Of Swords and Kings
Whether it was the sword Zulfikar of Ali Ibn Abi Talib, the Excalibur of King Arthur or the Masamune swords of the Tokugawa shoguns, it was not uncommon for kings in history, lore and legend to be associated with swords that were as famed as they themselves were.
The Veerangana
The veerangana or woman of valour has been an enduring archetype in the imagination, arts and culture of the Indian subcontinent.
From the sword-wielding female deities that graced temple iconography...
...miniature paintings, widely circulated lithographs and “calendar art”...
Maharani Tara Devi of Jammu and Kashmir (1946) by Mahatta and Co. SrinagarMuseum of Art & Photography
...to studio portraits of rifle-holding members of royal families and masked stunt queens of Indian cinema during the thirties, the veerangana remains a pervasive influence on visual representations of the female body.
Photographic lobby card for the film 'Jhansi Ki Rani' by UnknownMuseum of Art & Photography
In this coloured lobby card, a powerful image is constructed to depict the iconicity of the nineteenth century warrior Queen of Jhansi. She, an accomplished swords person and horse-rider, and her consorts hold their swords up high while looking down at an assembly of British soldiers.
Lobby card produced for Hindi film, 'Rashtraveer Shivaji' (1962) by UnknownMuseum of Art & Photography
The film's publicity material includes this striking lobby card of the Maratha ruler Shivaji's mother Jijabai imperiously holding the Bhavani talwar, the legendary sword associated with the eight-armed deity Bhavani.
Poster produced for Hindi feature film ‘Mother India’ (1957) by Kapoor Offest PrintersMuseum of Art & Photography
With the film's climactic scene of Mother India shooting her own son to punish him for his transgression, Nargis' depiction of the idealised matriarch transcended into an enduring archetype. In the handpainted posters of the film, a towering Nargis holds, with ease, both plough and rifle - talismans of her role as Mother India.
Framed against reliefs of the Iranian mythological motifs of the bull and the lion, the prince Naushehzad (Raaj Kumar) holds out his sword. Inspired by the rule of the Sasanian Emperor Khosrow I, the film chronicled the sense of justice the Nausherwan (Sohrab Modi) was famed for.
Photographic lobby still for the film 'Hoor-e-Arab' by Possibly Studio Shangri-LaMuseum of Art & Photography
In this Arabian Nights fantasy film, a dancing girl falls in love with a prince in disguise thus fulfilling the prophecy of a gypsy soothsayer. Pradeep Kumar plays the overthrown Prince Haider who seeks to reclaim his throne.
Weapons of Noir: Thrill Espionages
We see the imagery of weapons making a new appearance in the noirs, whodunits and espionage thrillers that saw prolific production during the fifties and sixties. In the city thrillers of the period with their slick jazz tunes and heady cabarets, we see the gun toting noir hero make a fascinating appearance in Indian cinema. We travel through these genres from the farout thriller of Gumnaam with its thumping swing tune Jaan Pehchaan Ho to the espionage thrillers of N.A.Ansari and finally reaching iconic heights in Don. In Post Box 909, Sunil Dutt is a fedora hat-wearing investigative reporter who joins his lady love on an undercover mission disguised as magicians in a hotel nightclub to prove the innocence of a man accused of murder.
Film poster for 'Gumnam' by Dnyansagar Litho Press, Bombay- 4Museum of Art & Photography
A group of strangers are stranded in a mansion and discover there is a murderer in their midst. The thriller begins with a dance at the nightclub Sea Princess - a shake and twist extravaganza with masked dancers and a rock n' roll band.
Photographic lobby still for the film 'Mulzim' by Bhatia's Photo Studio, Cine Publicity Specialist, Main Road, Dadar, BombayMuseum of Art & Photography
N.A.Ansari is a suave rifle-toting eye surgeon in this murder mystery that ends in a climactic shoot-off in the snow-clad Himalayas.
Photographic lobby card for the film 'Ankhen' by UnknownMuseum of Art & Photography
The espionage thriller spanned through the city of Beirut, Tokyo, the backwaters of Kerala and, even, a Sheikh-owned dungeon with a tiger. Like those made in the genre during this period, flamboyant villains were an integral part of the film's atmosphere.
In this lobby card, we see Dharmendra who is on the hunt for a group of technologist enemies of the state including the suave Madam (Lalita Pawar) and Lily (Daisy Irani).
Film poster for 'Anhonee' by J.R.C. Art Printers, Delhi (printer)Museum of Art & Photography
The trope of the police in disguise as the criminal to catch a larger-than-life villain came to be very popular in the action dramas of the seventies. In this case, the police is disguised as a knife-wielding "mental patient" played by Sanjeev Kumar to solve a murder mystery.
Film poster for 'Benaam' by Manohar, Suresh (artists), Master Printers, Bombay (printer)Museum of Art & Photography
In 'Benaam', Amitabh Bachchan's family life is disrupted when he saves a stabbed man and is, soon, blackmailed by the assaulter. Fashioned as a stylish thriller, the film had several car chase sequences through the city of Bombay.
Dacoits, Vigilantes and Rebels
The late seventies, eighties and early nineties saw a new break in the portrayal of violent imagery in publicity material through the figures of the vigilante, epitomised by the depiction of the angry young man by Amitabh Bachhan. Through genres such as the dacoit film and the revenge drama, we see guns, knives and rifles in astonishing regularity.
Film poster for 'Inquilaab' by UnknownMuseum of Art & Photography
Revenge and justice were recurring themes as we see Sridevi toting a gun in Inquilaab. This revenge drama ends with Amitabh Bachchan, an unjustly accused honest policeman who turns into a politician, shooting a cabinet room full of corrupt ministers. The film ends with a handcuffed Bachchan crying out Inquilab Zindabad (Long Live the Revolution).
Film poster for 'Naam' by UnknownMuseum of Art & Photography
There's also Sanjay Dutt brandishing a gun in 'Naam'. Mahesh Bhatt's rendition of the action film with the "good" and "bad" brother trope had a heightened emotional pitch with Sanjay Dutt's vulnerable portrayal of the rebel without a cause.
Film poster for 'Don' by UnknownMuseum of Art & Photography
In terms of narrative tropes, 'Don' perfectly combined elements of the stylish spy, noir, whodunit and thriller genres that were popular in the late fifties and sixties with the action drama that would dominate the seventies. The suave and stoic internationally wanted criminal Don (Amitabh Bachchan) is replaced by his doppelganger Vijay, a man of the people reminiscent of his role in 'Deewar'.
Film poster for 'Deewaar' by Possibly Himanshu Gola (artist)Museum of Art & Photography
While the plotline of the film carried archetypes and tropes from films made before it, Deewar was groundbreaking in its portrait of a man in righteous rage. The writing team of Salim-Javed had introduced the angry young persona Bachchan would be idolised for in the film Zanjeer. However, Deewar's Vijay in his love for the working man and aching rage against the status quo became a spectre in films made in the subcontinent for the next several decades.
Film poster for 'Yudh' by Singhals (artist), Dnyansagar Litho Press, Bombay (printer)Museum of Art & Photography
In Yudh, Anil Kapoor plays identical twins - a lawyer and a hit man. One of the defining characteristics of the action dramas of the period was the unforgettable "villain" who were often equipped with colourful catchphrases.
Poster produced for Hindi feature film 'Insaaf' (1966) by Ajay Offset Printers, DelhiMuseum of Art & Photography
Film poster for 'Parvarish' by UnknownMuseum of Art & Photography
Film poster for 'Shahenshah' by UnknownMuseum of Art & Photography
Film poster for 'Laparwah' by Ravi (artist), Poster Center, Bombay (printer)Museum of Art & Photography
Film poster for 'Jaani Dost' by UnknownMuseum of Art & Photography
Film poster for 'Vishwanath' by UnknownMuseum of Art & Photography
Film poster for 'Professor Pyarelal' by Perfect Printers (printer)Museum of Art & Photography
Film poster for 'Meri Awaaz Suno' by Possibly Ashoka AdvertisingMuseum of Art & Photography
Poster produced for Hindi feature film 'Jeene Nahi Doonga' (1984) by Deepti Art, BombayMuseum of Art & Photography
Content and Curation : Iyesha Geeth Abbas
References :
Hansen, Kathryn. The Virangana in North Indian History: Myth and Popular Culture
Economic and Political Weekly,
Vol. 23, No. 18 (Apr. 30, 1988), pp. WS25-WS33Published by: Economic and Political Weekly