The Indian Cinema is made up of all the films produced in India. The film industry in India as a whole is referred to as
Bollywood
Approximately 1600 Indian films are made annually on average. By 2013, Bollywood was named the leading producer of films ahead of Nollywood and Hollywood, respectively. Bollywood is said to be ruled by family dynasties such as the Kapoor and the Chopra families. To some extent, this is valid as shown by the numerous Kapoor and Chopra family names actors and actresses (Mishra 17).
Reasons for the Dominance of the Kapoors and Chopras in the Indian Cinema
Firstly, the dominance of family dynasties is attributed to family influence. One family member ended up in the filming industry because of the successes and fame gained by another member already in the family. For instance, the Kapoor name is thought to be the best brand name in Bollywood as they have been serving this industry for eras (APF n. p). Kapoor family have acted, coordinated or delivered in the Bollywood business, beginning from Basheswarnath Dewan to Prithviraj to Raj to Shammi, Shashi, Randhir, Rishi, Rajiv to Karishma, Kareena and now Ranbir, all from the Kapoor family. In the event that the history is unfurled, there comes Basheswarnath Dewan (Prithviraj's dad), a resigned Sub Auditor of the police force in Peshawar (now in Pakistan), who likewise did a cameo part in his grandson Kapoor Raj's film, Awara. Of the Kapoor’s family, the first to join movies was Prithviraj who had been such a great amount of enthusiastic about acting since adolescence (Jain 12). He generally needed to be an on-screen character yet never articulated a word about this reality before his relatives, as nobody was in this business in the whole family. Be that as it may, at long last he broke the ice and entered the film world and vanquished the banners of his attitudes in this craftsmanship. Therefore, apart from Prithviraj who solely entered the filming business on his own because there was no one in it before, all the others have in one way or another been influenced by their family ties to act in a part of the films especially if they hold the production posts as in the case of Raj and his father (Jain 15). Subsequently, some other favoring factor that has increased the participation of family dynasties in the Indian Cinema is the existence of a public figure from the same family who acts as a role model to the other members who have similar desires in filming. Taking Chopra Yash for example, was one admirable character in the Indian filming business who ever lived (Dwyer 182). Yash created a portion of the finest business movies the Bollywood groups of onlookers have ever devoured their eyes upon. On the off chance that Beam Satyajit is considered by Indian film aficionados to be the preeminent chief with regards to workmanship house silver screen, Yash Chopra can be named the conclusive executive with regards to this standard film. Chopra Yash is to a great extent renowned for making awesome sentimental movies, however he has coordinated a modest bunch of non-sentimental movies too (Dwyer 182). However, no director has figured out how to epitomize the strong impacts which love can have on individuals like Yash has done as such through his movies. They will leave an enduring impact on you and their fine quality will entice you to watch them over and over. Chopra Yash was not just energetic about the movies he made; he likewise appreciated the music which went with them. This has prompted some genuinely marvelous soundtracks surfacing from the Indian film industry (Dwyer 182). To some degree, Yash Chopra can be alluded to as a music director for continually guaranteeing that some really astonishing and important songs were at the heart of his movies. In addition, age did not bar him from keeping pace with innovation. His movies constantly mirrored the time in which they were made and the way society showed up for some. It is improbable that there will ever be another movie producer like Chopra Yash again. His movies contained exceptional styles, settings, and storylines which the mass gathering of people will automatically associate him with. Since Mr. Yash finally passed away at the age of 80, his other family members had an urge to carry on his legacy hence most of them such as Priyanka, Uday, and Aditya of the Chopra lineage (Dwyer 182). These three Bollywood stars found it easy to gain fame mainly because of the excellent legacy of Chopra Yash. Moreover, the dominant participation of family dynasties in the Indian Cinema is linked to the much nepotism that exists in this industry. In a recent interview with Johar Karan, he admired that he is a brand representative of nepotism. Although Karan is not from the Kapoors and the Chopras, he agrees that in the event that his dad was never a filmmaker and if he did not have that sort of interconnection with different renowned movie producers, he would presumably have ended up in art and design. I would have been in the realm of promoting (APF n. p). He additionally agreed that in the overall showbiz it is particularly beneficial to have connections, however, India is especially enamored with its family lines. Just like other Indian organizations, the Cinema industry tends to remain in the family, be they little roadside nourishment slows down or sprawling aggregates or big production companies. Governance and management and participation are handed on from one son to another. The same also takes place in the filming industry hence the dominance by the Kapoors and the Chopras. In another interview with Kapoor Rishi, he included that nepotism remains a major portion of the filming business (APF n. p). He explained that a child of an on-screen character perpetually turns into a performing artist simply because the father is in the business. Rishi elaborated that diligent work and ability are urgent to make it to the top, though not every Kapoor has become wildly successful probably because of deviating from the family filming trend. Be that as it may, in the event that you are one of the fortunate ones, he sees little sense in deviating from the family way. Hence he admits that the idea of fear of failure by not following in the footsteps of your family members is one reason that has seen the dominance of family dynasties in the Indian Cinema business. Nevertheless, the Kapoors and the Chopras are famous in the Bollywood industry because of their social status. These two groups are categorized in the higher caste socially and financially. Therefore, in most cases, if one of their adolescents would want to venture into the filming industry then they would not lack the finances to support them till the achieve their dreams. Most leading actors come from a privileged background and most of the characters they represent in mainstream movies belong to the same faction (APF n. p). Very rarely will there be a character in a movie from a socially marginalized background. For instance, even as one watches the films, the Kapoors or the Chopras seem to belong to the most advantages class. In the case of a romantic film, a lady from the Kapoor family could be in a situation where she is being pursued by a man from a humble background of which the lady's parents object the marriage because of social class (APF n. p). In reality, indeed the Kapoors are in a higher social caste hence even as they act, their wealth in films is still theirs in real life. Therefore, availability of funds enables such families to produce even more films since they have enough ability to finance their setting and production. Finally, the Indian film industry also seems to be less competitive. Due to differences in social class, the less privileged communities have very little chances to get chances into the industry. Hence, the only families such as the Chopras and the Kapoors are the only ones that secure all the chances to produce and act movies (Joshi 22). Alternatively, the Indian Cinema is characterized with romance. So if another producer attempts to come into the firm with another genre of a film then they will face great criticism and low returns. Therefore, like illustrated above, Chopras Yash was a famous producer of romantic films thus creating a very strong base for Chopras to major into and dominate in the production of romantic films. Since romance is in the center of Bollywood, it hinders other producers with different diverse ideas from making it to the top in the Indian Cinema (APF n. p). Conclusion The Kapoor and the Chopra families as indicated above are the common dominant dynasties in the Indian Cinema. However, they are not the only ones, others include the Khan family though they are not as common. Some of the reasons for the dominance of Kapoor and Chopra dynasties include; family influence to do as the others in the family do. Also, the existence of public legends such as Chopra Yash motivated most of the Chopras to also venture into filming. Evidently, the family dynasty dominance is linked to the idea that these families are socially and financially stable giving them an upper chance even in producing and directing their own films (Ganti 50). The above-illustrated examples are just a sample of the many other reasons tied to the prominence of the Kapoors and Chopras in the Indian Cinema. Currently, there has been an arising concern for the Indian Cinema to be restructured so that other interested persons can be incorporated in the Indian Cinema. To some extent, the dominance of the Chopras and the Kapoors has made the storylines of the acted movies to be so monotonous such that Bollywood actors and actresses rarely acquire worldwide awards like the Oscar Awards. However, there are continuous reforms to transform the Indian Cinema so as to eliminate dominance of family dynasties.
Work Cited
AFP, Bollywood dynasties keep it in the family/bollywood, Hindustan times, April 30th 2013. Available at: http://m.hindustantimes.com/bollywood/bollywood-dynasties-keep-it-in-the-family/story-ERvtTxQ1pcaca9UC4YGP9N.html. Accessed 11th April 2017 Dwyer, Rachel. "The Hindi Romantic Cinema: Yash Chopra's Kabhi Kabhie and Silsila." South Asia: Journal of South Asian Studies. 21.1 (1998): 181-212. Print. Ganti, Tejaswini. Bollywood: a guidebook to popular Hindi cinema. Routledge, 2013. Joshi, Lalit Mohan. Bollywood: popular Indian cinema. Lucky Dissanayake, 2002. Jain, Madhu. The Kapoors: The First Family of Indian Cinema. New Delhi: Penguin, 2009. Mishra, Vijay. Bollywood cinema: Temples of desire. Psychology Press, 2002.
