Tuesday, 8 March 2016

Bollywood Documentry Project



School of Media and Communication Studies

Political documentary on prakash jha’s movies

ACKNOWLEDGEMENT


This project has been made possible through direct and indirect support of various people for

whom we wish to express our appreciation and gratitude. Nothing in the world can be achieved

without  proper coordination. This project of ours could not have seen the light of the day

 without  the coordination of Ms Swati Aacharya our project guide. We would like to express our

special thanks and gratitude to her for constantly guiding us and tapping a variety of hurdles with

implicit patience throughout our project and whose deep involvement and interest infused in us

great inspiration and confidence in taking up this study in the right direction , without her overall

guidance and help the project may not have been completed , we want to extend our profound

   thanks for giving us an opportunity.



CERTIFICATE

This is to certify that the project entitled “Political documentary on Prakash jha’s movies” is

completed by Anuj Kumar Panchal. This is an original piece of work & they have not submitted

it earlier elsewhere to the best of my knowledge and belief.









Project Guide


Ms. Swati Aacharya











INDEX
   

                                                                                                                                          
1.      Introduction
2.      Aim
3.      Objective
4.       Rational
5.      Methodology
6.      Data Collection
7.      Results
8.      Conclusion
9.      Internet Source














INTRODUCTION

Bollywood is the sobriquet for the Hindi language film industry, based in Mumbai, India. The term is often incorrectly used as synecdoche to refer to the whole of Indian cinema; however, it is only a part of the large Indian film industry, which includes other production centres producing films in many languages. Bollywood is one of the largest film producers in India and one of the largest centres of film production in the world. It is more formally referred to as Hindi cinema.

                       
HISTORY OF BOLLYWOOD MOVIES

The first films India watched were not made in Bollywood but cinema had indeed arrived on India’s shores. The year was 1896, and thanks to the country’s colonial rulers, it was the Lumiere Brothers who introduced the art of cinema to the sub-continent. Bombay, as it was then called, was the first Indian city to screen Cinematography, six short films by these cinematic pioneers.
                                               

SILENT ERA TO TALKIES
                                  
But it was a portrait photographer called Harischandra Sakharam Bhatavdekar who made Indian ‘motion picture’ history. His short ‘reality’ film screened in 1899 was called The Wrestlers and was a simple recording of a local wrestling match.

It was only after the turn of the century that Indian entertainment underwent a sea change when the Father of Indian Cinema, Dadasaheb Phalke, released his pathbreaking film of the Silent Era, Raja Harishchandra. The film, based on a mythological character, was released in 1913 and was India’s first full-length feature film.Yes,Bollywood   had     finally arrived!

The growth of technology and the excitement it generated the world over eventually gave birth of India’s first ‘talking and singing’ film – Alam Ara made by Ardeshir Irani and
Screened in Bombay in 1931.

Finally, India’s actors had found a voice. They could talk, they could shout, they could even cry, and they could do one more thing – sing for their audiences! It was a gift that remains the signature of the quintessential Hindi film to date.

Developments in the world of Indian cinema were rapid and the 1930s and 1940s saw the rise of film personalities such as Debaki Bose, Chetan Anand, S S Vasan and Nitin Bose, amongothers.

In the meantime, the film industry had made rapid strides in the South, where Tamil, Telugu and Kannada films were taking South India by storm. By the late 1940s, films were being made in various Indian languages with religion being the dominant theme.
GOLDEN AGE
India’s struggle for independence in the 1950s finally parted the curtain on the Golden Age of Indian cinema. This historic period provided a strong impetus to the industry, with themes changing to social issues relevant at the time. Sure they were entertaining but the movies were now also a potent medium to educate the masses.

But it was the Golden Age – 1950s and 1960s – that produced some of India’s most critically acclaimed films and memorable actors of all time. Among those in Bollywood’s hall of fame are Guru Dutt, Mehboob Khan, Raj Kapoor, Balraj Sahani, Nargis, Bimal Roy, Meena Kumari, Madhubala and Dilip Kumar.

So while the Guru Dutts and Bimal Roys held audiences in a trance, Indian cinema moved one step further with the release of K Asif`s Mughal-e-Azam in 1960. The film kickstarted a trail of romantic movies all over India.

While Indian commercial cinema enjoyed popularity among movie-goers, Indian art cinema did not go unnoticed. Adoor Gopalakrishnan, Ritwik Ghatak, Aravindan, Satyajit Ray, Shaji Karun and several other art film directors were making movies that took India to international fame and glory.


THE MASALA MOVIES

The masala film – the quintessential Bollywood entertainer – burst onto the scene only in the 1970s. And audiences were enthralled by the histrionics of actors such as Rajesh Khanna, Sanjeev Kumar, Waheeda Rehman, Asha Parekh, Tanuja and others.

This was Bollywood’s heyday, a time when director Ramesh Sippy gave us his iconoclastic Sholay (1975). The film, which has been internationally acclaimed, also clinched the title of ‘superstar’ for Amitabh Bachchan, who already had well over 30 films under his belt by then.

The 1980s saw the rise of several woman directors such as Aparna Sen, Prema Karnath and Meera Nair. It was also the decade when sultry siren Rekha wooed audiences with her stunning performance in Umrao Jaan (1981).
                                                                                          


TECHNOLOGY RULES
The 1990s ushered in a mixed genre of romantic films, thrillers, action movies and comedy films. Gradually, the face of Indian cinema was changing once again. Technology now gave us Dolby digital sound effects, advanced special effects, choreography and international appeal. This brought investments from the corporate sector along with finer scripts and performances.
It was time to shift focus to aesthetic appeal. And stars like Shah Rukh Khan, Rajnikanth, Madhuri Dixit, Aamir Khan, Chiranjeevi, Juhi Chawla and Hrithik Roshan began to explore ways to use new techniques to enrich Indian cinema with their performances.


PRAKASH JHA                                                                                       
                                                                                                           

Prakash Jha, a multiple award-winning independent filmmaker from India, has produced and directed seventeen feature films, over. Some of his critically acclaimed films are Apaharan, Mrityudand, Parinati and Damul. He has also made Dil Kya Kare, Rahul and Hip Hip Hurray. Prakash Jha has won eight national awards.

Prakash Jha (born 27 February 1952) is an Indian film producer, director and screenwriter who is mostly known for his political and socio-political films such as Damul (1984), Mrityudand (1997), Gangaajal (2003), Apaharan (2005), multistarrer hit movie Raajneeti (2010), Aarakshan (2011), Chakravyuh (2012), and the Satyagraha (2013). He is also the maker of National Film Award winning documentaries like, Faces After The Storm (1984) and Sonal (2002).
He now runs a production company, Prakash Jha Productions.Prakash Jha, owns the P&M Mall in Patna.
                                                                                                                                  
Prakash Jha was raised at his family’s farm in Baraharwa, Bettiah, West Champaran, Bihar, India. He did his schooling from Sainik School Tilaya, Koderma district  and KendriyaVidyalaya No. 1, Bokaro Steel City (Jharkhand). Later, he joined Ramjas College, Delhi University to do B.Sc (Hons) in Physics; though he left studies after one year, and decided to go to Mumbai and become a painter, though while he was preparing for J.J. School of Arts, he happened to witness the shooting of the film Dharma and got hooked on to filmmaking.
Soon he joined the Film and Television Institute of India (FTII), Pune in 1973, to do a course in editing, though midway through it, the institution was closed for while, due to student agitation, so he came to Mumbai, and started working, and never went back to complete the course.

AIM
·         The project aims to study the political issues being raisied in Prakash Jha’s films and how his films are reaction to the existing political ideologies and dilemma. 






OBJECTIVE

·         To study the political aspects in prakash jha’s movie
·         To study the various political controversies that was being raised in Prakash jha’s movies
·         To study the various characters that are being identified in Prakash Jha’s movie










RATIONALE


I have choose this topic in this project because I want to show the political issues which are describe in the Bollywood Movies like Aarakshan, Satyagraha etc and these movies are directed by Mr. Prakash Jha. Corruption is the biggest issues of our country and it shows in Satyagraha movie.Satyagraha movie is all about corruption and in Aarakshan movie, there is a political issue that is regarding, reservation of Dalits.so these issues regarding government and politics are given in this project.











METHODOLOGY


The data of movies was collected and the movies where studied scene by scene. Three movies which were selected are GANGAAJAL,AARAKSHAN and  SATYAGRAHA.Diffrent issues which was being discussed in movies are political issues like corruption, reservation of peoples (dalit) etc. These movies have a great influence on the minds of people about political affairs. These movie have been directed by Mr. Praakash Jha.

GANGAJAL
AARAKSHAN
SATYAGRAH





DATA COLLECTION
In this movie,  SP Amit Kumar who is given charge of Tezpur police station in Bihar. The area is full of corruption, inefficiency, bribery, nepotism, favoritism and crime with help from the local police. Gradually Amit realizes that the local politician Sadhu Yadav is the one who benefits the most out of it. Amit arrests Sunder Yadav, Sadhu's son. While Sunder is released soon, some police officers, get frustrated with the system, and pour acid into the eyes of two of Yadav's men, blinding them. A hue and cry is raised by the media, crime almost comes to a standstill, and the police are regarded with respect. SP Amit Kumar must now put an end to this kind of situation.








PLOT OF THE MOVIE
The film begins with SP Amit Kumar (Ajay Devgan) taking charge of the Tezpur District in Bihar. The area is notorious for its crime rate, with Tezpur Police under the control of local don Sadhu Yadav (Mohan Joshi) and his son Sundar Yadav (Yashpal Sharma). Amit tries to instill honesty and courage in his subordinates, but in vain. Bacha Yadav (Mukesh Tiwari), who is a stooge of Sadhu Yadav visits his hideout, sees an infamous local goon Nunwa taking shelter there. Fearing that arresting him would open the lid on the nexus between Nunwa and the Tezpur Police, he kills Nunwa and misleads Police that he was killed in an encounter. Suspect about t
he encounter, Amit Kumar summons Bacha Yadav, puts him off duty temporarily and also tries to keep him away from Sadhu Yadav and Sundar Yadav. Anxious that he would be transferred from Tezpur, Bacha Yadav, seeking the help of Sadhu Yadav, visits his home, where he finds out that he is being ditched by Sadhu and vows to settle score with them. Meanwhile, Sundar manhandles a Public Works Department engineer for not heeding to his word during a tendering process. Amit takes notice of the incident and also finds that a girl is missing from her home after being kidnapped by Sundar. Sensing an opportunity, Bacha Yadav urges Amit to give him one more chance, who obliges him. Bacha Yadav tricks Sundar into a factory where Amit and his men are waiting and after a brief scuffle, Sundar is arrested and produced in a local court, where the judge acquits Sundar on the account of lack of evidence against him.

Sadhu Yadav's men then try to vandalise a shop of local pan vendor after he testified against Sundar, before being arrested and jailed in the police station. There, a fight arises between the accused and Bacha Yadav and his colleagues. It reaches an extreme point with Bacha Yadav piercing the eyes of the accused and pouring acid, referred locally as "Gangaajal", on their eyes. The incident raises a hue and cry in the local media, which accuses Police of vigilante justice. Angered by the incident, Amit Kumar orders his men involved to give their confessions in writing. While all, except Bacha Yadav, deny their involvement, Bacha Yadav writes his confession in a letter and submits it to Amit. When Bacha Yadav reaches his home, he finds his son and wife taken hostage by Sundar Yadav who, after a brief struggle, kills Bacha Yadav by shooting in his eyes. Enraged by the incident, Amit Kumar burns the confession letter of Bacha Yadav and issues a search warrant for Sundar and warns Sadhu Yadav to tell Sundar to surrender himself. Sadhu Yadav applies for an anticipatory bail for Sundar but before Sundar is produced in the court, he is arrested and is taken to jail. This time, the court rejects the bail application and orders the Police to keep Sundar in a 10-day custody.
However, Sadhu Yadav influences local home minister and the Deputy Inspector-in-General (Mohan Agashe) of the area, Verma, to release his son and also to send Amit on an emergency leave. After being released, Sundar disrupts the marriage of the girl who he kidnapped earlier and kills her mother in the process. Unable to bear the loss of her mother and the torture at the hands of Sundar, she kills herself in the presence of Amit. Amit detains both Sadhu and Sundar and tries to take them to Police Station. However, locals stop Amit and demand that both be killed then and there itself, before being convinced by him that they would be tried as per the law. On the way to Police Station, however, both Sadhu and Sundar escape. Amit then catches up with them and brief fight takes place between them and the film ends with both Sundar and Sadhu getting killed by falling accidentally on chisels of a plough, which incidentally pierce through their eyes.
1.     
In this scene,SP Amit Kumar(Ajay Devgan) enquiring in Shikarpur Thana and he found none of the police was on duty.
2.     
In this scene, Baccha Yadav (Mukesh Tiwari) kills two off the criminals of nanwa group.

3.     
It is the scene when Baccha Yadav ( Mukesh Tiwari) and his companion attecks through acid on Sunder Yadav’s mens.

4.     
There is Sundar Yadav (Yashpal Sharma) takes revenge from Baccha Yadav by killing him because had kill Sundar Yadav’s tow men.

5.       

It is the climax of this movie.In this SP Amit Kumar (Ajay Devgan) arrest Sadhu Yadav and Baccha yadav but public wants to kill them.















STARCAST OF THE MOVIE
Ajay Devgan as Superintendent of Police Amit kumar                                                                                                                
Gracy Singh as Anuradha                                                                                               

Mohan Joshi as Sadhu Yadav                                                                  

Yashpal Sharma as Sunder Yadav                                                                              





Mukesh Tiwari as Inspector Bachcha Yadav                                                            
                                                                 





Aarakshan  is a 2011 Indian Hindi drama film starring Amitabh Bachchan, Saif Ali Khan and Deepika Padukone. Directed by Prakash Jha, the film is a socio-political drama based on the controversial policy of caste based reservations in Indian government jobs and educational institutions. The film also stars Prateik Babbar and Manoj Bajpayee and was released on 12 August 2011 to mostly mixed reviews.

Aarakshan movie is a high voltage drama based on one of the most controversial policies of caste based reservations in government jobs and educational institutions.

















PLOT OF THE MOVIE

In 2008, Deepak Kumar (Saif Ali Khan) is at an interview for the teacher's post at an affluent school. The interviewers turn him down when they discover his low-caste roots. Deepak relates the incident to his mentor, Dr. Prabhakar Anand (Amitabh Bachchan). Dr Anand, the legendary principal of renowned STM college, offers Deepak an interim job as a teacher at STM. Deepak is comforted by his friend, Sushant (an upper-caste boy), and his girlfriend Poorbi (Deepika Padukone), who is Dr. Anand's daughter.
                                                                                                             
The state minister, Baburam, wishes to enroll his no-good nephew at STM. Dr. Anand however, turns him down. The minister decides to install his own man, Mithilesh Singh (Manoj Bajpayee), on the STM college board. Cunning and greedy, Mithilesh seeks only to enrich himself. The minister's grand ambition is to build a multi-billion educational conglomerate, and plans to use Mithilesh's outside business—a coaching class—for it.

The Supreme Court grants reservations for Other Backward Classes. A large crowd of STM students, boisterously celebrating the ruling, arrive at the gates of STM and start a ruckus. Sushant gathers a group of upper-caste boys and tries to drive off the revellers. Dr. Anand hauls Deepak and Sushant, but is shocked to find that Deepak has turned on him. Poorbi later confronts Deepak and orders him to apologise to her father, but he refuses, leading to their break-up.

The backward classes welcome reservations because it provides additional opportunities for education. The upper classes are against reservations because they do not believe in a level-playing field. These arguments are played out between Sushant and Deepak. The moderate STM administrators are afraid that college-level reservations may create conflicts between the students. When asked by a reporter, Dr. Anand shares his personal opinion – that some form of reservation, free of politics and economics, is good for society. The next day's headlines scream that Dr. Anand favours reservations. The STM board is outraged; Dr. Anand is warned that Mithilesh will use this to oust him. Dr. Anand resigns from STM, and Mithilesh is appointed as the new principal.

Dr Anand resolves to take out Mithilesh with the only weapon left: teaching. He approaches his friend, Shambhu the cowherd, and takes shelter at the tabela (cowshed). He begins teaching small groups of needy and backward students from the bastee (nearby neighbourhood), at the cowshed. His first success is Muniya (Aanchal Munjal), Shambhu's daughter who comes in first place at the board exam. Muniya's principal offers to send more students to Dr. Anand's tabela school. Deepak and Sushant return to Dr. Anand and join forces, teaching at the tabela school. The tabela students fare much better at the exams than their classmates. The tabela school's reputation grows and begins to draw away students at Mithilesh's coaching class.

Mithilesh responds by obtaining a legal permit to demolish the cowshed. The situation is diffused by the arrival of Shakuntala Tai, the reclusive magnate who started the STM institutions. She calls the chief minister, who promptly averts the destruction of the cowshed. Mithilesh is dismissed, and Dr. Anand is installed as the chief trustee of the STM and lifelong principal of the newly created STM Remedial Centre.

1.     
In this scene,Deepak kumar ( saif ali khan) is on for his interviwe where he meets three inerviewer. The three of them judge Deepak kumar on the basis of his caste and background.Hence,deepak tries to explain them to judge him on the basis of his knowledge and wisdom

2.     

In this scene,there is a short conflict between Sushant (Prateik Babbar) and Deepak Kumar(Saif Ali Khan) because of reservation of backword classes.


3.     

In this scene, Dr. Anand (Amitabh Bachachan) resigns from STM.and the reason for his resignation is that he supported the Dalit perspective in his institutions.


4.     

After resigning from STM, Dr. Anand(Amitabh Bachchan) approaches his friend, Shambhu the cowherd, and takes shelter at the tabela (cowshed). He begins teaching small groups of needy and backward students from the bastee (nearby neighbourhood), at the cowshed.

5.      \

In this scene shakuntla mamI (Hema Malini) ordered Dr. Anand ( Amitabh Bachchan) to run a S.T. Remedial Centre and to be the Chief trustee for life where he would provide free coaching to the needfull students.














STARCAST OF THE MOVIE

Amitabh Bachchan as Prabhakar Anand                                                    

Saif Ali Khan as Deepak Kumar                                                            


Deepika Padukone as Poorvi Anand                                                      

Manoj Bajpayee as Mithilesh Singh                                                   


Prateik Babbar as Sushant Seth                                                    






Satyagraha is the story of a son who yearns for a father. Of a father, who grieves for his lost son. Of a young woman who fights so hard with life that she has forgotten to love. Of an ambitious rabble-rouser, for whom action is the knee-jerk mantra. It is the story of how these four discover one another, and come together to raise hell, shaking the powers that be to their very roots! But, Satyagraha is also the story of an influential power-hungry despot who will stop at nothing to destroy them. Satyagraha: The revolution has begun!




















PLOT OF THE MOVIE

Retired teacher and ex-principal Dwarka Anand (Amitabh Bachchan) is an idealistic man. His engineer son Akhilesh's friend Manav (Ajay Devgan) is an ambitious capitalist. Manav cherishes his friend Akhilesh (Indraneil Sengupta) who suddenly dies in a road accident maliciously conducted by Sangram Singh, brother of Minister Balram Singh (Manoj Bajpai). Balram Singh announces compensation, which Akhilesh's wife Sumitra (Amrita Rao) cannot get in spite of submitting daily applications in the government office. Incensed, Dwarka slaps the DM and is imprisoned. Manav starts a campaign to free him, using social media, roping in Arjun Singh (Arjun Rampal) and journalist Yasmin (Kareena Kapoor). As hopeful students, hungry laborers and angry middle-class citizens join in the agitation, politicians start panicking. Eventually, Dwarka Anand gets freedom after the DM takes his complaint back upon pressure from Balram Singh.
Dwarka Anand gives a notice of 30 days to the government to clear all pending claims in the entire district. After a series of dramatic events, he sits on hunger strike and asks the government to bring ordinance in the district. Meanwhile, Lal Bahadur, a youth, commits suicide to support the agitation. During his cortege, four policemen brutally get killed by the mob. Soon after this, riots break out, forcing Balram Singh to send paramilitary force. His henchman shoot Dwarka Anand who dies in Manav's lap, requesting the public to stop the riots. Balram Singh is then caught by the police. Manav and Arjun decide to construct a regional party to eliminate corruption and reconstruct the system for the common welfare.












1.     
In this scene, Dwarka Anand ( Amitabh Bachchan)’s Son is dead in a accident and Balram Singh (Manoj Bajpai) announced give  Rs. 2500000 to Dwarka Anand.
2.     
In this scene Dadu (Amitabh Bachachan) goes to the collector office and slapped the collector and says a dialogue and that was the famous dialogue of this movie “Naukar hai aap janta aur battamizi bardast nahi karenge hum and then police arrest Dadu.
3.     
In the above scene Dwarka Anand (Amitabh Bachachan) as DADU announce a Hunger Strike for a long time to change the government rules.
4.     

It is the scene when Dadu (Amitabh Bachchan) takes a hunger strike.






5.     


It is the climax scene of this movie and in this, Manav (Ajay Devgan) anounced to make a party of the youth and sends a message to the youth that we have to change the system.
STARCAST OF THE MOVIE
Amitabh Bachchan as Dwarka Anand                                                         Ajay devgn as Manav Raghvendra                                                     Kareena Kapoor as Yasmin Ahmed                                                        Arjun Rampal as Arjun                                                               Manoj Bajpai as Balram Sing                                                                                 Amrita Rao as Sumitra                                                                           

Box office collection of GANGAAJAL


WEEK
Collections (INR)
Avg. Per Print
% change since last week
WEEK 1
17,670,948
290,766
N.A.
WEEK 2
8,167,264
151,398
-53.78
WEEK 3
1,788,774
84,171
-78.10
WEEK 4
1,946,733
65,861
8.83
WEEK 5
183,778
29,865
-90.56
Total gross      29,757,497



Awards

National film award for best film on other social issues:-(2004)                                                    

Filmfare      best bacgrount   score     award:-(2004)                                     






Box office Collection Of Aarakshan

Schedule
Amount (In Crores)
Opening Day

N.A.
Opening Weekend
16.90
End of Week 1
26.52
Lifetime Collection
40.04










BOX OFFICE COLLECTION OF SATYAGRAHA


Schedule
Amount (In Crores)
Opening Day
11.21
Opening Weekend
39.12
End of Week 1
55.43
Lifetime Collection
63.74





RESULT

CONTROVERSY OF AARAKSHAN

In early May 2011, civic authorities in Bhopal bulldozed the sets of Aarakshan because it was erected on disputed land.
Some pro-Dalit groups in Kanpur protested Saif Ali Khan being cast in the role of a Dalit. They objected to the actor's royal background and saw his role of a so-called Dalit as an insult to the community.
The film was banned in Uttar Pradesh, Punjab and Andhra Pradesh before its theatrical release. The Punjab government banned the film on fears that certain scenes and dialogues in the film may inflame the passion of some communities in Punjab. Mayawati government banned the film in UP for two months on grounds that it could create law and order problem in the state.
National Commission for Scheduled Castes (NCSC) viewed the movie after getting complaints of its objectionable content. "While the overall theme of the film is not objectionable, it is loaded with anti-Dalit and anti-reservation dialogues," said NCSC chairman P.L. Punia. However, the Board, which granted the film a U/A certification, said it would defend Jha's right to free expression. In reply to this, the director decided to remove 'objectionable' scenes from the film in a bid to prevent further backlash. Prakash Jha and producers of Aarakshan moved the Supreme Court to lift the ban on the film in the three states. Supreme Court lifted the ban on Aarakshan in Uttar Pradesh later.
Apart from the aforementioned announced bans, there was an unexpected mid screening ban on the film in the multiplexes of Gurgaon, on the night of its release.
CONTORVERSY OF SATYAGRAHA
A social action group, the Bhopal Citizens Forum (BCF) objected to the laying of a tar road and construction of a makeshift market at the historic 19th century Benazir Palace, the location of Satyagraha. The issue caught the attention of the National Monuments Authority (NMA) as well.Benazir Palace grounds come under the Gandhi Medical College (GMC, Bhopal). The palace itself, not a protected monument, is held by the public works department (PWD). On 28 August 2013, Bombay High Court refused to stay the film's exhibition while hearing a suit filed by a producer claiming he was the original copyright owner of the movie's title. The plea was to stop release of the film Satyagraha and sue for damages worth Rs 250 million.

CONCLUSION

After studying prakash jha’s movies in the nutshell we can say that courruption  is the bigest issue in our country and   we conclude that the movies directed by Mr. Prakash jha has a great influence on indian society.It also teaches us a lot about how indian politics affects a comman man. We are also moreorless connected to it.
            In the core of the three movies included in the project is the influence various political issues have over the fate of comman man. The various topics depicted in the three movies are political supremacy,reservation and corruption and their influence on the general public.
The basic plot of Gangajal shows how a polititian liberates his son dragged into jail for murder charges using his political influence. Basically, the movie presents the fact that for the Indian senario, normal constitutional laws are inapplicable for politicians and that they have risen above law.
In the movie Aarakshan, the topic of reservation in private educational bodies and its consequences have been thrown light upon. This movie has tried to depict an unconventional way of dealing with the problem of reservation.
As for Satyagrah, the director has shown the problem of corruption is not inevitable and that the command of the governance lies in the integrity of the public.
                                To conclude,reservation,corruption,power of politics are the biggest issue in India as shown in the movie of Prakash jha.  In the words of Albert Eienstien The world is a dangerous place to live; not because of the people who are evil, but because of the people who don't do anything about it.


           





INTERNET SOURCE
There is some Internet sources which are used in this project and they are-

https://en.wikipedia.org/wiki/Gangaajal
https://en.wikipedia.org/wiki/Aarakshan
https://en.wikipedia.org/wiki/Satyagraha_%28film%29
http://www.bollywoodhungama.com/moviemicro/boxoffice/id/510916
http://www.bollywoodhungama.com/moviemicro/boxoffice/id/537925
http://www.bollywoodhungama.com/moviemicro/boxoffice/id/566675