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Marathi cinema
Marathi cinema is the segment of Indian cinema dedicated to the production of motion pictures in the Marathi language, which is widely spoken in the state of Maharashtra. It is based out of Mumbai. It is the oldest film industry in India and one of the leaders in filmmaking in the Indian film industry.
Raja Harishchandra, directed by Dadasaheb Phalke and released in 1913, was the first Marathi-language film ever made, and was also India's first full-length feature film. The claim is disputed and some claim that Dadasaheb Torne's Shree Pundalik (1912) was the first film made in Maharashtra. The first Marathi talkie film was Ayodhyecha Raja, released in 1932, one year after Alam Ara, the first Hindi talkie film. All Marathi films until then were silent films with intertitles. Pinjara (1972), directed by V. Shantaram, was first colour film in Marathi cinema.
Kolhapur was a centre for film production during the 20th century, though currently, a majority of films are made in Mumbai. During Marathi cinema's infancy between the 1910s and 1930s, which only had silent films, the majority of films were made on Hindu mythological subjects. Later during the 1970s, films were made on rural stories. Between the 1980s and 1990s, comedy and thriller films started to flourish. Since the turn of the millennium, there have been films based on social subjects and biographical dramas. Although the industry is much smaller than Hindi cinema (which is also based in Mumbai), Marathi cinema is tax free at the privilege of the Government of Maharashtra, and is experiencing growth in recent years.
Marathi cinema is the oldest film industry in India. Dadasaheb Phalke is widely considered a pioneer and founder of Marathi cinema and Cinema of India. He brought the revolution of motion pictures to India with his first indigenously made film, Raja Harishchandra, released in 1913. Although the film had Marathi and English intertitles, it is considered a Marathi film by IFFI and NIFD,[clarification needed] citing that while filming, Phalke had employed a full Marathi crew, including actors. Some claim that the first ever Marathi movie was Shree Pundalik of Dadasaheb Torne; it was released on 18 May 1912 at Coronation Cinematograph, Bombay. But this claim is disputed; it is not considered the first Marathi or Indian film because it was not a movie in the true sense; it was a recording of a then popular theater play; the cameraman who filmed that movie, Jonson, was a British national; it was processed in London; and the negative also remained in the United Kingdom.
Kolhapur was a centre of film production in the twentieth century. Maharashtra Film Company's Sairandhri (1920), starring Balasaheb Pawar, Kamala Devi and Zunzarrao Pawar, was the first Indian film to cast women artists. Notably, Sairandhri became the first Indian film to face censorship by the British Government. Because of his special interest in sets, costume design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialized in the historical genre. Baburao Painter made many silent movies till 1930, including Surekha Haran (1921), for which he brought the best camera of the time, manufactured by Bell & Howell, and Savkari Pash (Indian Shylock) in 1925, a social film based on a short story by Narayan Hari Apte. Baburao was not particularly keen on the talkies, for he believed that they would destroy the visual culture so painfully evolved over the years.
Ayodhyecha Raja (1932), directed by V. Shantaram was the first talkie of Maharashtra and also the first double version talkie of Indian cinema; prior to it, all the movies were silent films with Marathi and English intertitles. It was released one year after the first sound film of the nation, Alam Ara (1931), and five years after the first Hollywood sound film, The Jazz Singer (1927), which is the first sound film made in the world. Bhalji Pendharkar's Shyam Sundar was the first talkie to be made in Pune and apparently the first Indian film with a continuious run of more than 25 weeks at West End (present Naaz Talkies, Mumbai).
As cinema grew in the Union of India, major production houses rose, and one of them was again a company owned wholly by Maharashtrians, the Prabhat Film Company. Prabhat's Sant Tukaram (1936) was the first Indian work to win the Best Film Award at the Venice Film Festival in 1937. In 1954, at the very first edition of the National Awards, Shyamchi Aai won the first President's Gold Medal for Cinema. It was directed by Acharya P. K. Atre, and it was an adaptation of the eponymous novel by Sane Guruji. Marathi cinema was in its full bloom by this time with the advent of greats like V. Shantaram, Master Vinayak, Bhalji Pendharkar and Acharya Atre, followed by Raja Paranjpe, Dinkar D. Patil, G. D. Madgulkar, Sudhir Phadke and Raja Thakur.
The 1960s saw the emergence of directors such as V. Shantaram and Anant Mane, who made Marathi films based on the folk art form Tamasha. Mane’s Sawaal Majha Aika! (1964), marked his third Best Feature Film Award win and featured many popular songs. Shantaram's Pinjra (1972) was a major hit, becoming one of the biggest commercial successes of its time, and ran for an impressive 134 weeks in Pune. It was also the first Marathi film to be made in color.
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Marathi cinema
Marathi cinema is the segment of Indian cinema dedicated to the production of motion pictures in the Marathi language, which is widely spoken in the state of Maharashtra. It is based out of Mumbai. It is the oldest film industry in India and one of the leaders in filmmaking in the Indian film industry.
Raja Harishchandra, directed by Dadasaheb Phalke and released in 1913, was the first Marathi-language film ever made, and was also India's first full-length feature film. The claim is disputed and some claim that Dadasaheb Torne's Shree Pundalik (1912) was the first film made in Maharashtra. The first Marathi talkie film was Ayodhyecha Raja, released in 1932, one year after Alam Ara, the first Hindi talkie film. All Marathi films until then were silent films with intertitles. Pinjara (1972), directed by V. Shantaram, was first colour film in Marathi cinema.
Kolhapur was a centre for film production during the 20th century, though currently, a majority of films are made in Mumbai. During Marathi cinema's infancy between the 1910s and 1930s, which only had silent films, the majority of films were made on Hindu mythological subjects. Later during the 1970s, films were made on rural stories. Between the 1980s and 1990s, comedy and thriller films started to flourish. Since the turn of the millennium, there have been films based on social subjects and biographical dramas. Although the industry is much smaller than Hindi cinema (which is also based in Mumbai), Marathi cinema is tax free at the privilege of the Government of Maharashtra, and is experiencing growth in recent years.
Marathi cinema is the oldest film industry in India. Dadasaheb Phalke is widely considered a pioneer and founder of Marathi cinema and Cinema of India. He brought the revolution of motion pictures to India with his first indigenously made film, Raja Harishchandra, released in 1913. Although the film had Marathi and English intertitles, it is considered a Marathi film by IFFI and NIFD,[clarification needed] citing that while filming, Phalke had employed a full Marathi crew, including actors. Some claim that the first ever Marathi movie was Shree Pundalik of Dadasaheb Torne; it was released on 18 May 1912 at Coronation Cinematograph, Bombay. But this claim is disputed; it is not considered the first Marathi or Indian film because it was not a movie in the true sense; it was a recording of a then popular theater play; the cameraman who filmed that movie, Jonson, was a British national; it was processed in London; and the negative also remained in the United Kingdom.
Kolhapur was a centre of film production in the twentieth century. Maharashtra Film Company's Sairandhri (1920), starring Balasaheb Pawar, Kamala Devi and Zunzarrao Pawar, was the first Indian film to cast women artists. Notably, Sairandhri became the first Indian film to face censorship by the British Government. Because of his special interest in sets, costume design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialized in the historical genre. Baburao Painter made many silent movies till 1930, including Surekha Haran (1921), for which he brought the best camera of the time, manufactured by Bell & Howell, and Savkari Pash (Indian Shylock) in 1925, a social film based on a short story by Narayan Hari Apte. Baburao was not particularly keen on the talkies, for he believed that they would destroy the visual culture so painfully evolved over the years.
Ayodhyecha Raja (1932), directed by V. Shantaram was the first talkie of Maharashtra and also the first double version talkie of Indian cinema; prior to it, all the movies were silent films with Marathi and English intertitles. It was released one year after the first sound film of the nation, Alam Ara (1931), and five years after the first Hollywood sound film, The Jazz Singer (1927), which is the first sound film made in the world. Bhalji Pendharkar's Shyam Sundar was the first talkie to be made in Pune and apparently the first Indian film with a continuious run of more than 25 weeks at West End (present Naaz Talkies, Mumbai).
As cinema grew in the Union of India, major production houses rose, and one of them was again a company owned wholly by Maharashtrians, the Prabhat Film Company. Prabhat's Sant Tukaram (1936) was the first Indian work to win the Best Film Award at the Venice Film Festival in 1937. In 1954, at the very first edition of the National Awards, Shyamchi Aai won the first President's Gold Medal for Cinema. It was directed by Acharya P. K. Atre, and it was an adaptation of the eponymous novel by Sane Guruji. Marathi cinema was in its full bloom by this time with the advent of greats like V. Shantaram, Master Vinayak, Bhalji Pendharkar and Acharya Atre, followed by Raja Paranjpe, Dinkar D. Patil, G. D. Madgulkar, Sudhir Phadke and Raja Thakur.
The 1960s saw the emergence of directors such as V. Shantaram and Anant Mane, who made Marathi films based on the folk art form Tamasha. Mane’s Sawaal Majha Aika! (1964), marked his third Best Feature Film Award win and featured many popular songs. Shantaram's Pinjra (1972) was a major hit, becoming one of the biggest commercial successes of its time, and ran for an impressive 134 weeks in Pune. It was also the first Marathi film to be made in color.