History
Baburao Painter's Maharashtra Film Company, based in Kolhapur, had made a name for itself with its silent films in early 1920s. Close friends Vishnupant G Damle and Fateh Lal (Damle Mama and Saheb Mama) were very good artists and held posts with senior responsibility at the company.
Baburao Pendharkar became the de facto head of operations because of Baburao Painter's distaste for financial matters. Pendharkar's cousin Shantaram Vanakudre (V. Shantaram) joined the company and became Baburao Painter's right-hand man.
In 1927-28, the senior personnel became dissatisfied by Baburao Painter's increasingly lukewarm and erratic behaviour. Damle and Fateh Lal were thinking of starting their own company, as were V Shantaram and Keshavrao Dhaibar. The four of them got together, and with Sitaram Kulkarni, well-established jeweller in Kolhapur as their fifth partner and financier, started a new company on 1 June 1929, with an initial investment amount of Rs 15,000. Baburao Pendharkar suggested the name Prabhat (meaning "Dawn"), and the other partners liked it.
Prabhat soon made a name for itself with silent films and produced six films, most of them directed by the tireless V. Shantaram. When India entered the era of talkies with Alam Ara in March 1931, Shantaram predicted that it was a transient phase, and the silent films were the real artistic area. But soon the company realized its mistake, and joined the talkie era with Ayodhyecha Raja (The King of Ayodhya) in Marathi (1932), also starring Durga Khote, which was the first film of Marathi Cinema, and later made under the name Ayodhya Ka Raja in Hindi. The film is based on Raja Harishchandra's story. In 1930s when most of silent movies companies had closed down, Prabhat joined the ranks of "big three" of Indian cinema, which included New Theatres of Calcutta and Bombay Talkies of Bombay
In September 1933, the company moved to Pune because of its proximity to Mumbai and all the five founder moved with their families, and the doors of the studio finally opened in Pune in 1934. Then followed a golden era of 8–10 years during which the company made some landmark films: Sairandhri (1933), India's first colour film, processed and printed in Germany; Amrit Manthan (1934), Sant Tukaram (1936), Kunku (or Duniya Na Mane in Hindi) in 1937, Manoos (1939), Shejari (or Padosi) in 1941. The biopic, title Sant Tukaram, in 1936, made by V. Damle and S. Fattelal of Prabhat Film Company and starring Vishnupant Pagnis as the lead, and released on 12 December 1936 at Central Cinema in Mumbai. The film was not only a big hit but also had won an award at the 5th Venice International Film Festival in 1937, and still remains a part of film appreciation courses.
After Shantaram split away in 1942 to form his own "Rajkamal Kala Mandir" studios, and Damle Mama fell ill, the company encountered hard times. Its last major film was Ram Shastri in 1944. Noted director, Guru Dutt started his career as a choreographer, under a three-year contract with the Prabhat Film Company in Pune in 1944. The company's was closed early 50s and property auctioned away in 1952 and company formally closed on to 13 October 1953.
Major figures associated with Prabhat are composers Govindrao Tembe, Dinkar D. Patil, Keshavrao Bhole, Master Krishnarao, Vasant Desai; actresses Durga Khote, Shanta Apte, Shanta Hublikar, Vasanti, Jayashree Kamulkar; actors Bal Gandharva, Keshavrao Date, Shahu Modak. Other Marathi film companies of note in 1930s include Saraswati Movietone, Shalini Movietone, Hans Pictures. Major film directors : Bhalji (Bhal G) Pendharkar, Master Vinayak. Major music directors : Annasaheb Mainkar, Dhamman Khan, Dada Chandekar.
Read more about this topic: Prabhat Film Company
Famous quotes containing the word history:
“Considered in its entirety, psychoanalysis won’t do. It’s an end product, moreover, like a dinosaur or a zeppelin; no better theory can ever be erected on its ruins, which will remain for ever one of the saddest and strangest of all landmarks in the history of twentieth-century thought.”
—Peter B. Medawar (1915–1987)
“There is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy; a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History and, even, with the European tradition.”
—Umberto Eco (b. 1932)
“I assure you that in our next class we will concern ourselves solely with the history of Egypt, and not with the more lurid and non-curricular subject of living mummies.”
—Griffin Jay, and Reginald LeBorg. Prof. Norman (Frank Reicher)