New Wave of Indian Cinema

                                                        Dated : 21 July 2016

Though "New Indian Cinema" is not a precise nor a particularly illuminating term, it points to trajectories in Indian cinema that are identified with the emergence of a certain aesthetic sensibility, a new style of film-making.
Some would trace the beginnings of the 'New Indian Cinema' to Satyajit Ray and his legendary trilogy of the Apu films, which originated with Pather Panchali (Song of the Road) in 1955. Though socially-conscious movies were made by such directors as Bimal Roy and V. Shantaram before Pather Panchali and the element of neo-realism predominated, they nonetheless did not signify any radical departure from the mainstream Indian cinema. Pather Panchali, on the other hand, changed the way the whole world looked at Indian films.
Unlike the popular cinema, the New Indian cinema is almost always concerned with the common man. The heroes are not supermen with extraordinary ambition, who have to rise from poverty, tame the rich girl and fight the evil landlord, but ordinary men and women acting under the pressures of ordinary living. It is a form of individualization as the characters no longer have to represent icons of society like the "suffering wife" or the "evil mother-in-law". This also explains why the form of these films is usually neo-realistic, though there is a great variety in the films of different directors.
Legends Like Shyam Benegal started as a neo-realistic humanist, and attacked the feudal and caste relationships that form an integral part of Indian culture & Mrinal Sen Director who had a profound effect on the New Indian cinema.
While watching films like ‘Dhobi Ghat’, ‘The Lunchbox’, the audience is very much made aware that the lights, sounds, rhythms, and patterns bombarding their senses are tools in the hands of the makers. Kiran Rao told an entire story using talking heads recorded by the subject on a handycam in ‘Dhobi Ghat’ .
People Like Anurag Kashyap who has managed to channelize mainstream audiences towards taking a keen interest in this genre of cinema. Movies like “Black Friday”, “Gangs of Wasseypur”, Also Movies Like Moteher India, Lagan, Black, A Wednesday, Gulal, Baarfi, P.K, Masaan, 3 Idiots  and many More. So From  Ardeshir Irani’s Alam Ara To Kabir Khan’s Bajrangi Bhaijaan movies which have evolved the new wave of Indian cinema into mainstream.
It is important to give the director full control of what he wants to create and how he wants to create it. More often than not, most directors fail to stick to their individual style of narration or compromise with their theme because of the exceeding pressure producers put on them. One doesn’t always have to create something extraordinarily genius, but it is more important to create something individual and rare