NEO-REALISM IN INDIAN CINEMA

Neo-realism, or the Indian New Wave, emerged as a cinematic movement in India during the
1950s and 1960s. It was an attempt to break free from the commercial, mainstream
Bollywood films and tell more realistic stories rooted in the Indian social and political
context.
Italian Neo-Realism
The movement was influenced by Italian neorealism, which emerged in the aftermath of
World War II and focused on depicting the harsh realities of life in post-war Italy. Anything
that may have incited the Italian populace to rebel was outlawed during Mussolini's fascist
regime, and the press was fully restricted. Any criticism of the regime was illegal. In order to
portray the world, the truth of post-war Italy, a new generation of filmmakers developed
following Mussolini's downfall. Italian Neorealism was initially advocated by Roberto
Rossellini, Vittorio De Sica, Luchino Visconti, and Federico Fellini. According to legend,
Visconti's Ossessione (1943) was the country of Italy's first genuine neorealist film.
Neorealism was introduced to the world with Rome, Open City (1946), which received the
Grand Prize at the Cannes Film Festival.
It was characterized by a focus on everyday life, the use of non-professional actors, and a
documentary-style approach to filmmaking. Although the movement was primarily
associated with Italian cinema, its influence could be seen in films from around the world,
including India. Indian filmmakers adapted this style to suit their own socio-political context.
The result was a wave of gritty, realistic films that often dealt with themes of poverty, social
injustice, and the struggles of ordinary people.
Neo-Realism in Indian Cinema
Parallel films included extensive literary borrowings from the period's classical literature,
which made it a significant study of Indian society today. Scholars and historians alike are
increasingly examining the distinctive elements of Bollywood films to map the shifting
demographics, socioeconomic conditions, and political inclinations of the Indian public. The
people who wanted to and did exploit Indian film to make money through entertainment
rather than pursuing its artistic potential existed from the beginning. Most of the Indian
maestros purposefully overlooked the film's artistic merit. In response to this situation, the
forerunners of the Indian new wave emerged to investigate the aesthetic merit of films and
make use of their skills to inject humanitarian qualities into the films.
In a genre recognised for its surrealism or "fantastical" movies, several art films have also
found commercial success and effectively blended commercial and artistic cinema elements.
The financial and critical success of Bimal Roy's "Do Bigha Zamin" (1953) serves as an early
illustration of this. The movie helped launch the Indian New Wave by taking home the
International Prize at the 1954 Cannes Film Festival. One of Hindi cinema's most popular
directors, Hrishikesh Mukherjee, was hailed as the father of "middle cinema" and was known
for creating works that captured the evolving values of the middle class.
The 1920s and 1930s saw the introduction of realism in Indian film. One of the first instances
was the 1925 silent film classic Sawkari Pash (Indian Shylock), directed by V. Shantaram and
starring Shantaram himself as a poor peasant who loses his property to a greedy moneylender
and is compelled to move to the city to work in a mill. The wailing dog shot beside the cabin,
which was hailed as a real breakthrough, has become a turning point in Indian cinema.1 The
treatment of women in Indian society was also criticised in the 1937 Shantaram film Duniya
Na Mane (The Unaccepted).
The majority of cinema critics credit Satyajit Ray with creating the "New Indian Cinema"
with his well-known Apu trilogy, which began with "Pather Panchali" (Lore of the Road) in
1955. Although socially concerned films had already been produced by filmmakers like
Bimal Roy and V. Shantaram prior to Pather Panchali, the film "Chinnamool," directed by
Nimai Ghosh, exhibited a strong neo-realist aspect. Nevertheless, they failed to spark any
radical movements or a substantial divergence from the canonical Indian film. On the other
side, Pather Panchali revolutionised both Indian filmmaking and how the rest of the world
saw it.
The Indian government started supporting independent art films with Indian themes in the
1960s. Many of the filmmakers were connected to the Pune-based "Film and Television
Institute of India" (FTII). As a lecturer at the institute, one of Ritwik Ghatak's predecessors in
the neo-wave cinema genre successfully developed several well-known filmmakers and film
figures.
The humanistic warmth of Indian Neo-Realistic cinema is one of its distinguishing
characteristics. Even if Western films are more technically sound than Indian ones, they also
treat people better. Neo-Wave caused a resurgence of regional cinema in the Indian film
industry, particularly in the south. The pioneer of the Kannada 'New Wave', Girish Karnad,
has had a significant impact on both theatre and film. Adoor Gopalakrishnan, who started out
as a theatre performer farther south in Kerala, took on challenging issues in his movies.
Parallel Cinema Filmmakers
In Indian cinema, neorealism significantly impacted the "Parallel Cinema" movement of the
1950s and 60s. This movement was characterized by a rejection of the formulaic, escapist
style of mainstream Bollywood films and a commitment to realistic, socially relevant themes.
Directors such as Satyajit Ray and Ritwik Ghatak were among the pioneers of this
movement.
Some of the key filmmakers associated with Indian neo-realism include Satyajit Ray, Ritwik
Ghatak, and Mrinal Sen. Ray's "The Apu Trilogy" (1955-1959), which chronicles the life of a
poor Bengali boy from his childhood to adulthood, is considered a landmark in Indian cinema
and a masterpiece of neorealism. Ghatak's "Meghe Dhaka Tara" (1960) and "Subarnarekha"
(1965) deal with the traumatic aftermath of the Partition of India and the displacement of
refugees. Sen's "Bhuvan Shome" (1969) and "Calcutta 71" (1972) are critical commentaries
on Indian society and its political system. Unlike Ray, Ghatak could not gain international
repute during his lifetime. For example, Ghatak’s ‘Nagarik’ (1952) was perhaps the earliest
example of a Bengali art film, preceding Ray’s ‘Pather Panchali’ by three years, but
unfortunately did not release until after his death in 1977.2

1
Ranjan Das Gupta : Neo-wave to new-age Cinema Published in The Tribune, Saturday, July 3, 2010
2
Ghatak, Ritwik (2000). Rows and Rows of Fences: Ritwik Ghatak on Cinema. Published by Ritwik Memorial &
Trust Seagull Books. Pg. 134–36. ISBN No.: 81-7046-178-2
Their films often depicted the struggles of ordinary people, particularly those from lower
socio-economic backgrounds, and were shot on location with non-professional actors. This
gave their films a raw, authentic feel that was in contrast to Bollywood's polished, studio-
produced films. Indian neo-realism paved the way for a new generation of filmmakers who
continued to challenge the dominant mainstream narrative of Bollywood and explore new
themes and forms of storytelling. It remains an important chapter in the history of Indian
cinema and continues to inspire filmmakers to this day.
Bengali Cinema in the mid-1950s saw the rise of two filmmakers blessed with genius –
Satyajit Ray and Ritwik Ghatak. Whereas Ghatak's films are ragged, provisional, and very
personal, but epic in structure, scale, and goals, Ray's movies are smooth, brilliantly depicted,
traditional tales that aspire for the type of psychological insights treasured by 19th-century
authors. You feel secure in Ray's hands since he is an all-knowing, powerful leader. What it
is like to see Ghatak is a confrontation with a magnificently unpredictable mind in an
environment of inquiry, experimentation, and unsettling honesty.
Satyajit Ray
Satyajit Ray is considered one of the most significant filmmakers in the history of Indian
cinema. He was born on May 2, 1921, in Calcutta, India, and went on to become a renowned
film director, screenwriter, and composer. Ray's contributions to Indian cinema are vast and
have left a lasting impact on the film industry. One of his most significant contributions was
his role in the development of parallel cinema in India.
Parallel cinema is a term used to describe films made outside the mainstream Bollywood film
industry. These films are often more artistic and experimental than traditional Bollywood
films and focus on more serious and socially relevant topics. Satyajit Ray was instrumental in
the development of parallel cinema in India, and his films are still widely regarded as some of
the best examples of this genre.
Ray's first film, Pather Panchali, was released in 1955 and was a critical and commercial
success. The film tells the story of a poor family living in rural Bengal and their struggles to
survive. The film's success helped to establish Ray as a major force in Indian cinema and
paved the way for other filmmakers to explore similar themes and subjects.
Over the next few years, Ray went on to make several other films that were critical and
commercial successes. His films often dealt with poverty, class, and social inequality issues.
His films were also notable for their naturalistic settings and lighting, which helped create a
sense of realism and authenticity.
In addition to his work as a filmmaker, Ray was also an accomplished writer and composer.
He wrote several books and composed the music for many of his films. His music was often
characterized by its use of traditional Indian instruments and its ability to convey emotion and
mood.
Ray's influence on Indian cinema can still be felt today, and his legacy has inspired countless
filmmakers in India and worldwide. His films continue to be screened and studied, and his
impact on the development of parallel cinema in India cannot be overstated. Satyajit Ray will
always be remembered as one of the most important figures in the history of Indian cinema,
and his contributions to the art form will continue to be celebrated for generations to come.
 Ritwik Ghatak
Ritwik Ghatak was a prominent filmmaker and writer from Bengal, India, who played a
significant role in the development of parallel cinema in India. He was born in 1925 in
Dhaka, which is now part of Bangladesh. Ghatak’s films were known for their focus on the
social and political issues of the time and their unique visual style.
Ghatak's films often dealt with themes of displacement, identity, and social inequality. He
used his films as a way to explore the complex social and political issues that faced India
during the post-independence era. His films were known for their use of innovative
storytelling techniques, including flashbacks, dream sequences, and nonlinear narratives.
One of Ghatak's most famous films is "Meghe Dhaka Tara" (The Cloud-Capped Star), which
was released in 1960. The film tells the story of a family struggling to survive in post-
partition Bengal. It explores themes of identity, displacement, and social inequality, and is
considered one of the most important films of Indian parallel cinema.
In his highly expressive works, the strongly politicised Ghatak—who was a communist his
whole life—took the more challenging route of adapting the ideas of Jung, Campbell, and
Nueman for an Indian setting. In the framework of materialism, the idealised and mercilessly
exploited image of womanhood found a place in his films. He furthered these concepts in
movies like Nagarik and Meghe Dhaka Tara, among others. Ghatak’s best work has an
abiding psychological resonance. His deep knowledge of Indian mythology, ragas and the
political history of the world puts him in a unique position among the master filmmakers of
the world.3
Ghatak's films were also notable for their use of music and sound. He used traditional
Bengali music and folk songs to create a unique atmosphere and mood in his films. His use of
sound was also innovative, with the incorporation of natural sounds and ambient noise to
create a sense of realism.
The Partition of India, which caused the greatest human emigration in history, was closely
associated with Ghatak's films. They are about individuals being compelled to become
citizens of new, previously unexplored nations, create lives for themselves, and rely on their
memories of the past for spiritual nourishment when viewed from a bigger perspective.
Ritwik Ghatak's films seem to offer epiphanies on the dual themes of lost loves and lost lives
as they relate to a greater social conflict. Such cinematic excursions frequently have heart-
breaking visual and auditory effects.
Ghatak's contributions to Indian parallel cinema have had a lasting impact on the industry.
His films continue to be studied and analysed, and his unique visual style and storytelling
techniques have influenced many filmmakers both in India and abroad. Ghatak was a
visionary filmmaker who used his art to explore the social and political issues of his time, and
his legacy continues to inspire new generations of filmmakers.
Satyajit Ray and Ritwik Ghatak made films that had a moral and an ethical viewpoint. They,
while being generous to human follies on the whole, were highly critical of exploitative
social orders, though subtly. With Ray, one feels safe in the hands of an omniscient,
3
CHATTERJEE, PARTHA. “INDIAN CINEMA: Then and Now.” India International Centre Quarterly, vol. 39, no. 2,
2012, pp. 45–53. JSTOR, http://www.jstor.org/stable/41804040. Accessed 16 Apr. 2023.
authoritative master. Viewing Ghatak is an edgy, intimate experience, an engagement with a
brilliantly erratic intelligence in an atmosphere of inquiry, experimentation and disconcerting
honesty. 4
Film Society Movement
The creation of film organisations around the nation had a significant impact on the growth of
the neo wave movement. The scope of appreciating and watching quality films is expanded
by film societies. In 1943, Bombay established the first cinema society, and in 1947, Satyajit
Ray established a film club in Calcutta. In India, there were more than 150 film societies by
the early 1970s.
People had access to the greatest international and Indian films through these societies, as
well as the best of both. The Films Division hosted the first International Film Festival of
India in 1952 in Bombay, Madras, and Calcutta. The event included screenings of Western
masterpieces including De Sica's Bicycle Thieves. These initiatives caused ripples among
young filmmakers and moviegoers who were fed up with India's mindless melodramatic
films that were overstuffed with unnecessary songs, dances, and acts.
Conclusion
In conclusion, the neo-realism movement in Indian cinema, led by filmmakers such as
Satyajit Ray and Ritwik Ghatak, had a significant impact on the development of Indian
cinema. Both filmmakers used their films to explore the social and political issues of their
time, often focusing on themes of identity, displacement, and social inequality. They also
used naturalistic settings and innovative cinematography techniques to create a sense of
realism and authenticity in their films.
Their contributions to Indian cinema helped to create a new wave of filmmaking that
challenged traditional conventions and brought a fresh perspective to Indian storytelling. The
impact of their work can still be felt today, with their films continuing to be studied and
analyzed by scholars and cinephiles around the world.
Ultimately, the neo-realism movement in Indian cinema represented a significant shift in the
way Indian filmmakers approached their craft. It opened up new possibilities for exploring
complex social issues through film and helped to create a new generation of filmmakers who
were willing to take risks and experiment with new forms of storytelling.

4
Levich, Jacob. “Subcontinental DIVIDE: The Undiscovered ART of Ritwik Ghatak.” Film Comment, vol. 33, no.
2, 1997, pp. 30–35. JSTOR, http://www.jstor.org/stable/43455261. Accessed 16 Apr. 2023.
 BIBLIOGRAPHY
1. Vasudev, Aruna. The New Indian Cinema. New Delhi: Macmillan, 1986.
2. Rajadhyaksha, Ashish; Willemen, Paul. Encyclopedia of Indian Cinema. London:
British Film Institute; New Delhi: Oxford University Press, 1994.
3. Levich, Jacob. “Subcontinental DIVIDE: The Undiscovered ART of Ritwik Ghatak.”
Film Comment, vol. 33, no. 2, 1997, pp. 30–35. JSTOR,
http://www.jstor.org/stable/43455261. Accessed 16 Apr. 2023.
4. CHATTERJEE, PARTHA. “INDIAN CINEMA: Then and Now.” India International
Centre Quarterly, vol. 39, no. 2, 2012, pp. 45–53. JSTOR,
http://www.jstor.org/stable/41804040. Accessed 16 Apr. 2023.
5. Ranjan Das Gupta : Neo-wave to new-age Cinema Published in The Tribune,
Saturday, July 3, 2010
6. Ghatak, Ritwik (2000). Rows and Rows of Fences: Ritwik Ghatak on Cinema.
Published by Ritwik Memorial & Trust Seagull Books. Pg. 134–36. ISBN No.: 81-
7046-178-2
7. Cooper, Darius (2000). The Cinema of Satyajit Ray: Between Tradition and
Modernity. Published by Cambridge University Press. Pg.1–4. ISBN No.: 0-521-
62980-2.
8. Arthur J Pais: (14 April 2009). ‘Why we admire Satyajit Ray so much’ [Link:
http://movies.rediff.com/report/2009/apr/14/why-we-admire-satyajit-ray-so-
much.htm].