nominated for the Academy Award for Best Foreign Language Film (after Mother India in 1957 and Salaam Bombay! in 1989). The film, based on an original story by Ashutosh Gowarikar, was also directed by him. It starred Aamir Khan and Gracy Singh in the lead pair with Rachel Shelley, Paul Blackthorne and A. K. Hangal in supporting roles. The movie is set in the Victorian period of the British Raj, and revolves around the peasants from a barren village who are oppressed by high taxes imposed by the British. When the peasants attempt to persuade the officers to reduce the taxes, the officers put forth a proposition to the peasants. One senior officer offers them to cancel their taxes for three years if their village team beats them at cricket. After accepting this proposition, the villagers face the arduous task of learning the game and playing for a result that will change their village's destiny. The film received critical acclaim and awards at several international film festivals, as well as many Bollywood awards. Released on June 15, 2001 it became one of the biggest hits of the summer while its DVD sales in the highest ever for a Bollywood movie.

Plot

Lagaan is set in late 19th century India. Captain Andrew Russel (Paul Blackthorne), the commanding officer of a British cantonment, oppresses the people of Champaner with high taxes (lagaan). The local ruler, Rajah Pooran Singh (Kulbhushan Kharbanda), asks that taxes be lowered to ease the suffering of the drought-stricken villagers. Captain Russell humiliates the Rajah by asking him to eat meat if he wishes the taxes to be lowered. Captain Russell the doubles the taxes. The monsoon is late, they will be unable to pay regular taxes, much less double taxes. The villagers, returning from their fruitless audience with the Rajah, stop to watch the British officers playing cricket. Bhuvan (Aamir Khan) gets into a fight with a British officer who behaves badly with one of the villagers. Captain Russell notices them and sees the young, impetuous Bhuvan, who has previously angered him by interfering during his game hunting expedition and shooing off wildlife so that they would not be shot. The captain offers to cancel the taxes of the whole province for three years if the villagers can beat his men at cricket if they lose, they will owe triple tax. To the horror of the other villagers, Bhuvan accepts this wager on their behalf. Nonetheless, the villagers of Champaner, and of all the neighboring villages, are furious with Bhuvan. No one has ever played cricket. How can complete novices beat the British. Upon learning of Captain Russell's wager, his superiors in the British Army admonish him for his arrogant and irresponsible behavior. Led by the courageous Bhuvan and helped by Russell good-hearted sister Elizabeth (Rachel Shelley), a few villagers begin to learn cricket. As time progresses, more and more villagers are convinced to join Bhuvan's team. The villagers have eccentric self-styled techniques-Goli swings his arms many times before releasing the ball, while Bhura, the chicken farmer, organises fielding training for the other villagers by having them attemp to catch his hens. As they spend time together, Elizabeth falls in love with Bhuvan, who himself attached to a charming local girl, Gauri (Gracy Singh). Though Bhuvan fells nothing but respect for Elizabeth and Elizabeth never expresses her feelings, Gauri sees how matters stand and is anxious until Bhuvan declares his love. Lakha decides to humble by forcing hin to lose the match. Lakha joins the team, but secretly meets with Captain Russell, informing him of everything that is happening. The captain tries to prevent his sister from helping the villagers, but she defies him. In the end Bhuvan has only ten players, one less than eleven needed for cricket team. Bhuvan finds his final player by chance, after the village cripple and untouchable Kachra inadvertently demonstrates his ability to bowl leg spin while returning the ball to the players. However, the village head and other members of team threaten to quit the team, refusing to play with an untouchable. Members of the British leadership in India are also present, and the match is umpired by two Britons based in Kanpur (spelled Cawnpore before 1948). Captain Russell wins the toss and elects to bat. The British officers make a strong start, and put on more than fifty run before Lieutenant Smith, Captain Russell's deputy, is run out by Bhura after a mix-up. Goli then quickly follows up by bowling out one of the British officers, who are unable to pick up his multiple awing bowling action action repeatedly miss the ball. Captain Russel then attempts to convince the umpires to ban Goli's bowling because of the multiple swinging of the arm, but Elizabeth runs onto the field and points out there is nothing in the law of cricket that prohibits this, much to her brother's chagrin. Bhuvan brings on his trump card, Kachra, who has been spinning his leg break significantly during practice. However, Kachra's spin deserts him and he concedes a lot of runs. During the first day, Lakha, the Indians' best fielder, deliberately drops many catches and at the end of play, the British batsmen are in a strong position. That night, Elizabeth sees Lakha travelling to the British camp to meet her brother and she informs Bhuvan. The villagers attempt to kill Lakha on the spot but Bhuvan offers Lakha one last chance. The next day, the British continue to play with ease againts the Indian, and are only three wickets with almost 300 runs, at the lunch break, with Russel confidently predicting to his superiors thst they will reach 600. However, Lakha takes a diving one-handed catch which spark the British batting collapse. Kachra is brought back to bowl, and rediscovers his ability to spin the ball and takes a hat trick, bowling one of the officers around his legs with a leg break that spun more than a metre. Captain Russell reaches his century before being dismissed by Bhuvan, who gives him a send-of. The eccentric village mystic, Guran, gets in on the act. After one batsman repeatedly charges many meters out of the crease to hit his balls, he deliberately bowls a full toss way over the batsman's head, with the wicket keeper Ishwar (who is Gauri's father) stumping the batsman. The officers are bowled out after losing their last seven wickets for less than fifty runs. The Indian's start the run chase strongly, with Bhuvan and Deva Singh Sodhi, a former sikh sepoy, opening the batting an put on seventy-odd runs. However, a straight drive from Bhuvan deflects off the hand of Lieutenant Smith, the bowler, onto the stumps, with Deva backing up too far and being run out. The Indians then lose a sequence of quick wickets. When Lakha comes into bat, Russell orders his fastest bowler Yardley to knock Lakha's head off. Yardley then bowls a beamer which hits Lakha directly in the temple. Lakha is concussed and falls onto the stumps and is given out hit wicket anyway. At the end of the day's play, more than half the team is out and the team has scored less than half of the required runs. The final day starts well for the Indians, with Bhuvan and the wicket keeper Ishwar Batting steadily. However, not-so-young Ishwar begins to tire, and is run out after trying to run for an extra run. Bhuvan blames himself for pushing Ishwar's fitness too hard. Ismail return to the crease after the umpires allow the village boy Tipu to act as a runner. Bhuvan passes his century and Ismail his fifty as the Indians seize control of the match. Bhuvan convinces him to be on strike, he will make the runs. Russel then by his cleverness brings Bhura comes for strike by kicking the single run ball for a four-run. Then Bhura comes for strike, he hits the ball for a single but due to his mistake Bhuvan falls apart & the Brits get an opportunity for an runout. Bhura does a sacrifice by making himself runout. As a result, the match turns again, with runs still needed, and the last batsman to enter the crease is Kachra, whose disability means he cannot hold the bat properly. However, the English bowlers repeatedlymis the stumps while Bhuvan continues to score. The match coms down to the last over. In the first ball Bhuvan hits four runs that makes the Brits alarming. In the next ball, Bhuvan is struck on the head with a bouncer Refusing the medical aid provided to him, Bhuvan hits & now Kachra is on strike. Kachra finds difficult to hit two balls out of three ball & now he needs to strike a six out of playing arena from the last ball of the match. Bhuvan and Indian camp are distraught, while the British are jubilant. Nobody however, has heard the umpire signal no ball. Thus, Yardley has bowl he last again. Bhuvan swings extremely hard with a pull shot, that goes very high up into the air off a top edge. Captain Russell backpedals at long on, and the ball finally descends into his hands after an eternity and Bhuvan is caught. Bhuvan's shot has scored six runs, securing a one wicket win for the Indians. The crowd then spontaneously erupts and invades the field, Chairing Bhuvan off the field. after the match, the British high command orders that the cantonment at Champaner be disbanded in humiliation at losing to the Indians. The narrator closes the story by reporting that Russell was forced to pay the taxes for the whole province from his own pocket and was transferred to East Africa paying those villages 3 year taxes. The narrator adds that Elizabeth returned to London, and remained unmarried for rest of her life. Remembering Bhuvan, who marries Gauri.

Sountrack

• Ghanam-Ghanam ......... singers ( Udit Narayan, Sukhwinder Singh, Alka Yagnik, Shankar Mahadevan, Shaan, Chorus)..........(06:11) ......... Lyrics (Javed Akhtar)...............A song where the village-folk celebrate the arrival of clouds in the sky.
• Mitwa..............singers( Udit Narayan, Sukhwinder Singh, Alka Yagnik, Srinivas).........(06:47)..........Lyrics( Javed Akhtar)...............The song picturized on Bhuvan in which he tries o recruit villagers onto his team.
• Radha Kaise Na Jale..............singers(Asha Bhosle, Udit Narayan, Vaishali, Chorus).........(05:34).............Lyrics (Javed Akhtar).............The song picturized on Gauri and Bhuvan dancing at a festival for Radha and Krishna. It also shows Gauri expressing her jealousy of Elizabeth.
• O Rey Chhori..............singers(Udit Narayan, Alka Yaknik, Vasundhara Das)...........(05:59).........lyrics (Javed Akhtar).................Bhuvan and Gauri expressing their love for each other and Elizabeth expressing her love for Bhuvan.
• Chale Chalo................singers(A.R.Rahman, Srinivas)...........(06:40)...........Lyrics(Javed Akhtar)...................Bhuvan motivating his team-mates for the cricket match.
• O Paalanhaare..............singers(Lata Mangeshkar, Udit Narayan, Chorus)..................(05:18)..................Lyrics(Javed Akhtar)......................A song where the village-folk praise Lord Krishna.

Dilwale Dulhania Le Jayenge - Wikipedia

• Directed by ..............Aditya Chopra
• Produced by .......... Yash Chopra
• Written by ............... Aditya Chopra Javed Siddiqui
• Starring

Shahrukh Khan , Kajol , Amrish Puri ,

• Music by .....................Jatin Lalit
• Cinematography ..... Manmohan Singh
• Editing by ...................Keshav Naidu
• Distributed by ................ Yash Raj Films
• Release date(s) ............. October 20, 1995
• Running time ................. 189 min.
• Country ........................... India
• Language ....................... Hindi
• Budget INR..................... 4 crores

Dilwale Dulhania Le Jayenge (Hindi: दिलवाले दुल्हनिया ले जाएँगे), also known as DDLJ (translation: The Brave-Hearted Will Take the Bride) is an Indian film which premiered on October 19, 1995 and was released nationwide on October 20, 1995. The film was directed by Aditya Chopra, and starred Shahrukh Khan, Kajol, and Amrish Puri. Earning over Rs 580 million in India and Rs 175 million overseas, the film became the biggest Bollywood hit of the year, as well as one of the biggest Bollywood hits of all time. The movie remains the longest running film in the history of Indian cinema . As of april 2007, the film had set a record by completing 600 weeks of continous play in Mumbai theatres.

Synopsis

Raj Malhotra and Simran Singh (Shahrukh Khan and Kajol) are young second generation British Indians brought up and iving in London. Raj is the only child of wealthy Dharamvir Malhotra (Anupam Kher), who spoils his son excessively. Simran is the elder daughter of convenience store owner Chaudhry Baldev Singh (Amrish Puri) , who is very conservative and typical Indian man whose only dream is to one day go back to his native country. He is proud that he has managed to bring up his two daughters in a very traditional way. Simran constantly dreams of her Prince Charming, a stranger who comes into her life and sweeps her off her feet. and writes poetry to him. However, a letter comes from Ajit, Baldev's best friend in India saying that his son, Kuljeet (Parmeet Sethi), and Baldev's daughter, Simran, should marry each other. Because of her "Prince Charming," Simran is a bit concerned. She hasn't even seen Kuljeet before. But she agrees to marry him out of respect for her father. However, before the wedding, she begs her father to allow her to go on a trip to europe with her friends, her last chance to see the world before her marriage to a complete stranger. Even though he is generally very strict, Baldev relents and allows her to go, on the condition that she promises never betray his trust. During the trip, Simran bumps into Raj, who is also on a trip to Europe with some friends. After some initial misadventures, Raj falls in love with Simran.Only at their moment of parting does Simran realizes that she too has fallen in love with Raj. Simran goes home and tells her mother (Farida Jalal) that she has fallen in love with someone else cannot go through with her wedding to Kuljeet. Baldev overhears their conversation, however, and furious that Simran broken her promise that she would never betray his trust. He is adamant that she will marry Kuljeet as planned, and they will leave for India as soon possible. Even though Simran does not want to marry Kuljeet (who she has been betrothed to since birth), her family returns to Punjab. As it turns out, Kuljeet is a man who is full of himself and takes pride in being a shikari (hunter). Simran's mother tries to spare her daughter's feelings, but cannot stand up to her domineering husband. Raj, however, does not give up so easily. He follows Simran to Punjab, meets her privately, and assures her that he will save her from the arranged marriage and get her to marry him the consent of her father. As such, he refuses to elope with Simran because he wants everyone to be happy with and accept their marriage. Raj befriends Kuljeet and pretends to be a friend of the family. He helps with the wedding preparations and soon gains everyone's friendship and love. At the same time, Kuljeet's sister, preeti (Mandira Bedi), falls in love with Raj, and things get more complicated when Raj's father suddenly appears in India. By now, even Simran's father Baldev has been won over by Raj. However, everything comes crashing down when Baldev sees a photograph of Raj and Simran together when they were on their trip across Europe. He exposes Raj's true identity in front of everybody and angrily telss him to leave immediately, as Simran will marry Kuljeet regardless of what anybody thinks. As Raj leaves, Kuljeet and his friends beat him as well, Raj flies into a rage and single-handedly beats Kuljeet and his friends with a stick of his own. Baldev than stops Raj and tells him and his father to go on their way,' Raj and his father accordingly board a train out of town. However, as the train begins to pull out of the station, Baldev comes to his senses and realized that no one loves his daughter as much as Raj does. He tell Simran to join Raj on the train, which she enthusiastically does.

Track listing:

• Ghar Aaja Pardesi ......(7:29) , ..........Singers : Manpreet, Pamela Chopra
• Mere Khwabon Mein Jo Aaye .........(4:17) , ...........Singers : Lata Mangeshkar
• Rukh Jaa o Dil Deewane ...........(5:14) , ...............Singers : Udit Narayan
• Zara Sa Jhoom Loon Main ..........(5:51) , ..............Singers : Asha Bhosle & Abhijeet
• Ho Gaya Hai Tujhko To Pyar Sajna ..............(5"47) , ...........................Singers : Lata Mangeshkar & Udit Narayan
• Tujhe Dekha To Hai Jaana Sanam .........(5:02) , .............................Singers : Lata Mangeshkar & Kumar Sanu
• Mehndi Laga Ke Rakhna ..........(4:50) , ...............................................Singers : Lata Mangeshkar & Udit Narayan

Bollywood Songs

Bollywood songs (often termed filmi songs) are heard far beyond the borders of India. The line of Bollywood songs are some of the most memorized and repeated expressions in India. The language of the filmi songs can be complex it is termed Hindi in India and Urdu in Pakistan. Many songs are saturated with Persian terms, others can be in 'Shuddha Hindi'. several dialects have been used : Braj, Bhojpuri, Punjabi and Rajathani. The nine rasas A 'rasa' identifies the dominant emotion of a composition ( a song ar a text) in sanskrit and Hindi literature, nine different types of rasas are often enumerated. 1. Shringar - love, sensuality, and eroticism 1. Virah : separation 2. Milan : being together 2. Raudra - anger, rage, and violence 3. Hasya - laughter and happiness 4. Vibhatsaya - disgust 5. Veera - heroism 6. Karuna - pathos and compassion 7. Bhanayak - fear and anxiety 8. Adabhuta - wonder and curiosity 9. Shanta - contemplative and peaceful. The filmi songs are however written for common people and thus there are some common themes that are often encountered-songs for children, songs of betrayal and dejection, marriage songs, etc. That ordinary people can related with.

Principles Of Hindustani Music

The rhythmic organization is based on rhithmic patterns called 'Taal'. The melodic foundations are "melodic modes", or " parent Scales", known as 'Thaats'. Thaats are part of "musical personalities" called 'Ragas or Raags'. Thaats- and so Raags- may consist of up seven scale degrees, or 'Swara'. Hindustani musicians name these pitches using a system called 'Sargam', the equivalent of Western movable do solfege:

• Sa = Do
• Re = Re
• Ga = Mi
• Ma = Fa
• Pa = Sol
• Dha = La
• Ni = Ti
• Sa = Do

Both system repeat at the octave. The three primary of Indian Classical music are 'Mandra, Madya, and Tara'. A typical redention of Hindustani Raga involves two stages:

• Alap : a rhythmically free improvisation on the rules for Raags in order to give life to the raga and shape out its characteristics. The Alap can be further divided into the Alap, Jod and Jhala.
• Bandish or gat : a fixed, melodic composition set in specific raga, performed with rhithmic accompaniment by 'tabla or pakhavaj'. There are different ways of systematizing the parts of composition. For example :

1. Sthaayi : the initial, Rondo phrase or line of fixed, melodic composition 2. Antara : the first body phrase or line of fixed, melodic composition 3. Sanchaari : the third body phrase or line fixed, melodic composition 4. Aabhog : the fourth and concluding body phrase or line fixed, melodic composition. The are three variations of Bandish, regarding tempo : 1. Vilambit Bandish : a slow and steady melodic composition, usually in largo to adagio speeds 2. Madhyalaya Bandish : a medium tempo melodic composition, usually in adante to allegretto speeds 3. Drut Bandish : a fast tempo melodic composition, usually set to allegretto speeds and onwards.

Hindustani Classical Music

Hindustani classical music is the Hindustani or erstwhile North Indian style of Indian classical music. Originating in the vedic period, it is a tradition that has been evolving from the 12th century AD, in what is now northern India and Pakistan, and also Bangladesh, Nepal and Afganistan, and is tiday one of two main parts of Indian classical music, with the other one being the carnatic music, which represent the music of south India. Characteristics The tradition was born out of cultural synthesis from several musical stream. The vedic chant tradition dating back to approximately one millennia BCE, the equally ancient Persian tradition of 'Musiqi-e assil, and also existent folk tradition prevalent in the region. The teems north Indian classical music or shastriya Sangeet are also occasionally used. An interesting aspect of hindustani music going back to 'sufi times', is the tradition of religious, neutrality: muslim ustads singing Hindu Bhatans, or vice versa. Around the 12th century, Hindustani classical music diverged from the principle which eventually came to be identified as carnatic classical music the central notions in both these system is that of a melodic made or raga, sung to a rhythmic cycle or tala. The tradition dates back to the ancient samadeva (lit.sama=ritual chant), which deals with the norms for chanting of srutis or hymns such as the rigveda. In medieval times many of the melodic system were fused with ideas from Persian music, particulary through the influence of 'sufi' composers like Amir Khusro, and later in the moghul courts. Around 1900, Pandit Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music in a number of 'Thaats'. In the 20th century, Hindustani classical music popular across the world through the influence of artistes like Ravi Shankar, Ali Akbar Khan, and many other. Indian classical music has 7 basic notes : Sa Re Ga Ma Pa Dha Ni, with five interspersed half notes, resulting in 12-note scale. In addition each raga has its natural register (Ambit) and glissando (mernd) rules, as well as features specific to different styles and composition within the raga structure

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Hindi Literature

Hindi Literature

Hindi films play an important role in popular culture. The dialogues and songs of Hindi films use Khariboli and hindi-Urdu in general, but the intermittent use of various dialects such as Awadhi, Rajasthani, Bhojpuri, Punjabi and quite often also many English words, is common. Music soon became an intgral part of Hindustani/Hindi cinema. Hindi movies and songs are popular in many parts of India, such as Punjab, Gujarat, and Maharashtra, that do not speak Hindi as native language. During the era of control, Hindi predominatet on both radio an TV, enjoying more air-time than local language. Indian Hindi books has also played a big Ro;e in making Hindi a pupolar spoken language world widw. Indian Hindi books can be found at many major book stores around the world.

Hindi Language

Hindi Language

Hindi: - Geographic distribution : Souts Asia - Genetic Classification : Indo-European Indo-Iranian Indo-ryan Hindi - Sub Division : Western Hindi Eastern Hindi Bihari Pahari Rajasthani As defined by the 1991 Indian census, Hindi covers a number of central, east-central, and northern zone language, including the Bihari langiages, the Rajasthani languages, and the Pahari languages exepting Dogri an Nepali. Hindi in yhe narrow sense one of the official languages of India is a standardized register of one of the Central Zone dialect variously called Khariboli, Hindustani, or Urdu. Demographics The Hindi languages predominate in the India States and union teritories of Bihar, Chhattisgarh, Delhi, Haryana, Himachal Pradesh, Jharkhand, Madhya Pradesh, Rajasthan, Uttar Pradesh nd Uttarakhand. Distinctive non-standars varieties of Hindi spoken in large, urban ares outside of Hindi belt. * Number of speaker* According to the 1991 census of India (wich encompasses all the dialects of Hindi, including thoe that might be considered separated languages by some linguist-R.G.,Bhojpuri), Hindi is the mother tongue of about 337 million Indians, or about 40% oh India's population that year. According to Comrie (1998 data), Hindi is the second most spoken language in the world, with 333 million native speakers : Central Zone : western Hindi ( west central zone) = 180M: Khariboli (standard Hindi + Urdu ) eastern Hindi ( east cental zone) Bihari (eastern zone) Pahari (7M) : Northern zone : 3.1M : Garhwali, spoken in Garhwali region of Uttarakhand Kulu Pahari Patwari, spoken in the Pothohar Plateu, Pakistan, Mirpuri.

Dialect

1. Western Hindi (of which Saurasen in the immediate precursor) - Bundelkhandi, spoken in west central Madhya Pradesh - Kannauji, spoken in west central Uttar Pradesh It is form the basis of the standard registers of modern standard Hindi and Urdu. 2. Eastern Hindi (of which Ardhamagadhi is the immediate precursor) - Awadhi, spoken in north and north-central Uttar Pradesh - Bagheli, spoken in north central Madhya Pradesh nd central Uttar Pradesh - Chattishgarhi, spoken in southeast Madhya Pradesh and northern and central Chattigarh

Non-Hindi region in the Indian Subcontinent:

• Urdu is the official language of Pakistan, and is spoken by 7% of the population
• Bambaiya Hindi, the dialect of the city of Bombay (Mumbai), it is based on Khariboli dialect, but heavily influence by Marathi and Gujarati
• Dakhni - a form of Urdu sopken in Hyderabad, Andhra Pradesh.
• Kalkatiya Hindi, another Khariboli-based pidgin sopken in the city of Calcutta (Kolkata), Shillong, ect, heavily influence by Bhojpuri and Bengali.
• Arunachal Hindi, is a regional dialect and is an amalmagation of Hindi and the varioustribal dialects of the state Arunachal Preadesh.

Outside the Indian subcontinent

• Mauritian Hindi, spoken in Maritius, based on Bhojpuri and influenced by French
• Fiji Hindi, derived form of Awadhi, Bhojpuri and including many English and Native Fijian words, is spoken by Fijians of Indian descent.
• Trinidad Hindi, based on Bhojpuri and spoken in Trinidad and Tobigo by people of Indian descent.
• Soth African Hindi, based on Bhojpuri, and spoken in South Africa by people of India descent.

Globalization of Indian Cinema

Globalization of Indian Cinema

Contact between India and western cinema was estabilished in the early days of film in India. Dadasaheb Phalke was moved to make "Raja Harishchandra" after watching the film "Life of Christ" at Mehta's American-Indian cinema. Similiarly, some other early film directors were inspired by western movies. In India least 80 percent of film shown in the late 1920s were American, even though twenty one studios manufactured local films, eight or nine of them regular Production. Universal Pictures set up an Indian Agency in 1916, which when on to dominate the Indian distribution system. J.F.Madan's Elphinstone Bioscope Company at first focused on distribution of foreign films and organization of their regular screening additionally, J.P.Madan, the profile producer, employed Western directors for many of his films. A number of Indian films havebeen accused of "plagiarising from Hollywood movies". Today, Indian cinema is becoming increasingly Westernised. Newer Bollywood movies sometimes include western actors (such Rachel Shelley in "Lagaan"), try to meet western production standards, conduct filming overseas, adopt some English in their script or incorporate some element of western-style plots. Bollywood also produced box office hit like the films "Dilwale Dulhaniya Le Jayenge" and "Kal Ho Naa Ho", both wich deal whit the overseas Indian's experience. As western audiences for India cinema grow, Western Producers are funding Maverick Indian Filmmakers like "Gurinder Chadha" (Bride and Prejudice) and "Mira Nair" (Monsoon Wedding). Both Chadha and Nair are of Indian origin but do not live in India, and who made their names in Western Independent Films, they have now been funded to created films that "Interpret" the Indian cinematic apadition for westerners. A similiar filmmaker is "Deepa Mehta" of Cannada, whose films include the trilogi "Fire, Earth and Water". Indian Cinema is also influencing the English and American Musical, "Baz Luhermann's" (Moulin Rouge / 2001) incorporates a Bollywood-style dance sequence, "The Guru" and "The 40-year-Old-Virgin" feature Indian-Style song-and-dance sequences. A.R.Rahman a film composer, was recruited for "Andrew Lloyd Webber's" (Bombay Dreams), and a musical version of "Hum Aapke Hain Koun" has played in London's West End.

Cinema Of India

Cinema Of India

The India film industry is the largest in the world in theem of ticketsales and number of films produced annualy (877 feature films and 1177 short film were released in the year 2003 alone) India accounts for 73% of movie admissions in the Asia-Pasific region, and earning are currently estimated at US$ 8.9 billion. The Industry in mainly supported by the vast cinema - going Indian public. The central Board of Film Certification of Indian Cities on its website that every three months an audience a large as India's billion-strong population visits cinema halls. Indian films are popular in various parts of the world, especially in countries with significant India communities. India popular film ofthen have plots which branch of into sub plots, such narrative dispersal can clearly be seen in 1993 film "Khalnayak and Gardish". Indian Filmmakers, while enhancing the element of fantasi so pervasive in Indian Popular Films, used song and music as natural mode of articulation in a given situation in their films. Indian film produce have made films in thirty of the larges language. Official statistic categorise India films according to the languages in which they are distributed. For example, "A.R Rahman" one of the best known film music composers in Indian cinema, started his career in Tamil cinema in cinema in Chennai but has since worked in Bollywood, London and New York. The Hindi films industry based in Mumbai (formerly Bombay), is the largest branch of India cinema. Hindi film industry is often called "Bollywod" ( a blending of Hollywood and Bombay). It si considered the most liberal out of the Indian language film industries. Bollywood movies are watched by majority of Indian movie goes.

Art Cinema in India

Art Cinema in India

In addition to commercial Cinema, there is also Indian cinema that aspires to seriousness or art. This is known to film critics as "New India Cinema" or sometimes " The Indian Newwave" but most people in India simply call such film "Art Films". From the 1960s throught 1980s, art film were subsidised by Indian Government: aspiring directors could get federal or state Government grants to produce non commercials film on India themes. Many of these directors were graduates of the Government-supported "Film and Television Institute of India". Their films were showcased at Government film festivals and the Government run tv station, "Doordashan". These films also had limited run art house theatre in India and over seas. Today , it must me made as "Independent Films" on a shoestring budget by aspiring outeurs, much as today's Western Film Industry. Art cinema was also well-supported in the South Indian State of Kerala. Starting in 1970s Kannada Films maker from Karnataka State produced a steing of serious, low budget films. "Girish Kasaravalli" is one of the few directors from that periode who continues to make non-commercial Films. He is the only Indian director other than "Satyajit Ray" and "Buddhadev Dasgupta" to win the Golden Lotus Awards" four times. From 1970s onwards Hindi Cinema produced a wave of art films. The foremost among the directors who produced such film is "Syam Benegal". Many cinematographer, technicians, and actors began in art cinema and moved to commercial cinema. Marathi art cinema hasbeen continously churning out gems even when Marathi main stream cinema had no suffered a set back