Cinema screening was revived last week in Anantnag, when a local theatre, Heewan, actually for ‘Heavan’, welcomed a big batch of CRPF personnel, as its first audience in more than three decades, to see a screening of a Hindi film, brought in from Jallundhar.

Until about one year the same movie hall was the shelter for the same CRPF men, who had been posted to not only guard the premises, but use the building as a base to send out patrolling parties into the militant in- fested town. In 1997, I had visited this theatre, curious to know the brand of the machine used in this theatre when it was operational. The projec- tor room had been taken over by the gazette offcer in charge, for use as his office cum bed-room. This theatre when operational, was the biggest movie hall in the Valley with a seating capacity of 800 seats, and owned by a family member, of Bakshi Ghulam Mohd once the Chief Minister of the State. I had to climb three floor levels, to reach the projection room where I discovered the small rewinding room with empty spools still lying around, and the main room, where a pair of Gaumont projectors where dead, still waiting for the arc rods to warm their belly. Cobwebs and dust spoke that the para military had no intent to make this place permanent for themselves. It took nearly thirty years to prove their foresight.

My first foray into theaters in Kashmir was in 1956 at The Regal near the Residency. I saw an English film. In Srinagar all movie halls screened their entertainment in four shows daily, the first one starting at around 1130 A.M. with a break which coincided with the afternoon prayer. The intermission would be extended wisely, and then the second half of the film would proceed. All evening shows screened English films except on Fridays when again there would be lull for the Jumme ki namaaz. Cinema came to Kashmir around 1932, on demand from the resident British families who would drive up from Sialkot, Mul- tan and other cantonments, for the Summer season. The British also decided to locate a big cantonment in the suburb of Srinagar town to watch over the doings of the Maharaja of Kashmir, who they never trusted. The first movie hall to be constructed was The Regal located near the British Residency. One contractor family was pushed into constructing and running the establishment. An Indian exhibitor from Amritsar offered advice on how to run the establishment, and a film distributor of Jallundhar was attached to feed this movie hall with films. For the locals, it was Palladium theatre in Lal Chowk which was most patronized. I saw my next film, a Hindi feature here, sitting on a rickety wooden seat and sharing the odour of local traders. Palladium screened the latest films and it required to get tickets in advance, to avoid disappointment. The Palladium management was also more defiant of the militants, and continued its operations until one day the militants came at night and burnt down the premises. After a couple of years, the front portion of the theatre came to be used as a Police Post and thereafter the CRPF made it a base to guard the Lal Chowk from protests.

The Valley of Kashmir had 19 cinema halls working in its peak business during the 1970s; nine of them were  running in Srinagar and its suburbs. There were three halls in Anantnag, two in Baramula , two in Sopore and the rest scattered in smaller towns. The Army had garrison movie theatres in Baramula and Sopore appropriately named after Thimayya and Zorawar respectively. The rise of militancy and Wahabism proved the undoing of the cinema trade in the Valley. The first to send out signals that cinema viewing was haraam were cadets of the Hizbul Majaahideen who circulated messages to theatre managements to stop the screenings of films in their halls. First the English films disappeared, since they also had occasionally Jewish artists, then Hindi films were slowly withdrawn. Some enterprising theatre managers even started screening smuggled Pakistani films, but to no avail. Then the militants burnt down Palladium in Srinagar and Nishat in Anantnag, to send a firm message to Kashmiris: NO FILMS FOR YOU. Cinema screenings in the Valley closed down to- tally by 1992. In fact film shooting also came to a close in Kashmir Valley until 1998 when Faroukh Abdullah, Chief Minister of J&K, went to Mumbai requesting for the return of film companies to come to the Valley. A beginning was made by a Telugu film unit from Hyderabad which came and did a ‘gorilla’ film song and returned, before the militants could know of the visitors! Once the film shows were closed, the exhibitors waited for a signal to return to business but when none came, all the property holders began to look for alternate activities to use these same premises for alternate use . Theaters in the Valley like Heewan, Samad, Shiraz, and Neelam were offered to the Security forces to convert the premises into camps. That ensured the physical safety of the infrastructures and an assured return as rents from the State. Khayyam in Nowpura was converted into a temporary hospital; Neelam located behind the Srinagar State Secretariat offered to screen films, provided the State posted a large police contingent to avoid a militant’s protest. The State posted a police post and Neelam continued to screen single afternoon shows for the better period of the social ban, but still observed the calls of the hartal which were endemic in the Valley. The Valley began to realise that after 1990, a new generation was born which had never been to a movie hall. Video piracy bloomed; viewing films by streaming on laptops also started. The elders would talk of seeing films during their youth, and Doordarshan screened films periodically which were no fun because of frequent power breaks in homes. The charm of social gathering to see films, had disappeared. The more enterprising ones, began to hire taxis to travel to Jammu and Udhampur to see their favourite films. Women would hire a bus load of their friends for such outing occasionally. The new National Highway Bypass which reduced travel time by nearly two hours between Jammu and Srinagar also led to the rise of the taxi shuttles between the two towns, solely to ferry cinema patrons. One enterprising Srinagar businessman, Vijay Dhar, son of D.P Dhar of yore, who had a hotel business in Srinagar decided to restart cinema screenings in town. He started the Broadway Theatre, but found his audience disappear often because of the many hartals that were announced. After running the theatre for three years, he closed it down and converted it into an assembly hall for wed- dings. Dhar is returning to becoming again a movie exhibitor, now that the PM Narendra Modi wanted movies to return to the Valley. This was also to assert that normalcy was returning to the Valley. But more, the return of Bollywood would also help in the return of Indian tourism. No one has forgotten how in 1965, when film Kashmir Ki Kali was released nation wide, the Valley was swamped by tourists keen to explore this part of the country. The people of Kashmir had found a new vocation for themselves, and supporting film shootings was just one of them.

Adding to the call to bring back cinema into Kashmir Valley are actors like Salman Khan who stayed in the Valley during 2015 for a long duration to film Bajrangi Bhaijan. Kashmiri Pandit Vidhu Vinod Chopra also endorsed Salman’s appeal, but the doors of the old premises are still closed.

Permanently closed, will be the doors of such old favourite centers of gatherings like Firdouz, Shah, Kapra, Regina and Naaz, names that spelt entertainment, whose owners not only brought down the shutters but also the physical structures, and replaced them with investments which sustained their families. There is a move now in the State government, to offer soft loans to any experienced enterprise which is willing to restart the business of cinema screenings In the Valley. All are still waiting, and watch how the resident militants of the Valley react to the latest call of the State Government to revive cinema in the Valley.

Even two brazen entrepreneurs will do for a beginning! Trade Magazine