Brands Lost in Time: Bombay Talkies

In the grand tapestry of business history, there exists an overlooked collection of stories. These are tales of brands that once shone brilliantly in their respective sectors, commanding the attention and loyalty of consumers, yet today, they exist as mere whispers in the echoes of the past as footprints on the sands of time. This series of articles embarks on a fascinating journey into the annals of commerce, where we recount the stories of brands that, in their prime, captivated the hearts and minds of consumers. Through the years though, these brands, like shooting stars, blazed across the commercial sky only to dim and disappear.

In this story, we delve into the whys and how's behind their rise and fall and unearth the lessons, the nostalgia, and stories that reveal much about the ever-evolving landscape of consumer preferences, market dynamics, and the very essence of branding itself. Join us as we resurrect these forgotten comets of commerce, and shed light on the rise and the factors that led to their obscurity.

Welcome to a voyage, as we pay homage to Brands that got Lost in Time!

From Iraq to Bombay

The story of Bombay Talkies, one of India’s most iconic film studios, is intricately tied to the life of Rai Bahadur Chunilal Kohli, a man whose vision and ambition left an indelible mark on Indian cinema. Born into a prominent family in Chakwal, a small town in the Jhelum district of Punjab (now in Pakistan), Chunilal was the son of Hakim Yograj, a renowned local doctor whose bungalow, known as Yog Ashram, was a symbol of prestige. In the early 20th century, Chunilal embarked on a career that took him far from home—to Baghdad, Iraq, where he served as an Accountant General with the Iraqi Police under British rule.

As Iraq neared independence in 1932, Chunilal faced a pivotal decision: accept Iraqi nationality or resign and return to India. Opting for the latter, he left Baghdad with his family, including his young son, Madan Mohan, who would later become a legendary music composer. Returning to Chakwal briefly, Chunilal soon realized the town’s limited educational and professional opportunities could not sustain his aspirations. He moved his family to Lahore before setting his sights on Bombay (now Mumbai), the bustling hub of commerce and culture in British India. Settling in a building on Marine Drive near the famous Chateau Marine—home to singer Jaddan Bai and later her daughter Nargis—Chunilal laid the groundwork for his next chapter.

In Bombay, Chunilal’s path converged with that of Himanshu Rai, a visionary filmmaker with a dream of revolutionizing Indian cinema. Together, they would establish Bombay Talkies, a studio that would not only shape the Indian film industry but also become a cultural phenomenon.

The Establishment of Bombay Talkies

In 1934, Bombay Talkies was born in Malad, a then-remote suburb of Bombay. Founded by Himanshu Rai and his wife, Devika Rani, with significant financial backing from Rai Bahadur Chunilal Kohli and industrialist Rajnarayan Dube, the studio was a pioneering venture. Unlike the fragmented, artisanal filmmaking of the time, Bombay Talkies was structured as a fully-fledged corporate entity, listed on the Bombay Stock Exchange—a first in Indian cinema. With support from prominent businessmen like Sir F.E. Dinshaw, Sir Chunilal Mehta, and Sir Cowasji Jehangir, the studio was equipped with cutting-edge facilities: soundproof stages, laboratories, editing rooms, and a preview theater, aligning it with international standards.

Himanshu Rai, who had honed his craft in Europe, brought along a skilled team, including German director Franz Osten, cinematographer Josef Wirsching, and writer Niranjan Pal. This blend of Indian creativity and European expertise set Bombay Talkies apart. The studio’s ethos was progressive—staff dined together in a canteen regardless of caste, and a training program was established to nurture young talent, reflecting its commitment to professionalism and innovation.

Milestones and the Zenith of Bombay Talkies

Bombay Talkies quickly rose to prominence, producing 40 films during its two-decade run and leaving an enduring legacy. Its early years, often called the Rai-Osten era, produced classics like Jawani Ki Hawa (1935), Jeevan Naiya (1936), and Achhut Kanya (1936), the latter tackling the taboo subject of love between an untouchable girl and a Brahmin boy. These films showcased Devika Rani’s star power and introduced Ashok Kumar, a lab technician-turned-actor who became a cinematic icon after stepping into a lead role following a dramatic scandal involving Devika’s brief elopement with co-star Najmul Hassan.

The studio’s technical prowess and storytelling innovation earned it a reputation as a trailblazer. It launched the careers of luminaries like Leela Chitnis, Madhubala, Dilip Kumar, and Mehmood Ali, while Raj Kapoor cut his teeth as an assistant before becoming a legendary director. At its peak, Bombay Talkies was a powerhouse, producing hits like Kangan (1939), Bandhan (1940), and Kismet (1943), the latter setting a record for the longest continuous theatrical run in India—over three and a half years at Calcutta’s Roxy Theatre. Under Rajnarayan Dube’s command, the studio reportedly produced and processed over 450 films, distributed 259, built 400 cinema halls, and financed more than 700 projects, cementing its status as Asia’s biggest film company.

The Decline of Bombay Talkies

The golden era of Bombay Talkies began to unravel with the outbreak of World War II in 1939. The arrest of Franz Osten, a key creative force, and Himanshu Rai’s death in 1940 following a nervous breakdown dealt severe blows. Devika Rani took the helm, steering the studio through turbulent times with successes like Jwar Bhata (1944), which introduced Dilip Kumar. However, internal strife emerged in 1943 when a rift developed between Devika and managers Sashadhar Mukherjee and Ashok Kumar. The exact reasons remain murky, but allegations of sabotage, ego clashes, and infighting poisoned the studio’s harmony.

Efforts to reconcile the factions failed, and Mukherjee, Kumar, and others departed to establish Filmistan, taking much of Bombay Talkies’ talent with them. In 1945, Devika Rani married Russian painter Svetoslav Roerich, sold her shares, and retired from the industry, leaving the studio rudderless. Subsequent attempts to revive it faltered, and in 1953, businessman Tolaram Jalan acquired the company, opting to shut it down. The final film, released in June 1954, marked the end of an era. Today, the once-thriving Malad site lies in ruins, a faded relic obscured by blue hoardings near the railway station.

Factors Behind the Decline

Several factors contributed to Bombay Talkies’ downfall. The loss of Himanshu Rai’s visionary leadership was a critical blow, exacerbated by World War II’s disruption of its European talent pool. Internal conflicts fractured the studio’s unity, while the departure of key figures to Filmistan drained its creative and commercial vitality. Devika’s exit in 1945 left a leadership vacuum, and the broader shift in the Indian film industry—from studio-driven production to independent filmmaking—rendered Bombay Talkies’ model obsolete. Financial mismanagement and a failure to adapt to post-independence market dynamics sealed its fate.

A Legacy Lost in Time

Bombay Talkies was more than a film studio; it was a brand that redefined Indian cinema, blending artistry with professionalism and launching stars who shaped Bollywood’s golden age. At its height, it stood as a beacon of innovation and ambition, only to fade into obscurity due to internal discord and external pressures. Though its physical remnants crumble in Malad, its influence endures in the legends it nurtured and the cinematic milestones it achieved—a brand lost in time, yet forever etched in India’s cultural history.

?