The second influence was the impact of ancient Sanskrit drama, with its highly stylised nature and emphasis on spectacle, where music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Sanskrit dramas were known as natya, derived from the root word nrit (dance), characterising them as spectacular dance-dramas which has continued in Indian cinema. Indian popular films often have plots that branch off into sub-plots such narrative dispersals can clearly be seen in the 1993 films Khalnayak and Gardish. Examples of this influence include the techniques of a side story, back-story and story within a story. While the masala film genre originated from Bollywood films in the 1970s, there have been several earlier influences that have shaped its conventions. His films blur the distinction between commercial masala films and realistic parallel cinema, combining the entertainment and production values of the former with the believable narratives and strong messages of the latter, earning both commercial success and critical acclaim, in India and overseas. Īamir Khan (Nasir Hussain's nephew), who debuted as a child actor in the first masala film Yaadon Ki Baraat, has been credited for redefining and modernising the masala film with his own distinct brand of socially conscious cinema in the early 21st century. Baz Luhrmann stated that his successful musical film Moulin Rouge! (2001) was directly inspired by Bollywood musicals. According to Loveleen Tandan, Slumdog Millionaire screenwriter Simon Beaufoy "studied Salim-Javed's kind of cinema minutely." The influence of Bollywood masala films can also be seen in Western musical films. Harsha in the 2000s.īeyond Indian cinema, Danny Boyle's Academy Award–winning film Slumdog Millionaire (2008), based on Vikas Swarup's Boeke Prize winning novel Q & A (2005), has been described by several reviewers as a "masala" movie, due to the way the film combines "familiar raw ingredients into a feverish masala" and culminates in "the romantic leads finding each other." This is due to the influence of the Bollywood masala genre on the film. Raghu and Joe Simon in the 1980s Om Prakash Rao and Shivamani in the 1990s and K. Ravikumar in Tamil cinema and in Kannada cinema it was V. Shankar, Hari, Siruthai Siva, Pandiraj, AR Murugadoss, K. Rajamouli, Puri Jagannadh, Trivikram Srinivas, Boyapati Srinu and Srinu Vaitla in Telugu cinema S. Famous masala filmmakers include David Dhawan, Anees Bazmee, Farah Khan and Prabhu Deva in Bollywood Shaji Kailas and Joshiy in Malayalam Cinema Raja Chanda, Raj Chakraborty, Sujit Mondal, Rajiv Kumar Biswas and Rabi Kinagi in Bengali cinema S. This style is used very often in Hindi ( Bollywood) and South Indian films, as it helps make them appeal to a broad variety of viewers. Ramachandran, Rajinikanth, Kamal Haasan, Ajith Kumar, Vijay, Suriya Sivakumar, Dhanush, Sivakarthikeyan, in Kollywood, Vishnuvardhan, Ambarish, Darshan, Puneeth Rajkumar, Sudeep and Yash in Kannada cinema, Dev, Jeet and Ankush Hazra in Bengali cinema and others have all tasted success in this format. NTR, Nagarjuna, Ram Charan Tej, Venkatesh and Pawan Kalyan in Tollywood, M.G. Since the 1990s, actors such as Salman Khan (Salim Khan's son), Akshay Kumar and Ajay Devgn in Bollywood, NTR, Chiranjeevi, Mahesh Babu, Allu Arjun, Jr. Masala films helped establish many leading actors as superstars in the 1970s and 1980s, such as Dharmendra, Amitabh Bachchan, Sridevi achieved stardom in their early Bollywood career with masala movies. Sholay spawned a subgenre of "Dacoit Western" films in the 1970s. A more accurate genre label is the " Dacoit Western", as it combined the conventions of Indian dacoit films such as Mother India (1957) and Gunga Jumna (1961) with that of Spaghetti Westerns. It is sometimes called a " Curry Western", a play on the term Spaghetti Western. Sholay (1975), directed by Ramesh Sippy and written by Salim-Javed, also falls under the masala genre. Manmohan Desai went on to successfully exploit the genre in the 1970s and 1980s. A landmark for the masala film genre was Amar Akbar Anthony (1977), directed by Manmohan Desai and written by Kader Khan. After Yaadon Ki Baaraat, Salim-Javed went on to write more successful masala films in the 1970s and 1980s. Shankar has claimed the genre has existed in Tamil cinema as early as the 1950s, citing Parasakthi (1952) and Enga Veettu Pillai (1965) as examples. Yaadon Ki Baaraat (1973), directed by Hussain and written by Salim-Javed, has been identified by many as the first masala film. According to a number of critics and scholars, the masala film was pioneered in the early 1970s by filmmaker Nasir Hussain, along with screenwriter duo Salim–Javed, consisting of Salim Khan and Javed Akhtar.
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