Editing Musical film (section)

==Indian musical films==
[[File:Bollywood dance show in Bristol.jpg|thumb|[[Bollywood]] dances usually follow or are choreographed to ''[[filmi]]'' [[Bollywood songs]].]]
{{Main|Bollywood|Cinema of India}}
{{See also|Filmi|Masala film|Music of Bollywood}}
An exception to the decline of the musical film is [[Cinema of India|Indian cinema]], especially the [[Hindi cinema|Bollywood film industry]] based in [[Mumbai]] (formerly Bombay), where most of films have been, and still are, musicals. The majority of films produced in the [[Tamil cinema|Tamil industry]], based in [[Chennai]] (formerly Madras), the [[Kannada cinema|Sandalwood industry]], based in [[Bangalore]], the [[Telugu cinema|Telugu industry]], based in [[Hyderabad, India|Hyderabad]], and the [[Malayalam cinema|Malayalam industry]] are also musicals.

Despite this exception of almost every Indian movie being a musical and India producing the most movies in the world (formed in 1913), the first Bollywood film to be a complete musical, ''[[Dev D]]'' (directed by [[Anurag Kashyap]]), came in 2009. The second musical film to follow was ''[[Jagga Jasoos]]'' (directed by [[Anurag Basu]]), in 2017.

===Early sound films (1930s–1940s)===
[[File:Achhut Kanya.jpg|thumb|right|Melodrama and romance are common ingredients to Bollywood films. Pictured ''[[Achhut Kannya|Achhut Kanya]]'' (1936)]]

[[Bollywood music]]als have their roots in the traditional musical [[theatre of India]], such as [[classical Indian musical theatre]], [[Sanskrit drama]], and [[Parsi theatre]]. Early [[Bombay]] filmmakers combined these Indian musical theatre traditions with the musical film format that emerged from early Hollywood sound films.<ref name=Gokulsing>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=Gokulsing|first=K. Moti|author2=Dissanayake, Wimal|author-link2=Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|pages=98–99}}</ref> Other early influences on Bombay filmmakers included [[Urdu literature]] and the ''[[Arabian Nights]]''.<ref>{{cite book|last=Gooptu|first=Sharmistha|title=Bengali Cinema: 'An Other Nation'|date=2010|publisher=[[Routledge]]|isbn=9781136912177|page=38|url=https://books.google.com/books?id=DcUtCgAAQBAJ&pg=PA38}}</ref>

The first Indian sound film, [[Ardeshir Irani]]'s ''[[Alam Ara]]'' (1931), was a major commercial success.<ref>{{cite web|url=http://www.tribuneindia.com/2006/20060326/spectrum/main1.htm |title=Talking Images, 75 Years of Cinema |work=The Tribune |access-date=9 March 2013}}</ref> There was clearly a huge market for talkies and musicals; Bollywood and all the regional film industries quickly switched to sound filming.

In 1937, Ardeshir Irani, of ''Alam Ara'' fame, made the first colour film in [[Hindi]], ''[[Kisan Kanya]]''. The next year, he made another colour film, a version of ''Mother India''. However, colour did not become a popular feature until the late 1950s. At this time, lavish romantic musicals and melodramas were the staple fare at the cinema.

===Golden Age (late 1940s–1960s)===
Following [[Indian independence movement|India's independence]], the period from the late 1940s to the early 1960s is regarded by film historians as the "Golden Age" of [[Hindi cinema]].<ref>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|page=17}}</ref><ref>{{Cite journal|title=Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge|first=Jenny|last=Sharpe|journal=Meridians: Feminism, Race, Transnationalism|volume=6|issue=1|year=2005|pages=58–81 [60 & 75]|doi=10.1353/mer.2005.0032|s2cid=201783566}}</ref><ref>{{Cite journal|first=Sharmistha|last=Gooptu|title=Reviewed work(s): ''The Cinemas of India'' (1896–2000) by Yves Thoraval|journal=[[Economic and Political Weekly]]|volume=37|issue=29|date=July 2002|pages=3023–4}}</ref> Some of the most critically acclaimed Hindi films of all time were produced during this period. Examples include ''[[Pyaasa]]'' (1957) and ''[[Kaagaz Ke Phool]]'' (1959), directed by [[Guru Dutt]] and written by [[Abrar Alvi]], ''[[Awaara]]'' (1951) and ''[[Shree 420]]'' (1955), directed by [[Raj Kapoor]] and written by [[Khwaja Ahmad Abbas]], and ''[[Aan]]'' (1952), directed by [[Mehboob Khan]] and starring [[Dilip Kumar]]. These films expressed social themes mainly dealing with working-class life in [[India]], particularly urban life in the former two examples; ''Awaara'' presented the city as both a nightmare and a dream, while ''Pyaasa'' critiqued the unreality of city life.<ref name=Gokulsing-18>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|page=18}}</ref>

[[Mehboob Khan]]'s ''[[Mother India]]'' (1957), a remake of his earlier ''[[Aurat (1940 film)|Aurat]]'' (1940), was the first Indian film to be nominated for the [[Academy Award for Best Foreign Language Film]], which it lost by a single vote.<ref name="Thaindian 1">{{cite web|first=Priyanka |last=Khanna |title=For Bollywood, Oscar is a big yawn again |work=Thaindian News |date=24 February 2008 |url=http://www.thaindian.com/newsportal/entertainment/for-bollywood-oscar-is-a-big-yawn-again_10020729.html |access-date=29 July 2012 |url-status=live |archive-url=https://web.archive.org/web/20120930012303/http://www.thaindian.com/newsportal/entertainment/for-bollywood-oscar-is-a-big-yawn-again_10020729.html |archive-date=30 September 2012}}</ref> ''Mother India'' was also an important film that defined the conventions of Hindi cinema for decades.<ref>{{cite news|last=Sridharan |first=Tarini |url=http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |title=Mother India, not Woman India |date=25 November 2012 |access-date=5 March 2012 |newspaper=The Hindu |location=Chennai, India |url-status=live |archive-url=https://web.archive.org/web/20130106095550/http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |archive-date= 6 January 2013}}</ref><ref>{{cite video|url=https://www.youtube.com/watch?v=wChe8xWDwbo&feature=results_main&playnext=1&list=PL8D9A71E9A0EED3C4 |title=Bollywood Blockbusters: ''Mother India'' (Part 1) |publisher=[[CNN-IBN]] |date=2009 |medium=Documentary |ref={{sfnRef|Bollywood Blockbusters Part 1|2009}} |url-status=live |archive-url=https://web.archive.org/web/20150715143942/https://www.youtube.com/watch?v=wChe8xWDwbo&feature=results_main&playnext=1&list=PL8D9A71E9A0EED3C4 |archive-date=15 July 2015}}</ref><ref>{{cite news|last=Kehr|first=Dave|url=https://movies.nytimes.com/movie/review?res=9C03E5DE153CF930A1575BC0A9649C8B63|title=Mother India (1957). Film in review; 'Mother India'|newspaper=[[The New York Times]]|date=23 August 2002|access-date=7 June 2012}}</ref>

In the 1960s and early 1970s, the industry was dominated by musical [[romance film]]s with "romantic hero" leads, the most popular being [[Rajesh Khanna]].<ref name="indianexpress2">{{cite news|title=Revisiting Prakash Mehra's Zanjeer: The film that made Amitabh Bachchan|url=http://indianexpress.com/article/entertainment/bollywood/revisiting-prakash-mehra-zanjeer-the-film-that-made-amitabh-bachchan-4714064/|work=[[The Indian Express]]|date=20 June 2017}}</ref> Other actors during this period include [[Shammi Kapoor]], [[Jeetendra]], [[Sanjeev Kumar]], and [[Shashi Kapoor]], and actresses like [[Sharmila Tagore]], [[Mumtaz (Indian actress)|Mumtaz]], [[Saira Banu]], [[Helen (actress)|Helen]] and [[Asha Parekh]].

===Classic Bollywood (1970s–1980s)===
By the start of the 1970s, Hindi cinema was experiencing thematic stagnation,<ref name="raj">{{cite book|last=Raj|first=Ashok|title=Hero Vol.2|date=2009|publisher=[[Hay House]]|isbn=9789381398036|page=21|url=https://books.google.com/books?id=2wo9BAAAQBAJ&pg=PT21}}</ref> dominated by musical [[romance film]]s.<ref name="indianexpress2"/> The arrival of screenwriter duo [[Salim–Javed]], consisting of [[Salim Khan]] and [[Javed Akhtar]], marked a paradigm shift, revitalizing the industry.<ref name="raj"/> They began the genre of gritty, violent, [[Mumbai underworld films|Bombay underworld crime film]]s in the early 1970s, with films such as ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973) and ''[[Deewaar]]'' (1975).<ref name="ganti">{{cite book|last=Ganti|first=Tejaswini|title=Bollywood: A Guidebook to Popular Hindi Cinema|date=2004|publisher=[[Psychology Press]]|isbn=9780415288545|page=153|url=https://books.google.com/books?id=GTEa93azj9EC&pg=PA153}}</ref><ref>{{cite book|last=Chaudhuri|first=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Books]]|isbn=9789352140084|page=72|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT72}}</ref>

The 1970s was also when the name "Bollywood" was coined,<ref name="collaco">{{cite news|title=On the Bollywood beat|author=Anand|work=[[The Hindu]]|date=7 March 2004|url=http://www.hindu.com/lr/2004/03/07/stories/2004030700390600.htm|archive-url=https://web.archive.org/web/20040403234115/http://www.hindu.com/lr/2004/03/07/stories/2004030700390600.htm|url-status=dead|archive-date=3 April 2004|access-date=31 May 2009|location=Chennai, India}}</ref><ref name="khanna">{{cite web|title=Amit Khanna: The Man who saw 'Bollywood'|author=Subhash K Jha|date=8 April 2005|website=[[Sify]]|url=http://sify.com/movies/bollywood/fullstory.php?id=13713296|access-date=31 May 2009|url-status=dead|archive-url=https://web.archive.org/web/20050409171523/http://sify.com/movies/bollywood/fullstory.php?id=13713296|archive-date=9 April 2005|df=dmy-all}}</ref> and when the quintessential conventions of commercial Bollywood films were established.<ref name="Chaudhuri58">{{Cite book|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT58|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|last=Chaudhuri|first=Diptakirti|date=2015-10-01|publisher=[[Penguin Books|Penguin UK]]|isbn=9789352140084|page=58}}</ref> Key to this was the emergence of the [[masala film]] genre, which combines elements of multiple genres ([[Action film|action]], [[Comedy film|comedy]], [[Romance film|romance]], [[Drama film|drama]], [[melodrama]], musical). The masala film was pioneered in the early 1970s by filmmaker [[Nasir Hussain]],<ref>{{cite news|title=How film-maker Nasir Husain started the trend for Bollywood masala films|url=http://www.hindustantimes.com/bollywood/how-film-maker-nasir-husain-created-the-prototype-for-bollywood-masala-films/story-ckL6zPLHJFDYoupjFBtbfN.html|work=[[Hindustan Times]]|date=30 March 2017}}</ref> along with screenwriter duo Salim-Javed,<ref name="Chaudhuri58"/> pioneering the Bollywood [[Blockbuster (entertainment)|blockbuster]] format.<ref name="Chaudhuri58"/> ''[[Yaadon Ki Baarat]]'' (1973), directed by Hussain and written by Salim-Javed, has been identified as the first masala film and the "first" quintessentially "Bollywood" film.<ref name="bhaumik">Kaushik Bhaumik, [https://thewire.in/24564/an-insightful-reading-of-our-many-indian-identities/ An Insightful Reading of Our Many Indian Identities], [[The Wire (Indian web publication)|The Wire]], 12/03/2016</ref><ref name="Chaudhuri58"/> Salim-Javed went on to write more successful masala films in the 1970s and 1980s.<ref name="Chaudhuri58"/> Masala films launched [[Amitabh Bachchan]] into the biggest Bollywood movie star of the 1970s and 1980s. A landmark for the masala film genre was ''[[Amar Akbar Anthony]]'' (1977),<ref name="Dwyer2005">{{cite book|author=Rachel Dwyer|title=100 Bollywood films|url=https://books.google.com/books?id=4EBNAQAAIAAJ|access-date=6 August 2013|year=2005|page=14|publisher=Lotus Collection, Roli Books|isbn=978-81-7436-433-3}}</ref><ref name="bhaumik"/> directed by [[Manmohan Desai]] and written by [[Kader Khan]]. Manmohan Desai went on to successfully exploit the genre in the 1970s and 1980s.

Along with Bachchan, other popular actors of this era included [[Feroz Khan (actor)|Feroz Khan]],<ref name="funky">{{cite book|last1=Stadtman|first1=Todd|title=Funky Bollywood: The Wild World of 1970s Indian Action Cinema|date=2015|publisher=FAB Press|isbn=9781903254776|url=https://books.google.com/books?id=T0DXoQEACAAJ}}</ref> [[Mithun Chakraborty]], [[Naseeruddin Shah]], [[Jackie Shroff]], [[Sanjay Dutt]], [[Anil Kapoor]] and [[Sunny Deol]]. Actresses from this era included [[Hema Malini]], [[Jaya Bachchan]], [[Rakhee Gulzar|Raakhee]], [[Shabana Azmi]], [[Zeenat Aman]], [[Parveen Babi]], [[Rekha]], [[Dimple Kapadia]], [[Smita Patil]], [[Jaya Prada]] and [[Padmini Kolhapure]].<ref name="actorsuntil90">{{cite web|title=The Present |author=Ahmed, Rauf |work=[[Rediff.com]] |url=http://www.rediff.com/millenni/rauf2.htm |access-date=30 June 2008 |archive-url=https://web.archive.org/web/20080529044434/http://www.rediff.com/millenni/rauf2.htm |archive-date=29 May 2008 |url-status=live |df=dmy }}</ref>

===New Bollywood (1990s–present)===
In the late 1980s, Hindi cinema experienced another period of stagnation, with a decline in box office turnout, due to increasing violence, decline in musical melodic quality, and rise in video piracy, leading to middle-class family audiences abandoning theaters. The turning point came with ''[[Qayamat Se Qayamat Tak]]'' (1988), directed by [[Mansoor Khan]], written and produced by his father [[Nasir Hussain]], and starring his cousin [[Aamir Khan]] with [[Juhi Chawla]]. Its blend of youthfulness, wholesome entertainment, emotional quotients and strong melodies lured family audiences back to the big screen.<ref name="Chintamani">{{cite book|last=Chintamani|first=Gautam|title=Qayamat Se Qayamat Tak: The Film That Revived Hindi Cinema|date=2016|publisher=[[HarperCollins]]|isbn=9789352640980|url=https://books.google.com/books?id=BZYOvgAACAAJ}}</ref><ref name="Ray">{{cite news|last=Ray|first=Kunal|title=Romancing the 1980s|url=http://www.thehindu.com/entertainment/movies/Romancing-the-1980s/article16898867.ece|work=[[The Hindu]]|date=18 December 2016|language=en-IN}}</ref> It set a new template for Bollywood musical romance films that defined Hindi cinema in the 1990s.<ref name="Ray" />

The period of Hindi cinema from the 1990s onwards is referred to as "New Bollywood" cinema,<ref>{{cite book|last=Sen|first=Meheli|title=Haunting Bollywood: Gender, Genre, and the Supernatural in Hindi Commercial Cinema|date=2017|publisher=[[University of Texas Press]]|isbn=9781477311585|page=189|url=https://books.google.com/books?id=ZA7BDQAAQBAJ&pg=PA189}}</ref> linked to [[economic liberalisation in India]] during the early 1990s.<ref>{{cite book|last=Joshi|first=Priya|title=Bollywood's India: A Public Fantasy|date=2015|publisher=[[Columbia University Press]]|isbn=9780231539074|page=171|url=https://books.google.com/books?id=C3wyBgAAQBAJ&pg=PA171}}</ref> By the early 1990s, the pendulum had swung back toward family-centric romantic musicals. ''Qayamat Se Qayamat Tak'' was followed by blockbusters such as ''[[Maine Pyar Kiya]]'' (1989), ''[[Chandni (1989 film)|Chandni]]'' (1989), ''[[Hum Aapke Hain Kaun]]'' (1994), ''[[Dilwale Dulhania Le Jayenge]]'' (1995), ''[[Raja Hindustani]]'' (1996), ''[[Dil To Pagal Hai]]'' (1997), ''[[Pyaar To Hona Hi Tha]]'' (1998) and ''[[Kuch Kuch Hota Hai]]'' (1998). A new generation of popular actors emerged, such as Aamir Khan, [[Aditya Pancholi]], [[Ajay Devgan]], [[Akshay Kumar]], [[Salman Khan]] ([[Salim Khan family|Salim Khan's son]]), and [[Shah Rukh Khan|Shahrukh Khan]], and actresses such as [[Madhuri Dixit]], [[Sridevi]], [[Juhi Chawla]], [[Meenakshi Seshadri]], [[Manisha Koirala]], [[Kajol]], and [[Karisma Kapoor]].<ref name="actorsuntil90"/>

Since the 1990s, the three biggest Bollywood movie stars have been the "[[Khans of Bollywood|Three Khans]]": [[Aamir Khan]], [[Shah Rukh Khan]], and [[Salman Khan]].<ref name="desiblitz">{{cite web|url=https://www.desiblitz.com/content/the-three-khans-of-bollywood|title=The Three Khans of Bollywood - DESIblitz|date=18 September 2012|access-date=4 July 2018}}</ref><ref name="forbes">{{cite web|url=https://www.forbes.com/sites/robcain/2016/03/20/are-bollywoods-three-khans-the-last-of-the-movie-kings/|title=Are Bollywood's Three Khans The Last Of The Movie Kings?|first=Rob|last=Cain|website=[[Forbes]]}}</ref> Combined, they have starred in most of the top ten [[List of highest-grossing Bollywood films|highest-grossing Bollywood films]]. The three Khans have had successful careers since the late 1980s,<ref name="desiblitz"/> and have dominated the Indian box office since the 1990s,<ref>[http://www.firstpost.com/entertainment/after-aamir-srk-salman-why-bollywoods-next-male-superstar-may-need-a-decade-to-rise-3049864.html After Aamir, SRK, Salman, why Bollywood's next male superstar may need a decade to rise], [[Firstpost]], 16 October 2016</ref> across three decades.<ref>{{cite web|url=http://www.ndtv.com/india-news/aamir-khan-is-the-king-of-the-king-khans-moved-ahead-of-shah-rukh-salman-1723117|title=Why Aamir Khan Is The King Of Khans: Foreign Media}}</ref>

===Influence on Western films (2000s–present)===
[[Baz Luhrmann]] stated that his successful musical film ''[[Moulin Rouge!]]'' (2001) was directly inspired by Bollywood musicals.<ref>{{cite web|url=http://movies.about.com/library/weekly/aa030902a.htm|title=Baz Luhrmann Talks Awards and "Moulin Rouge"|access-date=2009-02-23|archive-date=2012-05-02|archive-url=https://web.archive.org/web/20120502074825/http://movies.about.com/library/weekly/aa030902a.htm|url-status=dead}}</ref> The film pays homage to India, incorporating an Indian-themed play and a Bollywood-style dance sequence with a song from the film ''[[China Gate (1998 film)|China Gate]]''. The critical and financial success of ''Moulin Rouge!'' renewed interest in the then-moribund Western live action musical genre, and subsequently films such as ''[[Chicago (2002 film)|Chicago]]'', ''[[The Producers (2005 film)|The Producers]]'', ''[[Rent (film)|Rent]]'', ''[[Dreamgirls (film)|Dreamgirls]]'', and ''[[Hairspray (2007 film)|Hairspray]]'' were produced, fueling a renaissance of the genre.<ref name="pbs">{{cite web|title=Hollywood/Bollywood|publisher=[[Public Broadcasting Service]]|url=https://www.pbs.org/independentlens/cosmopolitan/bollywood.html|access-date=12 February 2010|archive-date=23 February 2010|archive-url=https://web.archive.org/web/20100223061624/http://www.pbs.org/independentlens/cosmopolitan/bollywood.html|url-status=dead}}</ref>

''[[The Guru (2002 film)|The Guru]]'' and ''[[The 40-Year-Old Virgin]]'' also feature Indian-style song-and-dance sequences; the Bollywood musical ''[[Lagaan]]'' (2001) was nominated for the [[Academy Award for Best Foreign Language Film]]; two other Bollywood films ''[[Devdas (2002 Hindi film)|Devdas]]'' (2002) and ''[[Rang De Basanti]]'' (2006) were nominated for the [[BAFTA Award for Best Film Not in the English Language]]; and [[Danny Boyle]]'s [[Academy Award]] winning ''[[Slumdog Millionaire]]'' (2008) also features a Bollywood-style song-and-dance number during the film's end credits, ''[[Tallika]]'' (2022) was the first movie with Maximum Genres of Music Composed by Maharaja and registered as a World Record Holder in Music,<ref>{{cite web | url=https://fox59.com/business/press-releases/ein-presswire/605425487/world-record-by-rapper-maharaja/ | title=World Record by Rapper Maharaja | date=9 December 2022 }}</ref>