Indian Mafia in Popular Culture
Crime films revolving around the Indian mafia, particularly the Mumbai underworld, have been common in Indian cinema since the 1950s, evolving into a distinct genre known as Mumbai noir in the late 1990s. The genre has its origins in the 1950s, with the Raj Kapoor films Awaara (1951) and Shree 420 (1955) being some of the earliest films involving the Mumbai underworld. In the 1960s, Shakti Samanta's China Town (1962), starring Shammi Kapoor and Helen, dealt with the criminal underworld that existed in Chinatown, Kolkata, at the time. It was the earliest film to introduce the plot element of a look-alike working as an undercover agent impersonating a gangster, an idea that was used again Don (1978) and many later films inspired by it.
In the 1970s and early 1980s, many of the most well-known classic Bollywood movies were based around themes of fighting criminals and corruption at a time when crime was rising and authorities were powerless. Classic Amitabh Bachchan films depicted the underworld and the protagonists attempting to overcome it, including Prakash Mehra's Zanjeer (1972), Yash Chopra's Deewar (1975), Manmohan Desai's Amar Akbar Anthony (1977), Chandra Barot's Don (1978) and Vijay Anand's Ram Balram (1980). In particular, Deewar, which Danny Boyle described as being “absolutely key to Indian cinema”, was a crime film pitting "a policeman against his brother, a gang leader based on real-life smuggler Haji Mastan", portrayed by Bachchan. Most Bollywood crime movies at the time were fairly unrealistic with the masala style of action and plots. In Parallel Cinema on the other hand, the Calcutta trilogies of Bengali film directors Mrinal Sen and Satyajit Ray, particularly the 1976 film Jana Aranya (The Middleman), dealt with the Calcutta underworld in a more realistic manner.
In the late 1980s, Parallel Cinema filmmakers began producing more realistic Bombay underworld films, with an early example being Mani Ratnam's Tamil film, Nayagan (1987), based on the life of the Bombay don, Varadarajan Mudaliar, portrayed by Kamal Haasan. Nayagan was included in Time Magazine's "All-Time 100 Best Films" list, issued in 2005. I The Bombay underworld was also depicted in Mira Nair's Academy Award nominated Hindi film Salaam Bombay! (1988). The underworld was also depicted in several other National Film Award winning films, including Vidhu Vinod Chopra's Parinda (1989) starring Anil Kapoor, Mukul S. Anand's Agneepath (1990) starring Bachchan, and Sudhir Mishra's Dharavi (1991) starring Anil Kapoor and Om Puri.
In the late 1990s, Ram Gopal Varma's Satya (1998) marked the introduction of a new genre of film making, Mumbai noir, of which he is the acknowledged master. The critical and commercial success of Satya led to an increased emphasis on realism in later Mumbai underworld films. Varma's next Mumbai noir film was Company (2002), based on the D-Company, a real-life criminal organization. Satya and Company both gave "slick, often mesmerizing portrayals of the Mumbai underworld", and displayed realistic "brutality and urban violence." Satya won six Filmfare Awards, including the Critics Award for Best Film, while Company won seven Filmfare Awards. A prequel to Company was released in 2005, entitled D (2005), produced by Varma and directed by Vishram Sawant. Varma's three films Satya, Company and D are together considered an "Indian Gangster Trilogy". Varma also directed an Indian adaptation of The Godfather novel in a Mumbai underworld setting, called Sarkar (2005), and has more recently filmed an original sequel called Sarkar Raj (2008). Another film Sarfarosh, starring Aamir Khan deals with cross-border arms smuggling, and the criminal elements within India that are involved with it, including the Mumbai mafia.
Mahesh Manjrekar's Vaastav: The Reality (1999) is another film that depicts the Indian mafia. Anurag Kashyap's Black Friday (2004) is based on S. Hussein Zaidi's book of the same name about the 1993 Bombay bombings, which involved the underworld organization, the D-Company. Vishal Bharadwaj's Maqbool (2004) and Omkara (2006) are modern-day Indian mafia interpretations of the William Shakespeare plays Macbeth and Othello, respectively. Farhan Akhtar's Don - The Chase Begins Again (2006) is a remake of Barot's original 1978 Don with Shahrukh Khan taking Bachchan's place in the title role. Apoorva Lakhia's Shootout at Lokhandwala (2007) is based on a real-life 1991 incident involving Commissioner Aftab Ahmed Khan and the Lokhandwala Complex. Waaris (2008) is an Indian television series on Zee TV with the Indian mafia as its background. The Mumbai underworld has also been depicted in Madhur Bhandarkar's Traffic Signal (2007) and Rajeev Khandelwal's Aamir (2008).
Danny Boyle's Academy Award winning film Slumdog Millionaire (2008), based on Vikas Swarup's Boeke Prize winning novel Q & A (2005), has also portrayed the Indian mafia, under the influence of earlier Mumbai noir films. Boyle has cited previous Bollywood portrayals of the Mumbai underworld in Deewar, Satya, Company and Black Friday as direct influences on the film. Indian mafia was widely portrayed in 2009 Bollywood's 2009 critically acclaimed film Kaminey.
Gregory David Roberts's Shantaram novel, also features the Indian mafia in its storyline.
Read more about this topic: Organised Crime In India
Famous quotes containing the words indian, popular and/or culture:
“There was so much of the Indian accent resounding through his English, so much of the “bow-arrow tang” as my neighbor calls it.... It was a wild and refreshing sound, like that of the wind among the pines, or the booming of the surf on the shore.”
—Henry David Thoreau (1817–1862)
“Both gossip and joking are intrinsically valuable activities. Both are essentially social activities that strengthen interpersonal bonds—we do not tell jokes and gossip to ourselves. As popular activities that evade social restrictions, they often refer to topics that are inaccessible to serious public discussion. Gossip and joking often appear together: when we gossip we usually tell jokes and when we are joking we often gossip as well.”
—Aaron Ben-Ze’Ev, Israeli philosopher. “The Vindication of Gossip,” Good Gossip, University Press of Kansas (1994)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)