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B H U B A N E SWA R THURSDAY, OCTOBER 13, 2011

Filmi Funda
With the centenary celebrations of Indian Cinema round the corner (2012-13), Orissa Post begins an introduction series to 100 Landmark Indian Movies that celebrate the cinematic diversity of a nation that produces nearly 1000 feature films a year in over 21 languages. And what better a beginning than the story of the making of the first Indian feature film Raja Harishchandra (1913), as told by the contemporary Marathi comedy Harishchandrachi Factory (2009)
HARISHCHANDRACHI FACTORY (Marathi, 2009)

Rating: **** Director: Paresh Mokashi Cast: Nandu Madhav, Vibhavari Deshpande

The Iconic

PIYUSH ROY
THE WRITER IS FORMER EDITOR OF STARDUST

100/100

LANDMARK INDIAN FILMS

Phalke observing the projection as his family is watching a film in a still from Harishchandrachi Factory

Saraswati shoots Phalke in a still from Harishchandrachi Factory

Synopsis/ Story: Set in early 20th century Bombay (1911-1913), the film is an engaging slice of life story from the amazing life of Dhundiraj Govind Phalke or Dadasaheb Phalke, who has since come to be known as the father of Indian cinema. It depicts his endeavours at making the first Indian feature film Raja Harishchandra in 1913. Though another Indian feature film titled Pundalik (1912) on a Marathi saint did release a year earlier, Raja Harishchandra enjoys the distinction of being the first wholly Indian or Swadeshi venture in sync with the patriotic sentiments of its times, vis--vis Pundalik, which was a Indo-British joint production. Post a quarrel with a business partner, Phalke (Nandu Madhav) leaves a thriving career in an establishedprinting press to dip his depleting sources into the fascinating idea of movie making, after a chance screening of the iconic silent film TheLife of Christ. Envisioning Indian gods on screen, he chooses the story of Ayodhyas pious king Harishchandra for the subjects familiarity with the Indian audience and a desire to popularise the stories of Hindu gods and kings on the screen like the Christ biopic he had seen earlier. Phalke, his family and film unit however have to struggle very hard to realise his dream. Phalkes prolific writings in Marathi, which form the basis of the films screenplay apart from interviews with some of his family members, reveal the inspiring journey of a daring adventurer whose humble quest a century ago has ended up as the worlds largest film industry today. Phalkes curious nature is best evinced in a scene where when everyone is looking at the screen, he is looking in the opposite direction towards the source of those moving images or halti chitra as he calls the new medium of cinema. He battles doubters from kin and friends and mortgages his insurance policy to travel to England alone to learn about the new medium and get the material to make films with the address in a magazine as his only point of contact in the city. At London he meets Mr. Cabourne, the Editor of a film weekly, Bioscope. Cabourne helps him buy the right gadgets and introduces him to pioneering British filmmaker Cecil Hepworth. Phalke trains on job in his studio. Returning to India with the training and equipment however dont solve his financial prob-

Dadasaheb Phalke

Poster of Harishchandrachi Factory

lems or the doubts of financers. So he first shoots and shows them a trick short film, From Peanut to Plant, which was mostly shot by his wife. The trick works and investors turn up to fund his promising business idea. But the actual process of shooting is still bogged by struggles, the biggest being convincing women to act in cinema. The film provides an interesting peak into then social attitudes to women working in cinema, with even prostitutes refusing to act in Phalkes film terming it a job of lesser virtue than their despised calling. So Indias first feature film actually has a guy (a male cook named A Salunke) play the heroine Queen Taramati opposite DD Dabkes Harishchandra with Phalkes elder son Bhalchandra enacting the role of Harishchandras son Rohidas. Post the films release, Phalkehowever gets a rousing reception in India and abroad. He pays another visit to London with three more films, where old friend Cabourne arranges a trade show with rave advance notes in Bioscope, followed by praise in British papers. The film ends with

Dabke & Salunke in a still from the original Raja Harishchandra

Phalke returning to India to start the Indian film industry, declining many irresistibleoffers to settle down and make films in Britain. Phalke went on to make 100 more films, though his fortunes and popularity started dipping with the advent of the talkie era. Review: Harishchandrachi Factory is a re-

markable achievement in the post millennium Marathi cinema revival story thats been mostly led by young, debuting directorial voices. The beauty of the film lies in the simplicity of its telling, perhaps an echo of the simple times it depicts. Passing mention is made to the social turmoil of the then

on-going struggle for independence in occasional references to Lokamanya Tilak, though thankfully director Paresh Mokashi refrains from succumbing to this attract because at heart his story is one of achievement of creativity, dreams and entrepreneurship. Comedy may be the tone used to depict the Yeoman struggle of the protagonist, but for an empathetic viewer the sacrifice of Phalke and his family will not go unnoticed. The films Chaplinisque narrative, while providing another facet to Phalkes personality (an ability to laugh in the face of odds) almost echoes Charlie Chaplins quote, I like to walk in rain, so no one can see my tears. In the processes of the making of Phalkes film, ample hints are made to narrative underpinnings that would be guiding mainstream Indian cinemasubsequently. For instance, when Phalkes cinematographer objects to the presence of a jackfruit tree (a much later western import into India) in a shot depicting events from ancient India, Phalke over rides the technicalities arguing that the story is important, not the details. Detailing and concern for authenticity still elude a majority of popular Indian cinema, or else how do we account for song situationssuddenly transporting desi characters to alien lands. In another scene Phalke can be seen extoling his actors to get more dramatic and emotional.Little wonder melodrama went on to become such a major narrative cornerstone in many Indian films. The films technical finesse and scale may not be at par with mainstream Bollywood fare, often seeming to unfold like a set piece, but the films gripping, unpredictable story line and felt acting by talented actors from the Marathi theatre more than compensate for its overall technical lacunae. Nandu Madhavs Phalke is a man possessed, yet convincing enough to endear himself to his viewers. TV actress Vibhavari Deshpandes Saraswati Phalkeliterally lives up the saying that behind every successful man is a woman through her selfless, unquestioning dedication to and sharing of her husbands dream. Here is life story that can almost inspire another film in itself. Savour the scene where Phalke gets their kids to engage Saraswati in a game of blindfolds as he picks up one more household item to sell for much needed funds to get going his exotic career. Expecting the obvious, she states with unusual equanimity, At least tell me what you are taking next to sell so that I dont worry about why its missing The critical success of the film also is an

endorsement of the vibrant story telling traditions of a regional language industry like Marathi cinema, which may not be as hugeas its immediate Bollywood counterpart in spite of happening out of Mumbai, but it more than makes up its lack of the grandiose by telling some unique, rooted to the soil real stories. Harishchandrachi Factory is a welcome addition to the spurt of social comedies and satires that have been coming out of Marathi cinema of late. Mokashi does paint a believable portrait of early 20th century Mumbai through a script that tells you as much about the society of those times as it does about its pioneering heros mission. While as a biopic, Harishchandrachi Factorys ability to look for irony and laugh even in the darkest places make it a memorable ode to the human mettle, it also is

Director Paresh Mokashi

an important film that should not be missed for its chronicling of an important event in the Indian film history that for many has come to be limited to just two names Raja Harishchandra and Dadasaheb Phalke. Highlights/Honour Roll: Harishchandrachi Factory bagged the Best Film, Best Direction and Best Art Direction (Nitin Chandrakant Desai) awards at the 46th Maharashtra State Film Awards (2009). It was Indias official entry to the Academy Awards in the Best Foreign Film category in 2009 and is the second Marathi film, after Shwaas (2004) to receive the honour.

TAYLOR SWIFT IS BILLBOARD WOMAN OF THE YEAR


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I TRY TO LIVE IN THE MOMENT: EMMA STONE


ctress Emma Stone tries not to get Awhelmed'' by thatHollywood success. ''overher "I'm very aware it's a moment. If I ever get overwhelmed by everything that's happening to me, I think, 'Get over it sweetheart. It will be gone one day," contactmuisc.com quoted her as saying. "There's going to be another 22-year-old redhead on my heels. It's inevitable and there's nothing I can do about it, so I try to live in the moment," she added.

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