The Bombay Talkies Studios story is full of magic and colour. In the ’30s, the movie business was supposed to be a ‘dirty business’. People would talk about movies, but many wouldn’t even consider going to watch one. This would be similar to people talking about gold prices but seldom buying it. Even though movies did make people curious, its reputation as a professional field was bad. There seemed to be a lack of respect for the profession because it was being considered the domain of undesirable sections of the then Indian society. Due to this lack of respect and understanding for the profession, financiers during those times would face an impossible challenge when it came to getting returns on their investment.
It was during this hunt for financiers that Himanshu Rai came in contact with Abhimanyu Prasad Singh, a close friend of Seth Badriprasad Dube, who was a well-known financier. He introduced Himanshu Rai, a London return actor/ theatre artist to Seth Badriprasad Dube with a dream of making a cinema company but Seth Badriprasad declined the proposal of funding Himanshu Rai because Seth Badriprasad had once financed the first Indian Talkie film Alam Ara which don't earn him any profit and he made an opinion that only actors and directors get fame but the financier doesn’t get profits. During that era, the film business was not considered as money earning business. It was more about the passion for cinema and getting fame. Because of this fact, Seth Badriprasad Dube declined the proposal of financing Himanshu Rai.
Abhimanyu Singh spoke next to Seth Badriprasad’s son Shri. Rajnarayan Dube. He was a young and dynamic businessman who operated a successful company called Dube Industries, which he had founded in 1929. Shri. Dube was born on 10th October 1910 at Kalighat in Kolkata and was an ardent devotee of Maa Kali. He was influenced by the power of art and creativity at a young age. Both men met at the Taj Mahal Hotel in Colaba, Mumbai (Bombay) and discussed an initial investment amount of Rs. 25 lakhs. However, Himanshu Rai couldn’t not convince Rajnarayan Dube to invest the amount because of the dismal returns on investment that the Indian movie industry offered. At this point, it would seem that Bombay Talkies would never come to be, but things have a way of working out in unexpected ways.
A few months passed by and Himanshu Rai had grown increasingly despondent because it was becoming impossible to raise investment for his movie company. In his depression, the man attempted suicide but was unsuccessful. Shri. Rajnarayan Dube got wind of this through Abhimanyu Prasad Singh and wondered about this man, one who so completely and wholeheartedly believed in the power of cinema and talking pictures that he did not see it fit to continue living if he couldn’t follow his dreams. Rajnarayan Dube decided that Himanshu Rai was onto something here and finalised the investment with him soon after. In doing this, Shri. Rajnarayan Dube went deliberately against the advice of his father, Seth Badriprasad Dube, who felt that this would not be a good investment choice. In doing this, Shri. Rajnarayan Dube gave birth to the Indian Film Industry, which has now gone on to become a huge cultural and financial force in the country.
On 15 April, 1934, Bombay Talkies began operations. The movie company was named by Shri. Dube’s mother, Smt. Gayatri Devi. Though Light of Asia and Karma a concept which Himanshu Rai built during his days in Europe, it was released in 1925 and 1933 respectively. As the release went unnoticed, Rajnarayan Dube re-released them and the first films to come out of the stables were Light of Asia (Prem Sanyas) and Karma in 1934. It was followed by Jawani ki Hawa, Achhut Kanya and Jeevan Naiya. The movie company-operated along with the principle of keeping the creative aspects and business aspects separate. Shri. Rajnarayan Dube would look into the business end of things and both Himanshu Rai and Devika Rani would immerse themselves in the creative pursuit. This approach gave rise to some of the most technically impressive films seen this side of the planet. The technical prowess was due to the movie studio employing German and other European technicians, prominent among them being Franz Osten.
Shri. Rajnarayan Dube had a big vision for Indian Cinema. He wanted Indian film making to be a respectable profession. He thus stipulated that Bombay Talkies would only hire graduates. He hoped this move would legitimise the Indian film industry of the thirties and forties, and it certainly did. Besides this, Shri. Dube also wanted the Indian film industry to be inclusive of Indians from all states and sectors of life. Even though the movie company worked with European technicians, Shri. Dube would bring on Indian technicians and make sure that they learned the art of movie-making. He also brought a lot of Indian writers on-board so that movies could have an Indian cultural sensitivity and thus could appeal to a large amount of people. This move gave rise to a whole new Indian profession, movie making! This seemed to be a good move in the light of circumstances that were yet to arrive.
During the Second World War, Bombay Talkies was struggling. The war had made things very difficult in many ways. The company had several movies on the floor but they could not get them finished because the crucial German technicians had been arrested and detained by the British Government. At this point, 15-20 films were on the production floor and were stalled pretty badly. Himanshu Rai suffered a nervous breakdown as a result of this and passed away in 1940. Bombay Talkies had just lost its crucial co-founder on whose vision the entire company stood to be successful. Shri. Rajnarayan Dube decided that Rai’s vision for Indian cinema would continue and he again invested four lakh ten thousand rupees into the venture. This injected some much-needed blood into the company and a new era of Indian film making began. Shri. Dube decided that from that moment on, Bombay Talkies would only hire Indian technicians and production professionals.
In this second phase, the company boomed and went on to a very productive cinematic run. 1943 hit Kismet was getting rave reviews everywhere and managed to run in theaters for 3 and a half years in over 90% of the Indian theaters! By comparing the value of gold and land by today’s standards, the movie made the equivalent of Rs. 40000 crores. Not one movie has broken this record in terms of business. By 1954, Bombay Talkies had put its name to a huge amount of work. It had produced 115 films, had introduced over 280 new talents, built 400 theaters across the country. With the historical grand success of Bombay Talkies, the legendary film company under the influence of Rajnarayan Dube had now processed more than 450 films of outside and like minded producers and made more than 250 film projects for the new and needy producers. As the success of Bombay Talkies was going sky-high the clash of ego between the giants also started roaring high? The three companies which solely belongs to Rajnarayan Dube, The Bombay Talkies Studios, Bombay Talkies Laboratories and Bombay Talkies Pictures were doing fine but the fourth company The Bombay Talkies Limited, which was established by him to include more people and more talents was becoming a platform to project nasty ego clashes of the directors and management of the company. Instead of being devoted to filmmaking and cinema they devoted their energy and talent for spreading rumours and objectionable stories. At this time Shri. Rajnarayan Dube decided that he and his company had arrived at the goal that they had set out to complete two decades earlier.
Indian films were now a major force in terms of communication and entertainment in post-independence India. Shri. Dube shut down his sole proprietorship companies The Bombay Talkies Studios, Bombay Talkies Laboratories and Bombay Talkies Pictures in 1954 so that he could pay more attention to other aspects of his business and continued to distribute and finance in films. The fate of the limited company, The Bombay Talkies Limited, which was established to include more people and more talents, got entrapped in selfish motives and litigations. Since 1953, complicated legal battles are going on in different courts till date. Among all odds and misfortune, of the passed time Bombay Talkies became a dream only to be in memories, the artists and technicians, whom Bombay Talkies made living legends in their own lives, who became national and international personalities by virtue of their own right, became world famous. But there was no one to take notice of Bombay Talkies.
Time cycle never stops. It is said that the third generation repeats itself. During the time, Destiny chose to do justice with history and Shri Rajnarayan Dube’s grandson, was born as Girish Ghanshyam Dube. After a long interval of six decades, the historic task of removing Bombay Talkies from the darkness of history was on the shoulders of Girish Ghanshyam Dube. Due to his extraordinary creative energy and will, Girish Ghanshyam Dube dreamed of reviving his grandfather’s dream and decorates it with old dignity. Not only did he dream, but to embrace the modern art, science and commerce of the modern age. Rajnarayan Dube's vision is restored by restoring the base pillar Bombay Talkies and fitting it with golden peaks. Girish Ghanshyam Dube, as his grandfather, it seems like Shri Rajnarayan Dube has reincarnated in the new avatar with the new spring, with new energy, the new face, with eternal love for Bombay Talkies in the name of Girish Ghanshyam Dube. Like his grandfather Girish Ghanshyam Dube has the supreme interest of the revival of Bombay Talkies for repaying the debt of blood. He has signed on the face of today to give justice to the dust shadowed golden past. He has started his new battle to re-establish and enrich his great legacy for the present and future generations of meaningful, thought-provoking cinema people.
The Bombay Talkies Studios along with its associates has created his cinematic extravaganza Mahanayakan ( மகா நாயகன் ) in Tamil to salute and pay respect to the enthusiastic and enlightened cine lovers of south India and has devoted his whole life to the mission of rejuvenating the ancient and forgotten languages worldwide and to unite the lingual division throughout the world by the means of art, literature, and cinematic creations.
The Bombay Talkies Studios under the command of Megastar Aazaad ( महानायक आज़ाद ) has enriched the world culture with traditional, mystical, immortal-eternal culture of divinity, elementary knowledge of the timeless philosophical art through his cinematic creation. The first Nationalistic Megastar of India Aazaad ( महानायक आज़ाद ), a creator, a dreamer, a visionary, a philosopher, a researcher by his very existence has opened new avenues of creation and expanded the cinematic boundaries to fulfil the mission of uniting whole world through cinematic creations. Megastar Aazaad ( महानायक आज़ाद ), the all-time representative of Millions & Billions of art, culture and literature loving people throughout the world is here to make his creative contribution in global meaningful cinema which will cross all the geographical, cultural and linguistic barriers and borders. The motto of this Newspaper of bombaytalkies.co is to fulfill the Megastar Aazaad’s mission of uniting the whole world by working on all ancient languages.