Religion and Hindi Cinema

Filmmaking started in India with the retelling of Hindu myths. Even after the popularity of religious films declined, religious belief and practice have continued to be part of filmic narratives.

Museum of Art & Photography

Curated by Shubhra Dixit

Photographic lobby card for the film 'Waman Avtar Baliraja' featuring actor Trilok Kapoor by Studio ShangrilaMuseum of Art & Photography

Gods at the cinema

The genre of mythological films is unique to India and held to be the founding genre of Indian cinema. 

The film widely held to be India’s first, Raja Harishchandra (1913) tells a story from the Hindu epic Mahabharata. The filmmaker Dhundiraj Govind Phalke, more popularly known as Dadasaheb Phalke, started the genre of mythological films in India, focussed as he was on bolstering an Indian identity through Indian images.

Mythologicals were appealing for their special effects, for telling stories that the masses were already familiar with, making the new technology of cinema appear less alien. The special effects deployed in the construction of these narratives, used the full scope of the available technology and were suitably impressive.

Photographic lobby still for the film 'Bhakta Prahlad' by UnknownMuseum of Art & Photography

Early Indian cinema took cues from the existing visual arts of the time, notably from Parsi theatre, a commercial theatre movement started in the mid 19th century and, Raja Ravi Varma’s paintings. 

Photographic lobby card for the film 'Waman Avtar Baliraja' by Studio ShangrilaMuseum of Art & Photography

Mythological and devotional films also evoked the idea of Darshan – the encounter of a worshipper with a deity. This was done through the use of tableaux, where the characters are positioned facing the camera as if in the presence of devotees. This early culture of seeing gods on the screen is perhaps responsible for the god like status of film stars across India, and the building of temples to them.

Religion has been so pervasive in Hindi cinema that even films not ostensibly about Gods or practices would demarcate the religious inclinations of its characters.

Photographic lobby card for the film 'Prithvi Vallabh' by UnknownMuseum of Art & Photography

In Sohrab Modi's Prithvi Vallabh (1943), the good king, bows his head before God and no one else. 

Photographic lobby card for the film 'Prithvi Vallabh' by UnknownMuseum of Art & Photography

Sohrab Modi as King Munj or Prithvi Vallabh demonstrates a religious practice that is accepting of pleasure unlike Princess Mrinalvati who in her religious fervour has denounced sexual pleasure along with others such as song and dance. She eventually falls in love with Munj. 

Photographic lobby still for the film 'Indar Sabha' by UnknownMuseum of Art & Photography

Nanubhai Vakil's Indar Sabha (1956) was a remake of a 1932 film of the same name which was a film rendition of a play by Sayed Aga Hasan Amanat written in 1853 for the court of Nawab Wajid Ali Shah. The play brought together the Hindi Devmala [Hindi Pantheon] with the Islami Ravaiyat [style] and forms of folk theatre like the Ras Lila into Urdu prose theatre. This amalgamation of language and form began to be used in Parsi theatre, and later in Hindi films. 

The film is set in the court of Indra, the king of gods, and tells the story of a king who falls in love with an apsara.

These films largely told stories from the Hindu Puranas. And the genre inspires several remakes of the same story. Film scholar Tejaswani Ganti has written: “The origins of story ideas have never been that important, since the first feature films in India were mythological based on stories from Hindu myths which have been part of oral and performance traditions that predate cinema. Thus, the first narratives depicted on film were not sui generis [unique]. Within the Hindi film industry, it is common to encounter statements such as ‘Every film is based on the Ramayan or Mahabharat (the Hindu epics)’.

Photographic lobby card for the film 'Waman Avtar Baliraja' by Studio ShangrilaMuseum of Art & Photography

Devotees as subjects and audience

Another form of the mythological was the devotional film in that it told the story of a devotee rather than of the gods.

Photographic lobby still for the film 'Bhakta Prahlad' by UnknownMuseum of Art & Photography

Dhirubhai Desai’s Bhakta Prahlad (1946) tells a story from the Vishnu Purana, of the demon king Hiranyakashyap and his son Prahlada, who in defiance of his father, is a devotee of Vishnu. Prahlada is protected by the god against all punishment by his father, and eventually Vishnu triumphs over the demon king. 

The popularity of this story in film is evidenced in its many retellings. Two separate films called Bhakta Prahlada came out in 1926 and then the story was remade in almost all major Indian languages several times over. The first Telugu film released in 1931 was Bhakta Prahlada

Poster produced for Hindi feature film 'Hari Darshan' (1972) by UnknownMuseum of Art & Photography

Hari Darshan (1972) produced by Chandrakant, was yet another retelling of Prahlada's story. 

Photographic lobby card for the film 'Vidyapati' by UnknownMuseum of Art & Photography

Prahlad Sharma'sVidyapati (1964) is a remake of a 1937 film of the same name. It tells the story of a Maithili poet and Vaishnava saint. A love triangle, the film builds around Vidyapati’s poetry in praise of Krishna. 

Photographic lobby card for the film 'Waman Avtar Baliraja' featuring actor Pravin Kumar by Studio ShangrilaMuseum of Art & Photography

Actors as gods

Many actors were associated with their mythological roles outside of the theatre as well. 

Actor Sahu Modi was associated with the character of Krishna and Shobhana Samarth with the character of Sita.

Photographic still of Nirupa Roy from the Hindi film, Veer Arjun, Unknown, 1952, From the collection of: Museum of Art & Photography
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Photographic lobby card for the film 'Waman Avtar Baliraja', Studio Shangrila, From the collection of: Museum of Art & Photography
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Photographic lobby card for the film 'Waman Avtar Baliraja' featuring actress Nirupa Roy, Studio Shangrila, From the collection of: Museum of Art & Photography
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Photographic lobby card for the film 'Waman Avtar Baliraja', Studio Shangrila, From the collection of: Museum of Art & Photography
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Nirupa Roy (originally Kokila Kishorechandra Balsara), who acted in many religious films, was seen as a semi-divine figure. Roy is best-known for roles as a mother goddess, e.g. Sita thrice, Parvati thrice and Lakshmi, Taramti, Draupadi and Damayanti once. According to Rachel Dwyer’s book Filming the Gods, when Nirupa Roy went out in public, people touched her feet and sang bhajans to her.

Poster produced for Telugu film dubbed in Hindi, 'Sita Swayamvar' (1976) by UnknownMuseum of Art & Photography

Here is a poster for Bapu's Sita Swayamvar (1976), a Hindi dubbed version of the hit Telugu film Seeta Kalyanam. 

Notice how it proclaims “Sita ke roop mein Jayaprada" (Jayaprada appears as Sita) indicating the rising popularity of Jayaprada.

Films often opened with religious images and incantations, such as RK Film’s sequence of Prithviraj Kapoor praying to a Shiva linga, or Mehboob Khan’s communist hammer and sickle that appeared with the Urdu verse: ‘Muddai lakh bura chahe toh kya hota hai, wahi hota hai jo manzoor-e-khuda hota hai,' (No matter what evils your enemies wish for you, it is of no consequence. Only that can happen which is God’s will).

Photographic lobby still for the film 'Jai Ambe', Unknown, From the collection of: Museum of Art & Photography
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Film poster for 'Ram Hanuman Yuddh' by Globe Art Printers, Delhi(printer), Manohar Suresh (artist)Museum of Art & Photography

Decline in popularity

By the time India became independent from British rule, mythologicals were waning. Believed to be an unsophisticated genre to begin with, the coming of sound in cinema led to a decline in popularity. The arrival of colour firmly relegated the genre to B grade status, but Hindu belief and practice continued to be part of even mainstream films. 

Film poster for 'Har Har Mahadev' by UnknownMuseum of Art & Photography

Har Har Mahdev (1974) directed by Chandrakant, was a remake of a 1950 hit. It tells a story from the Shiva Purana. 

Mythological films in colour had taken on a strong kitschy quality.

An exception to this declining genre was the surprise hit Vijay Sharma's Jai Santoshi Maa in 1975.

Film poster for 'Nagin', Amar arts (artist), From the collection of: Museum of Art & Photography
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Film poster for 'Milap', Unknown, From the collection of: Museum of Art & Photography
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A popular offshoot of the mythological genre were the nagin (snake) films.These clubbed together folklore and religious belief. The storyline was often one where a wronged snake took on human form to seek revenge, or of reincarnation, or both.

Film poster for 'Nagin' by Amar Arts (artist)Museum of Art & Photography

Rajkumar Kohli’s Nagin (1976), with an all star cast, was a box office success. The film combined the supernatural theme of snakes who come out as humans on amavas (new moon nights) with revenge. 

When the Nag is killed, his wife, the Nagin, seeks revenge on his killers.

Elements of religious belief continued to feature in films, where a complicated plot was often resolved through divine intervention.

Film poster for 'Ram Lakhan' by Narayan (artist)Museum of Art & Photography

Myth as analogy

Even in films that are ostensibly not on religious themes, belief, practice and analogy (dominantly Hindu) continue to be part of filmic narratives.

In Vijay Bhatt's Baiju Bawra (1952) a song sung by the hero (Bharat Bhushan) moves a temple deity to tears. 

Photographic lobby still for 'Baiju Bawra' featuring Meena Kumari, Unknown, From the collection of: Museum of Art & Photography
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Film still for unknown film, Unknown, From the collection of: Museum of Art & Photography
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Characters are often shown at prayer. Women are generally more pervasive as praying personas, the Muslim woman more so.

Film poster for 'Aawara' by Globe Art Printers, Delhi (printer)Museum of Art & Photography

In Raj Kapoor's Awara (1951), the refusal of the Judge to take in his pregnant wife, alludes to the episode in the epic Ramayana where Ram abandons a pregnant Sita.  

Film still of actor Raj Kapoor and Nargis, from the Hindi film Awara (1951/1951)Museum of Art & Photography

Judge Raghunath’s wife, Leela, is kidnapped by the bandit Jagga, but he releases her when he finds out that she is pregnant. Raghunath, after being harangued by his sister-in-law about Leela’s chastity, refuses to believe that  Leela is carrying his child, and not Jagga’s, and he throws Leela out of his home.

Poster produced for Hindi feature film ‘Mother India’ (1957) by UnknownMuseum of Art & Photography

Mehboob Khan's Mother India (1957) invokes many goddesses – Bhu Devi (earth goddess), Lakshmi (the goddess of wealth), Radha (though not considered a goddess by many)...

Poster produced for Hindi feature film ‘Mother India’ (1957) by Kapoor Offest PrintersMuseum of Art & Photography

...and the new goddess of the nation, Mother India aka Bharat Mata.

Photographic lobby card for the film 'Waman Avtar Baliraja' by Studio ShangrilaMuseum of Art & Photography

An easier sexuality

The merging of god and lover is seen in many religious traditions in India. The stories of gods and goddesses also allow for a sexual freedom not granted to mortals. 

The first nude sequence in a mainstream Indian film was in a 1921 mythological film, Kanjibhai Rathod's Mahasati Ansuya aka Sati Ansuya.

Photographic lobby card for the film 'Waman Avtar Baliraja', Studio Shangrila, From the collection of: Museum of Art & Photography
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Film still for an unknown film by UnknownMuseum of Art & Photography

Temple architecture, apsaras (celestial nymphs), costumes, songs of erotic longing are all markers of this freedom. 

Film poster for 'Mughal-E-Azam' by UnknownMuseum of Art & Photography

In Mughal-E-Azam (1960) the build up of desire after the first encounter between Prince Salim and Anarkali happens during the song Mohe Panghat Pe Nandlal Ched Gayo Re (performed on Janmashtami and about Krishna’s playful teasing).

Photographic lobby still for the film 'Bandini' featuring actress Nutan by UnknownMuseum of Art & Photography

In Bimal Roy's Bandini (1963), Kalyani sings "Mora Gora Ang Lai Le, Mohe Shyam Rang De Dai, Chup Jaoongi Raat Hi Mein, Mohe Pi Ka Sang De Dai (Take away my fair skin, give me Krishna’s dark colour so I can hide in the night and be with my love)." 

Photographic lobby still for the film 'Devdas' by UnknownMuseum of Art & Photography

In Devdas (1955), “Paro’s devotion to Devdas has overtly religious elements, whether in the editing of the film that shows him as her deity when she is lighting the lamp or the way they can communicate telepathically (in the films, not the book),” writes Rachel Dwyer.

Photographic lobby still for the film 'Devdas' by UnknownMuseum of Art & Photography

Dwyer continues, “Paro feels Devdas’ pain through her scar and they can communicate telepathically. The pure quality of their love is emphasised in the music and lyrics of the films, with reference to imagery of Krishna’s pastoral loves." 

Photographic lobby still for the film 'Devdas' by UnknownMuseum of Art & Photography

"Two songs are picturised on Paro, both sung by travelling Vaishnavas. The first, Aan Milo Shyam Saawre, is a devotional song to Krishna about Radha pining for him when he leaves their childhood home, which makes Paro cry as she misses Devdas, drawing parallels to the sanctity of their childhood spent in a rural idyll.”

Poster produced for Hindi feature film 'Aurat' (1953) by UnknownMuseum of Art & Photography

Beyond Hindu Gods

While religion and religious practices are largely built around Hindu gods and myths, other religions find place in narratives of the divine as well.

In post independence India, films were employed towards nation building and a part of that exercise was to show a syncretic India where all religions could coexist. 

Yash Chopra's Dhool Ka Phool (1959) featured the popular song "Tu Hindu Banega, Na Musalman Banega, Insaan ki aulaad hai insaan banega" (You'll not be Hindu or Muslim, you are born of human beings and will be one).

Film still possibly for 'LOVE AND GOD' featuring actress Nimmi by Possily Chandu Arts Photo CornerMuseum of Art & Photography

Islam does not allow for depictions of its God but miracles still happen in Islamicate films.

K Asif's 1986 film Laila aur Kais (or ‘Love and God’) is centred on a divinely ordained love. When Kais is hit, the scars appear on Laila, among other miracles. 

Film poster for 'Deewaar' by Possibly Himanshu Gola (artist)Museum of Art & Photography

In Yash Chopra’s Deewar (1975) Vijay as a dockyard worker wears a badge with the number 786 (in Islam 786 is sacred, it is the numerical total of the chant ‘Bismillah al-Rahmane al-Rahim’). After becoming a smuggler, he keeps the token as a lucky charm, dying ultimately when it falls out of his pocket. 

Sai Baba, a saint claimed by both Hindus and Muslims appears in several films. In Manmohan Desai's Amar, Akbar, Anthony (1977)  the blind mother’s eyesight is restored in a Sai Baba temple.

Lobby card produced for Hindi film, 'Julie' (1975) by UnknownMuseum of Art & Photography

The depiction of Christians in Hindi films tended to be around anglo-Indians and stereotyped them as drunks, comics, or criminals. Christian women were often depicted as molls, nurses, teachers or women with dubious morals. 

Lobby card produced for Hindi film, 'Julie' (1975) by UnknownMuseum of Art & Photography

The depiction of the heroine’s sexuality in KS Sethumadhavan's Julie (1975) was protested by Christian groups. 

Poster produced for Hindi feature film 'Aurat' (1953) by UnknownMuseum of Art & Photography

Bhagwan Das Varma's Aurat (1953) was an adaptation of the Biblical story of Samson and Delilah. In the film, Premnath's character (Adil) single handedly combats a lion – as represented in the poster.

Film still for possibly 'Do Aankhen Barah Haath' by UnknownMuseum of Art & Photography

The reformist gaoler, Adinath, in V Shantaram's Do Aaankhen Barah Haath (1957) is the only notable example of a Jain. He has a Jain name (Adinath is one of the names of the first Jain Tirthankara or spiritual teacher) but his religious beliefs and practices are never explicitly shown.

Credits: Story

Text and curation: Shubhra Dixit

References:
1. Filming the Gods, Rachel Dwyer
2. Encyclopaedia of Indian Cinema, Ashish Rajadhyaksha and Paul Willemen
3. Bollywood: A Guidebook to Popular Indian Cinema, Tejaswini Ganti

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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