1.Bharat Ki Beti
Bharat Ki Beti (India's Daughter) is a 1935 Hindi social film directed by Premankur Atorthy. The cast included Rattan Bai, Gul Hamid, Yasmin, Amirbai Karnataki , Gope, Dadabhai Sarkari and Hari Shivdasani. The music direction was credited to Jhande Khan and Anil Biswas. This was actor Hari Shivdasani’s second film, having begun his career with Dharma Ki Devi (1935) the same year. Produced by Eastern Arts, Bharat Ki Beti focused on the nationalistic viewpoint while India was still under British rule.
The devotional song, "Tere Poojan Ko Bhagwaan Bana Man Mandir Alishan" sung by Rattan Bai in this film is still regarded as a classic bhajan.
Song list
Ishwar Ne Jab Prem Banaya
Shyam Sundar Ki Bansri Jag Mein Sukh Ka Geet Sunaati Hai
Sansaar Ke Sundar Roop Ka Lobhi
Aye Bhanwra Sanan Manan Sankari Maare
Hamari Kahi Maano Ae Babu Ji
Naina Neer Bhar Aaye Saanwre
Deen Dayal Daya Karke Anil Biswas
Dhoondat Kahan Jangal Jangal Jangal Man Mein Baawri
Prabhu Mori Naiyya Paar Karo
Pyari Tori Rangat Badi Mazedaar
Ghanshyam Bhaj Man Baarambaar
Rattan Bai
https://www.youtube.com/watch?v=KbEltAAdsww
Rattan Bai was an Indian film actress and singer, and the ancestress of several Bollywood film stars. She was the mother of actress Shobhna Samarth and thus the grandmother of actresses Nutan and Tanuja. After the first Indian "talkie" film was released in 1931, the ability to sing became a major qualification when selecting actors for movies. In this era, the women were apprehensive of appearing on stage or in films. Thus, women who were willing and able to work in films were a rarity. Rattan Bai was a fairly talented singer who wrote bhajans, composed and sang them as well. She published the lyrics of her Bhajans to distribute among friends who would sing with her during Mahashivratri celebrations at her home in Chembur, Mumbai. Ratanbai acted in only one Marathi film called Swarajyachya seemewar, as Shivaji's mother.
(She is not to be confused with another Rattanbai who acted in the films Yahudi ki ladki, bharat ki beti, and sang "Tere poojan ko bhagwan".)
Rattan Bai was already in her forties when she made her film debut in 1933. Her teenage daughter Shobhna Samarth became interested in films and made her own debut in 1935. In 1941, Rattan Bai's brother's daughter Nalini Jaywant also made her film debut. Later, Shobhna married director Kumarsen Samarth and the couple had two daughters, Nutan and Tanuja, both becoming celebrated actresses. Tanuja married Shomu Mukherjee, a writer & film producer. In the next generation, Nutan's son Mohnish Behl and Tanuja's daughters, Kajol and Tanisha became film stars, and Kajol is married to the film star Ajay Devgan.
2.Bhikharan
Bhikharan (Beggar-Maid) also called Song of Life, is a 1935 Hindi melodrama film directed by Premankur Atorthy. The film was produced by Kolhapur Cinetone and starred Rattan Bai, Master Vinayak, Hafisji, Pramila, and Gundopant Walawalkar. The camerawork was by V. B. Joshi. The music for the film was composed by H. C. Bali.
Madhavi (Rattan Bai) is married to Kedar (Hafisji). The rich Chandra (Pramila) enters their life and since Kedar wants to marry her, he asks Madhavi to leave. Chandra is in love with the artist Kumar (Master Vinayak), but is forced into marriage with Kedar. Madhavi takes to begging on the streets by singing. She meets Kumar and models as his muse. Kumar and Madhavi fall in love but Chandra enters their life and Madhavi has to leave again. This time she becomes a famous singing star. After several dramatic situations Kumar and Madhavi reunite and get married.
Full Cast
Rattan Bai as Madhavi, Master Vinayak as Kumar, Hafisji as Kumar, Pramila as Chandra, Gundopant Walawalkar, Firoze Bai,Pawar,Raja Pundit
Song list
Wo Lage Hain Aaj Is Tadbir Men
Tadapte Laute Hai Naala-O-Fariyaad Karte Hai
Chal Sajan Aise
Deepak Ka Ujla Prakash
Nishan Gham Ke Rajjo Hue Kyun Ayaan
Josh-e-Junoon Ne Kr Diye Noor-o-Nazar Alag Alag
Prem Kiya Tha Is Vichar Se
Sagri Rain Mohe Baat Dikhayi
Tilchatta Haye Tilchatta Chipkali Ne Pakad Liya
Zamana Ek who Bhi Tha
Chhaya Hai Charon Aur Andhera
3.Chandrasena
Chandrasena is a 1935 Hindi/Marathi mythology drama film directed by V. Shantaram for his Prabhat Film Company. The film was made simultaneously in Marathi. The cinematographer was K. Dhiaber and the story and dialogue were by Shivram Vashikar. The music direction was by Keshavrao Bhole with lyrics written by K. Narayan Kale. The cast included Nalini Tarkhud, Sureshbabu Mane, Kelkar, Rajani, Shantabai and Azurie.
The film was a remake of Shantaram and Dhaiber directed Marathi film Chandrasena of 1931. The story revolves around an episode in Ramayana where Chandrasena, wife of Ahiravan, (Mahiravan’s (brother), helps Hanuman defeat Mahiravana’s army, and in the process free Rama and Lakshmana from Pataal.
Indrajit, brother of Ravana, has Rama and Lakshmana kidnapped by Ahiravan and Mahiravana. Mahi hides them away in Pataal. Hanuman, the monkey-god, goes to their help. He is stopped by Makardhwaja whom he defeats. Makar takes him to Chandrasena, wife of mahi who worships Rama and desires to spend her life with him. With her help, Hanuman manages to defeat the entire army of Mahi and ultimately Mahi himself when he continues to multiply into a vast army. Chandrasena tells Hanuman the secret of destroying Mahi because of which he is able to release Rama and Lakshmana from Pataal.
Full Cast
Nalini Tarkhad as Chandrasena,Rajni,Sureshbabu Mane as Ram,Kulkarni as Lakshman, Pahelwan
Kelkar as Mahiravan, Manajirao as Hanuman, Buwasaheb, Shantabai, Azurie
Nalini Tarkhud
http://cineplot.com/nalini-tarkhud-profile/
4.College Girl
director;Jayant Desai
Cast:Madhuri, Ishwarlal Keki Adjania, Sheela Devi, Shanta, Raja Sandow, Khatoon, Ghory, Dixit, Charlie, Ram Apte
Raja Sandow
The Tamil Nadu Government has instituted an annual award in his name called Raja Sandow memorial Award, given for outstanding services to Tamil Cinema. A Postage stamp has been in issued in recognition of his contributions to Indian cinema.
Raja Sandow began his career as an actor in silent films and later became a prominent actor and director in Tamil and Hindi films of the 1930s. He is considered to be one of the pioneers of early Indian cinema.
Raja Sandow was born in Pudukottai, Tamil Nadu. He was trained as a gymnast and started his film career as a stunt actor in S.N. Patankar's National Film Company at Bombay. He was given the name "Raja Sandow" because of his physique (after strongman Eugen Sandow).His first lead role was in Patankar's Bhaktha Bhodhana (1922), for which he was paid Rs. 101 as salary. He became famous by starring in silient films like Veer Bhemsen (1923), The Telephone Girl (1926). After acting in a few silent films he also worked as a director in Ranjit Studios for a monthly salary. His first film as director was Sneh Jyoti (1928).
Returning to Tamil Nadu, he directed and acted in a number of silent films for R. Padmanaban's Associate Film Company. Many of his silent films had reformist social themes like Peyum pennum (1930), Nandhanar (1930), Anadhai Penn (1931), Pride of Hindustan (1931) and sathi usha sundari (1931). After talking films were introduced with Alam Ara in 1931, he went back to Bombay and starred in many Hindi and Tamil talkies. He was often paired with the actresses Gohar and Sulochana (Ruby Myers). Between 1932–35, he acted in many socially themed Hindi films like Shyam sundar (1932), Devaki (1934) and Indira MA (1935). In 1935, he was commissioned to direct his first Tamil film Menaka and returned to Madras. He continued directing and acting in films till his death in 1943. Vasantha Sena(1936), Chalak Chor (1936), Chandra kantha (1936), Vishnuleela (1938), Thiruneelakantar (1939) and Choodamani (1941) were some of the films he directed and starred in during that period. The last film he worked in was Sivakavi (1943).
Sandow suffered a heart attack and died at Coimbatore on 25 November 1943.
Sandow was the first Tamil film director to adopt the practice of using names of actors in film titles. He was the first to introduce intimate kissing scenes and dancers in revealing costumes to the then conservative Tamil film industry. He was also the first director and producer to move Tamil cinema from remaking mythological stories and into making social themed films. He even advertised his films as "Don't miss to see your own picture". Sandow was also the first director to use Tamil literary works for film by directing Anadhai penn in 1931 based on Vai. Mu. Kothainayagi Ammal's novel of the same name.
Devdas is a 1935 bengali film based on the Sharat Chandra Chattopadhyay novella, Devdas.Directed by Pramathesh Barua, it stars K.L. Saigal as Devdas, Jamuna Barua as Parvati (Paro) and Rajkumari as Chandramukhi. It was later released in hindi in 1936 and in assamese in 1938.
Devdas (K. L. Saigal) falls in love with Parvati (Jamuna) with whom he has played since childhood and who is the daughter of a poor neighboring family. Devdas goes away to Calcutta for University studies. Meanwhile, Parvati's father arranges her marriage to a much older man. Though she loves Devdas, she obeys her father to suffer in silence like a dutiful Hindi wife. Devdas as a result takes to drink. Chandramukhi (Rajkumari), a dancing girl or 'prostitute' he has befriended in Calcutta, falls for him and gives up her profession to try to save him. Parvati, hearing of his decline, comes to see him to steer him away from a life of drinking. Devdas sends her back saying in his hour of final need he will come to her. She returns to her life of duty. Realising his end is near, Devdas decides to keep his promise and meet Parvati. He journeys all night, reaches her house and is found dead outside the high walls of her house. Inside Parvati hears that Devdas is dead.
Main cast
Kundan Lal Saigal as Devdas,Jamuna Barua as Paro,Rajkumari as Chandramukhi,Biswanath Bhaduri
Krishna Chandra Dey,Vikram Kapoor,Kshetrabala,Leela,Nemo,Pahadi Sanyal,Kidar Nath Sharma,A. H. Shore
Jamuna Barua
Dharmatma (The Holy Soul) is a 1935 Hindi social devotional biopic directed by V. Shantaram. The film was a bilingual made in Marathi and Hindi. This was the only devotional film directed by Shantaram, though he had made several mythological films. The story and screenplay were by K. Narayan Kale and the music was composed by Master Krishnarao.The cast included Bal Gandharva in his debut role and Chandra Mohan as the villain, with Master Chhotu, K. Narayan Kale, Ratnaprabha, Vasanti and Hari Pandit.
The film is about the "legendary" Marathi religious poet and scholar Sant Eknath (1533–99), author of a variation of the Bhagavata Purana called Eknathi Bhagvata, numerous abhangs and the bharuda form of solo performances. The story revolves around his teachings regarding social injustices concerning untouchability, equality and humanity.
Eknath (Bal Gandharva) concentrates on giving charitable and caring help to people especially those of the untouchable caste. This goes in variance against the vindictive Mahant (Chandra Mohan) who opposes such practices. Things come to a head when at a prayer meeting, Eknath feeds the untouchables first, before the Brahmins, as would be the normal custom. Eknath does not differentiate between castes and eats at their house too. This enrages the Mahant and he has Eknath ex-communicated. Eknath's son Hari Pandit (Kale) has joined the people and the Mahant who oppose his father's practices. Eknath finally arrives at Kashi and defends his behaviour by reciting verses of his poems to Pradayananda Shastri.
Sant Eknath was the "only male role" enacted by Bal Ghandharva, who was a Marathi stage "legend". The film had a bigger budget allocated to it than Prabhat's Sant Tukaram (1936) made the following year. The original title Mahatma had to be changed due to the censors objection. Chandra Mohan's character was given a "nervous tic in one eye" to make him appear as an ordinary villain, and for expressionistic purposes Shantaram made use of "high-angle close-ups". Dharmatma was one of the only four films made on caste system around that period. The others were Chandidas (1932), Chandidas (1934), and to a lesser extent Achhut Kanya (1936) which had a "contemporary setting".
The music direction was by Master Krishnarao Phulambrikar, a classical musician who combined with another classicist Bal Gandharva in the film to create "a milestone in Indian cinema". The lyrics were by Narottam Vyas. There were sixteen songs in the film and the singers were Bal Gandharva, Vasant Desai, Ratnaprabha, Vasanti and Master Chhotu.
Songs
1 Aaj Bhaag Jaag Gaye Logo Hamare Vasant Desai
2 Vharan Kamal Mein Prabhu Ke Maath Namaun Aaj Bal Gandharva
3 Hai Boli Amrut Si Ma Ke Naam Ke Jaadu Se Sab Ratnaprabha
4 Dhanya Dhanya Naaro Jaati Bal Gandharva
5 Kaana Re Aa Zara Misri Maakhan Khaaye Vasanti
6 Jan Pyare Sab Tumhe Ek Si Nazar Hai Din Nath Ki Ratnaprabha
7 Kaise Bayan Karun Prabho Kya Kya Badhai Aapki Ratnaprabha
8 Prabhu Sahare Ek Tumhi Ho Laaj Tumhare Haath Hai Bal Gandharva
9 Prem Brij Bihari Prem Hai Pujari Bal Gandharva
10 Rote Bure Na Hote Master Chhotu
11 Narayan Nar Ke Rakhwar Kaun Bigaad Karega Tera Vasanti
12 Sab Kehte Jisko Neecha Bal Gandharva
13 Tan Ko Saaf Man Ko Saaf Kar Ke Hari Pyare Bal Gandharva
14 Yadi Chaahi Bharat Ban Jaave Swarg Sukhon Ka Bal Gandharva
15 Yeh Jag Ki Phulwari Prabhuji Nath Bal Gandharva
16 Yeh Samta Barat Hamara Hai Ratnaprabha
Bal Gandharva
7.Dhoop Chhaon
Dhoop Chhaon is a 1935 Hindi movie directed by Nitin Bose. It was a remake of the Bengali film Bhagya Chakra. Dhoop Chhaon was the first Hindi film to use playback singing. It was Bose who came up with the idea of playback singing. He discussed with music director Raichand Boral and Bose's brother Mukul Bose, who was the sound recordist in New Theatres, implemented the idea.
Nitin Bose Pahari Sanyal, Uma Shashi, Sardar Akhtar, Bikram Kapoor, K. C. Dey, Kidar Sharma, Trilok Kapoor, Shyam Laha, Devbala, Indu Mukherji, Nawab
8.Hind Kesari
Hind Kesari (Caesar of India) is a 1935 Hindi action adventure film directed by Homi Wadia, and starring Husn Banu, Sardar Mansoor, Gulshan, Jal Khambatta, Tarapore and Master Mohammed.
The film was a remake of the 1932 film of the same name directed by Homi Master for Jayant Pictures. The film did well for a "stunt film" breaking "records" at the box-office.
King Mansingh (Tarapore) falls prey to the machinations of his minister Zalim Singh and loses his throne. Prince Randhir leading an easy life now disguises himself wearing a mask and turns into the dreaded Hind Kesari. He is assisted in his endeavour to help the needy by Princess Hansa (Husn Bano).
Cast
Husn Banu,Sardar Mansoor,Dilawar,Gulshan,Jal Khambatta,Tarapore,Master Mohammed,Bashir Qawwal,Bismilla
The film was produced by Wadia Movietone with cinematography by M. A. Rehman and story by H. E. Khatib. Its music director was Master Mohammed and the lyricist was Joseph David. The Wadia brothers preferred using Master Mohammed as music composer and actor and he was present in most of their films including Hind Kesari. The character of Hind Kesari played by Sardar Mansoor was based on the Douglas Fairbanks Sr. role in Thief of Baghdad.
Music
The music director was Master Mohammed and the lyrics were written by Joseph David.
Songs
1 Eksi Jagat Mein Halat Rehti Nahin Kisiki
2 Karam Kar Mere Daata Gham Ki Badali Dil Pe Chhai
3 Ghanan Garji Bhaandev Ki Megh Dhaara
4 khansi Aur Khoon Kabhi Nahin Chhupe Jahan Mein
5 Tum Bin Ab Kaun Sambaale
6 Virha Mein Jal Rahi Hoon Chahe Aao Na Aao
7 Samay Aanad Ka Hai Utsav Nav Aaj Kar Na
9.Hunterwali a.k.a. The Lady With The Whip
Hunterwali (A Woman with a Whip) is a 1935 Indian Hindi-language action film by the Wadia Movietone company of Bombay (now Mumbai), featuring Fearless Nadia as the heroine. A story of a princess who fights injustice as the masked crusader Hunterwali (lit. "lady with the whip"), the film propelled Nadia and the Wadia brothers of Wadia Movietone to fame.
Hunterwali was the first lead role for Nadia. She performed many stunts in the film which were applauded by the audience. The film, an expensive venture, was a blockbuster. It inspired numerous products, incorporating Hunterwali in their brand names. Because of the movie's success, Nadia became a cult icon and starred in numerous stunt films, becoming Indian cinema's "earliest and most popular stunt actress".
The story begins on a stormy night, with a prologue explaining that Krishnavati and her infant son are getting evicted from her house by the Prime Minister (Vazier), Ranamal. Earlier, Ranamal had also had her brother murdered. The film switches to 20 years later when Krishnavati's son Jaswant is an adult. The royal car hits Jaswant in an accident. Then the scene leads to Princess Madhuri (Fearless Nadia) offering Jaswant compensation in the form of gold for the injury caused. Jaswant gallantly refuses the gift and the princess is attracted to him. The villain Ranamal also has a crush on the princess and wants to marry her. This proposal is opposed by her father the king who is imprisoned by Ranamal. Madhuri, assumes the role of "Hunterwali", a masked vigilante, the "protector of the poor and punisher of evildoers". She then goes around performing stunts like jumping over a moving carriage and then defeating 20 soldiers in one sweep with swashbuckling whipping style. She does not spare Jaswant either as she steals his prized possession, a horse called "Punjab", but soon gives it back to him. Jaswant plots his vendetta and finds Madhuri bathing nude in the river and kidnaps her and gifts her to Ranamal for a reward, but she later escapes. At the end, Madhuri and Jaswant join hands to fight Ranamal together and defeat him.
Cast
Fearless Nadia (Mary Evans) as Princess Madhuri aka Hunterwali,Boman Shroff, as Jaswant,Jaidev, as Cunnoo, Hunterwali's sidekick,Sharifa, as Krishnavati, mother of Jaswant,Master Mohammed as the King,John Cawas,Gulshan,Sayani,Atish
Hunterwali was a Black and White film running for 164 minutes. During the production stage, there was an objection to the film's title. Language pundits objected to the blending of two words; Hunter, an English word denoting "whip" and wali, which was a Hindi word made a corrupted hybrid which did not do justice to either language.
The main character in the film, Hunterwali/Madhuri, is the feisty and blue eyed beauty, Nadia in the disguise of a man. Mary Evans aka Nadia, an Australian entered Indian cinema in 1934 and had acted in two films, Desh Deepak and Noor-e-Yaman, before Hunterwali. Hunterwali was the first lead role of Nadia. Her character for the role had evolved over years with her training in riding, as a dancer, a fitness freak, a circus artist and as a theatre artist during the 1920s and early 1930s, which was accentuated by a svelte heavily built but supple Amazonian athletic figure with blond hair and blue-eyes. All these qualities made her an instant attraction to the Wadia brothers of Wadia Movietone, though initially they were sceptical about a white woman "breaking into a Brown male bastion"of stunt films and acceptance by the conservative audience during the British Raj.
The producers Wadia Movietone (founded by the brothers JBH Wadia and Homi Wadia) specialised in stunt-based and mythological films at that time. The story line was developed by J.B.H. Wadia to suit Nadia's character. The plot is developed around the historical theme of a brave fearless Indian girl who forgoes her royal luxurious lifestyle to be a people's person. The film was directed by Homi Wadia (Nadia's future husband) who also wrote the screenplay for the film, with Joseph David writing the dialogue. The concept of Hunterwali was inspired by Hollywood films like Robin Hood starring Douglas Fairbanks.
Inspired by the film serial The Perils of Pauline, Nadia did all her stunts. In the role of a masked avenging angel, the film pictured Nadia as a swashbuckling princess in disguise. In this disguise, she straddled on her horse around the countryside chasing enemies, wearing her hot pants, "with her big breasts and bare white thighs, and when she was not swinging from chandeliers, kicking or whipping men, she was righting wrong with her fists and imperious scowl."
The film is embellished with many bhajans by Govind Gopal. One of the popular songs starts with "Hunterwali hai bhali duniya ki leth," which is a glorification of Hunterwali. Master Mohammed, who acted as the king who also provided the music score.
The Wadias had spent a fortune not only in making the film but also in its publicity campaign. It was premièred in Bombay at the Super Cinema, on Grant Road. It took six months to make with a budget of Rs. 80,000, which was a fortune. There were no takers for releasing the film, in view of adverse comments about the blonde beauty of a heroine, so the partners pooled their resources and launched a huge publicity campaign. As a result of which, there were huge crowds to see the film on its opening night and thereafter it was a runaway success.
Hunterwali was a runaway success and a bonanza in terms of money earned, as it ran for 25 weeks making record earnings for the year. This was Nadia's and Wadia Movietone's first big success.
Nadia as Hunterwali/Princess Madhuri was the highlight of the film, despite her inadequacy in rendering dialogues in Hindi.Both her stunts, on trains and horse carriages and with animals, and her blond appearance were well received by the audience. A popular scene in the film was the moment when Hunterwali announced in the third reel that "aajse main Hunterwali hoon" ("from today, I am the woman with the whip"), which resulted in the maximum cheering from the crowd. Another memorable scene, presented as tableaux, is that of Hunterwali lifting a man over her head with the sidekicks pirouetting around her, performing gymnastics, in the middle of a chase; this type of scene would become a staple of most of her later films.
Hunterwali was the most popular character of its time and was listed as "Bollywood's best loved character" in 100 years of Indian cinema by CNN-IBN. Hunterwali's yell in the film "hey-y-y" became a catchphrase. Following the success of the film, Nadia became known as "Hunterwali Nadia" and went on to become a legendary figure in Indian cinema. Hunterwali Nadia emerged as a feminist icon of Hindi cinema, portrayed as the one who would break the glass ceiling and overturn the patriarchal order. Despite her accented Hindi, Nadia achieved great stardom in the wake of the film, becoming the highest paid actress in the Indian film industry for the next two decades. Nadia's success and popularity were furthered by similar performances in films of the same genre – also huge hits – in the next few years.
Hunterwali's adulation was exploited to promote various products with the name "Hunterwali" prefixed to the brand name, such as whips, belts, playing cards, chappals, bags, bangles, match boxes, shoes, shirts, etc. Wadia later regretted that he did not patent the word "Hunterwali", which could have brought him a fortune in royalties. The suffix of the word, wali, also became a fad with film producers who named many stunt films using it, like Cyclewali, Chabukwali and Motorwali. Wadia himself capitalised on the Hunterwali icon by releasing a sequel, Hunterwali Ki Beti ("daughter of Hunterwali"), with Nadia in 1943. Like Hunterwali, the sequel became a blockbuster.
A 62-minute retrospective documentary titled Fearless: the Hunterwali Story was made by Nadia's grandnephew Riyad Vinci Wadia in 1993 on the actress' life. In April 2013, during the centenary festival of Indian cinema in Delhi, the film along with the silent classic, Diler Jiger (1931, Gallant Hearts), was shown in the "tent cinema" erected as a part of the celebrations. Vishal Bharadwaj's Hindi movie Rangoon supposedly portrays her life and times with Kangana Ranaut playing Nadia's role.
*youtube full movie Devdas and some songs of other movies are available.
Bharat Ki Beti (India's Daughter) is a 1935 Hindi social film directed by Premankur Atorthy. The cast included Rattan Bai, Gul Hamid, Yasmin, Amirbai Karnataki , Gope, Dadabhai Sarkari and Hari Shivdasani. The music direction was credited to Jhande Khan and Anil Biswas. This was actor Hari Shivdasani’s second film, having begun his career with Dharma Ki Devi (1935) the same year. Produced by Eastern Arts, Bharat Ki Beti focused on the nationalistic viewpoint while India was still under British rule.
The devotional song, "Tere Poojan Ko Bhagwaan Bana Man Mandir Alishan" sung by Rattan Bai in this film is still regarded as a classic bhajan.
Song list
Ishwar Ne Jab Prem Banaya
Shyam Sundar Ki Bansri Jag Mein Sukh Ka Geet Sunaati Hai
Sansaar Ke Sundar Roop Ka Lobhi
Aye Bhanwra Sanan Manan Sankari Maare
Hamari Kahi Maano Ae Babu Ji
Naina Neer Bhar Aaye Saanwre
Deen Dayal Daya Karke Anil Biswas
Dhoondat Kahan Jangal Jangal Jangal Man Mein Baawri
Prabhu Mori Naiyya Paar Karo
Pyari Tori Rangat Badi Mazedaar
Ghanshyam Bhaj Man Baarambaar
Rattan Bai
https://www.youtube.com/watch?v=KbEltAAdsww
Rattan Bai was an Indian film actress and singer, and the ancestress of several Bollywood film stars. She was the mother of actress Shobhna Samarth and thus the grandmother of actresses Nutan and Tanuja. After the first Indian "talkie" film was released in 1931, the ability to sing became a major qualification when selecting actors for movies. In this era, the women were apprehensive of appearing on stage or in films. Thus, women who were willing and able to work in films were a rarity. Rattan Bai was a fairly talented singer who wrote bhajans, composed and sang them as well. She published the lyrics of her Bhajans to distribute among friends who would sing with her during Mahashivratri celebrations at her home in Chembur, Mumbai. Ratanbai acted in only one Marathi film called Swarajyachya seemewar, as Shivaji's mother.
(She is not to be confused with another Rattanbai who acted in the films Yahudi ki ladki, bharat ki beti, and sang "Tere poojan ko bhagwan".)
Rattan Bai was already in her forties when she made her film debut in 1933. Her teenage daughter Shobhna Samarth became interested in films and made her own debut in 1935. In 1941, Rattan Bai's brother's daughter Nalini Jaywant also made her film debut. Later, Shobhna married director Kumarsen Samarth and the couple had two daughters, Nutan and Tanuja, both becoming celebrated actresses. Tanuja married Shomu Mukherjee, a writer & film producer. In the next generation, Nutan's son Mohnish Behl and Tanuja's daughters, Kajol and Tanisha became film stars, and Kajol is married to the film star Ajay Devgan.
2.Bhikharan
Bhikharan (Beggar-Maid) also called Song of Life, is a 1935 Hindi melodrama film directed by Premankur Atorthy. The film was produced by Kolhapur Cinetone and starred Rattan Bai, Master Vinayak, Hafisji, Pramila, and Gundopant Walawalkar. The camerawork was by V. B. Joshi. The music for the film was composed by H. C. Bali.
Madhavi (Rattan Bai) is married to Kedar (Hafisji). The rich Chandra (Pramila) enters their life and since Kedar wants to marry her, he asks Madhavi to leave. Chandra is in love with the artist Kumar (Master Vinayak), but is forced into marriage with Kedar. Madhavi takes to begging on the streets by singing. She meets Kumar and models as his muse. Kumar and Madhavi fall in love but Chandra enters their life and Madhavi has to leave again. This time she becomes a famous singing star. After several dramatic situations Kumar and Madhavi reunite and get married.
Full Cast
Rattan Bai as Madhavi, Master Vinayak as Kumar, Hafisji as Kumar, Pramila as Chandra, Gundopant Walawalkar, Firoze Bai,Pawar,Raja Pundit
Song list
Wo Lage Hain Aaj Is Tadbir Men
Tadapte Laute Hai Naala-O-Fariyaad Karte Hai
Chal Sajan Aise
Deepak Ka Ujla Prakash
Nishan Gham Ke Rajjo Hue Kyun Ayaan
Josh-e-Junoon Ne Kr Diye Noor-o-Nazar Alag Alag
Prem Kiya Tha Is Vichar Se
Sagri Rain Mohe Baat Dikhayi
Tilchatta Haye Tilchatta Chipkali Ne Pakad Liya
Zamana Ek who Bhi Tha
Chhaya Hai Charon Aur Andhera
3.Chandrasena
Chandrasena is a 1935 Hindi/Marathi mythology drama film directed by V. Shantaram for his Prabhat Film Company. The film was made simultaneously in Marathi. The cinematographer was K. Dhiaber and the story and dialogue were by Shivram Vashikar. The music direction was by Keshavrao Bhole with lyrics written by K. Narayan Kale. The cast included Nalini Tarkhud, Sureshbabu Mane, Kelkar, Rajani, Shantabai and Azurie.
The film was a remake of Shantaram and Dhaiber directed Marathi film Chandrasena of 1931. The story revolves around an episode in Ramayana where Chandrasena, wife of Ahiravan, (Mahiravan’s (brother), helps Hanuman defeat Mahiravana’s army, and in the process free Rama and Lakshmana from Pataal.
Indrajit, brother of Ravana, has Rama and Lakshmana kidnapped by Ahiravan and Mahiravana. Mahi hides them away in Pataal. Hanuman, the monkey-god, goes to their help. He is stopped by Makardhwaja whom he defeats. Makar takes him to Chandrasena, wife of mahi who worships Rama and desires to spend her life with him. With her help, Hanuman manages to defeat the entire army of Mahi and ultimately Mahi himself when he continues to multiply into a vast army. Chandrasena tells Hanuman the secret of destroying Mahi because of which he is able to release Rama and Lakshmana from Pataal.
Full Cast
Nalini Tarkhad as Chandrasena,Rajni,Sureshbabu Mane as Ram,Kulkarni as Lakshman, Pahelwan
Kelkar as Mahiravan, Manajirao as Hanuman, Buwasaheb, Shantabai, Azurie
Nalini Tarkhud
http://cineplot.com/nalini-tarkhud-profile/
4.College Girl
director;Jayant Desai
Cast:Madhuri, Ishwarlal Keki Adjania, Sheela Devi, Shanta, Raja Sandow, Khatoon, Ghory, Dixit, Charlie, Ram Apte
Raja Sandow
The Tamil Nadu Government has instituted an annual award in his name called Raja Sandow memorial Award, given for outstanding services to Tamil Cinema. A Postage stamp has been in issued in recognition of his contributions to Indian cinema.
Raja Sandow began his career as an actor in silent films and later became a prominent actor and director in Tamil and Hindi films of the 1930s. He is considered to be one of the pioneers of early Indian cinema.
Raja Sandow was born in Pudukottai, Tamil Nadu. He was trained as a gymnast and started his film career as a stunt actor in S.N. Patankar's National Film Company at Bombay. He was given the name "Raja Sandow" because of his physique (after strongman Eugen Sandow).His first lead role was in Patankar's Bhaktha Bhodhana (1922), for which he was paid Rs. 101 as salary. He became famous by starring in silient films like Veer Bhemsen (1923), The Telephone Girl (1926). After acting in a few silent films he also worked as a director in Ranjit Studios for a monthly salary. His first film as director was Sneh Jyoti (1928).
Returning to Tamil Nadu, he directed and acted in a number of silent films for R. Padmanaban's Associate Film Company. Many of his silent films had reformist social themes like Peyum pennum (1930), Nandhanar (1930), Anadhai Penn (1931), Pride of Hindustan (1931) and sathi usha sundari (1931). After talking films were introduced with Alam Ara in 1931, he went back to Bombay and starred in many Hindi and Tamil talkies. He was often paired with the actresses Gohar and Sulochana (Ruby Myers). Between 1932–35, he acted in many socially themed Hindi films like Shyam sundar (1932), Devaki (1934) and Indira MA (1935). In 1935, he was commissioned to direct his first Tamil film Menaka and returned to Madras. He continued directing and acting in films till his death in 1943. Vasantha Sena(1936), Chalak Chor (1936), Chandra kantha (1936), Vishnuleela (1938), Thiruneelakantar (1939) and Choodamani (1941) were some of the films he directed and starred in during that period. The last film he worked in was Sivakavi (1943).
Sandow suffered a heart attack and died at Coimbatore on 25 November 1943.
Sandow was the first Tamil film director to adopt the practice of using names of actors in film titles. He was the first to introduce intimate kissing scenes and dancers in revealing costumes to the then conservative Tamil film industry. He was also the first director and producer to move Tamil cinema from remaking mythological stories and into making social themed films. He even advertised his films as "Don't miss to see your own picture". Sandow was also the first director to use Tamil literary works for film by directing Anadhai penn in 1931 based on Vai. Mu. Kothainayagi Ammal's novel of the same name.
5.Devdas
Devdas is a 1935 bengali film based on the Sharat Chandra Chattopadhyay novella, Devdas.Directed by Pramathesh Barua, it stars K.L. Saigal as Devdas, Jamuna Barua as Parvati (Paro) and Rajkumari as Chandramukhi. It was later released in hindi in 1936 and in assamese in 1938.
Devdas (K. L. Saigal) falls in love with Parvati (Jamuna) with whom he has played since childhood and who is the daughter of a poor neighboring family. Devdas goes away to Calcutta for University studies. Meanwhile, Parvati's father arranges her marriage to a much older man. Though she loves Devdas, she obeys her father to suffer in silence like a dutiful Hindi wife. Devdas as a result takes to drink. Chandramukhi (Rajkumari), a dancing girl or 'prostitute' he has befriended in Calcutta, falls for him and gives up her profession to try to save him. Parvati, hearing of his decline, comes to see him to steer him away from a life of drinking. Devdas sends her back saying in his hour of final need he will come to her. She returns to her life of duty. Realising his end is near, Devdas decides to keep his promise and meet Parvati. He journeys all night, reaches her house and is found dead outside the high walls of her house. Inside Parvati hears that Devdas is dead.
Main cast
Kundan Lal Saigal as Devdas,Jamuna Barua as Paro,Rajkumari as Chandramukhi,Biswanath Bhaduri
Krishna Chandra Dey,Vikram Kapoor,Kshetrabala,Leela,Nemo,Pahadi Sanyal,Kidar Nath Sharma,A. H. Shore
Jamuna Barua
Jamuna Devi (born on 10 October 1919)was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1950. She began her acting career in her husband's famous production Devdas in 1936 and was the film's lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar.
Jamuna was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. She stopped acting after Barua died in 1950.
In the thirties she played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali) directed by P.C. Barua.A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua's next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua's residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right. She continued to act in Barua's films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua's influence. Her last film Malancha (1953) was also outside Barua's direction. She also starred in its Hindi version Phulwari (1953). Barua's death in 1951 when he was only 48 changed Jamuna's life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children's dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but said good bye to the world soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations on behalf of the Government of India and the state Government of Assam as the first Parbati of Indian talkies.
She died on 24 November 2005 at her residence in south Kolkata.
https://en.wikipedia.org/wiki/Jamuna_Barua
6.DharmatmaDharmatma (The Holy Soul) is a 1935 Hindi social devotional biopic directed by V. Shantaram. The film was a bilingual made in Marathi and Hindi. This was the only devotional film directed by Shantaram, though he had made several mythological films. The story and screenplay were by K. Narayan Kale and the music was composed by Master Krishnarao.The cast included Bal Gandharva in his debut role and Chandra Mohan as the villain, with Master Chhotu, K. Narayan Kale, Ratnaprabha, Vasanti and Hari Pandit.
The film is about the "legendary" Marathi religious poet and scholar Sant Eknath (1533–99), author of a variation of the Bhagavata Purana called Eknathi Bhagvata, numerous abhangs and the bharuda form of solo performances. The story revolves around his teachings regarding social injustices concerning untouchability, equality and humanity.
Eknath (Bal Gandharva) concentrates on giving charitable and caring help to people especially those of the untouchable caste. This goes in variance against the vindictive Mahant (Chandra Mohan) who opposes such practices. Things come to a head when at a prayer meeting, Eknath feeds the untouchables first, before the Brahmins, as would be the normal custom. Eknath does not differentiate between castes and eats at their house too. This enrages the Mahant and he has Eknath ex-communicated. Eknath's son Hari Pandit (Kale) has joined the people and the Mahant who oppose his father's practices. Eknath finally arrives at Kashi and defends his behaviour by reciting verses of his poems to Pradayananda Shastri.
Sant Eknath was the "only male role" enacted by Bal Ghandharva, who was a Marathi stage "legend". The film had a bigger budget allocated to it than Prabhat's Sant Tukaram (1936) made the following year. The original title Mahatma had to be changed due to the censors objection. Chandra Mohan's character was given a "nervous tic in one eye" to make him appear as an ordinary villain, and for expressionistic purposes Shantaram made use of "high-angle close-ups". Dharmatma was one of the only four films made on caste system around that period. The others were Chandidas (1932), Chandidas (1934), and to a lesser extent Achhut Kanya (1936) which had a "contemporary setting".
The music direction was by Master Krishnarao Phulambrikar, a classical musician who combined with another classicist Bal Gandharva in the film to create "a milestone in Indian cinema". The lyrics were by Narottam Vyas. There were sixteen songs in the film and the singers were Bal Gandharva, Vasant Desai, Ratnaprabha, Vasanti and Master Chhotu.
Songs
1 Aaj Bhaag Jaag Gaye Logo Hamare Vasant Desai
2 Vharan Kamal Mein Prabhu Ke Maath Namaun Aaj Bal Gandharva
3 Hai Boli Amrut Si Ma Ke Naam Ke Jaadu Se Sab Ratnaprabha
4 Dhanya Dhanya Naaro Jaati Bal Gandharva
5 Kaana Re Aa Zara Misri Maakhan Khaaye Vasanti
6 Jan Pyare Sab Tumhe Ek Si Nazar Hai Din Nath Ki Ratnaprabha
7 Kaise Bayan Karun Prabho Kya Kya Badhai Aapki Ratnaprabha
8 Prabhu Sahare Ek Tumhi Ho Laaj Tumhare Haath Hai Bal Gandharva
9 Prem Brij Bihari Prem Hai Pujari Bal Gandharva
10 Rote Bure Na Hote Master Chhotu
11 Narayan Nar Ke Rakhwar Kaun Bigaad Karega Tera Vasanti
12 Sab Kehte Jisko Neecha Bal Gandharva
13 Tan Ko Saaf Man Ko Saaf Kar Ke Hari Pyare Bal Gandharva
14 Yadi Chaahi Bharat Ban Jaave Swarg Sukhon Ka Bal Gandharva
15 Yeh Jag Ki Phulwari Prabhuji Nath Bal Gandharva
16 Yeh Samta Barat Hamara Hai Ratnaprabha
Bal Gandharva
Narayan Shripad Rajhans, better known as Bal Gandharva (26 June 1888 – 15 July 1967), was one of the greatest Marathi singers and stage actors. He was famous for his roles in female characters in Marathi plays, since women were not allowed to act on stage during his time.
Bal Gandharva got his name after a performance in Pune as an aspiring singer. Lokmanya Tilak, the great freedom fighter and the grand old man of the Indian independence movement was in the audience, and after the performance, reportedly patted Rajhans on the back and said that Narayan was a "Bal Gandharva" which means "Young Gandharva".
Narayan Shripad Rajhans was born to Shripad Rajhans and his wife Annapurna in Deshastha Brahmin family at the Nagthane village in Palus taluka of Satara district then ( now Sangli district) in Maharashtra, India. Bal Gandharva's first wife, Lakshmibai Narayanrao Rajhans, died in 1940. Bal Gandharva married his leading stage actress, Gohar Karnataki in 1951. Gohar died in 1964, three years before Bal Gandharva died. Narayan Rajhans was born in an ordinary family. He started his singing career at a very young age singing bhajans. Shahu Maharaj of Kolhapur noticed him and was important in getting young Narayanrao's theatre career off the ground. Shahu Maharaj helped him to get treatment on hearing problems at the Miraj Hospital. Shahu Maharaj also introduced him to Kirloskar Mandali, the premier Marathi Musical theatre company of that era.
He started his career with Kirloskar Natak Mandali in 1905. The company was run by Mujumdar and Nanasaheb Joglekar. After Joglekar's death in 1911, there was discontent about Mujumdar's dictatorial and manipulative style. Bal Gandharva, Ganesh Govind ('Ganpatrao') Bodas and Govindrao Tembe left the company in 1913 to form Gandharva Sangeet Mandali. Bal Gandharva became the sole owner of the debt ridden company in 1921. The debt was paid off in seven years' time. However, Narayanrao, dissolved the company when it again accumulated debt over the next 6–7 years. At that time. Bal Gandharva signed a contract with Prabhat Film Company to make six films. However, the contract came to an end after just one film Dharmatma (1935). The film was a major departure for Bal Gandharva in the sense that he played the male role of Sant Eknath.
Bal Gandharva revived his drama company in 1937. With Narayanrao increasingly ill at ease in female roles owing to his advancing years, the company looked for an actress to play female roles and found Gohar Karnataki in April 1938. Bal Gandharva soon formed an intimate relationship with Gohar Karnataki, also known as Gauhar Bai, that scandalized traditional Maharashtrian society at that time. His brother Bapurao Rajhans left the company to protest against Gohar's entry in Gandharva Sangeet Mandali and Bal Gandharva's life, when it became clear that Gohar would have a major say in the company's stewardship.
Bal Gandharva acted in 25 classic Marathi plays and played a big part in making Sangeet Natak (musicals) and Natya Sangeet (the music in those musicals) popular among common masses. He was a disciple of Bhaskarbuwa Bakhale. Bakhale scored music for his drama Swayamwar. Govindrao Tembe scored music for Manapman. In later yeaers, Bal Gandharva's composer of choice was Master Krishnarao (Krishna Phulambrikar).
The songs rendered by him are regarded as classics of Marathi Natya Sangeet and his singing style is greatly appreciated by Marathi critics and audiences. Marathi stage was facing difficult times after the death of Bhaurao Kolhatkar in 1901. Bal Gandharva revived it. His famous contemporaries include Keshavrao Bhole (known as "Sangeet-Surya") and Deenanath Mangeshkar.
He acted in plays written by Annasaheb Kirloskar, Govind Ballal Deval, Shripad Krushna Kolhatkar, Krushnaji Prabhakar Khadilkar, Ram Ganesh Gadkari, Vasant Shantaram Desai.
Bal Gandharva died in 1967.
His famous roles include :
• Bhamini in Manapman(1911)
• Rukmini in Swayamwar(1916)
• Sindhu in Ekach Pyala(1920)
• Sharada in Sangeet Sharada(1909)
• Vasantsena in Mruchchakatika
Awards
• In 1955 Bal Gandharva received the coveted "President's Award", now known as the Sangeet Natak Akademi Award, the highest musical honour in India from the then President of India.
• In 1964 Bal Gandharva received The Padma Bhushan Award,the third highest civilian award in the Republic of India
Dhoop Chhaon is a 1935 Hindi movie directed by Nitin Bose. It was a remake of the Bengali film Bhagya Chakra. Dhoop Chhaon was the first Hindi film to use playback singing. It was Bose who came up with the idea of playback singing. He discussed with music director Raichand Boral and Bose's brother Mukul Bose, who was the sound recordist in New Theatres, implemented the idea.
Nitin Bose Pahari Sanyal, Uma Shashi, Sardar Akhtar, Bikram Kapoor, K. C. Dey, Kidar Sharma, Trilok Kapoor, Shyam Laha, Devbala, Indu Mukherji, Nawab
8.Hind Kesari
Hind Kesari (Caesar of India) is a 1935 Hindi action adventure film directed by Homi Wadia, and starring Husn Banu, Sardar Mansoor, Gulshan, Jal Khambatta, Tarapore and Master Mohammed.
The film was a remake of the 1932 film of the same name directed by Homi Master for Jayant Pictures. The film did well for a "stunt film" breaking "records" at the box-office.
King Mansingh (Tarapore) falls prey to the machinations of his minister Zalim Singh and loses his throne. Prince Randhir leading an easy life now disguises himself wearing a mask and turns into the dreaded Hind Kesari. He is assisted in his endeavour to help the needy by Princess Hansa (Husn Bano).
Cast
Husn Banu,Sardar Mansoor,Dilawar,Gulshan,Jal Khambatta,Tarapore,Master Mohammed,Bashir Qawwal,Bismilla
The film was produced by Wadia Movietone with cinematography by M. A. Rehman and story by H. E. Khatib. Its music director was Master Mohammed and the lyricist was Joseph David. The Wadia brothers preferred using Master Mohammed as music composer and actor and he was present in most of their films including Hind Kesari. The character of Hind Kesari played by Sardar Mansoor was based on the Douglas Fairbanks Sr. role in Thief of Baghdad.
Music
The music director was Master Mohammed and the lyrics were written by Joseph David.
Songs
1 Eksi Jagat Mein Halat Rehti Nahin Kisiki
2 Karam Kar Mere Daata Gham Ki Badali Dil Pe Chhai
3 Ghanan Garji Bhaandev Ki Megh Dhaara
4 khansi Aur Khoon Kabhi Nahin Chhupe Jahan Mein
5 Tum Bin Ab Kaun Sambaale
6 Virha Mein Jal Rahi Hoon Chahe Aao Na Aao
7 Samay Aanad Ka Hai Utsav Nav Aaj Kar Na
9.Hunterwali a.k.a. The Lady With The Whip
Hunterwali (A Woman with a Whip) is a 1935 Indian Hindi-language action film by the Wadia Movietone company of Bombay (now Mumbai), featuring Fearless Nadia as the heroine. A story of a princess who fights injustice as the masked crusader Hunterwali (lit. "lady with the whip"), the film propelled Nadia and the Wadia brothers of Wadia Movietone to fame.
Hunterwali was the first lead role for Nadia. She performed many stunts in the film which were applauded by the audience. The film, an expensive venture, was a blockbuster. It inspired numerous products, incorporating Hunterwali in their brand names. Because of the movie's success, Nadia became a cult icon and starred in numerous stunt films, becoming Indian cinema's "earliest and most popular stunt actress".
The story begins on a stormy night, with a prologue explaining that Krishnavati and her infant son are getting evicted from her house by the Prime Minister (Vazier), Ranamal. Earlier, Ranamal had also had her brother murdered. The film switches to 20 years later when Krishnavati's son Jaswant is an adult. The royal car hits Jaswant in an accident. Then the scene leads to Princess Madhuri (Fearless Nadia) offering Jaswant compensation in the form of gold for the injury caused. Jaswant gallantly refuses the gift and the princess is attracted to him. The villain Ranamal also has a crush on the princess and wants to marry her. This proposal is opposed by her father the king who is imprisoned by Ranamal. Madhuri, assumes the role of "Hunterwali", a masked vigilante, the "protector of the poor and punisher of evildoers". She then goes around performing stunts like jumping over a moving carriage and then defeating 20 soldiers in one sweep with swashbuckling whipping style. She does not spare Jaswant either as she steals his prized possession, a horse called "Punjab", but soon gives it back to him. Jaswant plots his vendetta and finds Madhuri bathing nude in the river and kidnaps her and gifts her to Ranamal for a reward, but she later escapes. At the end, Madhuri and Jaswant join hands to fight Ranamal together and defeat him.
Cast
Fearless Nadia (Mary Evans) as Princess Madhuri aka Hunterwali,Boman Shroff, as Jaswant,Jaidev, as Cunnoo, Hunterwali's sidekick,Sharifa, as Krishnavati, mother of Jaswant,Master Mohammed as the King,John Cawas,Gulshan,Sayani,Atish
Hunterwali was a Black and White film running for 164 minutes. During the production stage, there was an objection to the film's title. Language pundits objected to the blending of two words; Hunter, an English word denoting "whip" and wali, which was a Hindi word made a corrupted hybrid which did not do justice to either language.
The main character in the film, Hunterwali/Madhuri, is the feisty and blue eyed beauty, Nadia in the disguise of a man. Mary Evans aka Nadia, an Australian entered Indian cinema in 1934 and had acted in two films, Desh Deepak and Noor-e-Yaman, before Hunterwali. Hunterwali was the first lead role of Nadia. Her character for the role had evolved over years with her training in riding, as a dancer, a fitness freak, a circus artist and as a theatre artist during the 1920s and early 1930s, which was accentuated by a svelte heavily built but supple Amazonian athletic figure with blond hair and blue-eyes. All these qualities made her an instant attraction to the Wadia brothers of Wadia Movietone, though initially they were sceptical about a white woman "breaking into a Brown male bastion"of stunt films and acceptance by the conservative audience during the British Raj.
The producers Wadia Movietone (founded by the brothers JBH Wadia and Homi Wadia) specialised in stunt-based and mythological films at that time. The story line was developed by J.B.H. Wadia to suit Nadia's character. The plot is developed around the historical theme of a brave fearless Indian girl who forgoes her royal luxurious lifestyle to be a people's person. The film was directed by Homi Wadia (Nadia's future husband) who also wrote the screenplay for the film, with Joseph David writing the dialogue. The concept of Hunterwali was inspired by Hollywood films like Robin Hood starring Douglas Fairbanks.
Inspired by the film serial The Perils of Pauline, Nadia did all her stunts. In the role of a masked avenging angel, the film pictured Nadia as a swashbuckling princess in disguise. In this disguise, she straddled on her horse around the countryside chasing enemies, wearing her hot pants, "with her big breasts and bare white thighs, and when she was not swinging from chandeliers, kicking or whipping men, she was righting wrong with her fists and imperious scowl."
The film is embellished with many bhajans by Govind Gopal. One of the popular songs starts with "Hunterwali hai bhali duniya ki leth," which is a glorification of Hunterwali. Master Mohammed, who acted as the king who also provided the music score.
The Wadias had spent a fortune not only in making the film but also in its publicity campaign. It was premièred in Bombay at the Super Cinema, on Grant Road. It took six months to make with a budget of Rs. 80,000, which was a fortune. There were no takers for releasing the film, in view of adverse comments about the blonde beauty of a heroine, so the partners pooled their resources and launched a huge publicity campaign. As a result of which, there were huge crowds to see the film on its opening night and thereafter it was a runaway success.
Hunterwali was a runaway success and a bonanza in terms of money earned, as it ran for 25 weeks making record earnings for the year. This was Nadia's and Wadia Movietone's first big success.
Nadia as Hunterwali/Princess Madhuri was the highlight of the film, despite her inadequacy in rendering dialogues in Hindi.Both her stunts, on trains and horse carriages and with animals, and her blond appearance were well received by the audience. A popular scene in the film was the moment when Hunterwali announced in the third reel that "aajse main Hunterwali hoon" ("from today, I am the woman with the whip"), which resulted in the maximum cheering from the crowd. Another memorable scene, presented as tableaux, is that of Hunterwali lifting a man over her head with the sidekicks pirouetting around her, performing gymnastics, in the middle of a chase; this type of scene would become a staple of most of her later films.
Hunterwali was the most popular character of its time and was listed as "Bollywood's best loved character" in 100 years of Indian cinema by CNN-IBN. Hunterwali's yell in the film "hey-y-y" became a catchphrase. Following the success of the film, Nadia became known as "Hunterwali Nadia" and went on to become a legendary figure in Indian cinema. Hunterwali Nadia emerged as a feminist icon of Hindi cinema, portrayed as the one who would break the glass ceiling and overturn the patriarchal order. Despite her accented Hindi, Nadia achieved great stardom in the wake of the film, becoming the highest paid actress in the Indian film industry for the next two decades. Nadia's success and popularity were furthered by similar performances in films of the same genre – also huge hits – in the next few years.
Hunterwali's adulation was exploited to promote various products with the name "Hunterwali" prefixed to the brand name, such as whips, belts, playing cards, chappals, bags, bangles, match boxes, shoes, shirts, etc. Wadia later regretted that he did not patent the word "Hunterwali", which could have brought him a fortune in royalties. The suffix of the word, wali, also became a fad with film producers who named many stunt films using it, like Cyclewali, Chabukwali and Motorwali. Wadia himself capitalised on the Hunterwali icon by releasing a sequel, Hunterwali Ki Beti ("daughter of Hunterwali"), with Nadia in 1943. Like Hunterwali, the sequel became a blockbuster.
A 62-minute retrospective documentary titled Fearless: the Hunterwali Story was made by Nadia's grandnephew Riyad Vinci Wadia in 1993 on the actress' life. In April 2013, during the centenary festival of Indian cinema in Delhi, the film along with the silent classic, Diler Jiger (1931, Gallant Hearts), was shown in the "tent cinema" erected as a part of the celebrations. Vishal Bharadwaj's Hindi movie Rangoon supposedly portrays her life and times with Kangana Ranaut playing Nadia's role.
*youtube full movie Devdas and some songs of other movies are available.
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