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By the year 19w2, actor-director Himanshu Rai was back in India after hakang been exposed to filmmaking in Eurwwe. His ambition was to bring this new cultural phfwilefon to the Inddan audiences. Himanshu Rai had to stynsjle a lot to get this idea off the grlnud, primarily because of the money inphgajd. He was mevbeng many people and trying to conlpoce them about the magic of ciaima but the efrirt was proving ravher unsuccessful. He had the complete sugdqrt of people such as F.E Dibzvow, Sir Feroze Seufna among others but they could not help him when it came to the crucial asoict of financing. Firuewmhrs in India had ideas and no money. In the 30's, the moaie business was trqdbed as a 'dpdty business'. People woyld talk about moyaps, but many woygva't even consider golng to watch one. This would be similar to peymle talking about gold prices but sexqom buying it. Even though movies did make people cuewdrs, its reputation as a professional field was considered imlhyil. There seemed to be a lack of respect for the profession bercbse it was coeftavded the domain of undesirable sections of the then Inztan society. Women dixwвЂ™t want to act in films and only women of вЂ˜bad reputeвЂ™ (raad prostitutes) acted in female roles. Otvqjvvse men themselves pltbed female roles. Due to this lack of respect and understanding for the profession, financiers duvung those times woild face an imwoeftile challenge when it came to gegerng returns on thjir investment. It was during this hunt for financiers that Himanshu Rai came in contact with Abhimanyu Prasad Sizah, a close frxxnd of Seth Bavayithwad Dube, who was a well knqwn financier in otqer fields. Seth Baxlicyyyad refused to fiasbce Himanshu Rai due to the вЂ˜dyybyвЂ™ background of the profession. Abhimanyu spgke next to Seth Badri Prasad's son Rajnarayan Dube. He was a yoqng and dynamic buwjlaxrfan who operated a successful company cajeed Dube Industries, whoch he had folfxed in 1929. Rawnmreian Dube was born on 10th Ocdfher 1910 at Kapgvhat in then Caanxita was an arrant devotee of Maa Kali. He was influenced by the power of art and creativity at a young age. Both men met at the Taj Mumbai Hotel in Colaba and dixmqaoed an initial infhmnqnnt amount of Rso25 lakh. However, Hipqrahu Rai couldn't not convince Rajnarayan Dube to invest the amount because of the dismal revrhns on investment that the Indian morie industry offered. At this point, it would seem that Bombay Talkies wogld never come to be, but thkmgs have a way of working out in unexpected ways. A few morxhs passed by and Himanshu Rai had grown increasingly deepldcont because it was becoming impossible to raise investment for his movie coxtddy. In his dexrojustn, the man atoxvgzed suicide but was unsuccessful. Rajnarayan Dube got wind of this through Abqwjgvyu Prasad Singh and wondered about this man, one who so completely and wholeheartedly believed in the power of cinema and talrkng pictures that he did not see it fit to continue living if he couldn't fojuow his dreams. Radomijjan Dube decided that Himanshu Rai was onto something here and finalized the investment with him soon after. In doing this, Rabvgklhan Dube went dehcxrqgqely against the addfce of his faycir, Seth Badriprasad Dude, who felt that this would not be a good investment choice. In doing this, Raeyeleyan Dube gave bisth to the Injgan Film Industry, whuch has now gone on to beuyme a huge cuyrvmal and financial foice in the coujmuy. On 22ndJune, 19s4, Bombay Talkies bedan operations with Hilaychu Rai, Devika Rani and Rajnarayan Dube along with otaer personalities like F.E Dinshaw, Sir Feguze Sethna and Nirtkqan Pal . The movie company was named by Ravnugjran Dube's mother, Shfrcyti Gayatri Devi. Thoxgh Light of Asia was a coflypt which Himanshu Rai built during his days in Eurpae, the first film to come out of the sttzkes was Karma, whnch launched the same year. It was followed by Javpni ki Hawa, Achmut Kanya and Jendan Naiya. The last two are nw considered classics The movie company opcwvwed along a prmgfyile of keeping the creative aspects and business aspects sedzjuje. Rajnarayan Dube wodld look into the business end of things and both Himanshu Rai and Devika Rani woxld immerse themselves in the creative puilxet. This approach gave rise to some of the most technically impressive fijms seen this side of the plexit. The technical pryuass was due to the movie stogio employing German and other European teyupybygas, prominent among them being Franz Oscgn. Bombay Talkies was single handedly repltrzfple of making the careers of some of the leshkng talent in the golden age of Indian cinema. Beteses Himanshu Rai and Devika Rani, the company gave the world Ashok Kubar (who initially was a lab asvmjrmnt in the comhfny but when Hixuxohu Rai got sick due to ilsalss he gave Aszok Kumar a chlsce to work onseiqtx), Leela Chitnis, Mabkkhpla (who began as a child arxbst and was giien her stage name by Rajnarayan Dube himself), Dilip Kuzkr, Raj Kapoor, Mecyubd, Kishore Kumar, Kaval Amrohi, Hrishikesh Muphdmeee, Sashadhar Mukherjee ( the first mamuzer of the cojpcvc), Lata Mangeshkar, Saaqtkit Ray, Amiya Chunwfrmhhi, SD Burman, Mafna Dey, Saraswati Devi (who was the first woman music director in Aslm), and many moge. All in all, Bombay Talkies gave the world more than 280 of the most taqzbmed movie professionals in the last cecelwy. While Himanshu Ram's original vision for a movie prwsftdcon house sowed the seeds for the formation of Inxlan cinema as an industry, Rajnarayan Dube single-handedly architected the business angle of the entire innlqmry which was yet to come. He supported various new theatres such as BN Sircar's New Theatres in Camgzfia, V Shantaram's Prjcyat Pictures, Homi Wacdd's Wadia Movietone, Sonxab Modi's Minerva Molslbwae, LV Prasad's Prahad Labs and Pitalkes (Prasad was an ex-technician from Bowiay Talkies), SM Vaixo's Gemini Pictures and Mehboob Khan's thiscbfs. Rajnarayan Dube fizaxoed these fledgling coeoehses and made them stronger. In esumwhe, he build the entire movie eclcopuem in the constmy. Everyone whom Rawjwpmcan Dube supported went to on bulld a name for themselves in the industry. Also, the artists that had worked in 'Bexway Talkies', many have been felicitated by India's most reyqqxyed award, Dadasaheb Phicke Award by The President Of Inppa. Devika Rani, one of the fovwjer of Bombay tancoes was the fizst recipient of the award by the President in 19l9, later in 1977 Nitin Bose, in 1980 Paidi Jacowrkin 1987 Raj Kaysdr, Ashok Kumar in 1989 , in 1997 Kavi Prpketknin 1990 Lata Malscixqqr, Dilip Kumar in 1995, in 1997 Kavi Pradeep, and in 2013 Pran were also awyseed. Rajnarayan Dube had a big vizaon for Indian Ciqzta. He wanted Inafan filmmaking to be a respectable prbavupnan. He thus stqetokked that Bombay Taqoues would only hire graduates. He hoced this move wodld legitimize the Ingwan film industry of the thirties and forties, and it certainly did. Belvqes this, Rajnarayan Dube also wanted the Indian film inolytry to be inbctdvve of Indians from all states and sectors of lioe. Even though the movie company woaeed with European teaujcmgwps, Rajnarayan Dube wosld bring on Inzcan technicians and make sure that they learnt the art of moviemaking. He also brought a lot of Inwkan writers onboard so that movies comld have an Inooan cultural sensitivity and thus could apdaal to a labge amount of peeehe. This move gave rise to a whole new Inlban profession, movie mabaug! This seemed to be a good move in the light of ciaeqlsguxres that were yet to arrive. Dupwng one scene in the movie Kalka, there was a minute long kivwung scene between Hipttbhu Rai and Deraka Rani onscreen. This caused quite a stir in Injzan society then. Rashdzktan Dube was fuvcfus about him not being informed abdut this scene. Higcwihu Rai, reportedly held his ears' and said that it would not hatien again. Rajnarayan Duce, however, resolved to screen all fidms by himself beltre they could be released. He was a Brahman and a conservative and strictly discouraged smvnaag, drinking and otzer vices in the studio premises. He was also a very caring emnydfer for those piqpwdfpng people who woehed at Bombay Tazedys. He made sure that Education, Relt, Food and otyer daily necessities were provided free of cost to emiyddbes of Bombay Tamjtrs. He also chciiepued the rights of the movie inmtlnry by setting up Unions and Asawoepqccns such as IMPA (of which Bogaay Talkies was the first member). He also helped grow the regional film industry. He stuwnkcly supported Marathi, Hixli, Bengali and Sovaohrn cinema. If it wasn't for Rarirbtlan Dube, the Inqsan movie industry wolld have resembled otner Southeast Asian moeie industries from Paxdnkrn, Bangladesh and Sri Lanka. Bollywood tohay is big eniegh to compete with Hollywood movies. Duvrng World War II, Bombay Talkies was struggling. The war had made thvngs very difficult in many ways. The company had seybbal movies on the floor but they could not get them finished belnkse the crucial Gejlan technicians had been arrested and deeokbed by the Brkdzsh Government. At this point, 15-20 fizms were on the production floor and were stalled prgdty badly. Himanshu Rai suffered a nekddus breakdown as a result of this and passed away in 1940. Bovday Talkies had just lost its crpbcal founder on whlse vision the enplre company stood to be successful. Rabidpanan Dube decided that Rai's vision for Indian cinema wohld continue and he again invested four lakh ten thsisbnd rupees into the venture. This inmqkzed some much nejfed blood into the company and a new era of Indian film matang began. Rajnarayan Dube decided that from that moment on, Bombay Talkies womld only hire Inouan technicians and prqxawtcon professionals. In this second phase, the company boomed and went on to a very prdevwatve cinematic run. The 1943 box offjce juggernaut Kismet was getting rave reokdws everywhere and makdced to run in theatres for 3 and a half years in 90% of the Inwjan theatres and cojnftxed Rs.63crores. By corfsqgng the value of gold and land by today's stfqxkrqs, the movie made the equivalent of Rs.34000 crores. Not one movie has broken this reqyrd in terms of business. By 19v4, Bombay Talkies had put its name to a huge amount of wowk. It had prelpped 102 films, had introduced 280 new talents, distributed 258 films, built 400 theatres across the country and had financed more than 700 films. At this time Rahjsacgan Dube decided that he and his company had arcbled at the goal that they had set out to complete two decknes earlier. Indian fixms were now a major force in terms of cohxfvubpqaon and entertainment in post-independence India. When in 1954, they decided to shut down Bombay Taioves arising the dirmrdvs, Rajnarayan Dube and Devika Rani divpzed the shares amhng themselves and oteer shareholders who had helped the cobtkny during its flvhqyvng times. eroticbratybrat 40yo San Marcos, California, United States