Hindi cinema, popularly known as Bollywood and formerly as Bombay cinema,[3] refers to the film industry based in Mumbai, engaged in production of motion pictures in Hindi language. The popular term Bollywood is a portmanteau of "Bombay" (former name of Mumbai) and "Hollywood". The industry is a part of the larger Indian cinema, which also includes South Indian cinema and other smaller film industries.[4][5][6]

In 2017, Indian cinema produced 1,986 feature films, of which the largest number, 364 have been in Hindi.[4] As per data from 2014[update], Hindi cinema represented 43 percent of Indian net box-office revenue; Tamil and Telugu cinema represented 36 percent, and the remaining regional cinema constituted 21 percent.[7] Hindi cinema is one of the largest centres for film production in the world.[8][9][10] Hindi films sold an estimated 341 million tickets in India in 2019.[11][12] Earlier Hindi films tended to use vernacular Hindustani, mutually intelligible by speakers of either Hindi or Urdu, while modern Hindi productions increasingly incorporate elements of Hinglish.[13]

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The most popular commercial genre in Hindi cinema since the 1970s has been the masala film, which freely mixes different genres including action, comedy, romance, drama and melodrama along with musical numbers.[14][15] Masala films generally fall under the musical film genre, of which Indian cinema has been the largest producer since the 1960s when it exceeded the American film industry's total musical output after musical films declined in the West. Dadasaheb Phalke's silent film Raja Harishchandra (1913) is the first feature length film made in India.[16] The first Indian musical talkie was Alam Ara (1931), four years after the first Hollywood sound film The Jazz Singer (1927).

Alongside commercial masala films, a distinctive genre of art films known as parallel cinema has also existed, presenting realistic content and avoidance of musical numbers. In more recent years, the distinction between commercial masala and parallel cinema has been gradually blurring, with an increasing number of mainstream films adopting the conventions which were once strictly associated with parallel cinema.

The term "Tollywood", for the Tollygunge-based cinema of West Bengal, predated "Bollywood".[18] It was used in a 1932 American Cinematographer article by Wilford E. Deming, an American engineer who helped produce the first Indian sound picture.[18]

"Bollywood" was probably invented in Bombay-based film trade journals in the 1960s or 1970s, though the exact inventor varies by account.[19][20] Film journalist Bevinda Collaco claims she coined the term for the title of her column in Screen magazine.[21] Her column entitled "On the Bollywood Beat" covered studio news and celebrity gossip.[21] Other sources state that lyricist, filmmaker and scholar Amit Khanna was its creator.[22] It is unknown if it was derived from "Hollywood" through "Tollywood", or was inspired directly by "Hollywood".

The term has been criticised by some film journalists and critics, who believe it implies that the industry is a poor cousin of Hollywood.[17][23] Many noted Hindi film actors, directors prefer to call it Hindi cinema rather than Bollywood and advice others to mention it as 'Hindi cinema'.[24][25] In 2020, Sudhir Mishra dissociated himself from Bollywood term, Hansal Mehta echoed same sentiment, he said "Bollywood" is "very derogatory " term for Hindi cinema, veteran director Shyam Benegal : "Bollywood is a term copied from Hollywood. The Indian film industry is the largest in the world. Why should we take a terminology that belongs to the industry of some other country?", Ketan Mehta always preferred calling it Hindi cinema, Anurag Basu said "Calling ourselves Bollywood is a feudal mindset, we have our own identity. We are Indian cinema, where films are made in more than 15 languages...We should not degrade by calling ourselves Bollywood. When I go to International film festivals, I feel ashamed when we are called Bollywood. There is Korean cinema, French cinema, Italian cinema... why not Indian cinema?"[26] Noted South Indian director Mani Ratnam expressed that 'Hindi cinema should stop calling itself Bollywood '.[27]

SS Rajamouli's Baahubali: The Beginning (2015), Telugu language film started new wave of Pan-India films. Due to COVID-19, the Hindi industry halted, many movies got delayed and released after pandemic ended, in the meanwhile due to years lockdowns audience got confined and got exposed to World cinema through number of OTT platforms such as Netflix, Prime video, Sony LIV etc who became popular, Indian audience not only watched Hollywood movies on them but also lots of movies of South Korean, Spanish etc film industries, and their web series. According to some film critics, the test and understanding of the audience evolved, they became more content driven, they began exploring various film genres. From 2015 onwards, the position of Bollywood as the top film industry of India waned. Some directors, exhibitors, actors and producers claimed that audiences became smarter, and they wanted movies with good stories, and they do not accept mediocre films. Instead of understanding it, Bollywood's film producers continued making films on cliched, bad stories, and did not evolve with their audience. Consequently, big-budget Bollywood films ended up as Box-office disasters in recent past. Since Bahubali (2015) released, many regional language movies emerged as hits throughout India and regional film industries such as Telugu, Tamil, Kannada Film Industry etc., started giving tough competition to the Bollywood movies at the box-office. Many regional actors became known outside their state, where previously they were unknown. Rajamouli's RRR (2021), Telugu film emerged as one of the highest grossing films of Indian cinema. Many Bollywood producers and directors acknowledge the might of regional film industries. Some trade experts and critics believe that audiences eventually will return to Bollywood.[28][29][30][31] In 2022, Hindi industry released 44 movies; out of those, 4 emerged as hits and 40 flopped.[32]

In 1897, a film presentation by Professor Stevenson featured a stage show at Calcutta's Star Theatre. With Stevenson's encouragement and camera, Hiralal Sen, an Indian photographer, made a film of scenes from that show, The Flower of Persia (1898).[33] The Wrestlers (1899) by H. S. Bhatavdekar showed a wrestling match at the Hanging Gardens in Bombay.[34]

Dadasaheb Phalke's silent Raja Harishchandra (1913) is the first feature film made in India. By the 1930s, the industry was producing over 200 films per year.[38] The first Indian sound film, Ardeshir Irani's Alam Ara (1931), was commercially successful.[39] With a great demand for talkies and musicals, Hindustani cinema (as Hindi cinema was then known as)[40] and the other regional film industries quickly switched to sound films.

The 1930s and 1940s were tumultuous times; India was buffeted by the Great Depression, World War II, the Indian independence movement, and the violence of the Partition. Although most early Bombay films were unabashedly escapist, a number of filmmakers tackled tough social issues or used the struggle for Indian independence as a backdrop for their films.[41] Irani made the first Hindi colour film, Kisan Kanya, in 1937. The following year, he made a colour 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 cinematic staples.

The decade of the 1940s saw an expansion of Bombay cinema's commercial market and its presence in the national consciousness. The year 1943 saw the arrival of Indian cinema's first 'blockbuster' offering, the movie Kismet, which grossed in excess of the important barrier of one crore (10 million) rupees, made on a budget of only two lakh (200,000) rupees.[42] The film tackled contemporary issues, especially those arising from the Indian Independence movement, and went on to become "the longest running hit of Indian cinema", a title it held till the 1970s.[43] Film personalities like Bimal Roy, Sahir Ludhianvi and Prithviraj Kapoor participated in the creation of a national movement against colonial rule in India, while simultaneously leveraging the popular political movement to increase their own visibility and popularity.[44][45] Themes from the Independence Movement deeply influenced Bombay film directors, screen-play writers, and lyricists, who saw their films in the context of social reform and the problems of the common people.[46]

Before the Partition, the Bombay film industry was closely linked to the Lahore film industry (now the Pakistani film industry also known as "Lollywood"); both produced films in Hindustani (also known as Hindi-Urdu), the lingua franca of northern and central India.[47] Another centre of Hindustani-language film production was the Bengal film industry in Calcutta, Bengal Presidency (now Kolkata, West Bengal), which produced Hindustani-language films and local Bengali language films.[48][49] Many actors, filmmakers and musicians from the Lahore industry migrated to the Bombay industry during the 1940s, including actors K. L. Saigal, Prithviraj Kapoor, Dilip Kumar and Dev Anand as well as playback singers Mohammed Rafi, Noorjahan and Shamshad Begum. Around the same time, filmmakers and actors from the Calcutta film industry began migrating to Bombay; as a result, Bombay became the center of Hindustani-language film production.[49]

The 1947 partition of India divided the country into the Republic of India and Pakistan, which precipitated the migration of filmmaking talent from film production centres like Lahore and Calcutta, which bore the brunt of the partition violence.[47][50][49] This included actors, filmmakers and musicians from Bengal, Punjab (particularly the present-day Pakistani Punjab),[47] and the North-West Frontier Province (present-day Khyber Pakhtunkhwa).[51] These events further consolidated the Bombay film industry's position as the preeminent center for film production in India. 152ee80cbc

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