Telling stories from the epics using hand-drawn tableaux images in scroll paintings, with accompanying live sounds have been an age old Indian tradition. These tales, mostly the familiar stories of gods and goddesses, are revealed slowly through choreographic movements of painted glass slides in a lantern, which create illusions of movements. And so when the Lumire brothers' representatives held the first public showing at Mumbai's (Bombay) Watson's Hotel on July 7, 1896, the new phenomenon did not create much of a stir here and no one in the audience ran out at the image of the train speeding towards them, as it did elsewhere. The Indian viewer took the new experience as something already familiar to him.
Harischandra Sakharam Bhatwadekar, who happened to be present for the Lumiere presentation, was keen on getting hold of the Lumiere Cinematograph and trying it out himself rather than show the Lumiere films to a wider audience. The public reception accorded to Wrangler Paranjpye at Chowapatty on his return from England with the coveted distinction he got at Cambridge was covered by Bhatwadekar in December 1901- the first Indian topical or actuality film was born.
In Calcutta, Hiralal Sen photographed scenes from some of the plays at the Classic Theatre. Such films were shown as added attractions after the stage performances or taken to distant venue where the stage performers could not reach. The possibility of reaching a large audience through recorded images which could be projected several times through mechanical gadgets caught the fancy of people in the performing arts and the stage and entertainment business. The first decade of the 20th century saw live and recorded performances being clubbed together in the same programme.
The strong influence of its traditional arts, music, dance and popular theatre on the cinema movement in India in its early days, is probably responsible for its characteristic enthusiasm for inserting song and dance sequences in Indian cinema, even till today.
Dada Saheb Phalke
Dhundiraj Govind Phalke (1870 - 1944) affectionately called Dadasaheb Phalke is considered as the 'father of Indian Cinema'. Central in Phalke's career as a filmmaker was his fervent belief in the nationalistic philosophy of swadeshi, which advocated that Indians should take charge of their own economy in the perspective of future Independence.
Phalke, with his imported camera, exposed single frames of a seed sprouting to a growing plant, shot once a day, over a month-thus inadvertently introducing the concept of 'time-lapse photography', which resulted in the first indigenous 'instructional film'- The Birth of a Pea Plant (1912) - a capsule history of the growth of a pea into a pea-laden plant. This film came very handy in getting financial backing for his first film venture.
Inspired from an imported film - Life of Christ - Phalke started mentally visualising the images of Indian gods and goddesses. What really obsessed him was the desire to see Indian images on the screen in a purely Swadeshi venture. He fixed up a studio in Dadar Main Road, wrote the scenario, erected the set and started shooting for his first venture Raja Harishchandra in 1912. The first full-length story film of Phalke was completed in 1912 and released at the Coronation cinema on April 21, 1913, for special invitees and members of the Press. The film was widely acclaimed by one and all and proved to be a great success.
The opening tableaux presents a scene of royal family harmony- with a space "outside" the frame from where the people emerge, and to which space the king when banished seeks shelter. The film's treatment is episodic, following the style of the Indian flok theatre and the primitive novel. Most of the camera set-ups are static, with plenty of movements within the frame. The bathtub sequence where Harishchandra comes to call his wife Taramati, who is in the tub, with her fully drenched attendants is indeed the first bath-tub scene in Indian cinema. All the females in their wet sarees and blouses clinging to their bodies are in fact all males in female grab.
Phalke hailed from an orthodox Hindu household - a family of priests with strong religious roots. So, when technology made it possible to tell stories through moving images, it was but natural that the Indian film pioneer turned to his own ancient epics and puranas for source material. The phenomenal success of Raja Harishchandra was kept up by Phalke with a series of mythological films that followed - Mohini Bhasmasur (1914), significant for introducing the first woman to act before the cameras - Kamalabai Gokhale. The significant titles that followed include - Satyawan Savitri (1914), Satyavadi Raja Harischandra (1917), Lanka Dahan (1917), Shri Krishna Janma (1918) and Kalia Mardan (1919).
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