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because of this, but she understands and respects her husband for his saintly goodness, and also defers to him and acts according to his wishes at the end of every issue that arises. Though devoted to her husband, she is irritated by his devotional ways, but nevertheless always obeys
Tukaram's unworldly, charitable wishes. She frequently loses her temper on Tukaram for ignoring the family needs to feed their children and their upkeep. In a famous scene, when their son is ill and there is no money for treatment, and Tukaram expresses the view that prayer and faith will see them through the crisis, an infuriated Availabai drags her son to the temple by one hand and holds a
302:, Shivaji's enemies that the king was in town, but God protects Shivaji at the behest of Tukaram, when the Mughals come to Dehu. His saintliness brought hordes of people from different regions of the state offering worship at his feet and also offering him huge gifts which could enrich him but he refuses to accept any kind of rewards. When Tukaram's work is done on earth, God comes to take him to heaven. Tukaram asks his wife to join, but she refuses as she has to look after the children.
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minutes. This is followed by the saintly presence of
Tukaram in a traditional pose, cross legged with folded hands and holding a musical instrument and with religious markings on his face. Sitting on the ground in deep meditation for a while, his singing merges with the background song. The song is one of the Tukaram's 4,000 verses and is aptly fitted with the devotional worship of Vithoba. The song's first stanza is
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412:. His selection was initially resented by directors Damle and Fattelal as they felt uncomfortable with his effeminate mannerisms. But it proved to be a blessing as Pagnis adopted his feminine style to match the saintly role of Tukaram to the "T"; a saint whose verses reflect an urge towards God as a woman pines for her lover. Pagnis also did a dedicatory visit to the
479:, against Tukaram's calm, composed nature. Salomalo's goal is not to surpass Tukaram in scholarship, but just to ruin him. He ridicules Tukaram's devotional poetry and parodies it into a vulgar version. He visits courtesans, a sign of "spiritual bankruptcy" and also the dancing girls' performances adds glamour to the film to sustain the audience's film experience.
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Shastri, a learned
Brahmin, is a contrast to Salomalo, an orthodox village Brahmin. Shivaji, the king – a symbol of worldly power, being a disciple of the saint satisfies Availabai's practical mind. Shivaji is antipole of Tukaram's lack of worldliness and Salomalo's unjust jealousy. The film captures
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village priest and the chief adversary of
Tukaram, who tries to ostracise Tukaram time and again. Salomalo, as the aspirant to the status of a great devotional poet (like Tukaram), is jealous of Tukaram and harasses him frequently. Salomalo's verses are in refined language, incomprehensible to unread
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hegemony. His preaching, rendered in rhythmic poetry, thus had great mass appeal and was considered the beginning of an "emancipatory movement in the country." Tukaram through his devotional songs conveys a message to the people that offering prayers to God sincerely in one's own humble way was, like
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style) by
Tukaram's arch rival, the Brahmin priest Salomalo, in a temple setting. Salomalo claims that the song is his own composition and not that of Tukaram. With this scene, the story of the film starts with clever editing of scenes in which the two adversaries exchange claims to the song, in a
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was at its peak frenzy in the state, as one of his five favourite films. Benegal does not consider this "somewhat primitively made film" a "work of cinematic craftsmanship", however regards it "an extraordinary achievement", as it was "culturally true". The dialogues between
Tukaram and Jijai are
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broke box office records by being the first Indian film to run in a single theatre for more than a year. It was then a runaway success and an all-time record for the time, as it ran for 57 weeks continually. The film was seen by 6 million people in
Maharashtra alone. It drew hordes of people from
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Two earlier films from 1932 tried to capture
Tukaram's life, but were unsuccessful at the box office. While those focussed on the miracles of the saint, directors Damle and Fattelal tell the story of a saint who rose from the common folk, concentrating on his everyday life, with little importance
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Rameshwar
Shastri, a learned Brahmin scholar and religious authority, is invited by Salomalo to examine his claims, which he backs by fabricating evidence. Shastri orders that Tukaram immerse his works into the river and never discuss religion in public. Tukaram complies and sits on a fast on the
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The filming is done in traditional style. After the title cards are presented, a song dedicated to
Vithoba, seen as a black stone image, is presented. The song which begins with the title cards is also continued. The meditative shot of Tukaram gives a Bhakti ethos which is continued for about 2
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through this forest. She then playfully asks if his God is kinder or hers; does his God sit down to dine with his devotee the way her God is eating now? In the final scenes of the film, Tukaram has a premonition that he will be transported in his mortal body to heaven by God. He reveals this to
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The film also depicts various miracles of Tukaram like God visiting him, an army being created from Vithoba's image, showering of grains from the sky, curing a sick boy, retrieving his works from the river which were intentionally thrown there, and in the end, going to the heaven in a celestial
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Availabai, Tukaram's second wife (although the film makes no mention of his first wife), is portrayed as a hard-working village woman with a practical earthy sense. She is a practical woman who has to endure poverty because her husband is a pious and unworldly simpleton. She is often impatient
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and was showcased in other international film festivals. It was a runaway success and broke the box office records by being the first Indian film to run in a single theatre for more than a year. It was Prabhat's and Pagnis's most famous film and became the archetype for devotional film.
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does not give out concepts but...demonstrates their function in actual life...that a realistic story with songs and magic." The film was described as a "human document of great value." A simple theme was presented effectively and with appealing emotions by the film cast.
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film genre, and also devotional films in general. Pagnis, became immortal in the role of Tukaram and also performed as the saint in live performances in later life. Even, later portraits of Tukaram used for worship resemble Pagnis's face and his attire in the film.
464:) for dinner. A final miracle ensues and a heavenly chariot indeed appears to convey Tukaram to heaven. Availabai runs out of her kitchen and is blessed with a vision of her husband being flown from earth to the skies on this chariot. This is the end of the film.
443:(devotional songs) alone will not sustain his family. However, she also maintains the dignity of her wifely obligations to her husband. In one of the most touching scenes of the film, when Tukaram wanders in the forest to praise God, (the song shown is
596:, Bhole followed the traditional music style of the Varkari sect, which turned out to be innovative without sacrificing the traditional originality of the bhakti music. Damle was also an accomplished singer, and he rendered many songs in the film.
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The film is an amalgamation of asymmetrical character of Tukaram with symmetrical character of his wife Jijai, a practical reality is the way Lyle Peason, a film critique, explains the film. He extends this observation with a further saying that
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The film is described to emphasize the Gandhian philosophy of non-violence. The Indian Motion Pictures Congress in its 1939 session praised the film as extolling the ethos of nationalism, Gandhian ideals and the devotional bhakti movement.
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for safekeeping on 23 March 2004. In 1982, the film made a very honoured re-entry on the occasion of the celebration of the 50th Anniversary of the Mostra Internazionale del Cinema (La Biennale di Venezia), along with another Prabhat film
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Damle and Fattelal created the settings to ensure that the features of the actors were accentuated distinctly in the film by having minimum background settings and scenes, which was termed as "compositional style”. The film was made in
618:(the 5th Mostra Internazionale d'Arte Cinematographica) and was the first Indian entry to get a screening at an international film festival. The film was adjudged as one of the three best films of the World, the other two being
534:(a style which came into vogue much later in foreign films) and provided telling performances from all the artists but the most impressive, which won the hearts of the people, was that of Jijai, wife of Tukaram played by Gauri.
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river bank with his family for thirteen days, when God returns him his works. Shastri falls seriously sick, which he interprets as divine retribution and becomes Tukaram's devotee. Salomalo then approaches the reigning king
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has a spiritual effect on audience of all ages, sections of society, Indian or foreign. She specially narrates about the experience of a Canadian Muslim student, who had a spiritual experience by watching this film.
436:(sandal) in her other hand to threaten Tukaram's patron God Vithoba with a beating for bringing her family into dire straits. A miracle follows and the son is cured instantly in the precincts of the temple.
271:- a farmer and grocer - loses interest in the material world after losing his first wife and child in a famine. He neglects his worldly duties to his second wife Jijai (Awali) and their two children. The
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420:, before starting shooting for the film. After the film was made, film critiques stated that Pagnis was ideal for the role as his face was an "iconic but also indexical of both actor and character."
546:(prayer) shot where the saint, the God and the audience are brought to the same ethereal plane of worship. The scene is set by the directors in a very "scopic aspect of the worship", the
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Gauri, who played the part of Availabai, was not a professional actress. She started as a sweeper in Prabhat and worked as an extra in films, finally graduating to the main role segment.
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697:(1941) records a screening in a village with a population of 300 having a crowd of 1,500 for the film. Film scholar and professor on Indian cinema Gayatri Chatterjee describes how
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is revered as a great Indian film. It was one of the first Indian films to receive international recognition. It was adjudged one of the three best films of the world at the
580:. He had moved to Prabhat Films with an impressive record of giving music scores for 14 films, in many languages. His music compositions adopted innovations by introducing
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correctly catching the nuances of their relationship. Critics like Dwyer and Shahani echo similar sentiments about its "timeless quality" and cultural accuracy.
380:(the patron of the Varkaris), who propagated a vision of Hindus living together with no distinction of class, creed and gender. He wrote religious poetry in
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owned by V. Shantaram, a notable and internationally acclaimed film maker of India. The film was made in Marathi language. The running time is 131 minutes.
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Availabai and asks her to accompany him. Availabai receives this priceless communication with her usual caustic derision and goes about her duties, cooking
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given to miracles. Washikar said that he wrote the film as a "researcher" as well as a devotee, keeping in time that most of the audience of the genre of
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villagers, contrasting with Tukaram's simple poetry, which quickly becomes popular. Salomalo is also shown to lack dignity, moving in awry motion as in a
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is regarded as one of the greatest Indian films. It became Prabhat's "most famous and acclaimed" film. The film is regarded as the archetypal classic of
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of Maharashtra, which had mass appeal. It touched the heart strings of the common people, particularly those who were downtrodden or oppressed by the
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298:. When Shivaji tests Tukaram by offering material gifts, the saint refuses and in turn, Shivaji becomes a disciple too. Salomalo then informs the
281:(a caste lower than the Brahmin) saint. He claims that Tukaram stole his verses, and questions a shudra's right to examine the Hindu scriptures,
447:), Availabai follows him with a basket of food so that he will eat in time. She explains that just as Tukaram is following his God in the path
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The rendering of music had a telling impact on the audience, as the narration was poetic and devotional. The music score was provided by
573:, written so realistically in Tukaram's style of writing that confused scholars contacted the film makers to know more about the source.
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709:, a doyen among film makers of India, considers this classic film, set in the true Maharashtrian rural cultural setting, when the
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of the producer company Prabhat as Tukaram, Pagnis was a specialist actor in donning female roles in plays by his theatre group
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Wendy Doniger Mircea Eliade Distinguished Professor of the History of Religions University of Chicago (22 October 2004).
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The film was also selected to be screened at various other international film festivals. It was also viewed by the then
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1143:"Before Tumbbad, Soni, a look at other Indian films that premiered at Venice Film Festival — from Aparajito to Court"
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The film is based on the life of Tukaram, one of the most revered saints of Maharashtra and a devotee of the god
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through the forest of life, she also is following 'her personal God (her husband Tukaram) in the path of
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542:(meaning "I meditate on the figure of Panduranaga (Vithoba); his thoughts fill my mind"). This is an
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638:. However, the citation document was lost. It was reportedly discovered in 1974 by Sunny Joseph, a
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was the first Indian film to receive international recognition. The film was screened at the 1937
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The Woman Who Pretended to Be Who She Was : Myths of Self-Imitation: Myths of Self-Imitation
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510:. The script was written by Shivram Washikar. It was produced at the Prabhat Film Company at
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The film was first released on 12 December 1936 at the Central Cinema hall in Bombay, now
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Vedic rituals, a way of worship. His devotional verses were selected for translation by
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and Sheikh Fattelal and featured Vishnupant Pagnis in the lead role of the saint.
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Sri Keshav Sitaram Bhagwat as Salomalo, the village priest and chief antagonist
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Most of the songs of the film were Tukaram's own verses, except one song by
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Availabai routinely admonishes her husband, telling him that singing
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Salomalo is jealous of the religious following and popularity of the
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Canyon Cinema: The Life and Times of an Independent Film Distributor
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the historical fact of the union of Shivaji and the Varkari sect.
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Jijai dragging her son to the temple as Tukaram tries to stop her.
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1372:"IN THE BEGINNING WAS THE WORD: On sound and poetry in the film
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260:
877:"Prabhat- The Torchbearer of Social Awareness in Indian Cinema"
798:. United States of America: Taylor & Francis. p. 160.
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Bollyworld: Popular Indian Cinema Through A Transnational Lens
762:"100 years of cinema: Shyam Benegal lists his top five films"
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On the eve of the celebration of 100 years of Indian cinema,
404:, a minstrel who sang devotional songs. Before being cast by
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One Hundred Indian Feature Films: An Annotated Filmography
665:; when best films from previous festivals were screened.
1400:"Sant Tukaram ( The Movie) Part III-- Gayatri Chaterjee"
1392:"Sant Tukaram ( The Movie) Part II-- Gayatri Chaterjee"
1384:"Sant Tukaram ( The Movie) Part I-- Gayatri Chaterjee"
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The end of the film where Tukaram flies off to heaven.
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Indian popular cinema: a narrative of cultural change
526:telling, rather than complete historical accuracy.
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1176:. National Film Institute of India. Archived from
1325:. University of California Press. pp. 212–.
982:. National Film Archive of India. Archived from
285:, a right reserved for Brahmins (priest caste).
1264:. Atlantic Publishers & Dist. p. 55.
840:K. Moti Gokulsing; Wimal Dissayanake (2004).
340:Gauri as Jijai (Awali), Tukaram's second wife
8:
1352:Filming the Gods: Religion and Indian Cinema
1069:Raminder Kaur; Ajay J Sinha (13 July 2005).
792:Banerjee, Shampa; Srivastava, Anil (1988).
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1425:Participation at the Venice Film Festival
1114:. Bibliophile South Asia. pp. 161–.
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1111:Hindi Film Song: Music Beyond Boundaries
980:"Dissemination of Film Culture Citation"
1291:. Oxford University Press. p. 22.
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674:Victor Hope, 2nd Marquess of Linlithgow
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522:(saint) films are devotees and want a
1174:"Landmark Films from NFAI Collection"
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1075:. SAGE Publications. pp. 104–.
1319:Scott MacDonald (3 December 2007).
1108:Ashoka Da Ranade (1 January 2006).
1045:Bollywood Cinema: Temples of Desire
236:in India. The film was directed by
540:Panduranga Dhyani, Panduranga mani
330:, the 17th century saint from the
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1225:"Sant Tukaram (The Movie) Part I"
846:. Trentham Books. pp. 26–7.
1349:Dwyer, Rachel (30 August 2006).
883:. National Film Archive of India
416:(memorial shrine) of Tukaram in
914:. Complete Index to World Films
652:National Film Archive of India
1:
1258:Anwar Huda (1 January 2004).
672:and Lady Linlithgow, wife of
318:Vishnupant Pagnis as Tukaram.
1485:1930s Marathi-language films
1455:Indian black-and-white films
650:. Joseph restored it to the
1048:. Routledge. pp. 22–.
1501:
1470:Prabhat Film Company films
232:and spiritual poet of the
136:12 December 1936
1450:Indian biographical films
1261:Art And Science Of Cinema
410:Swadesh Hitinchal Mandali
221:and based on the life of
39:
1480:1930s biographical films
1460:Films set in Maharashtra
504:Vishnupant Govind Damle
238:Vishnupant Govind Damle
225:(1608–50), a prominent
56:Vishnupant Govind Damle
1475:Hindu devotional films
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470:Salomalo is a bigoted
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372:Characters and casting
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195:
1042:Vijay Mishra (2002).
600:Release and reception
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326:Vishnupant Pagnis as
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294:, the founder of the
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1465:Films about Hinduism
616:Venice Film Festival
259:Set in 17th century
248:Venice Film Festival
219:Prabhat Film Company
121:Prabhat Film Company
1223:Gayatri Chaterjee.
532:neo-realistic style
386:vernacular language
322:The cast included:
18:Sant Tukaram (1936)
986:on 8 November 2012
945:. Prabhat film.com
670:Maharaja of Mysore
644:Thiruvananthapuram
571:Shantaram Athavale
497:
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217:film, produced by
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1362:978-0-203-08865-4
1332:978-0-520-94061-1
1298:978-0-19-534777-7
1271:978-81-269-0348-1
1121:978-81-85002-64-4
1082:978-0-7619-3320-5
1055:978-0-415-93015-4
853:978-1-85856-329-9
805:978-0-8240-9483-6
559:shot reverse shot
445:vrikshavalli amha
207:), also known as
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16:(Redirected from
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213:, is a 1936
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152:Running time
129:Release date
89:B. Nandrekar
76:Sant Tukaram
35:Sant Tukaram
26:
1248:Dwyer p. 71
1210:Dwyer p. 79
1198:Dwyer p. 69
1098:Dwyer p. 76
1032:Dwyer p. 91
1011:Dwyer p. 78
823:Dwyer p. 77
676:, the then
621:Maria Nover
561:technique.
390:Brahminical
265:Maharashtra
156:131 minutes
52:Directed by
46:Film poster
1445:1935 films
1440:1936 films
1434:Categories
1343:References
766:Rediff.com
487:Production
140:1936-12-12
113:Production
64:Written by
1153:30 August
1147:Firstpost
694:Filmindia
636:Australia
402:kirtankar
306:chariot.
97:V. Avadho
1304:21 April
1184:10 April
949:10 April
918:14 April
887:10 April
772:10 April
544:aradhana
336:Hinduism
334:sect of
169:Language
102:Music by
82:Starring
72:Based on
1376:(1936)"
1231:4 April
1127:1 April
990:3 April
943:Tukaram
939:"Films"
881:Tukaram
642:, from
626:Hungary
477:tamasha
472:Brahmin
462:chapati
441:bhajans
434:chappal
414:samadhi
382:Marathi
378:Vithoba
332:Varkari
328:Tukaram
300:Mughals
292:Shivaji
273:Brahmin
269:Tukaram
227:Varkari
223:Tukaram
215:Marathi
173:Marathi
161:Country
138: (
115:company
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606:Mumbai
590:violin
588:, and
453:dharma
449:dharma
395:UNESCO
384:, the
287:Pandit
278:shudra
738:Notes
634:from
582:piano
565:Music
283:Vedas
230:saint
164:India
87:Gauri
1420:IMDb
1357:ISBN
1327:ISBN
1306:2013
1293:ISBN
1266:ISBN
1233:2013
1186:2013
1155:2018
1129:2013
1116:ISBN
1077:ISBN
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992:2013
951:2013
920:2013
889:2013
848:ISBN
800:ISBN
774:2013
722:sant
656:Pune
648:Pune
628:and
520:sant
512:Pune
506:and
458:poli
418:Dehu
310:Cast
261:Dehu
255:Plot
1418:at
624:of
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