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Gone are the days of street performers who have been part of the cultural life of Diu for time immemorial. For thousands of children who grew up in Diu, street performers are an enduring memory of life in the 1970s and 1980s. Apart from monkey shows, other street performers such as puppeteers, jugglers, acrobats, snake charmers and magicians were also common on the city streets. Almost everybody remembers watching a cobra sway to the tune of a snake charmer’s flute. The sight of Madari with his pair of monkeys dressed in inviable tailoring excited the children of Diu. The married simians would dance to naach meri bulbul…..paisa milega.
In a town devoid of many modern entertainment options, going to the cinema is a popular choice. That is why the option of watching films in a cinema, especially with friends and family in tow, has been exciting and attractive.
By the time the cinema had begun, the modern entertainment media in Diu were very few. Due to economic reasons, cinema was seen and introduced primarily as a means of entertainment, entertainment and entertainment from the outset. Despite the many rudimentary means of entertainment, the medium of movies is considered the most popular and attractive. Many movies have become immortal. While enjoying three hours of film in a movie theatre, the problems and sorrows of mundane life are forgotten. Charlie Chaplin's movies, which we all know, always have something important to communicate. Humour was thus introduced by Chaplin, in the films, as a weapon against social injustices. His films "The Gold Rush", "Citylight" and "The Great Dictator" are considered among the best films in the world.
On Ganesh Chaturthi, Republic Day and Independence Day, movies were shown for free in the city's public square. With the support of the government, the public movie organizers would arrive with their projector and the film roll that was to be screened that day. The screening of the film was announced during the day and spread through all of the corners and streets of the city. When night came, a white curtain was hung on the wall of an office that existed in the square, and the films were projected there. Movies like Ujala and Ganga Jamuna are worthy of mention. In addition, on the occasion of Ganesh Chaturthi, and according to the old yearly tradition, the movie 'Mahabharat' was displayed in the square next to the police station. These were unforgettable moments.
Beside the Panibai School in Luharwada, an open space for cinema, called Chandra, was created where several films were shown. As there was no roof, the organizers covered the space with bags known as 'guniyas', which is the reason for it becoming popularly known as the Guniya Talkies.
During the rule of the Portuguese government in 1954, the Pravin Talkies was established in Diu. Its founders, who were the three friends Shree Liladhar Vallabhji, Shree Ramniklal Vitthaldas and Shree Jamnadas Vanmali, inaugurated the Pravin Talkies with the screening of the film Ram Rajya directed by Vijay Bhatt in the beautiful hall of Jain Apasaro located in the Cuxalpara area. Shreeman Nagji Naran Vaja was responsible for projecting the films for the Pravin Talkies.
In this photograph, one can see the exterior of Jain Apasaro. Photo courtesy Shreeman Vijay Kumaldas.
In this photograph, one can see the entrance of Jain Apasaro. Photo courtesy Shreeman Kaushal Parekh.
In this photograph, one can see the interior of the hall of Jain Apasaro where films and theatrical performances were exhibited between the 1950s and 70s. Photo courtesy Shreeman Vijay Kumaldas.
The ban by the Portuguese government in bringing film rolls to the city of Diu took, after some time, to the closing of the Pravin Talkies.
After that, around the years 1958 and 1959, plays addressing various social topics, such as 'Sampatti Mate' and 'Shalivahana', were held in Apasaro.
In this photograph, one can see the interior of the hall of Jain Apasaro where films and theatrical performances were exhibited between the 1950s and 70s. Photo courtesy Shreeman Vijay Kumaldas.
Diu gained independence from the Portuguese government in 1961, making it possible for Shreeman Ravi Shankar Rawal to create the Diu Talkies in 1969, which showed films in Apasaro until about 1971.
Later in 1971, Shreeman Ghanshyam Kalyanchand Divecha began the Jagdish Talkies in Apasaro, which lasted for approximately a year and a half.
In the late 1970s and early 1980s, black and white televisions had begun to appear in the homes of some families such as Shree Talakchand Panachand, Shree Dr. Puspaceno Givandas, Shree Mohanlal Cangi, Shree Keshav Fugro, Shree Nagin Gandhi and more. Subsequently, colour televisions began to appear and gradually, the entertainment medium became modern. Film rolls have evolved into VHS cassettes, which is why video movie spaces have been created and films had begun to be exhibited on colour television screens through the use of video players.
In the year 1986, the screening of films from VHS cassettes on coloured televisions was initiated by Shree Vishnudas Damodar in Apasaro under the name of Jayshree Talkies.
ARADHNA CINEMA
In this photograph, one can see the famous building of the Aradhna cinema. Photo courtesy Shreeman Vivek Pradipcumar.
The Aradhna Cinema is still well maintained and running successfully. How about we visit the most beautiful cinema of Diu?
Shree Haridas Daramci constructed the Aradhna theatre with the blessing of his father, Shree Daramci Motichand, and with the support, cooperation and guidance of his brothers, Shree Mansuklal Daramci and Shree Ganpatlal Daramci. The cinema was inaugurated on the 19th of December, 1973, with the screening of the movie 'Kahaani Kismat Ki'.
In this photograph, one can see Shreeman Haridas Daramci standing at the front and centre, with his staff and members of the public, at the entrance of the Aradhna cinema. Photo courtesy Shreeman Vivek Pradipcumar.
In the late 20th century, the Aradhna cinema gained popularity among the people of Diu, which has benefited various businesses from the surrounding area.
The Aradhna cinema is located on the right side of the Zampa area in Diu. Upon entering the cinema, the ticket booth is to the left, and to the right, there is a small corridor, which previously had two glass cabinets where films being displayed in the cinema at the time and upcoming films were advertised with pictures. At the end of the corridor, there is a shop selling snacks and cold drinks. The toilets are on the left hand side of the corridor and on the right, the owners of the cinema arranged for a printing press, in which advertisements, leaflets, works of art and wedding invitations were created, and the binding and repair of books were carried out. Most of the wedding invitations in Diu were also printed here. From here onwards, going up the stairs to the left, there is another small corridor from where the main entrance to the cinema hall can be viewed. Going up one more floor, up ahead, there is a small room with the projector, and to the left, there is the entrance to the balcony. As well as the owners of the cinema, the management of the projection and the cinema was the responsibility of Mr. Babugiri Govindgiri Goswami, Mr. Arvind Lalji Parmar, Mr. Jayprakash Dhiryashim and Mr. Yusuf Ali Khan.
In this photograph, one can see the Aradhna Cinema ticket office. Photo courtesy Shreeman Vivek Pradipcumar.
In this photograph, one can see the ticket office and a corridor which, in the past, led to a store where drinks and snacks were sold to moviegoers. Photo courtesy Shreeman Vivek Pradipcumar.
In this photograph, one can see posters advertising films being displayed in the cinema at the time as well as upcoming films. Photo courtesy Shreeman Vivek Pradipcumar.
In this photograph, one can see the shop selling snacks and refreshments. Photo courtesy Shreeman Vivek Pradipcumar.
Going up these steps, one comes to a small corridor from where one can see the main entrance to the cinema. Photo courtesy Shreeman Vivek Pradipcumar.
In this photograph, one can see the hallway with the access doors to the cinema hall. Photo courtesy Shreeman Vivek Pradipcumar.
In this photograph, one can see the magnificent projectors from the golden years, still used in the projection of certain Gujarati films. Photo courtesy Shreeman Vivek Pradipcumar.
The interiors of the Aradhna cinema theatre contributed to a distinctive culture of cinema-going. The theatre offered a stratified viewing experience with seating for different sections such as the ‘Balcony’, ‘Upper Stall’ and the lower level close to the screen, also called ‘Stall’, offered at different prices for the same film.
In this photograph, one can see the cosy movie theatre. Photo courtesy Shreeman Vivek Pradipcumar.
In the Aradhna cinema, the only cinema in Diu, the films displayed are mainly in Hindi, Gujarati and English. In the past decades, when very famous religious and emotional Gujarati movies were projected, people from Ghoghla, Vanakbara and Bucharvada would flood the cinema and so it became difficult to accommodate the local people of Diu, despite there being three or four viewings per day.
In this photograph, one can see a picture of the projection of the epic movie 'Sholay' back in the glorious days. Photo courtesy Shreeman Vivek Pradipcumar.
People would dress up to go to watch films and meet others. During certain scenes in the films, the audiences in the balcony would look to the audiences seated at lower levels for specific behaviours, such as throwing coins or torn up lottery tickets at the screen to indicate their appreciation of the film or of certain stars.
In the Aradhna cinema, since the films had a screening time between three and three and a half hours, they were structured to accommodate an intermission. During this 10 or 15 minute break, audiences would get something to eat and drink, catch up on the news and cricket commentary or chat with friends.
In this photograph, one can see the hustle and bustle outside of the Aradhna cinema during an evening session. Photo courtesy Shreeman Vivek Pradipcumar.
During the 1980s, video players and cassettes appeared. On the premises of the Aradhna Cinema, a small room began to be utilised as the “video cinema” room where all of the new films in Hindi and English were displayed. After a few years, "video cinema" also began at the residences of Shree Haji Abajakar Haji Ali Ahmed Kasmani, Shree Janardhan Dhirajlal and in other places, with colour televisions featuring numerous films and different social programs. They would play video cassettes of new films on their televisions for the general public to come and watch. After that, video screening was stopped at the Aradhna Cinema. However, the main cinema hall and printing press are still as active as before. Today, the modern 'digital' medium has replaced the old projection system.
During the interval of a film, the street vendors would be present in the square outside the cinema with their carts selling a variety of salted munchies and sweets.
The sweet and savoury aroma of Shreeman Chhotalal Vitthaldas Yoganand’s store, the variety of soda and paan shops, the unforgettable scent of sweets and salted munchies from the street vendors' carts, the famous tea from Shree Shashikant Savchand Vaja's shop, and the hustle and bustle of the people in the square gave the Aradhna cinema and the surrounding area a beautiful and jubilant atmosphere, which cinema visitors enjoyed.
In this photograph, one can see the hustle and bustle outside of the Aradhna cinema. Photo courtesy Shreeman Vivek Pradipcumar.
For many years, Shreeman Ganpatlal Daramci, Shreeman Pradipcumar Haridas, Shreeman Hitesh Mansuklal and all of the descendants of Shree Daramci Motichand’s family offered their services to the development of the Aradhna cinema. For the last few decades, Shree Pradipcumar Haridas managed the business of the Aradhna cinema. Over time, Shri Haridas Daramci, Shri Ganpatlal Daramci and Shri Pradipcumar Haridas passed away and today, the son of Shri Pradipcumar Haridas, Shreeman Nayan Pradipcumar, manages the Aradhna cinema.
Post by Dipac Canacsinh
Acknowledgements
I take this opportunity to express my gratitude to my cousin Shreeman Pradip Vassantlal who has been instrumental in the successful completion of this article.
My gratitude goes also to my friend and contributor to this article, Shreeman Kaushal Parekh, who was extremely helpful in offering invaluable assistance and support. The interview with Shreeman Lalitchandra Prabhashankar Joshi, led by Shreeman Kaushal Parekh, revealed to us quite interesting information regarding the beginning of cinema in Diu. Scroll to the end of the article in order to listen to this interview.
I would also like to thank Shreeman Babu Duarcadas, Shreeman Hitesh Mansuklal and Shreeman Hasmucrai Amarchande for their enthusiasm in collaborating with me during this work.
My special thanks to Shreeman Jayant Jagatkant for providing me with the necessary contacts to obtain the information contained within this article.
A thank you to Shreeman Kaushal Parekh, Shreeman Vijay Kumaldas, Shreeman Vivek Pradipcumar and Shreeman Nayan Pradipcumar for providing me with the illustrative photographs portrayed in this article.
I crave the readers’ indulgence for any blemishes and errors of omission, which may still be discovered by the discerning eye, although no pains have been spared to make the account lucid, accurate, concise, and comprehensive.
This article does not aim to aggrandize any institution or entity, but only to make known the history of cinema in Diu from the information that I have been provided with.