915:, but he remained unconscious. Various unit members suggested that Bhalchandra should be taken to Bombay for further treatment and once he was completely recovered, shooting could be resumed. The scene that was to be filmed showed Rohitashva, Bhalchandra's character, dead on a funeral pyre. Resuming the outdoor shoot after Bhalchandra's recovery would have delayed the production and incurred costs. To avoid both, Phalke stoically decided to shoot the scene with the unconscious Bhalchandra. As in the legends of Harishchandra, the King along with Taramati and Rohitashva visit
3562:
956:; thus, sets, costumes, and artists' make-up artists avoided the colour red. During the early nineteenth century, plays had an introductory episode, a compere or a person who introduces the performers in a show. Unit members suggested the film should also have similar introductory episode with Phalke and his wife playing the roles of Sutradhar and Nati. Phalke agreed to the idea but could not convince Saraswatibai to act in front of a camera. Finally, Padurang Gadhadhar Sane played the role of Nati.
550:) in May 1912. He set up a processing room and taught his family to perforate and develop the film. Though Phalke was certain of his idea of filmmaking, he could not find any investors. So, he decided to make a short film to demonstrate the techniques. He planted some peas in a pot, placed a camera in front of it, and shot one frame a day for over a month. This resulted in a film, lasting just over a minute, of the seed growing, sprouting, and changing into a climber. Phalke titled this short film
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by lending his actors and their costumes. Phalke decided to use material like
Harishchandra's crown, wig, swords, shields, and bows and arrows in the film. Phalke's brother-in-law owned two drama companies, Belgaokar Natak Mandali and Saraswati Natak Mandali. He offered similar help, but Phalke politely declined as the majority of the cast and crew were finalised. Phalke designed the costumes and stage scenes based on the paintings of
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923:, where they camped for about a month and filmed the required scenes. Phalke used to develop the film at night for the scenes that were shot throughout the day. He would re-shoot the scenes next day if they were not of the desired quality. Filming was completed in six months and twenty-seven days to produce a film of 3,700 feet (1,100 m); about four
642:"Wanted actors, carpenters, washermen, barbers and painters. Bipeds who are drunkards, loafers or ugly should not bother to apply for actor. It would do if those who are handsome and without physical defect are dumb. Artistes must be good actors. Those who are given to immoral living or have ungainly looks or manners should not take pains to visit."
1203:. In 1917, the film's last print caught fire due to the constant friction and the exposure to high temperatures while it was being transported from one theatre to another, by a bullock cart. Phalke readily re-shot the film to produce the version that exists today. However, only the first and last reels of the original film are preserved at the
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News of the film's success in Bombay spread across India and there were demands to screen the film in various locations. As there were no film distributors in those days, Phalke had to move the film, the projector, an operator, and some assistants from place to place. When the film was screened for a
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had a note added at the end that the ticket rates would be double the usual rates. The film had a houseful run for a week, and it was extended for twelve more days. A special show was scheduled on 17 May for women and children only at half rates. Initially, 18 May was advertised as the last show, but
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calling for the cast and crew required for the film. It was well-received and huge number of applicants came in for the auditions. Despite a growing response to the advertisement, he was not satisfied with the performers' skills. He discontinued the advertisements and decided to scout for the artists
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About the same time, the
Rajapurkar Natak Mandali drama company visited Bombay. Many of the company's shows were based on Hindu mythology. Phalke met the company's proprietor, Babajirao Rane, and explained his idea of indigenous film production. Rane was impressed by the idea and offered his support
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In response to the advertisement, four prostitutes auditioned for the role of
Taramati. Phalke rejected them for not having satisfactory looks and revised the advertisement to read: "Only good-looking women should come for interview." Two more prostitutes auditioned but left after two days. A young
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The film had its theatrical release on 3 May 1913 at the
Coronation Cinematograph and Variety Hall. The show included a dance by Irene Delmar, a comic act by McClements, foot-juggling by Alexandroff, and Tip-Top comic items followed by the film. The show's duration was one-and-half hours with four
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and do women's chores like sifting rice, and making flour to help
Saraswatibai. Though some actors were associated with theatres, most of the cast did not have any prior acting experience. Phalke ran several rehearsals with the actors. Often, he had to wear a sari himself and act out the scene. A
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king for arranging a free cremation. While
Taramati is on her way to meet the Dom king, Vishvamitra frames her for the murder of the prince of Kashi. Taramati faces trial, pleads guilty and is ordered to be beheaded by Harishchandra. When he raises his sword to complete his task, a pleased Lord
706:, son of Harishchandra and Taramati, but none of the parents would allow their children to work in the film as the character would have to live in the forests and was to die. Finally, Phalke's elder son Bhalchandra was assigned the role, becoming the first child actor in Indian cinema.
519:. Surprised at seeing animals on the screen, Bhalchandra informed his mother, Saraswatibai, about his experience. None of the family members believed them, so Phalke took his family to see the film the next day. As it was Easter, the theatre screened a film about Jesus,
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The unit was lodged at the village temple and continued their rehearsals until Phalke arrived from Bombay. The villagers were frightened to see the troupe of people wearing costumes, wielding swords, shields, and spears while practising the scenes. They informed the
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by releasing the three powers. To appease
Vishvamitra's wrath, Harishchandra offers his kingdom. Returning to the royal palace, he informs Taramati of the happenings. Vishvamitra sends Harishchandra, Taramati, and Rohitashva into exile and asks them to arrange for
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497:. I was gripped by a strange spell. I bought another ticket and saw the film again. This time I felt my imagination taking shape on the screen. Could this really happen? Could we, the sons of India, ever be able to see the Indian images on the screen?"
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explaining to them again about cinema and filming by showing them the equipment. Without loading film into the camera, he asked his unit to enact one of the film's scenes and went through the motions of filming a scene. After viewing the scene, the
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Padurang
Gadhadhar Sane and Gajanan Vasudev Sane were among the first artists to join Phalke Films Company. The former was playing female roles in the Natyakala theatre company; the latter was performing in Urdu plays. Both joined for a salary of
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282:) to attract investors for his venture. He published advertisements in various newspapers calling for the cast and crew. As no women were available to play female roles, male actors performed the female roles. Phalke was in charge of
1217:. NFAI duplicated the film, but around twenty percent of the left side of the screen was lost in the transfer. It was believed the film's remaining reels were destroyed along with 1,700 nitrate-based films in the fire at the
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Film historian Firoze
Rangoonwalla feels that the film made "a wide impression and appealed to a large audience in different places" and its box office success provided "the seal of acceptance and laid the foundation of the
679:, auditioned and Phalke selected her for the female lead. She rehearsed for four days. However, on the fifth day, her master objected to her working in the film and took her away. In despair, Phalke also visited Bombay's
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in their review noted the scenes depicted in the film are "simply marvellous" and "t is really a pleasure to see this piece of Indian workmanship". With the favourable reviews generated, Nanasaheb Chitre, Manager of the
985:, his elder brother, Shivrampant, advised him to postpone the premiere to another day. But, as the invitations had already been sent and the theatre was available only on 21 April, Phalke could not change his decision.
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number of photographs from
English periodicals showing various facial expressions were hung up in the rehearsal studio. All the actors had to go through a mandatory exercise where they were asked to make similar faces.
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in its issue of 5 May 1913 mentioned that "this wonderful drama is splendidly represented by the company of actors" and praised the "beauty and ingenuity" with which Phalke succeeded in presenting the film scenes.
1038:, Phalke signed a temporary agreement for 50% partnership with the theatre owner. Despite advertising the film, at its first showing the film met with a lukewarm response. Disappointed by the earnings of only
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producing soft and diffused light. He appreciates the tonal gradation, lighting, and camera movements. He also notes the scene where the god appears and disappears from behind the smoke of sage Vishvamitra's
867:, a village outside Bombay. Some of the male actors playing female roles, including Anna Salunke who was playing the female lead, were not ready to shave off their moustaches because it is part of one of the
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notes that the film's scenes appear to run faster because of the current projector speed of 24-frames-per-second as compared to 16 to 18-frames-per-second speed of the projector that was used for the film.
755:. He painted the scenes for the palace, jungle, mountains, fields and caves himself on curtains. After the sets were erected for the indoor shooting, painter Rangnekar was hired for the monthly salary of
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in April 1911. In February 1912, he went to London for two weeks to learn filmmaking techniques and upon return founded Phalke Films Company. He imported the hardware required for filmmaking and
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instead and decided to start in the business of "moving pictures". After completing his two-week trip to London to learn filmmaking techniques, he founded Phalke Films Company on 1 April 1912.
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Bhatavdekar introduced the premiere acknowledging Phalke for his "daring". Justice Donald noted that the film would help Europeans learn more about Hindu mythology. Anant Narayan Kowlgekar of
597:). The story, which depicted the ill effects of alcoholism, was the first he considered for filming. After watching several American films screened in Bombay, he observed that they included
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Justice Donald, newspaper editors and representatives along with some intellectuals and prominent personalities from Bombay. As Phalke's infant daughter, Mandakini, was ill with
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3, the owner asked Phalke either to cancel the show, increase its length, or reduce ticket prices. Phalke politely rejected these suggestions. He issued an advertisement in the
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Phalke had difficulties arranging a theatre for screening as criticism of his work had already started. He decided to show the film to a select audience and arranged for a
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the film continued its screening due to popular demand. It screened continuously for twenty-three days until 25 May and was screened at the Alexandra Theatre on 28 June.
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and romance, which the audiences liked. His family members suggested that the storyline should appeal to middle-class people and women and it should also highlight
1133:(1993) mentions that the film's narrative style was borrowed from painting, theatre and traditional arts to attract the audience into cinema. Dilip Rajput of the
738:. The film had an all-male cast as no women were available to play female leads. After coming to the studio, male actors playing female roles were asked to wear
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730:, Phalke advised his artists to tell others they were working in a factory for a man named Harishchandra. Phalke watched several foreign films to learn about
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to be performed after the death of one's father. Phalke persuaded the actors and their fathers to have the moustaches shaved and the unit left for Vangani.
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397:). His citizens ask him to go on a hunting expedition. While on the hunt, Harishchandra hears the cries of some women. He reaches a place where the sage
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at the Olympia Theatre, Bombay on 21 April 1913 at 9:00 pm. The invitees included doctor and public worker Sir Bhalchandra Bhatavdekar, scholar
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on 8 January 2003. The prints were later retrieved from the private collection of Phalke's children. The NFAI has restored and digitised the film.
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1050:. He also had his actors enact some of the film's scenes at the town's crossroads. The promotion had the desired effect and earnings increased to
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695:, an effeminate young man with slender features and hands. Salunke was working as a cook or waiter at the restaurant on a monthly salary of
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appears. Vishvamitra reveals that he was examining Harishchandra's integrity, returns the crown to him and brings Rohitashva back to life.
691:. He was asked either to pay a high salary or to marry the woman. One day, while having tea at a restaurant on Grant Road, Phalke noticed
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handled the camera. Phalke completed filming in six months and 27 days producing a film of 3,700 feet (1,100 m), about four reels.
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558:) and showed it to selected individuals. Some of them, including Yashwantrao Nadkarni and Narayanrao Devhare, offered Phalke a loan.
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Other artists in the film were Dattatreya Kshirsagar, Dattatreya Telang, Ganpat G. Shinde, Vishnu Hari Aundhkar, and Nath T. Telang.
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shows scheduled a day at 6:00 pm, 8:00 pm, 10:00 pm, and 11:45 pm. An advertisement for the film published in
632:, to fulfil his filmmaking dream. Thus, Phalke decided on the legends of Harishchandra and wrote the script for his feature film.
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as a childhood hobby. After his arrival, Phalke trained Telang in the operation of the Williamson camera and made him the film's
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explains that the film was shot partly outdoors in direct sunlight and partly in outdoor studios with sunlight blocked by white
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is a cinematographic recording of a play, using a single, fixed camera and it was filmed by a British cameraman with the
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While playing with other children, Bhalchandra fell on a rock and his head started bleeding. Phalke treated him with a
628:. Friends and neighbours had often called Phalke "Harishchandra" for having sold all his belongings, except his wife's
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was rolling fast before my physical eyes, I was mentally visualising the Gods, Shri Krishna, Shri Ramachandra, their
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Humanist and Emotional Beginnings of a Nationalist Indian Cinema in Bombay: With Kracauer in the Footsteps of Phalke
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calling on people to see "57,000 photographs of three-quarters of an inch width and two miles length", for just one
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points out that though the title cards in the film were in English and Hindi, "there was something unmistakably
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to shoot one of the scenes where the god appears and disappears from behind the smoke of sage Vishvamitra's
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919:. It was financially challenging for Phalke to go to Kashi and shoot scenes there. So, he took his unit to
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did not believe their story and arrested everyone. When Phalke reached the village, he immediately met the
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671:. Phalke was impressed with his physique and personality and offered him the lead role of Harishchandra.
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at the Olympia Theatre, Bombay, on 21 April 1913, and had its theatrical release on 3 May 1913 at the
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from England, France, Germany, and the United States from manufacturers including Houghton Butcher,
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2367:. Publications Division, Ministry of Information and Broadcasting, Govt. of India. p. 442.
1275:, the country's highest award in cinema, to commemorate Phalke's contribution to Indian cinema.
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in his review mentioned that "Phalke has grandly brought his skill to the notice of the world."
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as the first full-length Indian feature film has been debated. Some film historians consider
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In one of the interviews, Phalke mentioned the day as Christmas of 1910. But, the issue of
422:) against their will. Harishchandra unwittingly interrupts Vishvamitra in the midst of his
393:(Bhalchandra Phalke), how to shoot with a bow and arrow in the presence of Queen Taramati (
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329:. Some film historians believe these belong to a 1917 remake of the film by Phalke titled
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1211:. Some film historians believe they actually belong to a 1917 remake of the film, titled
2053:"मुलाखत: सरस्वतीबाई धुंडिराज फाळके" [Interview: Saraswatibai Dhundiraj Phalke].
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891:(commander) who visited the temple. The unit explained film-making to them, but the
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2328:"पहिल्या भारतीय चित्रपटाच्या आठवणी" [Memories of the first Indian movie].
1319:
245:, with Dabke portraying the title character. The film, being silent, had English,
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Gender, Culture, and Performance: Marathi Theatre and Cinema before Independence
2925:"India's first talkie 'silent forever'; All Alam-Ara prints lost, Govt clueless"
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During his London trip, Phalke had placed an order for a Williamson camera and
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from England, France, Germany, and the United States. Phalke shot a short film
3337:
1719:"मुलाखत: धुंडिराज गोविंद फाळके" [Interview: Dhundiraj Govind Phalke].
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433:. While in exile, Rohitashva dies and Harishchandra sends Taramati to ask the
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1912:
Wanted Cultured Ladies Only!: Female Stardom and Cinema in India, 1930s–1950s
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on 18 May 1912, almost a year before. An argument has been made in favour of
699:. He agreed to work in films when Phalke offered him a raise of five rupees.
241:, Bhalchandra Phalke. and Gajanan Vasudev Sane. It is based on the legend of
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as the maiden Indian film. Torne's film was released at the same theatre as
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gives an impression that the scene was filmed in a single shot. Film critic
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620:. At the time, a play based on the legends of Harishchandra was popular on
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Goldsmith, Melissa U. D.; Willson, Paige A.; Fonseca, Anthony J. (2016).
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The original length of a film was 3,700 feet (1,100 m), about four
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527:. While watching Jesus on the screen, Phalke envisioned Hindu deities
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2657:. New Delhi. Indo-Asian News Service. 3 December 2009. Archived from
1973:"'Raja Harishchandra': Indian Cinema Was Born This Day 105 Years Ago"
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1522:"The Phalke Era: Conflict of Traditional Form and Modern Technology"
774:. This included negative and positive film stocks, cameras, lights,
229:. It is often considered the first full-length Indian feature film.
2744:"Nitrate Fires: Reasons for the loss of India's cinematic heritage"
463:
Bhalchandra Phalke as Rohitashva, son of Harishchandra and Taramati
1334:
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The Phalke Era: Conflict of Traditional Form and Modern Technology
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885:(robbers) had entered the village. He immediately reported to the
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History of Ancient India (A New Version): From 7300 BC to 4250 BC
325:; only the first and last reels of the film are preserved at the
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Parkes, Colin Murray; Laungani, Pittu; Young, William (2015) .
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known as a factory in those days. Since working in films was a
718:
Phalke seated on a chair with a small roll of film in his hands
3176:"Bid to get Pundalik recognition as first Indian feature film"
317:. It was a commercial success and laid the foundation for the
1503:
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as the first Indian feature film. In 1969, it introduced the
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Phalke imported the hardware required for the filmmaking and
2225:. Vol. 1. Atlantic Publishers & Dist. p. 168.
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Salunke later reprised the same role in Phalke's 1917 film
810:, to come to Bombay. Telang was working as a priest at the
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Phalke published advertisements in various newspapers like
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is one of two eternal principles. It is composed of three
2454:"भारतातील पहिल्या "प्रीमियर"चे आज शताब्दी वर्षात पदार्पण"
2391:"Ramkrishna Gopal Bhandarkar: Orientalist par excellence"
1533:
Interrogating Modernity: Culture and Colonialism in India
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1942:
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Since Phalke was making a silent film, he also allowed
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understood Phalke's new venture and released everyone.
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40 per month. Gajanan Sane introduced his acquaintance
574:, depicting Harishchandra parting with his wife and son
352:, released on 18 May 1912, the maiden Indian film. The
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2167:(2nd ed.). Taylor & Francis. pp. 66–67.
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612:, Phalke's family shortlisted the legends of Krishna,
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in 1913. For a short film made by Phalke in 1917, see
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National Identity in Indian Popular Cinema, 1947–1987
2456:[100 years for India's first premiere show].
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but was not listed among the final five nominations.
260:
Phalke decided to make a feature film after watching
38:. For the feature film made in Calcutta in 1917, see
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Rajadhyaksha, Ashish; Willemen, Paul, eds. (1998) .
2863:"The Film Fragment: Survivals in Indian Silent Film"
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has been argued over. Some film historians consider
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National Film Award for Best Feature Film in Marathi
647: – Casting call published in various newspapers
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3518:. Translated by Virkar, S. A. National Book Trust.
3271:"Vinod Khanna honoured with Dadasaheb Phalke Award"
3023:. Rowman & Littlefield Publishers. p. 25.
2991:. National Film Archive of India. pp. 10, 18.
786:. He decided to take on the responsibility for the
511:with his elder son Bhalchandra went to see a film,
199:
191:
181:
158:
144:
136:
126:
99:
91:
83:
73:
49:
2048:
2046:
3306:. Directorate of Film Festivals. pp. 38–42.
3143:"Torne's 'Pundlik' came first, but missed honour"
2624:. Directorate of Film Festivals. pp. 82–83.
851:Production design for the film started after the
3113:Kanan Devi: The First Superstar of Indian Cinema
2807:. National Film Archive of India. Archived from
2775:"10 times when fire caused damage to movie sets"
3020:The Encyclopedia of Musicians and Bands on Film
1683:Gokulsing, K. Moti; Dissanayake, Wimal (2013).
1466:Frawley, David; Ranade, Subhash (August 2004).
1225:Classification as first full-length Indian film
1091:" in the country. Director and cinematographer
640:
483:
2546:"Role reversal: Street play to promote cinema"
2264:. Vol. 3. Sarup & Sons. p. 189.
1584:. National Film Archive of India. p. 35.
1357:of 14 April 1911 contains an advertisement of
608:After considering various stories depicted in
502: – Phalke on watching Jesus on the screen
3625:
3515:Dadasaheb Phalke, The Father of Indian Cinema
1915:. University of Illinois Press. p. 224.
1714:
1712:
1710:
1708:
1706:
1507:
30:This article is about a feature film made by
8:
1834:Filming the Gods: Religion and Indian Cinema
1678:
1676:
1674:
952:with low sensitivity to the red band of the
702:Phalke auditioned many boys for the role of
2956:"Saving India's cinema, one film at a time"
2718:British Academy of Film and Television Arts
2261:Musings on Indian Writing in English: Drama
1009:, expressed his desire to screen the film.
3632:
3618:
3610:
3082:Mass Communication and Journalism in India
1293:List of incomplete or partially lost films
1054:300. Later, the film was also screened at
778:equipment, printing and editing machines,
55:
46:
4165:Indian avant-garde and experimental films
3054:. University of Texas Press. p. 35.
2651:"UTV to release Harishchandrachi Factory"
2447:
2445:
2295:(in Hindi). Bani Prakashan. p. 164.
2128:. Indiana University Press. p. 270.
1003:Coronation Cinematograph and Variety Hall
722:Phalke hired around forty people for his
311:Coronation Cinematograph and Variety Hall
63:Coronation Cinematograph and Variety Hall
2861:Rajadhyaksha, Ashish (7 February 2017).
2544:Dasgupta, Priyanka (28 September 2016).
1575:
1573:
1531:; Dhareshwar, Vivek; Sudhir, P. (eds.).
3545:
2057:(in Marathi). Nashik. 16 February 1946.
1605:
1416:
1304:
863:, an outdoor shooting was scheduled at
515:, at the America India Picture Palace,
3841:Kakashebanchya Dolyat Jhanjhanit Anjan
3208:Communication and media in India today
2986:"List of Digitized and Restored Films"
2107:Gulzar, Nihalani & Chatterjee 2003
1943:Gulzar, Nihalani & Chatterjee 2003
1219:Film and Television Institute of India
61:Publicity poster for film show at the
3436:from the original on 8 September 2020
2966:from the original on 14 November 2017
2724:from the original on 15 February 2013
2531:
2514:
2497:
2482:
2430:from the original on 8 September 2020
2371:from the original on 8 September 2020
2345:
2239:from the original on 15 December 2013
2206:
2164:Death and Bereavement Across Cultures
2142:from the original on 8 September 2020
2089:
2070:
2006:
1959:
1803:
1786:
1765:
1748:
1733:
1665:
1636:
1624:
1549:from the original on 19 January 2017.
1486:from the original on 8 September 2020
1447:from the original on 8 September 2020
7:
2888:Katakam, Anupama (18 January 2003).
2754:from the original on 19 October 2017
2680:Jha, Subhash K. (18 December 2009).
2452:Bhingarde, Santosh (21 April 2012).
2019:Jha, Subhash K. (15 December 2001).
1818:
1686:Routledge Handbook of Indian Cinemas
3380:; Chatterjee, Saibal, eds. (2003).
3360:from the original on 3 January 2014
3116:. India: HarperCollins. p. 8.
1890:from the original on 7 January 2014
1851:from the original on 3 January 2014
1723:(in Marathi). Pune. 19 August 1913.
1472:. M. Banarsidass Publ. p. 28.
1289: – The first Indian sound film
466:Gajanan Vasudev Sane as Vishvamitra
215:
4155:Films directed by Dadasaheb Phalke
3281:from the original on 28 April 2018
3251:from the original on 14 April 2018
3245:"Dada Saheb Phalke Award Overview"
3130:from the original on 30 June 2018.
3068:from the original on 30 June 2018.
2954:Chaudhuri, Mohini (20 June 2015).
2923:Paul, Cithara (19 February 2009).
2830:Chakravarty, Ipsita (4 May 2012).
2278:from the original on 30 June 2018.
734:and then completed the script for
360:as the first Indian feature film.
25:
3455:Indian Cinema: The Bollywood Saga
3400:from the original on 5 April 2019
3247:. Directorate of Film Festivals.
3225:from the original on 30 June 2018
3186:from the original on 29 June 2018
3099:from the original on 6 July 2018.
3085:. Allied Publishers. p. 54.
3037:from the original on 6 July 2018.
2998:from the original on 30 June 2018
2904:from the original on 30 June 2018
2869:from the original on 29 June 2018
2842:from the original on 29 June 2018
2785:from the original on 29 June 2018
2773:Shrivastava, Vipra (4 May 2015).
2690:. The Times Group. Archived from
2631:from the original on 9 March 2019
2607:from the original on 6 July 2018.
2593:. Psychology Press. p. 367.
2556:from the original on 30 June 2018
2309:from the original on 30 June 2018
2181:from the original on 30 June 2018
2031:from the original on 20 June 2012
1983:from the original on 29 June 2018
1535:. Seagull Books. pp. 76–80.
1430:Vedic Yoga: The Path of the Rishi
460:as Taramati, Harishchandra's wife
3584:
3572:
3560:
3548:
3313:from the original on 3 July 2018
3141:Damle, Manjiri (21 April 2012).
2575:Rajadhyaksha & Willemen 1998
2401:from the original on 9 June 2019
1649:Rajadhyaksha & Willemen 1998
1565:Rajadhyaksha & Willemen 1998
1185:62nd British Academy Film Awards
3048:Chakravarty, Sumita S. (2011).
2590:An Introduction to Film Studies
2289:Divedi, Mahavir Prasad (1995).
693:Krishna Hari alias Anna Salunke
586:, Phalke had published a story
401:(Gajanan Sane) is performing a
4150:Films about Raja Harishchandra
4145:Cross-dressing in Indian films
3476:Encyclopaedia of Indian Cinema
2682:"Mokashi lives American dream"
2426:. Indian Book Co. p. 34.
1205:National Film Archive of India
1135:National Film Archive of India
1034:week at the Nawabi Theatre in
523:(1906) by the French director
327:National Film Archive of India
1:
3689:Satyavadi Raja Harishchandra
3383:Encyclopaedia of Hindi Cinema
3174:Mishra, Garima (3 May 2012).
2420:Rangoonwalla, Firoze (1975).
2258:Iyer, Natesan Sharda (2007).
1520:Rajadhyaksha, Ashish (1993).
1171:. It was selected as India's
1129:. Ashish Rajadhyaksha in his
389:) is shown teaching his son,
27:1913 film by Dadasaheb Phalke
4170:Indian black-and-white films
4140:1913 directorial debut films
4107:Scenes of the River Godavari
4095:Nasik Trimbak Yethil Dekhave
3452:; Kothari, Jitendra (2004).
3277:. New Delhi. 13 April 2018.
2460:(in Marathi). Archived from
1433:. Lotus Press. p. 172.
1386:Satyavadi Raja Harishchandra
1214:Satyavadi Raja Harishchandra
948:stocks used were of limited
806:, his childhood friend from
332:Satyavadi Raja Harishchandra
319:film industry in the country
40:Satyawadi Raja Harishchandra
36:Satyavadi Raja Harishchandra
4089:The Dreamland of Ganjandrao
3977:Kumari Millche Shuddhikaran
3482:. Oxford University Press.
3301:"17th National Film Awards"
3211:. Media House. p. 68.
2931:. New Delhi. Archived from
2619:"56th National Film Awards"
1469:Ayurveda, Nature's Medicine
659:through theatre companies.
294:, film editing, along with
4196:
3817:Shivajichi Agryahun Sutaka
3205:Srampickal, Jacob (1998).
3110:Sengupta, Mekhala (2015).
2714:"BAFTA Screenings Archive"
1870:Schulze, Brigitte (2003).
1181:Best Foreign Language Film
812:Trimbakeshwar Shiva Temple
546:which reached Bombay (now
29:
4113:Talegaoncha Kach Karkhana
2423:75 years of Indian cinema
2021:"10 pre-release big ones"
1837:. Routledge. p. 23.
1689:. Routledge. p. 73.
1508:Raheja & Kothari 2004
1263:processed in London. The
1233:as the first full-length
1169:56th National Film Awards
225:directed and produced by
219: King Harishchandra
54:
4160:Hindu mythological films
3422:. Taylor & Francis.
2929:The Telegraph (Calcutta)
2865:. Museum of Modern Art.
2748:Film Heritage Foundation
1909:Majumdar, Neepa (2009).
1397:, in Phalke's 1917 film
1189:66th Golden Globe Awards
1183:category along with the
1159:) depicts the making of
1152:Harishchandrachi Factory
859:at Phalke's bungalow at
814:. Phalke had taught him
669:Dattatraya Damodar Dabke
452:Dattatraya Damodar Dabke
235:Dattatraya Damodar Dabke
2332:(in Marathi). May 1962.
1876:. Avinus. p. 127.
1157:Harishchandra's Factory
881:(village headman) that
857:sets were being erected
266:(1906) at a theatre in
167:21 April 1913
3151:. Pune. Archived from
2900:(2). The Hindu Group.
2219:Mittal, J. P. (2006).
1831:Dwyer, Rachel (2006).
1580:Dharap, B. V. (1985).
1273:Dadasaheb Phalke Award
848:
719:
644:
575:
499:
378:
356:, however, recognises
3961:Shri Krishna Shishtai
3849:Hidimb Bajkasur Vadha
3512:Watve, Bapu (2012) .
3386:. Popular Prakashan.
3079:Mehta, D. S. (1979).
2587:Nelmes, Jill (2003).
2122:(19 September 2017).
833:
717:
569:
556:Growth of a Pea Plant
376:
280:Growth of a Pea Plant
3945:Draupadi Vastraharan
3343:Bollywood: A History
2805:"Raja Harishchandra"
2125:Early Cinema in Asia
1529:Niranjana, Tejaswini
1374:artists to audition.
1027:The Bombay Chronicle
1021:The Bombay Chronicle
950:spectral sensitivity
798:, Film editing, and
614:Savitri and Satyavan
153:Phalke Films Company
4180:Indian silent films
3857:Chaturthicha Chanda
3785:Bhakta Gora Kumbhar
2935:on 26 February 2009
2811:on 26 November 2017
2500:, pp. 183–184.
1326:(prime qualities):
1265:Government of India
1235:Indian feature film
1209:partially lost film
1207:(NFAI) making it a
1177:82nd Academy Awards
1163:. The film won the
855:of 1912. While the
354:Government of India
221:) is a 1913 Indian
3921:Rukamangada Mohini
3705:Shri Krishna Janma
3657:Raja Harishchandra
3640:Films directed by
3600:Raja Harishchandra
3275:The Indian Express
3180:The Indian Express
3148:The Times of India
2836:The Indian Express
2750:. 28 August 2014.
2687:The Times of India
2550:The Times of India
2395:The Times of India
1427:(7 October 2014).
1359:The Life of Christ
1355:The Times of India
1161:Raja Harishchandra
1013:Theatrical release
997:The Times of India
849:
736:Raja Harishchandra
732:screenplay writing
720:
576:
521:The Life of Christ
507:On 14 April 1911,
487:The Life of Christ
379:
377:Raja Harishchandra
358:Raja Harishchandra
340:Raja Harishchandra
263:The Life of Christ
231:Raja Harishchandra
211:Raja Harishchandra
116:Bhalchandra Phalke
4175:Indian epic films
4122:
4121:
3745:Ram Maruti Yuddha
3721:Rajrishi Ambarish
3525:978-81-237-4319-6
3499:on 21 August 2016
3489:978-0-19-563579-9
3465:978-1-84513-016-9
3429:978-1-351-56590-5
3393:978-81-7991-066-5
3353:978-0-7524-2835-2
3218:978-81-7495-039-0
3123:978-93-5136-537-2
3092:978-81-7023-353-4
3061:978-0-292-78985-2
3030:978-1-4422-6987-3
2694:on 3 January 2013
2600:978-0-415-26268-2
2302:978-81-7055-386-1
2271:978-81-7625-801-2
2232:978-81-269-0615-4
2174:978-1-317-52092-4
2135:978-0-253-03444-1
1922:978-0-252-09178-0
1883:978-3-930064-12-0
1844:978-0-203-08865-4
1696:978-1-136-77284-9
1627:, pp. 24–26.
1542:978-81-7046-109-8
1479:978-81-208-2040-1
1440:978-0-940676-25-1
1269:Raja Harischandra
1253:Raja Harischandra
1249:Raja Harischandra
1231:Raja Harischandra
1044:Gujarati language
979:Small Cause Court
932:trick photography
816:still photography
804:Trymbak B. Telang
792:production design
588:Surabaichi Kahani
407:to get help from
374:
300:Trymbak B. Telang
288:production design
207:
206:
131:Trymbak B. Telang
50:Raja Harischandra
18:Raja Harischandra
16:(Redirected from
4187:
4009:Malvikagni Mitra
3905:Balaji Nimbalkar
3881:Janaki Swayamvar
3801:Vinchucha Dansha
3769:Guru Dronacharya
3761:Jarasandha Vadha
3673:Satyavan Savitri
3665:Mohini Bhasmasur
3642:Dadasaheb Phalke
3634:
3627:
3620:
3611:
3589:
3588:
3577:
3576:
3575:
3565:
3564:
3553:
3552:
3551:
3544:
3529:
3508:
3506:
3504:
3498:
3492:. Archived from
3481:
3469:
3445:
3443:
3441:
3409:
3407:
3405:
3378:Nihalani, Govind
3369:
3367:
3365:
3323:
3322:
3320:
3318:
3312:
3305:
3297:
3291:
3290:
3288:
3286:
3267:
3261:
3260:
3258:
3256:
3241:
3235:
3234:
3232:
3230:
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3165:
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3138:
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3131:
3107:
3101:
3100:
3076:
3070:
3069:
3045:
3039:
3038:
3014:
3008:
3007:
3005:
3003:
2997:
2990:
2982:
2976:
2975:
2973:
2971:
2951:
2945:
2944:
2942:
2940:
2920:
2914:
2913:
2911:
2909:
2885:
2879:
2878:
2876:
2874:
2858:
2852:
2851:
2849:
2847:
2827:
2821:
2820:
2818:
2816:
2801:
2795:
2794:
2792:
2790:
2770:
2764:
2763:
2761:
2759:
2740:
2734:
2733:
2731:
2729:
2710:
2704:
2703:
2701:
2699:
2677:
2671:
2670:
2668:
2666:
2647:
2641:
2640:
2638:
2636:
2630:
2623:
2615:
2609:
2608:
2584:
2578:
2572:
2566:
2565:
2563:
2561:
2541:
2535:
2529:
2518:
2512:
2501:
2495:
2486:
2480:
2474:
2473:
2471:
2469:
2464:on 22 April 2012
2449:
2440:
2439:
2437:
2435:
2417:
2411:
2410:
2408:
2406:
2397:. 12 July 2003.
2387:
2381:
2380:
2378:
2376:
2355:
2349:
2343:
2334:
2333:
2325:
2319:
2318:
2316:
2314:
2286:
2280:
2279:
2255:
2249:
2248:
2246:
2244:
2216:
2210:
2204:
2191:
2190:
2188:
2186:
2158:
2152:
2151:
2149:
2147:
2116:
2110:
2104:
2093:
2087:
2074:
2068:
2059:
2058:
2050:
2041:
2040:
2038:
2036:
2016:
2010:
2004:
1993:
1992:
1990:
1988:
1969:
1963:
1957:
1946:
1940:
1927:
1926:
1906:
1900:
1899:
1897:
1895:
1867:
1861:
1860:
1858:
1856:
1828:
1822:
1816:
1807:
1801:
1790:
1784:
1769:
1763:
1752:
1746:
1737:
1731:
1725:
1724:
1716:
1701:
1700:
1680:
1669:
1663:
1652:
1646:
1640:
1634:
1628:
1622:
1609:
1603:
1594:
1593:
1577:
1568:
1562:
1551:
1550:
1526:
1517:
1511:
1505:
1496:
1495:
1493:
1491:
1463:
1457:
1456:
1454:
1452:
1421:
1404:
1381:
1375:
1368:
1362:
1351:
1345:
1316:hindu philosophy
1309:
1053:
1041:
975:R. G. Bhandarkar
780:negative cutting
758:
753:M. V. Dhurandhar
698:
675:lady, who was a
666:
648:
580:Marathi language
542:raw films and a
525:Alice Guy-Blaché
509:Dadasaheb Phalke
503:
454:as Harishchandra
375:
227:Dadasaheb Phalke
220:
217:
174:
172:
140:Dadasaheb Phalke
107:Dattatraya Dabke
95:Dadasaheb Phalke
87:Dadasaheb Phalke
78:Dadasaheb Phalke
59:
47:
32:Dadasaheb Phalke
21:
4195:
4194:
4190:
4189:
4188:
4186:
4185:
4184:
4125:
4124:
4123:
4118:
4071:
3929:Nala Damayanthi
3873:Ram Rajya Vijay
3644:
3638:
3595:
3583:
3573:
3571:
3559:
3549:
3547:
3539:
3537:
3532:
3526:
3511:
3502:
3500:
3496:
3490:
3479:
3472:
3466:
3458:. Aurum Press.
3448:
3439:
3437:
3430:
3412:
3403:
3401:
3394:
3372:
3363:
3361:
3354:
3336:
3332:
3327:
3326:
3316:
3314:
3310:
3303:
3299:
3298:
3294:
3284:
3282:
3269:
3268:
3264:
3254:
3252:
3243:
3242:
3238:
3228:
3226:
3219:
3204:
3203:
3199:
3189:
3187:
3173:
3172:
3168:
3158:
3156:
3140:
3139:
3135:
3124:
3109:
3108:
3104:
3093:
3078:
3077:
3073:
3062:
3047:
3046:
3042:
3031:
3016:
3015:
3011:
3001:
2999:
2995:
2988:
2984:
2983:
2979:
2969:
2967:
2953:
2952:
2948:
2938:
2936:
2922:
2921:
2917:
2907:
2905:
2887:
2886:
2882:
2872:
2870:
2860:
2859:
2855:
2845:
2843:
2829:
2828:
2824:
2814:
2812:
2803:
2802:
2798:
2788:
2786:
2772:
2771:
2767:
2757:
2755:
2742:
2741:
2737:
2727:
2725:
2712:
2711:
2707:
2697:
2695:
2679:
2678:
2674:
2664:
2662:
2661:on 14 July 2014
2655:Hindustan Times
2649:
2648:
2644:
2634:
2632:
2628:
2621:
2617:
2616:
2612:
2601:
2586:
2585:
2581:
2573:
2569:
2559:
2557:
2543:
2542:
2538:
2530:
2521:
2513:
2504:
2496:
2489:
2481:
2477:
2467:
2465:
2451:
2450:
2443:
2433:
2431:
2419:
2418:
2414:
2404:
2402:
2389:
2388:
2384:
2374:
2372:
2364:Collected works
2359:Gandhi, Mahatma
2357:
2356:
2352:
2344:
2337:
2327:
2326:
2322:
2312:
2310:
2303:
2288:
2287:
2283:
2272:
2257:
2256:
2252:
2242:
2240:
2233:
2218:
2217:
2213:
2205:
2194:
2184:
2182:
2175:
2160:
2159:
2155:
2145:
2143:
2136:
2118:
2117:
2113:
2105:
2096:
2088:
2077:
2069:
2062:
2052:
2051:
2044:
2034:
2032:
2018:
2017:
2013:
2005:
1996:
1986:
1984:
1971:
1970:
1966:
1958:
1949:
1941:
1930:
1923:
1908:
1907:
1903:
1893:
1891:
1884:
1869:
1868:
1864:
1854:
1852:
1845:
1830:
1829:
1825:
1817:
1810:
1802:
1793:
1785:
1772:
1764:
1755:
1747:
1740:
1732:
1728:
1718:
1717:
1704:
1697:
1682:
1681:
1672:
1664:
1655:
1647:
1643:
1635:
1631:
1623:
1612:
1604:
1597:
1579:
1578:
1571:
1563:
1554:
1543:
1524:
1519:
1518:
1514:
1506:
1499:
1489:
1487:
1480:
1465:
1464:
1460:
1450:
1448:
1441:
1423:
1422:
1418:
1413:
1408:
1407:
1382:
1378:
1369:
1365:
1352:
1348:
1310:
1306:
1301:
1281:
1241:'s silent film
1239:Dadasaheb Torne
1227:
1197:
1093:Govind Nihalani
1084:
1051:
1039:
1015:
967:
962:
828:
820:cinematographer
800:film processing
784:film projectors
776:Film laboratory
756:
749:Raja Ravi Varma
712:
696:
664:
650:
646:
638:
610:Hindu mythology
572:Raja Ravi Varma
564:
513:Amazing Animals
505:
501:
481:
476:
448:
368:
366:
346:'s silent film
344:Dadasaheb Torne
296:film processing
218:
184:
177:
170:
168:
161:
154:
149:
147:
122:
69:
43:
28:
23:
22:
15:
12:
11:
5:
4193:
4191:
4183:
4182:
4177:
4172:
4167:
4162:
4157:
4152:
4147:
4142:
4137:
4127:
4126:
4120:
4119:
4117:
4116:
4110:
4104:
4101:Pithache Panje
4098:
4092:
4086:
4083:Ankurachi Wadh
4079:
4077:
4073:
4072:
4070:
4069:
4061:
4053:
4045:
4037:
4029:
4025:Kacha Devayani
4021:
4013:
4005:
3997:
3989:
3981:
3973:
3965:
3957:
3949:
3941:
3933:
3925:
3917:
3909:
3901:
3897:Bhakta Pralhad
3893:
3885:
3877:
3869:
3861:
3853:
3845:
3837:
3829:
3821:
3813:
3805:
3797:
3789:
3781:
3773:
3765:
3757:
3749:
3741:
3737:Wandering Soul
3733:
3725:
3717:
3709:
3701:
3693:
3685:
3677:
3669:
3661:
3652:
3650:
3646:
3645:
3639:
3637:
3636:
3629:
3622:
3614:
3608:
3607:
3594:
3593:
3581:
3569:
3557:
3536:
3535:External links
3533:
3531:
3530:
3524:
3509:
3488:
3470:
3464:
3450:Raheja, Dinesh
3446:
3428:
3414:Kosambi, Meera
3410:
3392:
3370:
3352:
3333:
3331:
3328:
3325:
3324:
3292:
3262:
3236:
3217:
3197:
3166:
3155:on 30 May 2013
3133:
3122:
3102:
3091:
3071:
3060:
3040:
3029:
3009:
2977:
2946:
2915:
2890:"Fire at FTII"
2880:
2853:
2822:
2796:
2765:
2735:
2705:
2672:
2642:
2610:
2599:
2579:
2567:
2536:
2519:
2502:
2487:
2475:
2441:
2412:
2382:
2350:
2335:
2320:
2301:
2292:Sahitya-Vichar
2281:
2270:
2250:
2231:
2211:
2192:
2173:
2153:
2134:
2120:Deocampo, Nick
2111:
2109:, p. 243.
2094:
2075:
2060:
2042:
2011:
1994:
1979:. 3 May 2017.
1964:
1947:
1928:
1921:
1901:
1882:
1862:
1843:
1823:
1808:
1791:
1770:
1753:
1738:
1726:
1702:
1695:
1670:
1653:
1651:, p. 177.
1641:
1629:
1610:
1608:, p. 320.
1595:
1569:
1567:, p. 243.
1552:
1541:
1512:
1497:
1478:
1458:
1439:
1425:Frawley, David
1415:
1414:
1412:
1409:
1406:
1405:
1376:
1363:
1346:
1303:
1302:
1300:
1297:
1296:
1295:
1290:
1280:
1277:
1257:Shree Pundalik
1244:Shree Pundalik
1229:The status of
1226:
1223:
1196:
1193:
1173:official entry
1143:Paresh Mokashi
1112:Satish Bahadur
1083:
1080:
1062:, London, and
1014:
1011:
966:
963:
961:
958:
853:monsoon season
827:
824:
711:
710:Pre-production
708:
681:red-light area
639:
637:
634:
603:Indian culture
563:
560:
552:Ankurachi Wadh
482:
480:
477:
475:
472:
468:
467:
464:
461:
455:
447:
444:
365:
362:
349:Shree Pundalik
338:The status of
323:partially lost
321:. The film is
276:Ankurachi Wadh
205:
204:
201:
197:
196:
193:
189:
188:
185:
182:
179:
178:
176:
175:
164:
162:
159:
156:
155:
152:
150:
145:
142:
141:
138:
134:
133:
128:
127:Cinematography
124:
123:
121:
120:
117:
114:
109:
103:
101:
97:
96:
93:
89:
88:
85:
81:
80:
75:
71:
70:
60:
52:
51:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4192:
4181:
4178:
4176:
4173:
4171:
4168:
4166:
4163:
4161:
4158:
4156:
4153:
4151:
4148:
4146:
4143:
4141:
4138:
4136:
4133:
4132:
4130:
4114:
4111:
4108:
4105:
4102:
4099:
4096:
4093:
4090:
4087:
4084:
4081:
4080:
4078:
4074:
4067:
4066:
4062:
4059:
4058:
4054:
4051:
4050:
4046:
4043:
4042:
4038:
4035:
4034:
4030:
4027:
4026:
4022:
4019:
4018:
4014:
4011:
4010:
4006:
4003:
4002:
3998:
3995:
3994:
3990:
3987:
3986:
3985:Bhakta Damaji
3982:
3979:
3978:
3974:
3971:
3970:
3966:
3963:
3962:
3958:
3955:
3954:
3953:Bhakta Sudama
3950:
3947:
3946:
3942:
3939:
3938:
3937:Hanuman Janma
3934:
3931:
3930:
3926:
3923:
3922:
3918:
3915:
3914:
3913:Rukmini Haran
3910:
3907:
3906:
3902:
3899:
3898:
3894:
3891:
3890:
3886:
3883:
3882:
3878:
3875:
3874:
3870:
3867:
3866:
3862:
3859:
3858:
3854:
3851:
3850:
3846:
3843:
3842:
3838:
3835:
3834:
3830:
3827:
3826:
3825:Simantak Mani
3822:
3819:
3818:
3814:
3811:
3810:
3806:
3803:
3802:
3798:
3795:
3794:
3790:
3787:
3786:
3782:
3779:
3778:
3774:
3771:
3770:
3766:
3763:
3762:
3758:
3755:
3754:
3750:
3747:
3746:
3742:
3739:
3738:
3734:
3731:
3730:
3726:
3723:
3722:
3718:
3715:
3714:
3713:Kaliya Mardan
3710:
3707:
3706:
3702:
3699:
3698:
3694:
3691:
3690:
3686:
3683:
3682:
3678:
3675:
3674:
3670:
3667:
3666:
3662:
3659:
3658:
3654:
3653:
3651:
3649:Feature films
3647:
3643:
3635:
3630:
3628:
3623:
3621:
3616:
3615:
3612:
3606:
3602:
3601:
3597:
3596:
3592:
3587:
3582:
3580:
3570:
3568:
3563:
3558:
3556:
3546:
3542:
3534:
3527:
3521:
3517:
3516:
3510:
3495:
3491:
3485:
3478:
3477:
3471:
3467:
3461:
3457:
3456:
3451:
3447:
3435:
3431:
3425:
3421:
3420:
3415:
3411:
3399:
3395:
3389:
3385:
3384:
3379:
3375:
3371:
3359:
3355:
3349:
3345:
3344:
3339:
3335:
3334:
3329:
3309:
3302:
3296:
3293:
3280:
3276:
3272:
3266:
3263:
3250:
3246:
3240:
3237:
3224:
3220:
3214:
3210:
3209:
3201:
3198:
3185:
3181:
3177:
3170:
3167:
3154:
3150:
3149:
3144:
3137:
3134:
3129:
3125:
3119:
3115:
3114:
3106:
3103:
3098:
3094:
3088:
3084:
3083:
3075:
3072:
3067:
3063:
3057:
3053:
3052:
3044:
3041:
3036:
3032:
3026:
3022:
3021:
3013:
3010:
2994:
2987:
2981:
2978:
2965:
2961:
2957:
2950:
2947:
2934:
2930:
2926:
2919:
2916:
2903:
2899:
2895:
2891:
2884:
2881:
2868:
2864:
2857:
2854:
2841:
2837:
2833:
2832:"Our no-show"
2826:
2823:
2810:
2806:
2800:
2797:
2784:
2780:
2776:
2769:
2766:
2753:
2749:
2745:
2739:
2736:
2723:
2719:
2715:
2709:
2706:
2693:
2689:
2688:
2683:
2676:
2673:
2660:
2656:
2652:
2646:
2643:
2627:
2620:
2614:
2611:
2606:
2602:
2596:
2592:
2591:
2583:
2580:
2577:, p. 18.
2576:
2571:
2568:
2555:
2551:
2547:
2540:
2537:
2534:, p. 50.
2533:
2528:
2526:
2524:
2520:
2517:, p. 48.
2516:
2511:
2509:
2507:
2503:
2499:
2494:
2492:
2488:
2485:, p. 47.
2484:
2479:
2476:
2463:
2459:
2455:
2448:
2446:
2442:
2429:
2425:
2424:
2416:
2413:
2400:
2396:
2392:
2386:
2383:
2370:
2366:
2365:
2360:
2354:
2351:
2348:, p. 46.
2347:
2342:
2340:
2336:
2331:
2324:
2321:
2308:
2304:
2298:
2294:
2293:
2285:
2282:
2277:
2273:
2267:
2263:
2262:
2254:
2251:
2238:
2234:
2228:
2224:
2223:
2215:
2212:
2209:, p. 43.
2208:
2203:
2201:
2199:
2197:
2193:
2180:
2176:
2170:
2166:
2165:
2157:
2154:
2141:
2137:
2131:
2127:
2126:
2121:
2115:
2112:
2108:
2103:
2101:
2099:
2095:
2092:, p. 42.
2091:
2086:
2084:
2082:
2080:
2076:
2073:, p. 41.
2072:
2067:
2065:
2061:
2056:
2049:
2047:
2043:
2030:
2026:
2022:
2015:
2012:
2009:, p. 40.
2008:
2003:
2001:
1999:
1995:
1982:
1978:
1974:
1968:
1965:
1962:, p. 52.
1961:
1956:
1954:
1952:
1948:
1945:, p. 29.
1944:
1939:
1937:
1935:
1933:
1929:
1924:
1918:
1914:
1913:
1905:
1902:
1889:
1885:
1879:
1875:
1874:
1866:
1863:
1850:
1846:
1840:
1836:
1835:
1827:
1824:
1821:, p. 50.
1820:
1815:
1813:
1809:
1806:, p. 39.
1805:
1800:
1798:
1796:
1792:
1789:, p. 38.
1788:
1783:
1781:
1779:
1777:
1775:
1771:
1768:, p. 37.
1767:
1762:
1760:
1758:
1754:
1751:, p. 36.
1750:
1745:
1743:
1739:
1736:, p. 34.
1735:
1730:
1727:
1722:
1715:
1713:
1711:
1709:
1707:
1703:
1698:
1692:
1688:
1687:
1679:
1677:
1675:
1671:
1668:, p. 35.
1667:
1662:
1660:
1658:
1654:
1650:
1645:
1642:
1639:, p. 33.
1638:
1633:
1630:
1626:
1621:
1619:
1617:
1615:
1611:
1607:
1602:
1600:
1596:
1591:
1587:
1583:
1576:
1574:
1570:
1566:
1561:
1559:
1557:
1553:
1548:
1544:
1538:
1534:
1530:
1523:
1516:
1513:
1510:, p. 17.
1509:
1504:
1502:
1498:
1485:
1481:
1475:
1471:
1470:
1462:
1459:
1446:
1442:
1436:
1432:
1431:
1426:
1420:
1417:
1410:
1402:
1401:
1396:
1393:and his wife
1392:
1388:
1387:
1380:
1377:
1373:
1367:
1364:
1360:
1356:
1350:
1347:
1343:
1342:
1337:
1336:
1331:
1330:
1325:
1321:
1317:
1314:
1308:
1305:
1298:
1294:
1291:
1288:
1287:
1283:
1282:
1278:
1276:
1274:
1270:
1266:
1262:
1258:
1254:
1250:
1246:
1245:
1240:
1236:
1232:
1224:
1222:
1220:
1216:
1215:
1210:
1206:
1202:
1195:Extant prints
1194:
1192:
1190:
1186:
1182:
1178:
1174:
1170:
1166:
1162:
1158:
1154:
1153:
1148:
1144:
1139:
1136:
1132:
1128:
1124:
1121:
1117:
1116:Maharashtrian
1113:
1109:
1108:
1104:
1098:
1094:
1090:
1089:film industry
1081:
1079:
1077:
1073:
1069:
1065:
1061:
1057:
1049:
1045:
1037:
1031:
1028:
1023:
1022:
1012:
1010:
1008:
1004:
999:
998:
993:
992:
986:
984:
980:
977:, a judge of
976:
972:
965:Film premiere
964:
959:
957:
955:
951:
947:
946:film negative
943:
942:
938:
933:
928:
926:
922:
921:Trimbakeshwar
918:
914:
913:first aid kit
909:
907:
902:
898:
894:
890:
889:
884:
880:
879:
872:
870:
869:Hindu rituals
866:
862:
858:
854:
846:
845:
840:
836:
832:
825:
823:
821:
817:
813:
809:
805:
801:
797:
793:
790:, direction,
789:
785:
781:
777:
773:
769:
765:
760:
754:
750:
744:
741:
737:
733:
729:
725:
716:
709:
707:
705:
700:
694:
690:
686:
682:
678:
672:
670:
660:
657:
656:
649:
643:
635:
633:
631:
630:mangala sutra
627:
623:
619:
618:Harishchandra
615:
611:
606:
604:
600:
596:
595:
589:
585:
581:
573:
568:
561:
559:
557:
553:
549:
545:
541:
536:
534:
530:
526:
522:
518:
514:
510:
504:
498:
496:
492:
488:
478:
473:
471:
465:
462:
459:
456:
453:
450:
449:
445:
443:
441:
436:
432:
431:
425:
421:
417:
416:
412:
411:
406:
405:
400:
396:
392:
388:
384:
383:Harishchandra
363:
361:
359:
355:
351:
350:
345:
341:
336:
334:
333:
328:
324:
320:
316:
312:
308:
303:
301:
297:
293:
289:
286:, direction,
285:
281:
277:
273:
269:
265:
264:
258:
256:
252:
248:
244:
243:Harishchandra
240:
236:
232:
228:
224:
213:
212:
202:
198:
194:
190:
186:
180:
166:
165:
163:
157:
151:
143:
139:
135:
132:
129:
125:
118:
115:
113:
110:
108:
105:
104:
102:
98:
94:
90:
86:
84:Screenplay by
82:
79:
76:
72:
68:
64:
58:
53:
48:
45:
41:
37:
33:
19:
4112:
4106:
4100:
4094:
4088:
4082:
4065:Gangavataran
4063:
4057:Setu Bandhan
4055:
4047:
4041:Bolki Tapeli
4039:
4031:
4023:
4017:Malti Madhav
4015:
4007:
4001:Sant Mirabai
3999:
3991:
3983:
3975:
3967:
3959:
3951:
3943:
3935:
3927:
3919:
3911:
3903:
3895:
3889:Dhanurbhanga
3887:
3879:
3871:
3863:
3855:
3847:
3839:
3831:
3823:
3815:
3809:Sita Shuddhi
3807:
3799:
3791:
3783:
3775:
3767:
3759:
3751:
3743:
3735:
3727:
3719:
3711:
3703:
3695:
3687:
3681:Tilak's Week
3679:
3671:
3663:
3656:
3655:
3599:
3514:
3501:. Retrieved
3494:the original
3475:
3454:
3438:. Retrieved
3418:
3402:. Retrieved
3382:
3362:. Retrieved
3342:
3330:Bibliography
3315:. Retrieved
3295:
3283:. Retrieved
3274:
3265:
3253:. Retrieved
3239:
3227:. Retrieved
3207:
3200:
3188:. Retrieved
3179:
3169:
3157:. Retrieved
3153:the original
3146:
3136:
3112:
3105:
3081:
3074:
3050:
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1606:Kosambi 2017
1582:Indian Films
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230:
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183:Running time
160:Release date
119:Gajanan Sane
112:Anna Salunke
44:
4076:Short films
4049:Kabir Kamal
4033:Chandrahasa
3865:Sant Eknath
3729:Sant Namdev
3697:Lanka Dahan
3338:Bose, Mihir
2779:India Today
2552:. Kolkata.
2055:Dhanurdhari
1400:Lanka Dahan
1311:As per the
1267:recognises
1145:, the 2009
1125:style than
1076:intertitles
1048:Indian anna
844:Lanka Dahan
802:. He asked
782:tools, and
724:film studio
689:Kamathipura
655:Induprakash
626:Urdu stages
584:Suvarnamala
479:Development
399:Vishvamitra
387:D. D. Dabke
255:intertitles
223:silent film
92:Produced by
74:Directed by
4135:1913 films
4129:Categories
3993:Vasantsena
3833:Satyabhama
3793:Babruwahan
3346:. Tempus.
2532:Watve 2012
2515:Watve 2012
2498:Watve 2012
2483:Watve 2012
2346:Watve 2012
2207:Watve 2012
2090:Watve 2012
2071:Watve 2012
2025:Rediff.com
2007:Watve 2012
1960:Watve 2012
1804:Watve 2012
1787:Watve 2012
1766:Watve 2012
1749:Watve 2012
1734:Watve 2012
1666:Watve 2012
1637:Watve 2012
1625:Watve 2012
1411:References
1261:film stock
1074:-language
788:scriptment
764:exhibition
704:Rohitashva
685:Grant Road
592:A Tale of
544:perforator
493:and their
474:Production
391:Rohitashva
284:scriptment
272:exhibition
253:-language
187:40 minutes
171:1913-04-21
146:Production
3969:Parshuram
3777:Buddhadev
3753:Mahananda
3567:Bollywood
3416:(2017) .
2894:Frontline
2434:16 August
2375:16 August
1819:Bose 2006
983:pneumonia
582:magazine
307:premiered
305:The film
233:features
137:Edited by
3591:Business
3434:Archived
3398:Archived
3358:Archived
3340:(2006).
3308:Archived
3279:Archived
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2361:(1960).
2330:Shreeyut
2307:Archived
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2179:Archived
2146:17 March
2140:Archived
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1981:Archived
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1590:71801090
1547:Archived
1490:17 March
1484:Archived
1451:17 March
1445:Archived
1286:Alam Ara
1279:See also
1187:and the
971:premiere
954:spectrum
899:and the
677:mistress
430:dakshina
200:Language
100:Starring
3541:Portals
3440:25 June
3404:15 June
3364:16 June
3285:29 June
3255:29 June
3229:27 June
3159:17 July
3002:29 June
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1987:29 June
1977:Mid Day
1894:17 June
1855:16 June
1320:Prakṛti
1313:Samkhya
1179:in the
1175:to the
1167:at the
1147:Marathi
1123:Peshwai
1068:Marathi
1064:Rangoon
1060:Colombo
1007:Girgaon
960:Release
906:Faujdar
901:Faujdar
893:Faujdar
888:Faujdar
883:dacoits
865:Vangani
826:Filming
796:make-up
636:Casting
622:Marathi
599:mystery
578:In his
533:Krishna
517:Girgaon
495:Ayodhya
485:"While
410:Triguna
315:Girgaon
292:make-up
247:Marathi
216:transl.
192:Country
169: (
148:company
67:Girgaon
4115:(1915)
4109:(1914)
4103:(1914)
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4085:(1912)
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3708:(1918)
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3692:(1917)
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1120:Deccan
1097:muslin
1082:Legacy
991:Kesari
944:. The
847:(1917)
808:Nashik
770:, and
616:, and
548:Mumbai
415:Shakti
268:Bombay
249:, and
203:Silent
3555:India
3497:(PDF)
3480:(PDF)
3311:(PDF)
3304:(PDF)
3190:3 May
2996:(PDF)
2989:(PDF)
2629:(PDF)
2622:(PDF)
2458:Sakal
1527:. In
1525:(PDF)
1341:tamas
1335:rajas
1324:gunas
1299:Notes
1255:that
1201:reels
1149:film
1103:Yajna
1072:Hindi
1066:with
1036:Surat
937:Yajna
925:reels
917:Kashi
897:Patil
878:Patil
861:Dadar
772:Pathé
740:saris
728:taboo
562:Story
540:Kodak
491:Gokul
440:Shiva
424:yajna
404:yajna
381:King
251:Hindi
195:India
3605:IMDb
3579:Film
3520:ISBN
3505:2018
3484:ISBN
3460:ISBN
3442:2018
3424:ISBN
3406:2018
3388:ISBN
3366:2018
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3319:2018
3287:2018
3257:2018
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3213:ISBN
3192:2013
3161:2012
3118:ISBN
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2875:2018
2848:2018
2817:2018
2791:2018
2760:2018
2730:2012
2700:2012
2667:2012
2637:2019
2595:ISBN
2562:2018
2470:2018
2436:2019
2407:2019
2377:2019
2315:2018
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2245:2018
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2037:2012
1989:2018
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1691:ISBN
1586:OCLC
1537:ISBN
1492:2019
1474:ISBN
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