Indian cinema’s association with the Cannes Film Festival goes back a long way. As the world’s largest film producing nation inches its way back into the reckoning on the Croisette, here is a historical overview of what has gone before
India’s association with the Cannes Film Festival goes back all the way to its first edition in 1946. That year, Chetan Anand’s Neecha Nagar, loosely adapted from Maxim Gorky’s The Lower Depths, won the Grand Prix along with ten other titles. Eleven films were given the top prize because Cannes was seeking to make up for the hiatus of the War years.
Legend has it that the Cannes event was originally supposed to kick off in 1939 because the Venice Film Festival awards were “rigged” – Jean Renoir’s superb Grand Illusion was passed over for two utterly undeserving films – one made by Goebbels’ propaganda ministry, the other by Benito Mussolini’s son. Politics has remained a constant factor for Cannes ever since.
In 1946, Neecha Nagar was in great company. Among the films that were awarded in Cannes’ inaugural edition were David Lean’s Brief Encounter, Billy Wilder’s The Lost Weekend and Roberto Rossellini’s Rome Open City.
Until the mid 1990s, India was a constant presence on the Croisette and several films from the country competed for top honours at the festival. Then, the world’s largest film producing nation dropped off Cannes’ radar. It rankled because Cannes has always mattered.
As the multi-talented French creator Jean Cocteau once said, “The Festival is an apolitical no-man’s land, a microcosm of what the world would be like if people could contact each other directly and speak the same language.” At the festival, everybody does indeed speak the same language – the language of cinema. For 11 days, Cannes turns into the movie capital of the world and no nation that fancies itself as a force on the global stage can afford to miss out on the action.
Since the curtains went up on the festival – the first Palme d’Or (Golden Palm) was handed out to Delbert Mann's Marty in 1955 – Cannes has recognised the best filmmakers of the world with its trophy.
Run your eyes through the list of filmmakers that have won the Grand Prix/Palme d’Or over the years: Roberto Rossellini, Vittorio de Sica, Orson Welles, Federico Fellini, Luis Bunuel, Luchino Visconti, , Michelangelo Antonioni, Lindsay Anderson, Robert Altman, Joseph Losey, Martin Scorsese, Ermanno Olmi, Volker Schlondorff, Akira Kurosawa, Andrzej Wajda, Constantin Costa-Gavras, Wim Wenders, Shohei Imamura, Francis Ford Coppola, Steven Soderbergh, Mike Leigh, Abbas Kiorastami, Emir Kusturica, Chen Kaige, Coen brothers, Taviani brothers, Quentin Tarantino, Lars von Trier, Michael Haneke…
This list is by no means complete, but it’s a veritable who’s who of the men who have shaped the contours of modern cinema. Unfortunately, only a solitary woman director – Jane Campion for The Piano, 1993 – has ever won the Palme d’Or and that is one imbalance that the Cannes Film Festival would be keen to rectify.
What separates Cannes from other festivals is its constant edginess. Even as it celebrates Hollywood glitz and glamour, it revels as much in showcasing the auteurs and the in-your-face upstarts, and in spotting and pushing new talents from around the world. You love some of the films, you hate others, but you can rarely ever completely ignore anything that the Cannes selectors pick.
The last Indian film to compete in Cannes was Shaji N. Karun’s Swaham in 1994. Another Malayalam film, Murali Nair’s Arimpara, made the Un Certain Regard cut in 2003, a year after Bhansali’s reworking of Devdas had a special red carpet screening at the Grand Lumiere.
But India was blanked out year after year by the globe’s premier film festival until it made a comeback with Vikramaditya Motwane’s Udaan breaking into Un Certain Regard in 2010. Yet, Indian filmmakers, big and small, land in Cannes’ buyer-seller space with movies in a bid to access the growing Diaspora as well as tap new markets. .
But for those saddened by the dwindling global esteem for the quality of Indian films, it is a tad painful to see relatively small filmmaking nations that were once way behind India in terms of international exposure - South Korea, China, Iran, Thailand, Taiwan – being ‘officially’ celebrated in Cannes every year.
In 1954, Bimal Roy’s Do Bigha Zameen bagged a Grand Prize, while Ray’s epochal Pather Panchali was adjudged the Best Human Document in 1956. As many as 17 Indian films were in Competition during the first two decades of Cannes. Besides Pather Panchali, these included Ray’s Paras Pathar and Devi, Bimal Roy’s Do Bigha Zameen, Biraj Bahu and Sujata, V. Shantaram’s Amar Bhoopali and Shevgyachya Shenga, Prakash Arora’s Boot Polish (for which Baby Naaz won a Special Mention in 1955), and Moni Bhattacharjee’s Mujhe Jeeno Do.
In the 1970s and 1980s, too, Indian cinema figured frequently in the Cannes Competition with films like Mrinal Sen’s Ek Din Pratidin (1980), the Jury Prize-winning Kharij (1983) and Genesis (1986), MS Sathyu’s Garam Hawa (1974), Shyam Benegal’s Nishant (1976), Ray’s Ghare Baire (1984).
Two Indian films came tantalizingly close to winning Cannes’ top prize. One, of course, was Pather Panchali, which is today listed on the festival’s official website at par with the 1956 Palme d’Or winner, the French documentary Le Monde du Silence (The Silent World), made by legendary oceanographer Jacques-Yves Cousteau and Louis Malle. It was felt the French film pipped Ray’s debut work for of its technical brilliance – it was one of the first films that used underwater cinematography to capture the depths of the ocean in colour.
The other was Mrinal Sen’s searing critique of urban middle class mores, Kharij, which, in 1983, was up against a film of the quality of Shohei Imamura’s The Ballad of Narayama. While the latter was given the Palme d’Or, the jury, headed by American writer William Styron, adjudged Kharij the second best by bestowing the Jury Prize on it. In 1983, Cannes had a particularly strong Competition line-up and the runners-up finish for Kharij was no mean achievement. Among the films that Sen’s entry upstaged were Robert Bresson’s L’Argent and Andrei Tarkovsky’s Nostalgia.
In the late 1980s, two Indian films did the nation proud – Mira Nair’s Salaam Bombay won the Camera d’Or (for the best debut film screened in the festival across all its sections) in 1988 and Shaji’s Piravi bagged the best film prize in Un Certain Regard in 1989. In 1999, Murali Nair’s Marana Simhasanam, screened in Un Certain Regard, won the Camera d’Or.
But the last two decades have seen a complete washout, with no Indian name making it to the list of 20-odd films that compete each year for the Palme d’Or although a special screening of a documentary celebrating the popular strain of Hindi cinema, Rakesysh Omprakash Mehra’s Bollywood – The Greatest Love Story Ever Told, was hosted by the festival in 2011.
India’s association with the Cannes Film Festival goes back all the way to its first edition in 1946. That year, Chetan Anand’s Neecha Nagar, loosely adapted from Maxim Gorky’s The Lower Depths, won the Grand Prix along with ten other titles. Eleven films were given the top prize because Cannes was seeking to make up for the hiatus of the War years.
Legend has it that the Cannes event was originally supposed to kick off in 1939 because the Venice Film Festival awards were “rigged” – Jean Renoir’s superb Grand Illusion was passed over for two utterly undeserving films – one made by Goebbels’ propaganda ministry, the other by Benito Mussolini’s son. Politics has remained a constant factor for Cannes ever since.
In 1946, Neecha Nagar was in great company. Among the films that were awarded in Cannes’ inaugural edition were David Lean’s Brief Encounter, Billy Wilder’s The Lost Weekend and Roberto Rossellini’s Rome Open City.
Until the mid 1990s, India was a constant presence on the Croisette and several films from the country competed for top honours at the festival. Then, the world’s largest film producing nation dropped off Cannes’ radar. It rankled because Cannes has always mattered.
As the multi-talented French creator Jean Cocteau once said, “The Festival is an apolitical no-man’s land, a microcosm of what the world would be like if people could contact each other directly and speak the same language.” At the festival, everybody does indeed speak the same language – the language of cinema. For 11 days, Cannes turns into the movie capital of the world and no nation that fancies itself as a force on the global stage can afford to miss out on the action.
Since the curtains went up on the festival – the first Palme d’Or (Golden Palm) was handed out to Delbert Mann's Marty in 1955 – Cannes has recognised the best filmmakers of the world with its trophy.
Run your eyes through the list of filmmakers that have won the Grand Prix/Palme d’Or over the years: Roberto Rossellini, Vittorio de Sica, Orson Welles, Federico Fellini, Luis Bunuel, Luchino Visconti, , Michelangelo Antonioni, Lindsay Anderson, Robert Altman, Joseph Losey, Martin Scorsese, Ermanno Olmi, Volker Schlondorff, Akira Kurosawa, Andrzej Wajda, Constantin Costa-Gavras, Wim Wenders, Shohei Imamura, Francis Ford Coppola, Steven Soderbergh, Mike Leigh, Abbas Kiorastami, Emir Kusturica, Chen Kaige, Coen brothers, Taviani brothers, Quentin Tarantino, Lars von Trier, Michael Haneke…
This list is by no means complete, but it’s a veritable who’s who of the men who have shaped the contours of modern cinema. Unfortunately, only a solitary woman director – Jane Campion for The Piano, 1993 – has ever won the Palme d’Or and that is one imbalance that the Cannes Film Festival would be keen to rectify.
What separates Cannes from other festivals is its constant edginess. Even as it celebrates Hollywood glitz and glamour, it revels as much in showcasing the auteurs and the in-your-face upstarts, and in spotting and pushing new talents from around the world. You love some of the films, you hate others, but you can rarely ever completely ignore anything that the Cannes selectors pick.
The last Indian film to compete in Cannes was Shaji N. Karun’s Swaham in 1994. Another Malayalam film, Murali Nair’s Arimpara, made the Un Certain Regard cut in 2003, a year after Bhansali’s reworking of Devdas had a special red carpet screening at the Grand Lumiere.
But India was blanked out year after year by the globe’s premier film festival until it made a comeback with Vikramaditya Motwane’s Udaan breaking into Un Certain Regard in 2010. Yet, Indian filmmakers, big and small, land in Cannes’ buyer-seller space with movies in a bid to access the growing Diaspora as well as tap new markets. .
But for those saddened by the dwindling global esteem for the quality of Indian films, it is a tad painful to see relatively small filmmaking nations that were once way behind India in terms of international exposure - South Korea, China, Iran, Thailand, Taiwan – being ‘officially’ celebrated in Cannes every year.
In 1954, Bimal Roy’s Do Bigha Zameen bagged a Grand Prize, while Ray’s epochal Pather Panchali was adjudged the Best Human Document in 1956. As many as 17 Indian films were in Competition during the first two decades of Cannes. Besides Pather Panchali, these included Ray’s Paras Pathar and Devi, Bimal Roy’s Do Bigha Zameen, Biraj Bahu and Sujata, V. Shantaram’s Amar Bhoopali and Shevgyachya Shenga, Prakash Arora’s Boot Polish (for which Baby Naaz won a Special Mention in 1955), and Moni Bhattacharjee’s Mujhe Jeeno Do.
In the 1970s and 1980s, too, Indian cinema figured frequently in the Cannes Competition with films like Mrinal Sen’s Ek Din Pratidin (1980), the Jury Prize-winning Kharij (1983) and Genesis (1986), MS Sathyu’s Garam Hawa (1974), Shyam Benegal’s Nishant (1976), Ray’s Ghare Baire (1984).
Two Indian films came tantalizingly close to winning Cannes’ top prize. One, of course, was Pather Panchali, which is today listed on the festival’s official website at par with the 1956 Palme d’Or winner, the French documentary Le Monde du Silence (The Silent World), made by legendary oceanographer Jacques-Yves Cousteau and Louis Malle. It was felt the French film pipped Ray’s debut work for of its technical brilliance – it was one of the first films that used underwater cinematography to capture the depths of the ocean in colour.
The other was Mrinal Sen’s searing critique of urban middle class mores, Kharij, which, in 1983, was up against a film of the quality of Shohei Imamura’s The Ballad of Narayama. While the latter was given the Palme d’Or, the jury, headed by American writer William Styron, adjudged Kharij the second best by bestowing the Jury Prize on it. In 1983, Cannes had a particularly strong Competition line-up and the runners-up finish for Kharij was no mean achievement. Among the films that Sen’s entry upstaged were Robert Bresson’s L’Argent and Andrei Tarkovsky’s Nostalgia.
In the late 1980s, two Indian films did the nation proud – Mira Nair’s Salaam Bombay won the Camera d’Or (for the best debut film screened in the festival across all its sections) in 1988 and Shaji’s Piravi bagged the best film prize in Un Certain Regard in 1989. In 1999, Murali Nair’s Marana Simhasanam, screened in Un Certain Regard, won the Camera d’Or.
But the last two decades have seen a complete washout, with no Indian name making it to the list of 20-odd films that compete each year for the Palme d’Or although a special screening of a documentary celebrating the popular strain of Hindi cinema, Rakesysh Omprakash Mehra’s Bollywood – The Greatest Love Story Ever Told, was hosted by the festival in 2011.
For More IIPM Info, Visit below mentioned IIPM articles
Professor Arindam Chaudhuri – A Man For The Society….
IIPM: Indian Institute of Planning and Management
IIPM makes business education truly global
Management Guru Arindam Chaudhuri
Rajita Chaudhuri-The New Age Woman
| ExecutiveMBA |
