Neighbourhood Video Project: Keeping Bharatmata Alive – I
Director: Rojgar Hakk Samiti
Duration: 00:20:29; Aspect Ratio: 1.333:1; Hue: 46.242; Saturation: 0.118; Lightness: 0.403; Volume: 0.189; Cuts per Minute: 5.955; Words per Minute: 94.799
Summary: The textile industry of Mumbai started in late 19th century. By the mid 20th century the industry grew into a cluster of 85 mills with a workforce of 230,000 workers. The textile industry was also prominent for its organized labour unions under the broad left ideology. But after the formation of the state of Maharashtra with Mumbai as its capital following an intense movement of identity assertion by the Marathi working class in 1960, the trade union movement slowly started loosing its political significance. The independent and also some right wing unions started consolidating its base in the textile industry. Following a call of indefinite strike led by independent union leader Datta Samant in 1982, the industry started drying up. The mill owners siphoned off the capital out of the state and many declared the mills sick. But the area in lower Parel where most of the mill situated still remained a working class area because of the living quarters of the mill workers in the vicinity. Thus in that area grew up a generation of youngsters who had never seen those chimneys working. They started a youth organization Rojgar Hakk Samiti (right to livelihood organization) in 2000.
In 2004 Majlis conducted a video training workshop for the members of Rojgar Hakk Samiti. The participants were split up into two groups and facilitated to make two short films on their neighbourhood. One group decided to make a short documentary film on haircutting practices in their area and made 'Kato Magar Pyaar Se' (Cut, but with love).
The other group decided to do a portrait of Bharatmata (literally means Mother India) cinema hall, the popular stand alone cinema in the vicinity. The film was titled 'Runanu Bandh' (Enduring ties). With the various drives of gentrification in the city, Bharatmata has been on everyone's radar. The working class cinema with low ticket rates is also termed as the last bastion of Marathi cinema as against the hegemony of the Hindi cinema, popularly known as Bollywood. But the politics of real estate and revenue generating entertainment industry have been trying for a long time to demolish the theatre. So far the public outcry and strategic mobilization with the eminent citizens and renowned artists have saved Bharatmata cinema from the eventual attack of the bulldozer.
These are rushes from Runanu Bandh, shot by those offspring of the mill workers and aided by the Majlis team. Interview with projectionist Harishchandra Dalvi and trade unionist Datta Iswalkar.
The elderly gentleman being interviewed was the projectionist at the City Light Cinema hall. At the time of this interview, Dalvi was a projectionist at Bharatmata theatre, his current job. The student from the workshop questions Mr. Dalvi about his background and his family and also about his profession and what made him enter this line of business. Not surprisingly, the projectionist used to work at Century Mills in the nearby vicinity before he joined the theatre business as a projectionist.
Like most mills, his mill shut down too after the infamous1982 mill workers strike led by Dutta Samant. Unlike many other retrenched workers Harishchandra Dalvi had managed to work out an alternative livelihood.
Workshop Participant:-What is your name?
Harishchandra Dalvi (H.Dalvi)-Harishchandra Babu Dalvi….
Workshop Participant:-You were born is Mumbai itself?
H Dalvi:-Born? ….Yes.
Workshop Participant:-How many children do you have?
H.Dalvi: - I have two….
Workshop Participant:-What do they do?
H.Dalvi:- Both are suitable employed.
Workshop Participant:-Before you worked on the projector, where were you employed?
H.Dalvi:- I was working at the mill, Century mill.
Workshop Participant:-What kind of work were you doing there?
H.Dalvi:- I was in the design section……artist.
Workshop Participant:-So, then…what happened, why did you………?
H.Dalvi:- ….When there was a strike, I left it.
- Which?
H.Dalvi:- The Dutta Samant strike, from 1982
-What work were you doing in the mill?
H.Dalvi:- Design, sari design.
Workshop Participant:-While you were employed there, what incidents took place that forced you to leave your job?
H.Dalvi:- The mill shut down, so I left my job and I went into the theatre line. I had a friend, with his help…..I was a doorkeeper, and then I became an operator.
Workshop Participant:-And after that?
H.Dalvi:- After that, I stayed in this business. Today, I'm in this business for 40 years.
Bharatmata
Girangaon
Lalbaug
Mumbai
Parel
affordability
bombay textile strike
century mills
cinema
city light cinema
convenience
dutta samant
girangaon
industrial mills
lalbaug
livelihood
lower parel
mode of entertainment
projectionist
retrenched worker
textile mills strike
theatre hall
trade union
working class theatre
Girangaon, Lower Parel, Mumbai
He informs the interview that he had 40 years in the business and save a cataract operation due to proximity to high intensity light; he has never found the job irksome. He in fact reiterates that the only reason he, (or anyone for that matter), should do a job is if one enjoys it, and one doesn't find it troublesome.
He has spent a lifetime in front the little window being the motorman for all his cinema hungry passengers.
Workshop Participant:-In this line…?
H.Dalvi:- Yes, I've worked about a year and a half at Bharatmata, and 38 years at City Light Cinema.
Workshop Participant:-So, how do you like working in this line?
H.Dalvi:- Till now, I still enjoy it. Primarily, I felt good about working at Bharatmata.
Workshop Participant:- How so?
H.Dalvi:- What I mean is, the ticket rates are low, it's for the poorer, working classes, and everything is proper, the operators are good. That's why I like it.
Workshop Participant:-There has been some talk about Bharatmata shutting down …what are some of your thoughts about that?
H. Dalvi: No, no…it should not shut down at all…because in this area, in Lalbaug, there is only one theatre, for Marathi movies. All the other theatres have shut down since.
Workshop Participant:-For Marathi cinema, the importance of Bharatmata is…..
H. Dalvi: Yes, it is of primary importance.
Workshop Participant:-In the present situation of the movie talkies, what are your thoughts?
H. Dalvi: Well, I cant really comment on that, but Bharatmata has to be there in Lalbaug
Workshop Participant:-Ok, what are your thoughts about the current situation in Girangaon, where all these mills that are still shutting down and being replaced by high rises and towers?
H. Dalvi: I can't comment about these things, because these are things handled by big, influential people. I only look after all things in the theatre line, and have some understanding of that, not of anything else.
Workshop Participant:-Do you have any other sort of trouble?
H. Dalvi: No, no, no trouble at all; just due to lighting, there are more possibilities of health issues like cataract, no other trouble.
Workshop Participant:-When did you have your cataract removed?
H. Dalvi: I did the operation in 1994.Yes, cataract….
Bharatmata
City Light Cinema
Girangaon
Lalbaug
Mumbai
Parel
bharatmata
cataract
cinema hall
cinema projector
cinema reel
city light cinema
development
gentrification
girangaon
heritage theatre
marathi cinema
masses
movies
occupational hazard
operators
picture
projection window
projectionist
real estate
talkies
textile mills
theatre
workers
working class
working classes
Dalvi reminisces the good old days when he could change his vocation from mill workers to film projectionist quite easily. His feeble resistance to the trends of multiplexes and the marginalization of poorer stand alone cinema is that the job of projectionists in the new theatres is very taxing and so they often leave the jobs out of exasperation. Since simultaneous shows in a multiplex meant running in-between the theatres to accommodate reels. There are two jumbo reels per film. Sometimes, or most times, these reels are shared between all the theatres. Hence, it is a hard job for projectionists to run a reel, start the next reel and then run to the next theatre to deliver the first reel in time for the next show.
Though Dalvi declares complete commitment to Bharatmata theatre and what it stands for, his children are not showing any special interest towards it.
Earlier there used be a cluster of theatres in one area which accommodated more cinema going public. But since most of the old theatres are demolished, places like Bharatmata literally stands alone. The lack of choice in one single theatre with one screen too has added to Bharatmata's decreasing popularity. In these days when the so-called multiple choices of the consumer are celebrated all the time, places like Bharatmata appear out of sync.
H. Dalvi: At our place, there was a head operator named Gupte who he employed me; and a boy named Babban taught me how to operate the machine. I learned the machine in 15 days, and when one of the operators over there left, I got a permanent job. After that, the theatre shut down as the owner changed, and I joined service, as in a regular job. Once I was working, the theatre restarted, and I got the same job again. Since then, I have been in the same job there itself.
Workshop Participant:-Now, to watch movies, do your kids ever come to the theatre?
H. Dalvi: No, no, nothing like that….they watch what they want, it has no bearing on what I do. They come sometimes, it's not like they don't, we used to have a pass back then, but now the theatre officials stopped it.
Workshop Participant:-you must have noticed, at one place, there used to be atleast 7-8 talkies. In places like Bharatmata and the kind, at one time, just one main show plays, while in these, there are simultaneously 6-7 shows playing.
H. Dalvi: 8 shows at a time, yes.
Workshop Participant:-what do you think about that? Do you think it is right?
H. Dalvi: No, it is troublesome for the operator.
Workshop Participant:-Why?
H. Dalvi: Because, right by us, there is a Star City theatre, there are 6-8 shows going on at the same time, and the operators don't last there for long.
Workshop Participant:-How come?
H. Dalvi: Well, because it's cumbersome for the operators. The minute it's troublesome, they will leave the job and go. If I find it troublesome here, I will also leave it.
That's how it is, the minute man is troubled by his workplace, he will leave it. He gets fed up. I am still at peace over here, that's why I'm still doing it. As such, it's not my age to be still doing this. Even then, Im doing it because I'm able to manage it……operator...
Bharatmata
Girangaon
Lalbaug
Mumbai
Parel
amenities
bharatmata
cataract
children
cinema hall
cinema projector
cinema reels
city light cinema
cluster of theatre
demolished
development
entertainment
girangaon
head operator
heritage theatre
legacy
marathi cinema
marginalization
masses
mechanism
movies
multi-plexes
operators
picture
popularity
projectionist
recreation
resistance
shows
shuttling
stand alone theatre
talkies
textile mills
theatre
trend
workers
working classes
The rise and decline of the textile industry, the history of Bharatmata theatre and the real estate politics in the city are inextricably linked..
Datta Samant was an independent trade union leader and doctor by profession. His spontaneous radicalism became more popular than the organized political strategies of the left unions. He led the 1982 record breaking strike which eventually led to the migration of the textile mill industry from the city. These are the statistics of the workers employed in the textile industry over the half century:
Year Workers employed
1980 2,32,000
1986 1,56,000
1993 80,000
2002 30,000
Currently the mill lands which were earmarked for industrial use is being leased out for residential purpose and consumers' outlets and service industry. Thus the area of Girangaon (village of textile mills) today is densely punctuated by shopping malls, fancy office buildings housing multi-national corporation offices and residential skyscrapers with low rise workers' quarters standing next to them. The situation has created an environment of class hostility and it is getting volatile by the day. The gentrification of the area has also affected the popularity of old fashioned Bharatmata, although it didn't shut down, business at Bharatmata wasn't good, for obvious reasons.
Bharatmata
City Light Cinema
Girangaon
Mumbai
Parel
Workshop Participant: - Now in the Girangaon area, especially the workers in this area, the labourers, they all came to theatres like Bharatmata to view cinema, and then the mills all shut down…
H. Dalvi: Yes, that was the main reason for Bharatmata's decline in popularity….
- And huge towers are replacing them, so this changing face of Bombay's surroundings, how does it make you feel?
H. Dalvi: Well, it saddens a poor layman like me obviously…..these people shouldn't do this, but if the mills shut down, the workers have to leave, there is no other solution.
Workshop Participant:-Yes, after the Datta Samant strike in 1982....what exactly happened?
H. Dalvi: Yes, I left the mill, and I joined the theatre.
Workshop Participant:-You didn't join the mill worker's strike?
H. Dalvi: No, I very quickly got into this line of work. I didn't even think twice, what would happened next.
Workshop Participant:- So how is your life turning out for you?
H. Dalvi: My life is turning out quite alright. My two children are employed, I am at peace.
Workshop Participant:-Are your two kids married?
H. Dalvi: No, not as yet. My daughter is 26 years old, and my son is 28 years old.
Workshop Participant:-What do your kids feel? About this whole mill situation, about what happened; how do they feel?
H. Dalvi: No, nothing like that...
Workshop Participant:- Did u ever discuss with them about those times, were they ever curious, did they ask you?
H. Dalvi: No, as such we never had any such discussion…
agitation
bharatmata
bombay textile strike
business
cinema hall
city light cinema
class hostility
consumers' outlet
entertainment
gentrification
girangaon
heritage theatre
industrial land
jobs
leased out
livelihood
marathi cinema
masses
migration
mill lands
mill owners
movement
movies
old fashioned
operators
picture
popularity
projectionist
real estate
recreation
service industry
shopping mall
shows
skyscraper
talkies
textile mills
theatre
trade union
workers
workers' quarters
working class history
working classes
Outdoor. Pan shot of the exterior of Bharatmata theatre, unfettered by the history that surrounds it and the role it played in development of the social structure of the people living around it. Currently, the building walls are encased in bamboo scaffoldings that run all the way up till all floors, giving the entire theatre building the appearance of some externalized studio set.
Jagged bamboo poles crisscross in a grid along the walls, long horizontal and vertical slashes that form nodes and that disappear into balconies of colonial architecture. The structure looks to be in a state of repairs underway, or seemingly in that constant state.
In the midst of the repairs, a quiet nostalgia might seep into those that know the premises well.
Bharatmata
Bombay
Girangaon
Lalbaug
Mumbai
Parel
architecture
beautification
bharatmata
cinema hall
colonial structure
entertainment
foyer
hall
heritage theatre
history
legacy
lobby
movie theatre
nostalgia
premises
pride
public space
real estate
recreation house
repair
restructuring
scaffold
ticket window
The start of the mango season. The raw mangoes (Kairi) start to fatten and will soon ripen in the hot Indian summer. The canopies of the large mango trees frame the theatre as the newer fluorescent green stems strain from the weight of the fruit.
They will be pelted with stones by the kids, enjoying their summer vacations in April and May, and probably chased away by scowling watchmen who become alert only when the kids spring into action.
Bharatmata
Bombay
Mumbai
Parel
bharatmata theatre
canopy
compound
foyer
indian summer
kairi
lobby
mango
premises
raw mangoes
trees
vacation
watchman
Another interview begins. Interviewee eminent union leader Dutta Iswalkar, who is one of the founders of Bandh Girni Kamgar Union (Closed mills workers organization) and the youth group Rojgar Hakk Samiti, is an offshoot of that initiative. Datta Iswalkar has been engaged with the working class movements since decades, spearheading movements for workers' take over of the closed mills, resisting transfer of the capital out of the state, takeover of the mill land and finally for the retrenched workers' arrears and share in the value of the mill land. Datta Iswalkar is one of the most respected political leaders in Mumbai.
Student: - The Bharatmata theatre catered to crowds from the Parel, Lalbaug, and of course the Girangaon area, could you tell us something about this phenomenon, and about your work.
Datta Iswalkar (D I): Well, one of the important points is that in this middle section of the city, there were textile mill workers in huge numbers and an outlet for overall cultural development was needed. Hence the textile mill owners allotted a cinema theatre specifically. And this textile mill workers from this middle section of Bombay was predominantly Marathi and hence showing Marathi films was preferred. This film theatre was near the work place as well as the living quarters. Such a place should be conserved, should be saved, the city should not snuff it out, but nurture it; since it is a symbol of Marathi culture, and these are some of the things we have been protesting about.
Bharatmata
Bombay
Girangaon
Lalbaug
Mumbai
Parel
bandh girni kamgar union
bharatmata
cinema
closed textile mills workers' union
culture
eminent
entertainment
girangaon rojgar hakk samiti
language
marathi
mid town
mill owners
political leader
proximity
public space
respected
textile mills
theatre
trade unions
vicinity
work place
workers
workers' quarters
working class
Dutta Iswalkar strongly reiterates the stand of their organization to maintain the status quo vis-à-vis Bharatmata. The gentrification of the theatre will make it unaffordable for the working class. Besides, as a symbol of Marathi culture it should be protected from the vicious grip of the real estate.
It is one of the last remaining theatres that exclusively shows Marathi cinema. As the theatre is simple and functional and devoid of any fancy paraphernalia the ticket rates are still low and affordable for the working class. Any sort of face lifting will change the character of the theatre forever.
Student: - This protest that took place, how did it take shape?
D I: - For one, The protest was against the State Government, because all this textile land, is owned by the State government now. Earlier, it was privately owned, but the state Govt had taken control of the land. And basically our grievance to the Govt was that the theatre place should remain for movie viewing only. The theatre cannot be a spectacular theatre like say Metro …..It needs to cater to the basic needs and wants of the common man, and affordable for a regular worker with minimal wages, and hence it should be saved. That is the viewpoint being presented, and even today, our requirements from the state govt are the same; viz to continue this theatre, and barring a few upgrading & improvement of the facilities, it should run as it is.
Bharatmata
Bombay
Girangaon
Mumbai
Parel
amenities
architecture
bharatmata
common man
culture
daily wages
demolition
exclusive
face lifting
facilities
functional
gentrification
grievance
marathi cinema
metro cinema
movement
protest
rally
real estate
simple
spectacular
state government
A cinema establishment in an area carries the class character of its neighbourhood in its architecture, design and programming. Cinema being a subject of mass consumption, its houses reflect the status and state of its general audience.
Student: - There are different types of theatres, such as the Metro variety, or multiple theatre cinemas, like I-Max and say a theatre like Bharatmata, what is the difference in their makeup?
D I: The thing is, in a more "southern" area (the elite South Mumbai), the classes of people have a higher income and affordability. Hence to compare the two would not be fair. What I'm saying is that, for affordability of the working class at Bharatmata, one does not require deep pockets, and especially the Marathi worker, whose house is near the mills as well as the theatre; this is the general scenario. So, suppose he doesn't have to endure the time and money spent trying to travel to metro for his entertainment. Hence I feel, for what little time he gets after work, he'd rather go to Bharatmata theatre because, first it is within his range of affordability, and it is also convenient; location-wise. Hence this theatre becomes as affordable option for entertainment for the lower classes and the daily wages worker as well as their families.
Bharatmata
Bombay
Girangaon
Lalbaug
Mumbai
Parel
affordability
architecture
bharatmata
cinema
class character
common man
convenience
design
entertainment
families
film
imax
location
marathi
mass consumption
masses
metro
multiplex
multiplexes
neighbourhood
recreation
settlement
south mumbai
ticket prices
worker
workers' quarters
working class
Datta Iswalkar empathetically refutes the charge that the attempt to save Bharatmata theatre stems from a parochial Marathi chauvinism. He insists that the point is to maintain the working class character of the establishment. The working class can watch and also should watch other cultures. But a convenient atmosphere for that needs to be created.
Student: - What kind of films do you think should get made?
D I: - Well the onus of what kind of film to make lies entirely with someone from the filmmaking community- the director, writer, poet and what have you. That a Marathi speaking person wants to watch only Marathi films exclusively-this is not the case. We watch English films also. The thing is, it's the availability of the theatre that plays a major role. Working class cinema- theatre going public can watch English as well as Hindi films; that is not the issue.
Bharatmata
Bombay
Girangaon
Lalbaug
Mumbai
Parel
atmosphere
chauvinism
cinema hall
convenient
director
english
english films
establishment
exclusive
exposure
filmmakers
filmmaking
hindi
marathi
marathi films
parochial
poet
script
theatre
working class cinema hall
writer
Peninsula centre is part of the AshokPiramalGroup which acquired the Morarji Gokuldas spinning and Weaving Textile mill established in the year 1871The Morarji Gokuldas mill survived the textile industrial strike because its owners had diversified into varied businesses since the 1950's itself. They finally sold their businesses and land to the Peninsula group in2006-2007.The Peninsula group is busy buying up half of Parel with plans to put up software IT parks ,banal residential towers depicting idyllic up-scale living, and corporate office units.
Bharatmata
Bombay
D I: - So, where all have you'll done shooting?
-Bharatmata…that's all. Only Bharatmata.We took a shot of Peninsula, where it's all closed down now and there's a corporate office there.
Girangaon
Mumbai
Parel
area
bharatmata
construction
corporate office
datta iswalkar
development
gentrification
location
peninsula
redevelopement
shooting
trade unionist
The view from the window of the Girangaon Rojgar Hakk Samiti shows the compound of the Peninsula centre, now converted into swanky alucobond clad buildings in the background. In the foreground, there are a line of galas (shops) that are probably part of the old mill structure. These old shops with the local businesses, line the road, and are probably still old rental stock, because they appear undisturbed. They are two storied rooms that usually have the storage or main work place above the shop floor.
The shot ends with a more zoomed out view from the passage that leads to the Girangaon Rojgar Hakk Samiti.
Bharatmata
Bombay
Girangaon
Lalbaug
Mumbai
Parel
architecture
cityscape
co-existence
compound
development
duplex
fancy construction
galas
girangaon rojgar hakk samiti
glass
landscape
mill land
rental stock
rented
shops
swanky design
work place
The Girangaon Rojgar Hakk Samiti's modest office is in the building just opposite the Peninsula compound. Street sounds percolate through the doors and passages and into the office rooms. Various headlines in newspaper clippings kept in a filed folder is shown to the crew by Iswalkar. Various headlines follow.
Iswalkar validates the Bharatmata outcry by showcasing the coverage it has received in all the newspapers in all the different languages,viz;Gujarathi,Hindi,Marathi,English .He points to the clipping of Nav Bharat, and rattles off the names of the actors, and key figures that came out in support of Bharatmata theatre.
He flips through a lot of photocopies of clippings which are filed, and someone drops an original clipping onto his table.
Girangaon
Lalbaug
Parel
artiste
bharatmata
campaign
cinema
coverage
culture
datta iswalkar
development
english
films
fraternity
heroine
marathi
middle class
mobilisation
movement
newspaper
paper clippings
peninsula mill compound
political leader
publicity
rojgar hakk samiti
role
support
talkies
theatre
times of india
trade unionist
write up
(pointing to a Xeroxed clipping of Nav Bharat Times.)
Iswalkar: - that's Jayshree Gadkar.
Cameraman:-Could you tell us again who that is?
Iswalkar: - That's Bal Dhuri., that's Jayshree Gadkar, a prominent Marathi heroine.
Cameraman: - Show us some other pages…..
Iswalkar:-Mainly take a shot of this clipping. (He flips it back to the Sakaal clipping.
'Bharatmata got a huge support'
Iswalkar: - Ramesh Deo, who also did negative roles in Hindi films, and especially acted in Marathi films, was a good artist.
Headlines had come in English too, in the Times of India.
'Closing Down Bharatmata will bring down the curtains on an era'
Yes, this is an original newspaper clipping. The middle classes, even the women had staged protests, saying that the theatre should remain open, it should be saved. Something had come in Gujarati too.
ephemera
Cameraman: - You can speak in Marathi, nothing to it…
Iswalkar: - yes… the main point is, when the textile mills started in Mumbai, they were not getting any workforce. The workers that came from the interiors, from interior Maharashtra, southern Maharashtra, from the Konkan strip, so they had no place for any extra curricular activities or entertainment. So the mill owners kept this place as a theatre - as a space for cultural activity. This was to essentially keep the workers around. They did go to their villages on occasions. But if there was no form of recreation they would go for long duration each time and the losses incurred here would be substantial. Hence the mill owners decided to build a theatre in this place. That is the true history of this place. So, even at that time, to ensure that the textile mill workers stay put in Mumbai, they did different things. They built the textile mill workers chawls as their living quarters. Similarly to build the Bharatmata theatre the specific place was allotted.
In the mid 20th century the textile industry was at its best health. More and more work force was needed to keep pace with the demand. The population of the island city was marginal. The agents scanned the whole Konkan area and seduced the agrarian workers to migrate to Mumbai to work in the mills. These people, mainly migrants from the Konkan, were the first industrial workers in the city. But they were essentially rural and not used to the urban ways. Hence they used to run away to the village in the smallest pretext. Especially during monsoon most workers used to leave for their villages for harvesting. The mill owners had to evolve ways of keeping them glued to the city. In order to make their stay comfortable living quarters were built and they were allotted to the workers according to their villages and castes. Thus the seed of identity politics was planted in the emerging working class. Bharatmata, the cinema hall, too was built as a part of this ploy. Ironically the market which needed these workers at that time and went to a great extent to keep them in the city, today finds them a burden and evolves all sorts of strategies to eject them out.
Bombay
Konkan,Maharashtra
Lalbaug
Mumbai
Parel, Girangaon
addiction
agents
agrarian workers
allotment
bharatmata
castes
chawl
cinema
city
entertainment
harvesting
history
identity
industrial workers
island city
konkan region
labours
leave
living quarters
maharashtra
marathi
migrant
migration
mill owners
monsoon
movies
native place
plot
ploy
population
revenue loss
strategies
talkies
textile mills
theatre
urban ways
village
work force
working class
Bharatmata
Bombay
Girangaon
India United Mills
Lalbaug
Maharashtra
Mumbai
Parel
The camera focuses on a small yellow flyer which has the caption 'Save Bharatmata Theatre Movement'.
Which Mill was this?
India United mill, the owner was a Parsi gentleman. He had given the land for the theatre.
Student: - In which year?
Iswalkar: - the year I don't remember clearly, but it should be around 1956'-57'-58'.
campaign
cinema
entertainment
films
flyer
land
mobilisation
movement
movies
paper clippings
public
support
theatre
ephemera
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