The Dawn of Indian Cinema; Raja Harishchandra and the Birth of a Dream!
In the early years of the 20th century, India was still under British rule, and the world was witnessing a new form of magic; moving pictures. The Lumière Brothers had screened their first films in Paris in 1895, and within a year, this revolutionary invention reached Bombay (now Mumbai). The Indian audience, unaccustomed to the spectacle of moving images, was both fascinated and mystified. Yet, it took a visionary named Dhundiraj Govind Phalke, later known as Dadasaheb Phalke, to transform this fascination into a full-fledged artistic movement; the Indian film industry.
The Inspiration That Changed Everything
Born in 1870 in Trimbakeshwar near Nashik, Phalke’s early interests lay in photography, printing, and visual arts. After studying at the Sir J. J. School of Art in Mumbai, he worked in the printing business in Pune. It was here that his technical curiosity blossomed. A chance viewing of a film called The Life of Christ in 1910 inspired him deeply. Phalke later wrote, “As I watched Jesus bringing the dead to life, I felt; can we not make films on our gods and stories?”
This question became his life’s mission. Phalke sold his belongings, pawned his wife’s jewelry, and even took loans to travel to London to study filmmaking. He purchased a Williamson camera, learned film processing techniques, and returned to India; determined to make the country’s first full-length motion picture.
The Making of Raja Harishchandra
In 1912, Phalke began shooting Raja Harishchandra, a story rooted in Indian mythology about a king known for his truthfulness and sacrifice. The film was entirely self-financed, and every challenge became an opportunity. Since women in India then considered acting inappropriate, the female roles were played by men. The shooting took place mostly in and around Pune and Dadar, using natural light and improvised equipment.
Phalke not only directed the film but also handled the camera, editing, makeup, costumes, and even film development at home. His wife, Saraswati Phalke, played a crucial role; washing reels, preparing sets, and managing the household simultaneously.
When Raja Harishchandra was finally released at the Coronation Cinema in Bombay on May 3, 1913, history was made. The film lasted about 40 minutes and was an instant success. Audiences were spellbound to see Indian faces, Indian stories, and Indian gods come alive on the screen for the first time.
The Birth of an Industry
The success of Raja Harishchandra marked the birth of the Indian film industry, with Phalke earning the title Father of Indian Cinema. What began as a one-man mission soon turned into a nationwide phenomenon. Within a decade, numerous studios emerged in Mumbai, Pune, and Kolhapur; forming a powerful cinematic triangle that shaped the destiny of Indian cinema.
Pune and Kolhapur; The Supporting Pillars
While Mumbai became the commercial capital of film production, Pune and Kolhapur became centers of creativity and innovation. Pune, known for its intellectual and artistic environment, attracted technicians, writers, and photographers who provided the cultural foundation for Phalke’s and later filmmakers’ work. Kolhapur, with royal patronage under Chhatrapati Shahu Maharaj, would soon emerge as the cradle of Marathi cinema.
The collaboration among artists, painters, musicians, and theatre personalities from these regions enriched early Indian cinema. This triangle; Kolhapur for creativity, Pune for craft, and Mumbai for commerce; became the lifeblood of the industry.
Phalke’s Vision and Legacy
Phalke went on to make over 90 films and short features, each one driven by his mission to popularize Indian mythology, morality, and values through cinema. His later works like Mohini Bhasmasur (1913) and Lanka Dahan (1917) pushed technical and narrative boundaries. Despite financial hardships and limited recognition during his lifetime, Phalke’s influence never faded. In 1969, the Government of India instituted the Dadasaheb Phalke Award, the highest honor in Indian cinema; a fitting tribute to the man who lit the first lamp of Indian storytelling on screen.
The Spark That Ignited a Century of Dreams
More than a century later, Raja Harishchandra is remembered not just as a film but as a revolution. It demonstrated the power of indigenous creativity in an era dominated by Western technology and culture. The dream that began in Phalke’s modest Dadar bungalow laid the foundation for an industry that would become the world’s largest in terms of output; spanning Bollywood, Marathi cinema, and hundreds of regional industries.
From that flickering image of Harishchandra on the screen to today’s high-definition blockbusters, Indian cinema’s journey continues; rooted in Phalke’s belief that the art of storytelling belongs to everyone.
Kolhapur; The Cradle of Marathi Cinema!
When we trace the roots of Indian cinema beyond the pioneering work of Dadasaheb Phalke, one city stands out as a powerful cultural beacon; Kolhapur. Often celebrated for its rich heritage, art, and royal tradition, Kolhapur was also the birthplace of Marathi cinema and a nurturing ground for some of India’s greatest filmmakers. Long before Mumbai became Bollywood’s capital, Kolhapur had already established itself as a film-making powerhouse; blending royal patronage, artistic excellence, and technical innovation.
Shahu Maharaj’s Visionary Patronage
In the early 20th century, Kolhapur was under the enlightened rule of Chhatrapati Shahu Maharaj, a monarch known for his progressive social reforms, love for education, and deep respect for the arts. Shahu Maharaj believed in cinema as a medium of education and social awakening. He invited artists, dramatists, and technicians to experiment with this new visual art form.
At a time when film making was considered uncertain and even frivolous, Shahu Maharaj recognized its potential to influence minds and preserve culture. He extended royal support to local artists, allowing Kolhapur to blossom into a center of creativity; much like Florence during the Renaissance.
The Birth of the Maharashtra Film Company
Among those inspired by Shahu Maharaj’s vision was Baburao Krishnarao Mestri, better known as Baburao Painter. Trained in fine arts, Baburao was an exceptional painter, sculptor, and technician. In 1918, he founded the Maharashtra Film Company in Kolhapur; one of India’s earliest and most influential film studios.
The company became the nucleus of silent cinema in western India. Its early films; Sairandhri, Savkari Paash, and Sinhagad; showcased remarkable storytelling rooted in Indian ethos. Baburao’s films were visually stunning, often using intricate sets, natural lighting, and expressive art direction that reflected his background in painting. His studio also became a training ground for future legends like V. Shantaram, Keshavrao Dhaiber, and V. G. Damle, who later shaped the golden era of Indian cinema.
Kolhapur’s Artistic Ecosystem
Kolhapur’s success as a film hub was not accidental. The city had long been home to theatre troupes, musicians, dancers, and artisans; all of whom seamlessly transitioned into cinema. The Marathi stage had already created a large audience base that appreciated storytelling, dialogue, and social themes.
Painters created backdrops; dramatists wrote scripts; theatre actors brought emotional depth; and local musicians composed original scores for silent films that were performed live during screenings. Kolhapur’s films were a community effort; a true example of art and industry working together.
Themes and Social Relevance
While much of early Indian cinema elsewhere focused on mythological tales, Kolhapur filmmakers often highlighted social issues, reformist ideas, and human emotions. Baburao Painter’s Savkari Pash (1925) is a remarkable example; a story about the exploitation of farmers by moneylenders. Considered India’s first social-realist film, it reflected the concerns of common people and the reformist zeal of the era. This socially conscious approach distinguished Kolhapur’s cinema from the commercial escapism that later defined mainstream Bollywood. The city’s filmmakers used cinema not just for entertainment but as a mirror to society.
The Rise of Jayaprabha Studio and Chitranagari
By the 1930s and 1940s, Kolhapur had multiple film units and studios. Among them, Jayaprabha Studio, founded by Bhalji Pendharkar, became a prominent name. Bhalji was both a historian and filmmaker who used cinema to retell the glorious past of Maharashtra. His films like Maharathi Karna, Netaji Palkar, and Sant Dnyaneshwar blended history, devotion, and patriotism.
As the industry expanded, Chitranagari (Kolhapur Film City) was established; a sprawling studio complex designed for film production. Even today, it remains one of the most scenic and affordable locations for Marathi and Hindi film shoots.
Kolhapur’s Influence Beyond Borders
Kolhapur’s cinematic excellence soon spread beyond Maharashtra. Many technicians and directors trained here moved to Pune and Mumbai, bringing with them the discipline, artistry, and storytelling techniques honed under Baburao Painter and Bhalji Pendharkar.
V. Shantaram’s transition from Kolhapur to Pune’s Prabhat Studio is a perfect example of this migration of talent. The technical skills, aesthetic sensibilities, and social consciousness of Kolhapur cinema became the backbone of Indian film making for decades.
A Lasting Legacy
Even as Mumbai became the economic center of Indian cinema, Kolhapur retained its creative identity. The city continues to produce acclaimed Marathi films and remains an important training ground for new filmmakers. Kolhapur’s blend of realism, history, and human emotion still defines the essence of Marathi cinema.
In recent years, films like Katyar Kaljat Ghusali, Sairat, and Fandry; though made elsewhere; carry the same spirit of authenticity and regional pride that originated in Kolhapur a century ago.
A brief...
Kolhapur’s role in shaping Indian cinema is immeasurable. It was here that art met purpose, and imagination met reality. Supported by royal vision, enriched by local talent, and guided by social consciousness, Kolhapur became the cradle where Indian cinema learned to walk, speak, and dream.
As we continue this journey through the cinematic triangle, Kolhapur stands as the foundation; the soil from which Pune and Mumbai’s film industries would later bloom.