Visionary - V. Shantaram Options

[swarapriya]

Visionary - V. Shantaram

Few months back I ran across an article about late V. Shantaram. The article traced some of his cinematic accomplishments that I was not aware of before. I knew his films mostly since 50’s, his works like “Jhanak Jhanak Payal Baaje (1955)”, “Do Ankhen Barah Haath (1957)”, “Navrang (1959)” and others. I admired him immensely because of the art and craft of these movies. However, after reading the article I came to understand how little I knew about him. Most of his brilliant work was done in 1930’s and 1940’s through bilingual movies he made in Hindi and Marathi. I have not seen anyone of them before. I decided to dig deeper and share with our Forum members what I was able to unearth about this visionary legend and genius (who was a producer, director, actor, editor, and writer) through this thread.

Let us briefly start talking about how this all started…

Shantaram did not have much of schooling. In early teens he took up odd jobs like railroad repairs and maintenance work. To supplement his income he took up a job at a local cinema house. For the cinema house he did any work that came by like painting signs, ushering people into the theater, handling movie projection etc. When Dadasaheb Phalke came up with India’s first silent film he was thrilled and developed great admiration and respect for him. While working there at the cinema house he also started watching English films.

Shantaram briefly worked for a photographer to learn skills on handling the camera. But he was yearning for more. His second cousin from his mother’s side was working for a company called Maharashtra Film Company that was owned and operated by the great Baburao Painter. The cousin took Shantaram to Painter who hired him to work on anything he can find. Painter was busy making silent movies. Shantaram worked tirelessly and learned everything about making movies. Eventually he get a break as an actor in one of Painter’s films. Later on he also directed a film for Painter.

Shantaram’s work can be described through the stints and associations he had with various film companies. These can be described through the following four phases:

• Phase 1: Maharashtra Film Company (16 films, all silent) (See the attachment below)
• Phase 2: Prabhat Film Company (32 films; 6 silent and rest talkies) (See the attachment below)
• Phase 3: Rajkamal Kala Mandir (31 films) (See the attachment below)
• Phase 4: V. Shantaram Productions (13 films) (See the attachment below)

I am attaching below few photographs of Shantaram. One of them shows several images of him at work. The other one shows some of the awards and recognitions he received.

Following are some of the milestones in Shantaram’s film carrier:

• “Surekha Haran (1921)” – first silent film as an actor

• “Netaji Palkar (1927)” – first silent film as director; co-director was Keshavrao Dhaiber

• “Gopal Krishna (1929)” – first silent film under Prabhat; first film with allusions of pre-independence
movement; directed by Shantaram

• “Rani Saheba (1930)” – first children movie; directed by Shantaram

• “Udaykal (1930)” – first movie to politicize (fight against the British rule) Shivaji’s expeditions; directed by
Shantaram

• “Chandrasena (1931)” – first movie to use a trolley to shoot certain scenes; directed by Shantaram &
Keshavrao Dhaiber

• “Zulum (1931)” – last silent movie under Prabhat; directed by Keshavrao Dhaiber; Shantaram was one of
the producers

• “Ayodhyecha Raja (1932)” – first talkie under Prabhat; first Marathi talkie; first bilingual talkie; oldest
available talkie in India; directed by Shantaram

• “Maya Machhindra (1932)” – first film to use optical superimposition; first film to release its songs on a
gramophone record; directed by Shantaram

• “Sairandhri (1933)” – first color film made in India; first to have songs pressed on records in Germany from
the original motion picture soundtrack; directed by Shantaram

• “Amrit Manthan (1934)” – first film to raise voice against animal as well as human sacrifices; first film to
celebrate a silver jubilee; first film to use a telephoto lens to show close-ups; directed by Shantaram

• “Seetha Kalyanam (1934)” – first and only Tamil film made by Prabhat; directed by Baburao Pendharkar;
Shantaram was one of the producers

• “Dharmatma (1935)” – first film to explore the issue of untouchability; only devotional film directed by
Shantaram

• “Jambu Kaka (1935)” – first cartoon film made in India; shown in theaters before Prabhat’s regular
features; directed by Shantaram

• “Amar Jyoti (1936)” – first film to raise the issue of women’s emancipation; first film to use back projection;
first Prabhat film to use a playback singer; first Indian film to be screened at the Venice Film Festival;
directed by Shantaram

• “Sant Tukaram (1936)” – first film to raise the issue of caste system; first film to run over a year; co-
directed by Vishnupant Damle & Sheikh Fateh; Shantaram was one of the producers

• “Duniya Na Mane (1937)” – first film to explore the issue of a young woman married to a much older man;
directed by Shantaram

• “Wahan (1937)” – first film to raise the issue of slavery; directed by Narayan Kale; Shantaram was one of
the producers

• “Aadmi (1939)” – first film to raise the issue of prostitute rehabilitation; directed by Shantaram

• “Sant Dnyaneshwar (1940)” – first film to raise the issue of religious bigotry; first to be screened in USA;
first Marathi film broadcast on Doordarshan; co-directed by Vishnupant Damle & Sheikh Fateh; Shantaram
was one of the producers

• “Padosi (1941)” – first film to showcase the communal problems between Hindus & Muslims; directed by
Shantaram

• “Shakuntala (1943)” – first film under Rajkamal Kalamandir banner; film deals with women empowerment;
first film to be shown abroad in Canada; directed by Shantaram

• “Dr. Kotnis ki Amar Kahani (1946)” – first film that explored Indo-Chinese relationship; directed by
Shantaram

• “Dahej (1950)” – film on the consequences suffered due to the unjust dowry system; directed by
Shantaram

• “Teen Batti Char Raasta (1953)” – first film about national integration; first film to explore complexities of
dark versus fair skin; directed by Shantaram

• “Subah ka Tara (1954)” – film deals with perils and subsequent consequences of a man pursuing to marry a
widow; directed by Shantaram

• “Jhanak Jhanak Payal Baaje (1955)” – first film that dazzlingly displays the artistic richness of Indian
classical dances; directed by Shantaram

• “Do Ankhen Barah Haath (1957)” – first film to explore jail reforms; won many national and international
honors; directed by Shantaram

• “Navrang (1959)” – another feast of dances and songs; introduced Mahendra Kapoor as a playback singer;
directed by Shantaram

• “Geet Gaaya Pattharon Ne (1964)” – introduced Rajshri and Jeetendra as the leading pair in the film;
directed by Shantaram

• “Ladki Sahyadri Ki (1966)” – first film for which Pandit Jasraj sang a song; directed by Shantaram

• “Jal Bin Machhli Nritya Bin Bijli (1971)” – first film for which all songs were recorded in stereophonic sound;
directed by Shantaram

• “Pinjra (1972)” – first film to introduce the stage actor Shree Ram Lagoo to the big screen; directed by
Shantaram

It will be a while before we get into talkies, but starting in the next post I will have few details of the first silent film Shantaram acted, “Surekha Haran”…

This post has been edited by swarapriya: Jan 6 2019, 09:37 PM

[swarapriya]

Chandrasena (1935 - Hindi & Marathi)

This film was directed by Shantaram. It was simultaneously made in Hindi and Marathi. No video format of these movies is available. Fortunately there exist few videos of the Marathi version.

This film was made earlier in 1931, also by Prabhat Films, as a silent film. That was co-directed by Shantaram and Keshavrao Dhaiber.

Following the hit 1934 film “Amrit Manthan” Shantaram wanted to make a social film. But Fatehlal, another partner with Shantaram, already made plans to make a costume drama based on their 1931 silent film “Chandrasena.” He already built sets, several ideas for costumes and accessories. He went to the distance of recreating exquisite sets showing conches, pearls, and shells. Shantaram went along with that idea.

The film originally had Chandra Mohan playing Mahiravan. On the day when shooting was to commence Mohan was a no show. Shantaram enquired about it and found they were given a legal notice to void his contract with Prabhat. Mohan apparently was offered a better salary in another film. A furious Shantaram replaced him with Kelkar. Mohan was then served a legal notice from Prabhat for not honoring the contract he signed. He was also served to pay expenses they have incurred because of his last minute refusal to not participate in the film. Mohan tried to get help and legal advice but for no avail. Then he went back to Shantaram and begged for his forgiveness. Shantaram ultimately pardoned him. After he participated in the 1936 film “Amar Jyoti” Shantaram terminated his contract with Prabhat.

The story of the film was taken from the epic Ramayana. Chandrasena, wife of Mahiravan, helps Hanuman to rescue Rama and Lakshmana imprisoned in Paataala by Mahiravan. She also helps Hanuman in the defeat of Mahiravan’s mighty army.

Mahiravan was a brother of Ravan. He was supposed to be more powerful than Ravan. To avoid any conflict with his own brother, Mahiravan made his kingdom in Paataal.

The film for its period was embellished with many special effects. These included giant sized Hanuman lifting of human figures, a show of arrow wizardry in battle scenes, Hanuman flying in the air, and others. In spite of all this the film was a failure. In the heels of the setback they suffered with India’s first color film, 1933’s “Sairandhri,” this was another failure the partnership has to swallow.

See in the attached picture below Shantaram working on a film set with other craftsmen and technicians. In the second picture a scene from the film is shown where the shot was taken with two cameras and then integrating those images together.

Songs from this film are given starting in the next post…

[swarapriya]

Chandrasena (1935 - Hindi)

Unfortunately, I do not have any of the songs listed in the table below. I am requesting fellow Forum members to share them with rest of us if they have any. Thank you.

[swarapriya]

Chandrasena (1935 - Marathi)

I am uploading songs from this film in two back-to-back posts. Here are the songs in the first post…

[swarapriya]

Concluding Songs from "Chandrasena (1935 - Marathi)"...

Here are the rest of the songs from this film...