But let us stay with the photograph on this Lobby Card. Shankar and his son are strolling in front of Bombay’s iconic Flora Fountain, while a tram passes them on the left. On it, is an advertisement for the close to three centuries-old Swiss watch company, Favre Leuba.

Bombay’s tram service was discontinued just a few years after the release of this film, in 1964, and so very quickly, this image would already have belonged to a bygone era to those who saw it. Intriguingly the tram line along this exact route was rediscovered a further 50 years later, in 2016 and has now been conserved as a part of the city’s transport history.

What’s fascinating to me about this image is that it is from a film that is fictional, with actors who are in character in this photograph, and yet it could so easily pass off as a documentary photograph of Bombay in the late 1950’s. A street photograph, that just happened to capture this father and son pair walking down the road, as people craned their necks out of a double-decker tram to observe them.

Here is another example of a Lobby Card. It is from the 1958 film, Karigar, a protracted tale of the misfortunes that befall its hero, Shankar (the man in the turban) a carpenter who was forced to sell his tools after being unable to secure employment. As fate would have it, his enterprising wife manages to secure a job for him shortly thereafter, but given that Shankar no longer possesses his tools he cannot take up the work, and lashes out against the wife who is trying to help him. Despite this humiliating treatment, his wife, Parvati, played by Nirupa Roy sells her jewellery to secure the funds to acquire new tools. Shankar manages to go to work and earn his day’s wage. That evening he takes his son to Chowpatty for an evening out, his bag of tools at his side. That is the scene we witness here. (The film is only half over at this point and many more trials and tribulations await Shankar and his family).