Indian Cinema in 1920
no videos are available for 1920 movies
no pics could be found for Mani lal joshi,Suchet Singh
details about Shree Nath Patankar have been given in earlier post
1.Manilal Joshi an eminent Gujarati director, quit his job as a teacher in 1920 and joined Kohinoor Film Company, learning cinematography from Vishnu B. Joshi.
2.Majority of the silent films made in Indian cinema all over India including the South India states with the exception of Kerala, were mythological in context. The tales were frequently taken from the epic Mahabharata.
3.Suchet Singh, a silent film director and "comparable" to Dadasaheb Phalke and S. N. Patankar in the pre-studio era died in a car crash in 1920. He established the Oriental Film Company in 1919 and directed four films in 1920, Mrichhakatik based on King Shutraka's play of the same name, Rama Or Maya, Doctor Pagal and Narsinh Mehta.
Suchet Singh, who studied filmmaking in the USA at Vitagraph, started the Oriental Film Manufacturing Company in 1919. He produced a seven-reel film 'Shakuntala' in 1920 with the American actress Dorothy Kingdom. Her husband Baron Van Rayvon was the photographer of the film. Suchet Singh, who adapted Kalidas' Sanskrit play for his silent classic, featured the American import -Dorothy Kingdom - in the title role, triggering a major Swadeshl debate in India. He also took a few artistic liberties on the portraiture of the main characters.
S.N. Patankar immediately announced a rival production in the Bombay Chronicle of 24 January I920: Shakuntala, or The Fateful Ring (1920), adapted 'strictly in accordance with the drama'. A 'war of advertisements' ensued, and Patankar Friends & Co.claimed that their desi version was 'more faithful to the subject' and 'swadeshi' in spirit.
Initially, Suchet Singh's Shakuntala faltered at the box office in the face of a traditional mindset of the theater-goers that refused to acknowledge or appreciate the 'artistic liberties' of the Director. But, later, the film was duly recognized as a classic of the literary genre!
Suchet Singh continued his success with five more films, including a newsreel on the death of Lokmanya Tilak. Unfortunately, Suchet Singh died in a car accident without rising to his full potential._
Image: A rare available photograph of Suchet Singh's Shakuntala.
4.Ardeshir Irani started his first studio called Star Film Company.
Ardeshir Marwan Irani (1886-1969) Director and producer in several languages; born in Pune. Studied at the J.J. School of Art in Bombay; teacher and kerosene inspector before joining his father in the phonograph and musical instruments trade in Bombay. Entered film as exhibitor representing Western Indian interests of Universal Film. Partnered Abdulally Esoofally in exhibition interests launched with acquisition of Alexandra and Majestic theatres (1914). The partnership lasted 55 years. Initially went into film production to keep distribution outlets supplied. Launched Star Film (1920) in partnership with Bhogilal K.M. Dave, releasing their first film, Manilal Joshi’s Veer Abhimanyu in 1922. They became Majestic Film (1923), then Royal Art Studio (1925) and finally the major silent era studio, Imperial Film (1926). A ‘mogul’ in the mould of the big Hollywood studio bosses; credited with between 225 and 250 productions in his lifetime, about half in the silent era, and talkies in nine languages including Farsi (Dukhtar-e-Lur, the first Iranian sound film). Early screen directions often jointly credited to Naval Gandhi but took rare solo directorial credit for India’s first full sound feature, Alam Ara, for which, having imported a sound technician from Hollywood (Wilford Deming), he finally recorded most of the sound himself. Bought rights to Cinecolour process and set up colour laboratory, producing India’s first indigenously processed colour film Kisan Kanya (1937). Produced only one film after Imperial went into liquidation in 1938 (Pujari, 1946) but remained active member of the Indian Motion Picture Producers Association (IMPPA) of which he had been, in 1933, its first president. In 1974, Kennedy Bridge in Bombay was renamed Ardeshir Bridge and his Jyoti Studios (Est: 1939) passed to his son, Shapur A. Irani.
5.Katorabhar Khoon also referred to as The Stinger Stung was directed by Shree Nath Patankar in 1920. it starred Trymbakrao Pradhan, Tara Koregaonkar, Baba Vyas and K. G. Gokhale. The film was co-produced by Dwarkadas Sampat and Patankar, who had started their banner "Patankar Friends And Co." Katorabhar Khoon was their first social film and was written by Mohanlal G. Dave.
Shree Nath Patankar was an Indian producer, director, and cameraman. Referred to as "one of the early pioneers of Indian Cinema", his influence is stated to be equal to that of Dadasaheb Phalke. He was one of a wide range of people who filmed the historic Delhi Durbar in 1911 held for King George V of England. The Durbar was also filmed by Madan and Hiralal Shah, another professional photographer from Bombay.Patankar initially teamed up with V. P. Divekar and A. P. Karandikar, with the renowned freedom fighter and Nationalist leader, Lokmanya Tilak, helping them in getting finance from Bhagwandas Chaturbhuj and Dharamdas Narayandas, two well-established financiers. Their debut production in 1912, Savitri, directed by Patankar was unsuccessful. The three formed a production company called Patankar Union in 1913. They produced The Death Of Narayanrao Peshwa also called The Murder Of Narayanrao Peshwa in 1915, which has been cited as the first historical film of Indian cinema, as well as the mythological Ram Vanvas (The Exile Of Rama) (1918).Patankar went on to form Patankar Friends and Company with Dwarkadas Sampat who had joined them in 1917, producing and directing Kach-Devyani (1920).He also worked as an actor in films like Mahashweta Kadambari (1922), Videhi Janak (1923), and Vaman Avatar (1923), which were directed by him. In a career-span of fifteen years covering 1912-1926, he made over forty films.
no videos are available for 1920 movies
no pics could be found for Mani lal joshi,Suchet Singh
details about Shree Nath Patankar have been given in earlier post
1.Manilal Joshi an eminent Gujarati director, quit his job as a teacher in 1920 and joined Kohinoor Film Company, learning cinematography from Vishnu B. Joshi.
2.Majority of the silent films made in Indian cinema all over India including the South India states with the exception of Kerala, were mythological in context. The tales were frequently taken from the epic Mahabharata.
3.Suchet Singh, a silent film director and "comparable" to Dadasaheb Phalke and S. N. Patankar in the pre-studio era died in a car crash in 1920. He established the Oriental Film Company in 1919 and directed four films in 1920, Mrichhakatik based on King Shutraka's play of the same name, Rama Or Maya, Doctor Pagal and Narsinh Mehta.
Suchet Singh, who studied filmmaking in the USA at Vitagraph, started the Oriental Film Manufacturing Company in 1919. He produced a seven-reel film 'Shakuntala' in 1920 with the American actress Dorothy Kingdom. Her husband Baron Van Rayvon was the photographer of the film. Suchet Singh, who adapted Kalidas' Sanskrit play for his silent classic, featured the American import -Dorothy Kingdom - in the title role, triggering a major Swadeshl debate in India. He also took a few artistic liberties on the portraiture of the main characters.
S.N. Patankar immediately announced a rival production in the Bombay Chronicle of 24 January I920: Shakuntala, or The Fateful Ring (1920), adapted 'strictly in accordance with the drama'. A 'war of advertisements' ensued, and Patankar Friends & Co.claimed that their desi version was 'more faithful to the subject' and 'swadeshi' in spirit.
Initially, Suchet Singh's Shakuntala faltered at the box office in the face of a traditional mindset of the theater-goers that refused to acknowledge or appreciate the 'artistic liberties' of the Director. But, later, the film was duly recognized as a classic of the literary genre!
Suchet Singh continued his success with five more films, including a newsreel on the death of Lokmanya Tilak. Unfortunately, Suchet Singh died in a car accident without rising to his full potential._
Image: A rare available photograph of Suchet Singh's Shakuntala.
4.Ardeshir Irani started his first studio called Star Film Company.
Ardeshir Marwan Irani (1886-1969) Director and producer in several languages; born in Pune. Studied at the J.J. School of Art in Bombay; teacher and kerosene inspector before joining his father in the phonograph and musical instruments trade in Bombay. Entered film as exhibitor representing Western Indian interests of Universal Film. Partnered Abdulally Esoofally in exhibition interests launched with acquisition of Alexandra and Majestic theatres (1914). The partnership lasted 55 years. Initially went into film production to keep distribution outlets supplied. Launched Star Film (1920) in partnership with Bhogilal K.M. Dave, releasing their first film, Manilal Joshi’s Veer Abhimanyu in 1922. They became Majestic Film (1923), then Royal Art Studio (1925) and finally the major silent era studio, Imperial Film (1926). A ‘mogul’ in the mould of the big Hollywood studio bosses; credited with between 225 and 250 productions in his lifetime, about half in the silent era, and talkies in nine languages including Farsi (Dukhtar-e-Lur, the first Iranian sound film). Early screen directions often jointly credited to Naval Gandhi but took rare solo directorial credit for India’s first full sound feature, Alam Ara, for which, having imported a sound technician from Hollywood (Wilford Deming), he finally recorded most of the sound himself. Bought rights to Cinecolour process and set up colour laboratory, producing India’s first indigenously processed colour film Kisan Kanya (1937). Produced only one film after Imperial went into liquidation in 1938 (Pujari, 1946) but remained active member of the Indian Motion Picture Producers Association (IMPPA) of which he had been, in 1933, its first president. In 1974, Kennedy Bridge in Bombay was renamed Ardeshir Bridge and his Jyoti Studios (Est: 1939) passed to his son, Shapur A. Irani.
5.Katorabhar Khoon also referred to as The Stinger Stung was directed by Shree Nath Patankar in 1920. it starred Trymbakrao Pradhan, Tara Koregaonkar, Baba Vyas and K. G. Gokhale. The film was co-produced by Dwarkadas Sampat and Patankar, who had started their banner "Patankar Friends And Co." Katorabhar Khoon was their first social film and was written by Mohanlal G. Dave.
Shree Nath Patankar was an Indian producer, director, and cameraman. Referred to as "one of the early pioneers of Indian Cinema", his influence is stated to be equal to that of Dadasaheb Phalke. He was one of a wide range of people who filmed the historic Delhi Durbar in 1911 held for King George V of England. The Durbar was also filmed by Madan and Hiralal Shah, another professional photographer from Bombay.Patankar initially teamed up with V. P. Divekar and A. P. Karandikar, with the renowned freedom fighter and Nationalist leader, Lokmanya Tilak, helping them in getting finance from Bhagwandas Chaturbhuj and Dharamdas Narayandas, two well-established financiers. Their debut production in 1912, Savitri, directed by Patankar was unsuccessful. The three formed a production company called Patankar Union in 1913. They produced The Death Of Narayanrao Peshwa also called The Murder Of Narayanrao Peshwa in 1915, which has been cited as the first historical film of Indian cinema, as well as the mythological Ram Vanvas (The Exile Of Rama) (1918).Patankar went on to form Patankar Friends and Company with Dwarkadas Sampat who had joined them in 1917, producing and directing Kach-Devyani (1920).He also worked as an actor in films like Mahashweta Kadambari (1922), Videhi Janak (1923), and Vaman Avatar (1923), which were directed by him. In a career-span of fifteen years covering 1912-1926, he made over forty films.
6.Narsinh Mehta also called Great Devotee Of Shri Krishna was a notable devotional film of 1920. It was directed by Suchet Singh for Oriental Film Manufacturing Co., Bombay. The film had Kanjibhai Rathod, a Dalit "(then called untouchable)", playing the role of Narsinh Mehta.
Kanjibhai Rathod began as a still photographer with the Oriental Film Company. His experience earned him a job in Kohinoor Film Company and its owner Dwarkadas Sampat made him a director.
Rathod's 'Bhakta Vidur' released in 1921, was perhaps the first criticism of the British colonialism in a popular feature film. Rathod was the first film-maker to direct a crime thriller in 1920s on contemporary events. His Kala Naag (1924) was based on famous double murder case in Bombay. Rathod introduced Zubaida to film industry with his Gulbakavali.By the time he left for Saurashtra Film Company in Rajkot in 1924, Rathod had enough work on his name. At the launch of Krishna Film Company, he returned to Mumbai in 1931, the year of first talkies.Dharamsey writes in his 'Light of Asia: Indian Silent Cinema 1912–1934' that Rathod directed five talkies out of 17 made in 1931. He remained active in the industry even in 1940s, but he was not as successful directing talkies.
*details about Kanjibhai Rathod have been given in earlier post
*details about Kanjibhai Rathod have been given in earlier post
7.Sairandhari was directed by Baburao Painter and referred to by Gokulsing and Dissanayake as one of his "most famous early films". Painter's silent films tended to follow the mythological and Historical genres like Sairandhari, Sinhagad, Sati Padmini and Bhakta Prahlad.
Baburao Painter (1890–1954) was an Indian film director.Baburao and his cousin Anandarao turned to cinema first as exhibitors while trying to assemble their own camera. Anandrao however died in 1916 and Painter and his main disciple V.G. Damle eventually put together a working camera in 1918.Baburao's first feature film was Sairandri (1920), which got heavily censored for its graphic depiction of slaying of Keechak by Bhima. However the movie itself got positive critics and commercial acclaim spurring Painter on to take on more ambitious projects. He wrote his own screenplays, and led the three-dimensional space rather than stage-painting in the Indian movie. 1921/22, he published the first Indian films and programs designed to even the movie posters. Publicity was not alien to Painter's many talents – in 1921–22, he distributed programme booklets complete with photographs and film details.The advent of sound in 1931 did not excite Painter. However, after a few more silent films, the Maharashtra Film Company pulled down its shutters with the advent of sound. Baburao was not particularly keen on the talkies for he believed that they would destroy the visual culture so painfully evolved over the years.
8.Sati Parvati also called Daksha Yagna a mythological, was directed by Vishnupant Divekar and was the first film from the Kohinoor Film Company banner. The film show-cased a "Gujarati mileu" and had a Saurashtrian actress from Rajkot called Prabha playing the role of Parvati.
Baburao Painter (1890–1954) was an Indian film director. He was born Baburao Krishnarao Mestry in 1890 in Kolhapur. He taught himself to paint and derives its name "Painter". (hence the name) and sculpt in academic art school style. He and his artist cousin Anandrao Painter between 1910 and 1916 were the leading painters of stage backdrops in Western India doing several famous curtains for Sangeet Natak troupes and also for Gujarati Parsi theatres. They became avid filmgoers following Raja Harishchandra.
Baburao and his cousin Anandarao bought a movie projector from the Bombay flea market and proceeded to exhibit films, studying the art of movies all the while. Anandarao was busy with assembling a camera for their maiden venture, and his untimely death at this juncture compelled Baburao to go it alone
They turned to cinema first as exhibitors while trying to assemble their own camera. Anandrao however died in 1916 and Painter and his main disciple V.G. Damle eventually put together a working camera in 1918.
Baburao was one of the leading stage painter for theatres in Western India during the period of 1910 and 1916. He was also a film enthusiast and founded Maharashtra Film Company in 1919. To enable this Baburao borrowed money from Tanibai Kagolkar, a long-time admirer. Movie acting, especially tamasha's were looked down upon in conservative societies like Kolhapur so the studio itself was a living quarter for quite a few including leading ladies – Gulab Bai (renamed Kamaladevi) and Anusuya Bai (renamed Sushiladevi). Painter got onboard his old colleagues including Damle and S. Fatehlal and later on V. Shantaram, trio who later on left him to set up their own studio called Prabhat Film Company.
Baburao's first feature film was Sairandri (1920), which got heavily censored for its graphic depiction of slaying of Keechak by Bhima. However the movie itself got positive critics and commercial acclaim spurring Painter on to take on more ambitious projects. He wrote his own screenplays, and led the three-dimensional space rather than stage-painting in the Indian movie. 1921/22, he published the first Indian films and programs designed to even the movie posters. Publicity was not alien to Painter's many talents – in 1921–22, he distributed programme booklets complete with photographs and film details.
Baburao was a man of many talents – he wrote his own screenplays and he was also the first Indian filmmaker to adopt the method, Eisenstein had described as 'stenographic' – he sketched the costumes, movements, and characters. He changed the concept of set designing from painted curtains to solid multi-dimensional lived in spaces, he introduced artificial lighting and understood the importance of publicity. As early as 1921–22 he was the first to issue programme booklets, complete with details of the film and photographs. He also painted himself tasteful, eye-catching posters of his films.
A perfectionist, he insisted upon any number of rehearsals. As Zunzarrao Pawar, a cast member, said '` He would take umpteen rehearsals before actual shooting....but he was very slow in film-making. That was why we used to get annoyed with him sometimes.'`
The advent of sound in 1931 did not excite Painter. However, after a few more silent films, the Maharashtra Film Company pulled down its shutters with the advent of sound. Baburao was not particularly keen on the talkies for he believed that they would destroy the visual culture so painfully evolved over the years.
He returned to painting and sculpture, his original vocation barring sporadic ventures like remaking Savkari Pash in sound in 1936, Pratibha (1937), one of his few preserved films which is a good illustration of Painter's control over big sets, lighting and crowd scenes and Lokshahir Ramjoshi (1947) on Shantaram's invitation.
The beautiful posters that Baburao painted for his films prompted the advice of not wasting his talent on dirty walls, that an art gallery was the correct destination! Prophetic words indeed, because later his posters were up at J.J. School of Art, Mumbai and much admired by the principal, Gladstone Solomon.
***
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