Video cassettes and melancholy music: Drinking in Hindi films in 1980s Shillong

In the quiet town of Shillong, nestled in the northeastern region of India, a unique cultural phenomenon unfolded during the 1980s, a period marked by the slow arrival of Hindi cinema and the emergence of video cassette technology. For many young residents, the experience of watching Hindi films became an escape from the realities of life under curfew and social division. The journey began with the arrival of news, often delayed and wrapped in the day-old newspapers from Calcutta. The movies, however, arrived even later, in the dim, smoky confines of rickety theaters. Yet, despite the challenges, the allure of cinema remained strong. In the early years of the decade, families would gather to watch Bengali films at the old Kelvin cinema in Police Bazaar, a rare moment of freedom and joy in a town frequently subjected to unrest. As the 1980s progressed, the town's restrictions eased somewhat, allowing brief periods of normalcy. During these times, parents would take their children to evening screenings, offering a glimpse into a different world. But the reality of life in Shillong meant that such outings were limited, and the town often fell silent by dusk, with everyone returning home to the safety of their neighborhoods. The introduction of television brought a glimmer of hope. State-run channels offered a weekly schedule, Chitrahaar on Wednesdays and a film each Sunday. However, the true transformation began with the advent of video cassette libraries and the VCR. These new technologies arrived several years after they had become common elsewhere in the country, yet they sparked a fervent interest among the youth of Shillong. Video cassette libraries, named with a sense of novelty, Eureka, Needo, Aristo, and Electrovision, became hubs of entertainment. They offered access to a vast array of films, though the cost of owning a VCR or VCP was prohibitive for most households. To overcome this barrier, families would rent the machines, agreeing to watch three films in two days before returning them. This arrangement transformed the living rooms into makeshift cinemas, where evenings were filled with the sounds of flickering screens and the murmurs of excited discussions. The films, filled with melodrama, heroism, and a touch of absurdity, captivated the young audience. They watched scenes of daring feats, emotional confrontations, and romantic entanglements, all while learning the names of neighborhoods in Bombay as if they were familiar streets. The impact of these films extended beyond mere entertainment; they shaped perceptions and aspirations, offering a window into a world far removed from the constraints of daily life in Shillong. Despite the occasional disapproval from elders, who remarked on the "drinking" of films, the community embraced the new medium wholeheartedly. The films were consumed without prejudice, absorbing both the campiness and the grandeur. From the zany dances of Govinda to the bold performances of Sridevi, the films left an indelible mark on the collective imagination of the town's youth. Through these cinematic experiences, a generation found solace, inspiration, and a connection to a broader cultural landscape.