Ganpati Bappa and the Movies

How Mumbai’s studios and streets celebrated cinema Mumbai: Mumbai’s Ganesh Utsav has always been more than a religious celebration. For generations, it has also intersected with the city’s other great passion-cinema. Long before photographs of stars welcoming Ganpati Bappa at home became an annual fixture on television and social media, the festival had a presence inside Mumbai’s film studios. Beyond the studio gates, Ganesh mandals were also bringing movies directly to neighbourhood...

min read

How Mumbai’s studios and streets celebrated cinema Mumbai: Mumbai’s Ganesh Utsav has always been more than a religious celebration. For generations, it has also intersected with the city’s other great passion-cinema. Long before photographs of stars welcoming Ganpati Bappa at home became an annual fixture on television and social media, the festival had a presence inside Mumbai’s film studios. Beyond the studio gates, Ganesh mandals were also bringing movies directly to neighbourhood audiences by turning ordinary streets into makeshift theatres. Veteran film journalist and analyst Dilip Thakur, who grew up in Girgaon and has observed Mumbai’s film culture over several decades, remembers both worlds. “Ganesh Utsav and cinema have had a very old relationship in Mumbai. It wasn’t only about film stars bringing Ganpati home. The studios, the workers and even the neighbourhood mandals were all part of this culture,” says Thakur. Ganpati Tradition Thakur points to V. Shantaram’s Rajkamal Studio while recalling the early relationship between Mumbai’s studios and Ganesh Utsav. The tradition, he says, can be linked to the period of Navrang, when an elaborate set involving a Ganesh idol and elephants was created at the studio. What began in the world of filmmaking subsequently developed into an annual studio celebration. “During Navrang, a grand set was created with Ganpati and elephants. That became an inspiration for the Ganesh festival at Rajkamal Studio, and the tradition continued,” Thakur recalls. The importance of the celebration lay not merely in its association with a celebrated filmmaker. Studios of that era had large permanent communities of technicians, craftsmen and other workers, and festivals became occasions for everyone connected with the premises. “Studios in those days were like families. Actors, technicians and workers celebrated together. Ganpati was not merely a celebrity occasion—it belonged to the entire studio,” says Thakur. Entry to Devotees Raj Kapoor’s RK Studios in Chembur developed its own distinctive Ganpati tradition. The studio’s Holi celebrations became legendary in the film industry, but its Ganesh Utsav also drew people from outside the film fraternity. The Ganpati was installed close to the main studio building, and devotees could enter the premises for darshan. “People always talk about RK Studios’ Holi, but its Ganpati celebration was also very special. The idol was installed near the main building, and ordinary people could come inside the studio for darshan,” Thakur says. For a movie fan, this meant something unusual: an opportunity to enter the premises associated with Raj Kapoor and some of Hindi cinema’s most famous films while participating in a festival shared by the wider city. The immersion procession added another dimension to the tradition. Different generations of the Kapoor family participated over the years, from Raj Kapoor to Randhir Kapoor and Rishi Kapoor, and later Ranbir Kapoor. The procession travelled from Chembur towards Girgaon Chowpatty, passing through parts of central Mumbai along the way. As round-the-clock television news expanded, cameras increasingly followed the Kapoor family and the procession. “The procession would travel from Chembur towards Girgaon Chowpatty through areas such as Kurla and Sion. Once television news channels began covering it extensively, the RK Ganpati visarjan became a major media event,” says Thakur. The connection survived beyond the studio’s heyday. Thakur recalls that people associated with RK Studios continued the Ganpati tradition for some time even after regular studio activity had ceased. “Even after the studio stopped functioning as before, people who had worked there continued the tradition for some time. That tells you how emotionally connected the workers were to the RK Ganpati,” he says. Mumbai Galli Thakur’s most vivid memories, however, come from outside the studios. Ganesh Utsav once provided an unusual second life for films that neighbourhood audiences had missed during their theatrical runs. During the 1960s and 1970s, local Ganesh mandals organised outdoor screenings with 16mm projectors. A screen—or sometimes simply an available wall—could transform a narrow lane into a neighbourhood movie theatre for an evening. “We called it ‘Galli Cinema’. A 16mm projector would arrive, a screen would be put up, and the entire lane would become a cinema hall,” Thakur recalls. Growing up in Girgaon, he experienced this culture first-hand. Films featuring stars such as Shammi Kapoor and Dev Anand were among those he remembers watching during Ganesh festivities in the 1970s. “I watched many films like this in the 1970s. If you had missed a movie when it was released in theatres, Ganpati celebrations sometimes gave you another opportunity to see it,” he says. There was no streaming, satellite television or instant access to a vast film library. A neighbourhood screening could therefore become an event in itself, attracting families, children and film enthusiasts from surrounding buildings. “There was a different joy in watching a film with the entire neighbourhood. Ganpati brought everyone together, and cinema became part of that celebration,” Thakur says. It was entertainment, but it was also a form of community movie-going that belonged to a particular period in Mumbai’s cultural history. Stars Power As the film industry changed, so did the visibility of its Ganesh celebrations. Home Ganpatis hosted by stars increasingly attracted media attention. Madhuri Dixit, Shilpa Shetty, Salman Khan and Sonali Bendre are among the film personalities whose celebrations became familiar to audiences. Thakur also sees the growth of television as an important turning point. As Mumbai’s entertainment industry became broader and more diverse, Ganesh Utsav was embraced by artists from different backgrounds. “Earlier, you saw the tradition particularly among Maharashtrian artists and film workers. Later, as the industry expanded—and especially with the growth of television—artists from many different backgrounds began bringing Ganpati home,” he observes. Television brought cameras into celebrations that once remained largely private. Social media pushed that transformation further, making celebrity Ganpati arrivals, pujas and immersions instantly accessible to fans. Pull of Girgaon Some film personalities, however, have a relationship with the festival that predates stardom. Thakur points to veteran actor Jeetendra and his enduring association with Girgaon, where the actor spent his early years. “Jeetendra has never forgotten his Girgaon connection. On the first day of Ganesh Utsav, he has continued to visit the area and seek Bappa’s blessings. That relationship goes back to his early years,” says Thakur. For him, such connections are significant because they reveal how a festival can link a star back to the neighbourhood and community that existed before fame. “It is not always about publicity. For many artists, there is a personal memory attached to Ganpati—the building they lived in, the mandal they knew or the neighbourhood where people watched their films,” he says. Khetwadi’s Culture Filmmaker Manmohan Desai was similarly surrounded by the sights and sounds of Ganesh Utsav. His association with the Khetwadi-Bhatkar Street neighbourhood placed him close to an area renowned for elaborate public Ganpati celebrations. “Manmohan Desai lived in an area where Ganpati celebrations were everywhere around him. Khetwadi had that energy—the crowds, decorations and huge pandals. He was also a devotee who would visit Lalbaugcha Raja,” Thakur recalls. The scale, colour and crowds of Mumbai’s public celebrations were part of the cultural environment in which filmmakers lived and worked. It was only natural that some of that energy would eventually make its way onto the screen. Silver Screen Hindi cinema has repeatedly turned to Ganesh Utsav for music, drama and spectacle. “Deva Ho Deva Ganpati Deva” from Humse Badhkar Kaun became one of the songs closely identified with Ganesh celebrations, while “Deva Shree Ganesha” from Agneepath gave a later generation a powerful cinematic Ganpati anthem. “Cinema takes from society, and Ganesh Utsav is such a strong part of Mumbai that it naturally entered our films,” says Thakur. Much of the world he remembers has changed. The 16mm projectors no longer routinely turn Mumbai’s lanes into movie theatres. The old studio system has faded, some historic studios have disappeared, and celebrity celebrations now reach audiences instantly through phones. But the larger relationship between Mumbai, movies and Ganpati Bappa has endured. “From Rajkamal and RK Studios to the gallis of Girgaon, Ganpati and cinema have travelled together for generations,” Thakur says. “The way we watch films has changed and the way stars celebrate has changed, but Mumbai’s emotional connection with Ganpati Bappa has not.”

Bharat’s Jetson Cities, Light-years Away from Nature

Chaitanya Giri

Jan 18, 2025

5 min read

Updated: Jan 20, 2025

One thing is for certain: our Bharatiya cities, the big metros and towns, are fast becoming like the ‘Jetson’ cities. For those who are unaware of Jetson cities, these were first shown in the famous Hanna-Barbera cartoon series, the Jetsons, set in the 2100s, where cities are air-tight glass globules tethered to the ground, and the only way to get in and out are the flying cars. Yes, we, the city-dwellers, aspire to tall skyscrapers, spectacular bridges, world-class tunnels, swooshing metro trains, and we are building Jetson-like flying cars. A few HD drone images here and there, during the day and at night and around twilight, and we are content that our cities have become the cynosure of our own eyes. We want our cities to be brightly lit, with neon signs, laser shows, and large billboard videos. We would then fulfil our inner desire to have a city on par with Tokyo, New York, and Shanghai.

Our buildings, designed for the next 30 years, are well air-conditioned, shielding occupants from a soupy dust bowl of brown smog, soot, particulate matter, and fine dust. It is said that most new home buyers invest at least 10% of their property’s price in enhancing the interiors, soundproofing their homes, using air purifiers and conditioners, and disconnecting from the outside world for that much-needed solace. Indeed, large builders promote their projects as close to nature amidst tranquillity. However, there is always another builder eager to get one plot of land ahead of yours to enjoy that nature. To be truthful, access to nature now comes at a premium - even the skies.

Let’s assume the working-age population is occupied in the leisure of our Jetson cities, but how many of their young school and college-going kids have seen the long arm of the Milky Way galaxy from their cities? How many have witnessed a comet zooming by? How many know about endemic plants with medicinal properties? When did they last see a chirping house sparrow? How many know that the nearest sewage drain was once a freshwater stream? When did they last find their suburban beach prettier than the resort beaches of Maldives?

The intent to ask these questions is simple: Bharat is currently at a crossroads. Pundits are enthusiastic about a cultural renaissance on the horizon. Corporate leaders, on the other hand, want us to invest hundreds of hours each week to pay our dues to the growth of the national GDP. But no one asks, if a cultural renaissance is to occur, who will generate the new understandings and insights of nature that arise typically during such a period of human advancement? No one is actually asking, for whom are we building the nation if there is no time for children, or worse, if there is no time or intent to have children. In the process of growing rich, we are about to become old. By 2047, 65% of the population under the age of 35 will grow beyond 35 all at once, and we’d have an enormous population in advanced ages with a tapering young population, a graph that looks like a banyan tree. Unfortunately, that young population will have no access to the knowledge that nature has to offer, neither flora and fauna nor the seas and the skies.

Our urbane lifestyles need tempering. Such tempering can occur only if we ensure the revival of natural sciences during this period of cultural renaissance and nation-building. Let’s not rely solely on the educational system. With Indian Knowledge Systems, constructive changes are underway, and academic curricula are poised to improve for the greater good. However, true knowledge arises only when parents and grandparents introduce children to nature. Genuine understanding also develops from extracurricular activities in schools and colleges that encourage kids to observe, journal, and act on their discoveries. On the positive side, our country’s forest cover is increasing, as announced by the government. However, efforts must be made to ensure that every school or college, whether in Mumbai, Vijayawada, Gorakhpur, Ratlam, Thrissur, Bhuj, Faridabad, Imphal, Manali, Cuttack, or Ajmer, guarantees that their students are well aware of the endemic nature of their surroundings and are regularly observing and recording data on whatever interests them. Let kids observe rivers and understand the volume of water that flows through them. Let children learn about the decline of house sparrows in their cities and what steps should be taken to revive their populations. Let them study the bees in their nearby groves and recognise the vital role these bees play in nature.

Of course, you need to learn AI, robotics, fintech, the next generation of management courses, and all the engineering bells and whistles. However, we must not leave the next generation with inadequate comprehension and skills for understanding nature. We must ensure that nature conservation is not merely lip service or a tool for politicised green activists. This can be achieved if natural sciences are given the respect they deserve at the school, undergraduate, and postgraduate levels.

Indeed, I am a plebeian, and you might feel that you, too, could write a rant about the plight of our urban lives. Urban development and municipal experts have many solutions to propose, but few are willing to take action. However, that is not the issue I wish to highlight. I aim to illustrate a much larger concern—that Indian city dwellers are disoriented and devoid of nature, lacking a guiding star to lead them toward a brighter future. Our cities of Mumbai, Delhi, Bengaluru, Ahmedabad, Kolkata, and Chennai have taken on characteristics reminiscent of Jetson-like cities. We show little regard for the Nagar Devata, Gram Devata, and Van Devata, who have protected the cities, towns, and forests that once surrounded us. We wait for formal governance to clean up our beaches, rivers, and ponds without making sufficient efforts to prevent pollution in the first place.

For those striving to grasp spirituality not through the Puranas and Aadi-Granth but through new-age podcasts, I recommend watching Vinay Varanasi’s podcast on Bhagavan Vishnu’s Dashavatar. If it is clear that Bhagavan Vishnu does not tolerate disregard for Bhudevi or Mother Earth, why do we, the devotees of Bhagavan Vishnu, continue to pollute our Mother Earth—her air, soil, waters, and sounds? Or have we taken Elon Musk's words at face value, assuming our next destination is Mars after destroying Earth, only to ruin Mars later, even worse than its current clinically sterile state? If that is the case, then bear with me when I say this: these Jetson cities stand on precarious pillars of ego, victimhood, apathy, and consumerism, waiting to be toppled either by the true harbingers of order or by false prophets. Therefore, teach the next generations to observe nature, appreciate our coexistence with other species, and venerate the forces of nature. By doing so, we humans will be good, at least for the next thousand years. If not, prepare for a bleak future by the end of this century.

(The author is a Space and Emerging Technology Fellow at the Centre for Security, Strategy and Technology, Observer Research Foundation, Mumbai. Views personal.)

Ganpati Bappa and the Movies

Bharat’s Jetson Cities, Light-years Away from Nature

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