"Join me, one of the contributing writers, as I interview the editors, also curators, of 'The Swinging Seventies,' diving deep into the decade's cinematic legacy and the making of this comprehensive anthology,” writes Vinta Nanda.

The Swinging Seventies is more than just a collection of essays; it is a tribute to a decade that shaped the course of Indian cinema. Curated and edited by Shantanu Ray Chaudhuri and Nirupama Kotru, this anthology brings together some of the most insightful voices in the world of Indian cinema to explore a time when Hindi films reflected the broader socio-political changes sweeping across the nation. Shantanu, an experienced film critic and journalist, has held editorial positions at Penguin India and Harper Collins and is now the editor of Om Books International, the publisher of this anthology. His extensive experience in publishing, combined with his passion for cinema, made him an ideal collaborator for this project. Nirupama, a senior civil servant with an unyielding passion for films, added a unique dimension to the book by blending her administrative expertise with her deep love for cinema.  

This anthology brings together the insights of some of the most esteemed writers on Hindi cinema today. Contributors include Raja Sen, Alaka Sahani, Amborish Roychoudhury, Amrit Gangar, Deepa Gahlot, Nandini Ramnath, Roshmila Bhattacharya, S M M Ausaja, Sathya Saran, Niyati Bhat, Jai Arjun Singh, Balaji Vittal, Ratnottama Sengupta, Deepa Buty, Humrahi Jain, Anshul Verma, and Raj Kanojia.

Together, and along with many others, they offer a rich tapestry of perspectives on a decade that shaped the art and craft of filmmaking in India, making this anthology an essential read for any film aficionado looking to explore the vibrant legacy of the 1970s.

Explore the golden era of Indian cinema with "Swinging Seventies," an anthology that dives deep into the decade that transformed Bollywood. Curated by Shantanu Ray Chaudhuri and Nirupama Kotru, this book offers a rich collection of essays that reflect on the cinematic and cultural shifts of the 1970s. Whether you are a cinephile or a history buff, "Swinging Seventies" provides an insightful look at the films, music, and characters that defined an era, making it an essential read for anyone interested in the evolution of Indian cinema.

How do you define the cinema of the 1970s after this journey of bringing the book to this stage?

Nirupama Kotru (NK): Shantanu and I belong to Generation X, as do most of our contributors. While we experienced blockbusters like Sholay on the silver screen, we often watched "art" films such as Manthan and Nishant on Doordarshan. The 70s brought a variety of genres—comedy, drama, action, romance, crime—and sometimes, multiple genres were combined into what we called "masala" films. The decade's charm lay in its diverse characters, from villains and vamps to good samaritans and angry young men. These films captured the nation's mood, and our goal was to explain to future generations why and how this decade stood out in Indian cinema.

Shantanu Ray Chaudhuri (SRC): The fascinating thing is that, even after all these essays, there's no single way to define the era. It was a melting pot of kitsch, OTT fashion, and ‘everyman moments’, like in the song "Chhoti Si Baat." As BD Garga described Indian cinema as 'so many cinemas,' the 70s encapsulated this diversity. From Joginder's Ranga Khush to Mani Kaul's Duvidha, the decade defies easy definition, making it an era impossible to encapsulate in one narrative.

How did the two of you decide to bring out this anthology of essays? And, why the 1970s?

NK: The book came together almost serendipitously. Shantanu invited me to the launch of a book on Soumitra Chatterjee, and soon after, we found ourselves collaborating on this project. Shantanu had considered the idea for some time and convinced me that an anthology was the best format for this exploration. Our diverse backgrounds—my experience in the Ministry of Information & Broadcasting and Shantanu's expertise in film writing—enriched the project. The 70s were a decade of turbulence, which naturally influenced our cinema. The political and social unrest left a profound impact on the films of the time, making the 70s a particularly significant period to explore.

SRC: To add to what Nirupama said, the 70s have always fascinated me, particularly because of icons like Amitabh Bachchan, Kishore Kumar, and RD Burman. The era held a charm I found irresistible, best epitomized in the songs of Amit Khanna and Bappi Lahiri. The idea for this book had been brewing for over a decade. When I met Nirupama on Facebook a couple of years ago, the project finally began to take shape. Unfortunately, I had forgotten about an earlier proposal from Deepa Gahlot at HarperCollins regarding a book on 70s cinema, but everything fell into place once Nirupama and I started collaborating.

Tell us about the essayists you gathered for the book—what was the experience like?

NK: Saeed Mirza encouraged us to bring together the best film historians, writers, and archivists. I reached out to my friends in the film industry, such as Vishal Bhardwaj and Rajat Kapoor, who were incredibly supportive. The diversity of voices in the book is one of its greatest strengths. We have contributions from well-known film writers like Aseem Chhabra, Kaveri Bamzai, and Raja Sen, as well as industry veterans like Subhash Ghai. The range of contributors reflects the diversity of the era itself.

SRC: Many of the contributors were authors I had published before, like Jai Arjun Singh, Balaji Vittal, and Gautam Chintamani. Nirupama brought in her network, adding fresh and unique perspectives to the anthology. We also wanted to include voices that weren't usually associated with writing about cinema, like Gajra Kottary. The experience of bringing together such a diverse range of top names was unparalleled, and it’s a testament to the richness of the era that we were able to assemble such an eclectic group of contributors.

What apprehensions did you have before the book was published, and how do those fears compare to the book's success?

NK: With a massive tome like this, the fear of errors—whether factual or typographical—was always there. However, the love and affection the book has received has far exceeded our expectations. We initially planned to launch the book in a couple of metro cities, but it organically grew into a nationwide tour. We've had successful launches at prestigious venues like the Habitat Centre in Delhi, the National Gallery of Modern Art in Bangalore, and the Royal Opera House in Mumbai. The response has been overwhelmingly positive, making the experience exhilarating.

SRC: Our biggest apprehension was whether we had taken on more than we could handle. The enormity of the task only became apparent once we started working on the book. Despite the book's 600 pages, we know there were a few significant omissions, such as Vanraj Bhatia and Joginder. However, the reception has been fantastic, with many calling it the definitive book on the era. Now, the challenge is how to incorporate the essays we missed in a potential reprint without turning the book into an unwieldy tome.

What's next for you? Are you continuing to write about Indian cinema, or are you exploring new avenues?

NK: Shantanu is a prolific writer, while I write whenever inspiration strikes. My next project is translating the complete works of Balraj Sahni from Hindi to English, bringing his life and work to younger generations of Indians. I’m also planning a book on the evolution of censorship in Hindi cinema, given my experience in the field. Additionally, I hope to complete a book of short stories, possibly interspersed with some poetry.

SRC: I can never have enough of films. For now, I’m back to commissioning books at Om Books International. I also plan to return to poetry and explore screenwriting as something new to learn. The journey continues, and there’s so much more to explore.