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
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
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.
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.
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).
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.
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.
He now runs a production company, Prakash Jha Productions.Prakash Jha, owns the P&M Mall in Patna.
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
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 the 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
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.
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
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
![Vivo Xplay5 Ultimate features a 5.43-inch display with a resolution of 2560 x 1440 pixels. The smartphone is powered by latest Qualcomm Snapdragon 820 processor and has non-expandable 128GB storage (Source: Vivo)]({"default":{"load":"wait","src":"//img-s-msn-com.akamaized.net/tenant/amp/entityid/BBqeEdd.img?h=373&w=624&m=6&q=60&o=f&l=f"}} "Vivo Xplay5 Ultimate features a 5.43-inch display with a resolution of 2560 x 1440 pixels. The smart... - Provided by Indian Express Slideshows")