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Preface  |  History  |  The Golden Age  |  Individuals and Agencies behind Marathi Cinema  |  
Marathi Cinema comes to an age  |  Stalwarts of Marathi Cinema  |  References

The contribution of many great stalwarts has resulted in Marathi cinema gaining respect and popularity over seventy-five years. These stalwarts are:

Bhalji Pendharkar:

In 1948, Bhalji Pendharkar’s Jayprabha Studio was burnt down in the riots that broke out ensuing Mahatma Gandhi’s assassination. Around 200 workers became jobless. Two films, Meeth-bhaakar and Bal Gajbar’s Mere Laal had just been shot and the films were destroyed in the fire. With grit and determination, Bhalji Pendharkar rebuilt Jayaprabha Studios and remade these two films. Meeth-bhaakar made good money and film production began again in full swing in Kolhapur.

India had become independent. Bhalji Pendharkar made films that expressed the feeling of freedom and patriotism. Movies like Bahirji Naik, Netaji Palkar and Mohityanchi Manjula, Bhalji Pendharkar made a stand against injustice and weakness. He produced movies with a strong motive towards moulding the youth into a motivated, goal-oriented future generation to lead an independent India. Bhalji’s meaningful movies were at the same time excellent in terms of technique and art. Bhalji Pendharkar’s production house was a school that created excellent artists and technicians. His staff was like a family to him. His production house ran on the principles of discipline, adherence to time, clear division of labour, prayers, chanting of mantras and a structured schedule. Artists like Sulochana, the Mandhre brothers and Jayashree Gadkar worked and became successful under him. The incidents and people during Shivaji’s time were his favorite and most of his movies depicted the same. He is aptly known as Chitratapasvi in the film fraternity.

Raja Paranjape:

In 1948, the film Jeevacha Sakha celebrated its silver jubilee. The successful trio’s - Raja Paranjape, Sudhir Phadke and G D Madgulkar - contribution to cinema is immense and had a major role to play in Marathi cinema’s golden years from 1948 till 1969. In Raja Paranjape’s Pudhcha Paaul, Raja Paranjape himself, Hansa Wadkar, P L Deshpande, G D Madgulkar and D S Ambapkar worked together. Rajabhau, as he was fondly known, produced beautiful movies like Pedgavche Shahane, Laakhachi Goshta, Oon-Paaus, Jagaacha Paathivar,Suvasini, Ha maazaa maarga ekala, Paathlaag and Padchaaya. Rajabhau was intelligent, maulti-faceted and was expert in various fields like direction, acting, writing and music. He passed away on 9th February 1979.

Acharya Atre:

Pralhad Keshav Atre was a multi-faceted personality who achieved success in theatre, journalism, literature as well as films. The legendary movie Shyamchi Aai, which received the President’s gold medal in 1953, was produced, directed and written by P K Atre. This was the first movie to receive the President’s gold medal since its inception. The song Aai mhanuni koni aais haak maari composed by Vasant Desai became very popular. The cast included Vanmala, Madhav Vaze, Damuanna Malvankar and Prabodhankaar Thakare. The next year too witnessed Atre’s movie Mahatma Phule bagging the President’s medal. The roles of Baburao Pendharkar, Bapurao Mane and Sulochana became very popular. Atre produced Shyamchi Aai, Brahmachari, Brandychi Baatli and VasantSena through his production house.

Marathi literature has always produced immortal classics. Filmmakers have always been attracted to quality stories, plays and novels. Some of these plays and novels have been adapted into films as follows:

Original Novel / Story

Author Film Producer Cast / Crew Year Year
Gad aala pan Sinha gela N H Apte Gad aala pan Sinha gela (silent)   Baburao Painter as Shivaji,
80 year old Shelarmama played by 20 year old Shantarambapu
  V S Khandekar Chhaya Hans Pictures
(Won the Best adapted screenplay from the Gauhar Gold Committee)
Na Patnaari goshta N H Apte Kunku Prabhat    
  G D Madgulkar Brahmachari, Ardhangi Master Vinayak    
Mangalagaurichya Ratri V V Bokil Pahili Mangalagaur Master Vinayak Starring Snehaprabha Pradhan and Shaahu Modak  
Doctor Nath Madhav Shikleli Baayko   Ushakiran (star),
Vasant Prabhu(music)
PaavanKathcha Dhondi,
Jait re Jait
G N Dandekar PaavanKathchi Dhondi, Jait re Jait      
Mumbai Dinank, Sinhasan Arun Sadhu (Both novels combined to produce)Sinhasan Jabbar Patel (director)    
Vrunda Sumati Kshetramade Sukhachi Savali      
Chandane Shimpit Jaa Shakuntala Gogate Adhaar Raja Paranjape (director)    
Shoonyachi Vyatha Shakuntala Gogate Kalat Nakalat      
Bhet Rohini Kulkarni Bhet      

At the start of his career, G D Madgulkar worked for free with Master Vinayak for Hans Pictures at Kolhapur. He wrote the songs for Pahila Paalna. He worked with V Shantaram for the film Ramjoshi on the story, screenplay, dialogues, acting and songs. He proved his mettle through his scripts for the movies Maya Bazaar, Vanshacha Diva, Jeevacha Sakha and Maanacha Paan. Before independence, stalwart writers like V S Khandekar, Acharya Atre and Vishram Bedekar used to write for films, but the success of the films were always credited to the directors. G D Madgulkar was responsible for bringing prestige and status to the scriptwriters and songwriters. Madgulkar not only wrote stories, but also songs in the form of bhajan, bhoopali, powada, lavani, bhavgeets and also children’s songs which were used in the movies.

Successful screenplay writers include names like Vyankatesh Madgulkar, Anna Deulgavkar, Dinkar D Patil, C Y Marathe, Y G Joshi and Pandit Mahadevshastri Joshi. Shahir Annabhau Sathe’s novels were also made into successful films. Films were also produced on G L Thokal’s and Shankar Patil’s rustic stories, D M Mirasdar’s humorous stories and Vasant Sabnis’s short stories.

Among female writers, Dahavi Pha written and directed by Sumitra Bhave and Chitra Palekar’s Dhyaasparva are worth a mention.

From Mama Varerkar to P L Deshpande and Vasant Kanetkar, the film industry has flourished due to these writers, as the story is the soul of the film.

During 1931-32, Acharya Atre turned Reverend Tilak’s poem Pakhara yeshil kadhi paratun into a parody on screen. Some poetries which came onto the screen as songs are:

Poetry Poet Film Producer Singer
Hi ek aas mani Govindagraj Vilasi Ishwar Master Vinayak  
Premswarup aai Madhav Julian Maza baal Vishram Bedekar  
Aai mhanoni koni Yashwant Shyamchi aai   Asha Bhosale
Divyatvachi jethe prachiti B B Borkar Putra vhava aisa    
Ghanashyam Sundara Shreedhara   Amar Bhupali Vasant Desai (composer)
Lata Mangeshkar, Panditrao Nagarkar

Poets Yashwant, B R Tambe, Raja Badhe, P Savalaram, M G Ranganekar, Anant Kanekar, Phadke-Khandekar duo and Atre-Varerkar duo have contributed immensely to Marathi films.

Beginning with the movie Ram Ram Pavhana in 1950, Shanta Shelke’s beautiful songs befitting situations in films entranced the audience. The talented poet Jagdish Khebudkar wrote the maximum number of poems for musician Ram Kadam. For V Shantaram’s Pinjara, Khebudkar wrote a record number of one hundred and twenty poems from which Shantarambapu selected nine of the best. Poets Grace and Suresh Bhat are also worth a mention. The list of poets who have contributed to Marathi cinema is immense.

Music Composers:

The musicians Master Deenanath Mangeshkar, Annasaheb Mainkar, Sureshbabu Mane, Dattopant Korgaonkar, C Balaji, Sadashivrao Nevrekar, Shridhar Parsekar and C Ramchandra have created an indelible mark on the world of music. Despite insufficient technology available in their times, they still managed to render beautiful compositions.

Govindrao Tembe:

Govindrao Tembe gave the music in the Deskaar raag for the trumpet in the logo of Prabhat Film Company. He was a successful musical play director, dramatist and the owner of a drama company. He introduced the concept of three-minute songs in the films. The first three films of Prabhat became back-to-back super hits. He composed songs for ten Marathi and twelve Hindi films. He also used to act out the songs to be composed. He created a foundation of music for Marathi cinema.

Keshavrao Bhole:

The sweet voiced Keshavrao Bhole came to Pune in 1926. While singing poems and bhavgeet, he also began to compose music. The era of talkies began from 1931. He paid special attention to selecting appropriate musical instruments and notes as per the requirement of the scene and the actors involved, thus enhancing the scene. He first experimented with playback singing in Krishnavatar. He composed music for Prabhat’s Amrutmanthan, Mazaa Mulga, Sant Tukaram, Kunku, etc. He married Jyotsna (Bhole) in 1932. His programs on All India Radio on Sugam Sangeet became very popular.

Master Krishnarao:

Master Krishnarao Phulambrikar used to give musical performances all over India. He was a Khyal singer from the previous generation. He had studied the sound compositions from different States of India. He was born into a family that studied the Vedas and hence had a cultural upbringing. Amarjyot was the first film for which he composed music. He moved away from the traditional method of composing music and used Sugam Sangeet instead and gave music for Gopalkrishna, Manoos, Shejari and Vasantsena. Using minimum compositions, he gave music for Ata kashala udyachi baat, and Haasat vasant ye vani, which became very popular. He has also composed the energetic tune for the evergreen Vande Mataram.

Datta Davjekar:

Datta Davjekar had worked for Pune’s Saraswati Cinetone and also under Sureshbabu Mane. He devoted more than sixty years of his life as a music composer. His career as a music composer began with Mane’s Sarkari Pahune. Later, in Kolhapur, he worked for Maze baal, Chimukla Sansar and Gajabhau. In Marathi films, Davjekar was the first one to offer playback-singing opportunities to Lata Mangeshkar and Asha Bhosale. As an independent composer, he composed music for Pedgavche Shahane, Rangalya Ratri ashya, Pathlaag and Padchaya. Along with other awards, the Government of Maharashtra honoured him with the Lata Mangeshkar Award. He also worked with the Young India Gramophone and HMV music companies as a lyricist and composer. Having composed the music for over a hundred films and composed over a thousand tunes, Datta Davjekar is indeed an incomparable artist.

Vasant Prabhu:

Vasant Prabhu rendered sweet and simple compositions which had a classical base. Lata Mangeshkar sung the Bhavgeet Ganga Jamuna dolyat ka composed by Vasant Prabhu in 1948. The trio of Lata Mangeshkar, Vasant Prabhu and P Savlaram garnered unprecedented success in the field of film music and bhavgeet after the film Kanyaadaan.

Vasant Prabhu had learnt the Katthak dance form as a child. He was tall and well built and wanted to become an actor in films so he moved to Kolhapur and Pune. Finally, he went to Mumbai and got a job as a music composer in HMV.

Prabhu composed the music for some songs as well as choreographed some dance sequences for the film Ram Ram Pavhana. He composed the music for a Thumri for the film Vaadal, which was produced under Lata Mangeshkar’s Surel Chitra. The thumri was so enchanting, that the audience at a movie theatre in Nagpur threatened to destroy the theatre if the sequence was not shown again. Finally, an extra print of only the thumri sequence was made and shown as per the requests for once mores. This is an exceptional incident in the world of cinema!

Through a lot of hard work, Prabhu managed to make actress Sulochana, a non-dancer at that time, dance beautifully for Dinkar D Patil’s film Taaraka. The audience appreciated Sulochana’s dance, and she was thus recognised as an artist who could also dance.

P Savlaram’s songs were full of motherly love, magnanimity and sentiments. His songs, Ghat doivar, ghat kamarevar and Jo avadto sarvanna became very popular. In Dinkar Patil’s ambitious film, Bhairav, Prabhu got some songs sung by Pandit Firoze Dastur and Dashrat Pujari. He made Pandit Firoz Dastur sing in raagdaari, which was unprecedented. In Putra vhava aisa, Prabhu made the Hindi film singer Talat Mahmud sing two songs in Marathi, which was a first for Talatji. He composed music for several films from 1950 to 1975.

He used to refer to Lata Mangeshkar’s voice as a gift from God. It is said that he used to think up tunes while lying in the balcony at night and the next day he would to go to his friend Maruti Keer’s house to play out the tunes on the harmonium. He was very independent and would never go out of his way to ask for work. At the same time, he was not very street smart. He was honest, straightforward, disciplined, punctual and hot tempered. He had an inbuilt sense of music. Nobody used the violin in songs as beautifully as Prabhu. His audio records always used to sell-out. His most memorable songs are: Tuzhya gala, mazhya gala, Kokila ga, Premswarup aai, Madhumaagasi mazhya, Jan palbhar mhantil. Madhu Potdar’s beautifully written book on Vasant Prabhu, Manasicha chitrakaar to has to be read to know more about Vasant Prabhu.

Vasant Desai:

Vasant Desai spent his childhood in Kokan. He moved to Kolhapur and worked at Prabhat Studios, doing any and every work that came his way. His career began there. At the Deval Club, he was fortunate to imbibe from the performances of exquisite singers like Ustad Alladiya Khan and Manji Khan. The movie Ayodhyecha Raja begins with the naandi, a musical worship to God that is performed at dramas. Vasant Desai sang this naandi. Hence, it can be rightly said that the era of talkies began with Vasant Desai’s voice. In the beginning, he sang for many Hindi films.

He played the part of the driver in Sant Dnyaneshwar. He gave all kinds of sounds like that of a bullock cart, different birds etc. He worked under the likes of Govindrao Tembe, Master Krishnarao and Keshavrao Bhole, the music directors at Prabhat. Later he worked at Rajkamal Studios with V Shantaram.

He independently composed music for the first time for the Hindi film Shakuntala, starring the popular actress Jayashree. The song Jeevan ki naav na dole featured on Jayashree broke all records and the film became a hit.

He composed catchy music for the first tamasha-oriented film Ramjoshi and for Amar Bhupali, the film on poet Honaji Bala’s life. Both the films were successful and music had a big part to play in their success. The song Ghanashyaam sundara composed for the film Amar Bhupali is memorable.

For the film, Jhanak jhanak payal baaje, he invited many classical singers and musicians like Pandit Shivkumar Sharma, Pandit Samataprasad, Sudarshan, Pandit Abdul Halim Jafar, Gopikrishna and Mridang player Ramdas at Rajkamal studios to study their art and get their inputs for the classical music in the film. He travelled across the country to study the unique musical instruments played in different regions. This film was a runaway success. Another feather in his cap was the soulful music he composed for the film Shyamchi Aai produced by Acharya Atre in 1956. He composed music to the extremely sentimental and emotional poem Aai, written by Poet Yeshwant. There were six songs in the movie. The music composed by Desai gave a genuine feel of an authentic Marathi rural setting, which greatly contributed to the runaway success of the film.

He composed the music for around twenty Marathi films. From 1942 to 1976, he gave excellent music for around forty-six movies. The song Manuskichya shattrusange yuddh amuche suru, Jinku kinva maru from the film Chotta Javan and the songs Dev jari mazha and daiva janile kuni from Molkarin are extremely popular. The music for the songs in Iye Marathichiye nagritil was apt.

Vasant Desai received many awards and honours. In 1967, he was awarded the Padmashri at the hands of Dr Radhakrishnan. He enacted roles in some films too. He also sang excellently for a few Hindi and Marathi films. From 1960 to 1975, he reinstated musical plays and composed music for them. He gave music for thirteen short films. He started a unique experiment of composing simple, easy tunes for Marathi poems in children’s textbooks. Some of these poems are Ya baai ya, Devaa tuze kiti, Anandi anand gade. He composed many classical music based songs. He brought many stalwarts from the classical music world into the film industry. His greatest contribution was bringing together the school students of Maharashtra for group singing and choruses known as Ek sur, Ek taal. He taught patriotic and socially relevant inspirational songs through this medium to thousands of students. Encouraged by Pandit Nehru, the Government of Maharashtra made this venture successful.

Be it composing classical music based songs, or using Indian instruments, Desai’s contribution to the field of film music is immense.

Vasant Pawar:

Vasant Pawar was an excellent sitar player. His first film as a music director was Ketakichya banaat in 1950. Thereafter, he composed music for the songs Bala jo jo re, Chimni Pakhra, Stree janmaa hi tuzhi kahani and Mahatma which became extremely popular. He was a playback singer too. His song Eka talyat hoti from Sukhacha Sobti is still popular. He composed music for Bahinabai’s poem Khopyamadhi Khopa for one of his films – in fact he was the first to introduce Bahinabai’s excellent poems into the film industry. Sulochana Chavhan sang the two lavanis Tuzha usaala laglaay kolha and Padaravarti jarataricha mor nachara hava for the film Malhari Martand, which were the pinnacle of his work. Vasant Pawar passed away at the age of forty-five. Music aficionados regret to this day that such a great artist was never given his due status or recognition in his lifetime.

Lavani King Ram Kadam:

Ram Kadam was born poor and had a difficult childhood. He was fortunate to spend some time with Saint Gadage Baba. Kadam used to play the clarinet in a band at Miraj. The audience would exultantly honour him with a garland of notes on hearing his music. He stayed for a few years with the noted artist Abdul Karim Khan at Miraj and dedicatedly learnt classical singing under him.

Later, he worked as an office boy at Prabhat Studios. He learnt lavani under Patthe Bapurao. He also worked as Sudhir Phadke’s assistant for some time. His first film as an independent music director was Bhalji Pendharkar’s Meeth Bhakar. He worked with Prabhat for nine years. He felt immense gratitude towards Prabhat Studios for having given him the opportunity to establish his career. Later he also worked at All India Radio Pune.

In 1957, Kadam scored the music for Anant Mane’s film Sangtye Aika. The lavani, Bugadi mazhi sandli ga…was and still is an evergreen lavani. Kadam had a lion’s share in the runaway success of the film. He scored music for hundreds of films from 1951’s Gavgund till 1973’s Pinjara. All his songs have become extremely popular in Maharashtra and to-date have enthralled the audience.

He was knowledgeable of all kinds of musical instruments. Although Lavani was his specialty, he was also adept at composing music for all kinds of songs. He had an amazing ability to compose music the instant he got his hands on the lyrics. He was also known for sitting for hours in the studio and recording fifteen to sixteen songs back to back. During the recording of Pinjara, V Shantaram would sit and listen to all the tunes till he liked one. Kadam composed thirty-nine tunes for the song De re kanha until Shantarambapu chose the one that he liked.

Ram Kadam himself sang a few songs like Dhangarachi Mendhra, Bajirao Nana, and Dajibachya Wadyat gadbad zaali. He scored the music for some plays like Nartaki and Katha aklechya kandyachi. It is a record of sorts that around one hundred and fifteen singers sang under him. He also produced some films like Gad Jejuri Jejuri and Pavala.

Ram Kadam, Jagdish Khebudkar and Anant Mane produced the tamasha-oriented film Kela ishara jaata jaata, which began a wave of tamasha-based movies.

Ram Kadam adeptly provided music for all genre of music from folk songs to sugam sangeet. He was straightforward person, very sentimental, sensitive, loving and detached from politics of all kinds. He passed away in Pune in October 1997. Madhu Potdar has penned Kadam’s biography, Chhinni Hatodyacha Ghaav. He says that Kadam was a true Marathi manoos and a great musician. By composing music for lavanis, he took lavani to new heights and gave it a brand new image with a wider acceptance and appreciation. Ram Kadam had an enriching career spanning sixty years as a veteran and prominent music composer. The audience aptly named him Lavani King.

Sudhir Phadke:

Babuji, as he was fondly known, reached the pinnacle of success with Geet Ramayan.

He began his career with Prabhat’s film Gokul and went on to sing and compose for around one hundred and fifty films. He has so eloquently sung Saint Chokha Mela’s abhanga in the film Johar Maaybaap that the audience can almost feel the pain and suffering of Chokha as they heard the abhangs. From 1948 till 1988, he composed beautiful music for excellent films like Vande Mataram, Seetaswayamvar, Maya Bazaar, Pudhcha Paul, Suvasini and Jagachya Paathivar.

His compositions were seemingly very simple but beautiful. Being a singer as well as a composer, he gave justice to all his songs. He always stressed on clear diction, which contributed towards the deep effect that his songs had on the audience.

Hridaynath Mangeshkar:

Hridaynath Mangeshkar first scored music for Bhalji Pendharkar’s film Akashganga in 1959. His guru was Pandit Husnalal Bhagat. He scored excellent music for the 1966 film Pavankond cha Dhondi, 1968 film Dharmakanya and later for Chani, Jait re jait, Janaki, Sinhasan and Umbartha.

His forte was intelligently blending folk music and classical music, compositions, which were easy to listen to but difficult to sing using minimum of instruments. Some of his classical compositions, which were appreciated by the common audience are: Swaragangechya kathavarti, Tinhisanja sakhe milalya, Chandane shimpit ja and Ti geli tevha.

Music directors that must also be mentioned are Dhashrath Pujari, Dada Chandekar, Yashwant Deo and Shrinivas Khale. The popular music directors of today include Shridhar Phadke, Anand Modak, Ashok Patki and Ajay-Atul.

In Ayodhyecha Raja, Durgabai Khote and Govindrao Tembe acted and sang their own songs. Prior to that, Kamlabai Gokhale was the first female actor in Dadasaheb Phalke’s Mohini Bhasmasur. It is very long list of actors since then. Some of the very best actors and actresses are briefly mentioned here.

Leela Chandragiri, Master Vinayak, Baburao Pendharkar, Jyotsna Bhole, Sureshbabu Mane, Keshavrao Date, Nalini Tarkhad, Balgandharva, Master Avinash, Shobhana Samarth, Vishnupant Pagnis, Ratnaprabha, Leela Chitnis, Anant Marathe, Shanta Apte, Dada Salvi, Meenakshi, Vishnupant Jog, Shanta Hublikar, Shahu Modak, Gajanan Jahagirdar, Hansa Wadkar, Jayashree, Master Krishnarao, Baby Shakuntala and Lalita Pawar were artists from Prabhat.

Artists from other production houses include:

Master Vitthal, Chandrakant, Sulochana, Suryakant, Jayashri Gadkar, Bhalji Pendharkar, Raja Paranjape, Chandrakant Gokhale, Rekha, Chitra, Raja Gosavi, Seema Deo, Ramesh Deo, Ushakiran, Jayram Shiledar, P L Deshpande, Bhalchandra Pendharkar, Panditrao Nagarkar, Sandhya, Nalini Jaywant, Ranjana, Uma, Arun Sarnaik, Nilu Phule, Asha Kale and Leela Gandhi.

Sulabha Deshpande, Dada Kondke, Usha Chavhan, Dr. Shriram Lagoo, Ganpat Patil, Vikram Gokhale, Dr. Kashinath Ghanekar, Ashok Saraf, Ravindra Mahajani, Smita Patil, Yashwant Daft, Dilip Prabhavalkar, Amol Palekar, Sachin, Supriya, Laxmikant Berde, Mahesh Kothare, Nana Patekar, Ashwini Bhave, Varsha Usgaonkar, Usha Naik, Alka Kubal, Ajinkya Deo and Smita Talwalkar.

The great comedy artists in Marathi cinema are Dinkar Dhere (Kammanna), DamuAnna Malvankar, Vasant Shinde, Dhumal, Madhu Apte, Sharad Talwalkar, Dada Kondke, Ganpat Patil and Raja Mayekar. The presence of these artists in the films was guaranteed to make it a success. They effortlessly managed to perform a sorrowful scene with humour that invariably brought a lump to the audience’s throat. Vasant Shinde began his career as a silent film artist in 1924 and performed in multiple films till 1994. Having worked in 185 movies, 105 plays and 57 folk plays, the multi-talented and dedicated Shinde was a living history of Marathi cinema. Madhu Potdar has penned Shinde’s biography in Vinodvruksha.

In recent times, Kedar Shinde (director), Bharat Jadhav, Makarand Anaspure, Ankush Chaudhari, Sandip Kulkarni, Sanjay Narvekar (actors), Ajay-Atul (music directors) are worth a mention.

Film-making is teamwork. It is a process that involves art, science and technology. It is a blend of technical skills, creative intelligence and experimentation. The techniques of cinema involve art, sound, editing and cinematography. Some of the best technicians of Marathi films are:

Sound: Vishnupant Damle, Kulkarni-Lonkar, Shankarrao Damle, S K Kale, Govindrao Damle, Ruben Moses, Dadasaheb Torne etc.

Cinematography: V Avdhut, Keshavrao Dhaybar, Pandurang Naik, E Mohammed, Bal Bapat, Vasant Shinde, Datta Gorle, Annasaheb Salunke, V Bargir, Arvind Lad, S J Patel, K V Machve, etc.

Editing: Bal Korde, Madhav Kamble, A R Shaikh, Raja Thakur, Madhav Shinde, Anant Mane, etc.

Art: Sahebmama Fattelal, Vasant Painter, M D Thakur, Vasant Thengdi, Shripatrao Mestry, Bal Gajbar, J D Jondhalekar, S K Kale, Kanu Desai, etc.

Art as a medium was extremely effective in the pre-independence era to sow the seeds of independence, and also in the post-independence era to socially and politically rebuild the country. In those days, musical plays, fairs, bhavgeet programs were a source of entertainment, but films, without compromising on its artistic and entertainment value became the most effective medium to disseminate the message of an independent, proactive India. Visionaries like Dadasaheb Phalke, Baburao Painter, Bhalji Pendharkar, Dadasaheb Torne, V Shantaram and P K Atre created a revolution. The classics made by these stalwarts helped to expand the horizons, the expectations and mindset of the common Indian audience. Till date, the artists and the audience have maintained this tradition.

Today’s films reflect the changed mindset. Let us be grateful to all those artists all over the world who present before us a kaleidoscope of human nature, values, thoughts and actions through the lens of the cinema.


Preface  |  History  |  The Golden Age  |  Individuals and Agencies behind Marathi Cinema  |  
Marathi Cinema comes to an age  |  Stalwarts of Marathi Cinema  |  References



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