![\"Saat](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/10\/Saat-Hindustani-Amitabh-Bachchan.jpg\")
Amitabh Bachchan in KA Abbas’ Saat Hindustani 1969<\/p><\/div>\n
Among the highlights of this collection is the original negatives of \u201cMahatma\u201d, about 6 hour documentary footage of Mahatma Gandhi by VithalbhaiJhaveri. Jhaveri was a photographer, filmmaker, and an associate of Gandhi.<\/p>\n
The collection also includes films which NFAI did not previously possess prints of, in any format. These include the Hindi films Faslah<\/em> (1976) and Amarsingh Rathod<\/em> (1957); the Nepali film Maiti Ghar\u00a0<\/em>(1966) by BS Thapa starring Mala Sinha and featuring music by Jaidev; the Marathi film Aalay Toofan Daryala<\/em> (1973) by Jaywant Pathare.<\/p>\n Amber 1952 starring Nargis and Raj Kapoor<\/p><\/div>\n Other important films in the collection are original negatives of:<\/p>\n Amarsingh Rathod 1957<\/p><\/div>\n * Sitara<\/em> (1939) by Ezra Mir<\/p>\n * Uski Roti<\/em> (1969) by\u00a0Mani Kaul<\/p>\n * Saat Hindustani<\/em> (1969) by KA Abbas\u2019, known for being Amitabh Bachchan\u2019s acting debut<\/p>\n * Kohinoor<\/em> (1960) the Dilip Kumar starrer<\/p>\n * Kunwara Baap<\/em> (1974)<\/p>\n * Prithviraj Chouhan<\/em> (1959)<\/p>\n * Amber<\/em> (1952) starring Nargis and Raj Kapoor<\/p>\n * Zindagi Aur Toofan<\/em> (1975)<\/p>\n * Jeevi Rabaran<\/em> (1980)\u00a0Gujarati film<\/p>\n * Banya Bapu<\/em> (1977)\u00a0Marathi film<\/p>\n * The collection also includes Kon Ichikawa\u2019s renowned film Tokyo Olympiad<\/em> (1965), which documents the 1964 Summer Olympics in Tokyo.<\/p>\n Director of NFAI Prakash Magdum said, \u201cThe entire collection has come from Famous Cine Laboratory in Mumbai and we thank them for depositing these films at NFAI. This is one of the most important acquisitions at NFAI due to the fact that large number of films have come in original\/dupe negative format. The film industry has reposed faith in depositing the material at NFAI. We appeal to filmmakers to come forward and emulate this example so that the cinematic heritage of our country can be preserved for future generations.\u201d<\/p>\n Acquiring films has been a consistent challenge for the NFAI.\u00a0All three main film producing centres \u2013 Bombay, Madras and Calcutta were colonial port cities with high heat and humidity levels that were extremely damaging to nitrate films. With no proper storage facilities, films were stored in labs or warehouses, where the adverse climatic conditions ate into them. Studio fires destroyed many a classic film\u00a0as early nitrate films were inflammable and could spontaneously combust in vaults and studios and even during projection.<\/p>\n Producers typically paid an annual deposit fees to a lab to keep the original camera negative. If the film was not successful and the producers stopped paying, the labs would send the prints away to old warehouses where they would be forgotten and left to decay.\u00a0Even families of filmmakers did not take adequate care of their classics.\u00a0 As a result, India has lost 90 percent of our silent films. Stripped bare of silver, decaying in locked cans in hot and humid, unfavourable weather conditions or sold by the kilo in flea markets, India’s rich film heritage is under grave risk and in dire need of preservation, restoration and proper archiving. This acquisition by NFAI is a significant step in the direction of film preservation.<\/p>\n Read more about India’s Vanishing Films here.<\/a><\/strong><\/span><\/p>\n More to read<\/strong><\/p>\n \u2018Films Must be Restored Like a Work of Art\u2019: In Conversation with Shivendra Singh Dungarpur<\/a><\/strong><\/p>\n![\"Amber](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/10\/Amber-1952-Nargis-Raj-Kapoor.jpg\")
![\"Amarsingh](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/10\/Amarsingh-Rathod.jpg\")