904:, 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
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945:; 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.
539:) 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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912:, 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
631:"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."
1192:. 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
695:, 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.
508:. 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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486:. 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
271:) 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
1206:. 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
668:, 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
974:, 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.
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1027:, 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
856:, 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.
744:. 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
586:). 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
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1122:(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
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727:. 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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719:, 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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386:). 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.
1039:. 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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684:, 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.
680:. 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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547:) 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
621:, 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
617:. 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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1378:. Later, he also became the first actor to play the double role in Indian cinema by portraying the male lead
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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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908:. 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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660:. 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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2356:. Publications Division, Ministry of Information and Broadcasting, Govt. of India. p. 442.
1264:, 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
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411:) against their will. Harishchandra unwittingly interrupts Vishvamitra in the midst of his
382:(Bhalchandra Phalke), how to shoot with a bow and arrow in the presence of Queen Taramati (
318:. Some film historians believe these belong to a 1917 remake of the film by Phalke titled
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1200:. Some film historians believe they actually belong to a 1917 remake of the film, titled
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2042:"मुलाखत: सरस्वतीबाई धुंडिराज फाळके" [Interview: Saraswatibai Dhundiraj Phalke].
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2317:"पहिल्या भारतीय चित्रपटाच्या आठवणी" [Memories of the first Indian movie].
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Gender, Culture, and Performance: Marathi Theatre and Cinema before Independence
2914:"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
1708:"मुलाखत: धुंडिराज गोविंद फाळके" [Interview: Dhundiraj Govind Phalke].
422:. While in exile, Rohitashva dies and Harishchandra sends Taramati to ask the
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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
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688:. He agreed to work in films when Phalke offered him a raise of five rupees.
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230:, 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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609:. 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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516:. While watching Jesus on the screen, Phalke envisioned Hindu deities
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2646:. New Delhi. Indo-Asian News Service. 3 December 2009. Archived from
1962:"'Raja Harishchandra': Indian Cinema Was Born This Day 105 Years Ago"
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1511:"The Phalke Era: Conflict of Traditional Form and Modern Technology"
763:. This included negative and positive film stocks, cameras, lights,
218:. It is often considered the first full-length Indian feature film.
2733:"Nitrate Fires: Reasons for the loss of India's cinematic heritage"
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Bhalchandra Phalke as Rohitashva, son of Harishchandra and Taramati
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The Phalke Era: Conflict of Traditional Form and Modern Technology
874:(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
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314:; 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
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Phalke seated on a chair with a small roll of film in his hands
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3165:"Bid to get Pundalik recognition as first Indian feature film"
306:. It was a commercial success and laid the foundation for the
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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
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2214:. Vol. 1. Atlantic Publishers & Dist. p. 168.
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Salunke later reprised the same role in Phalke's 1917 film
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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
2443:"भारतातील पहिल्या "प्रीमियर"चे आज शताब्दी वर्षात पदार्पण"
2380:"Ramkrishna Gopal Bhandarkar: Orientalist par excellence"
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Interrogating Modernity: Culture and Colonialism in India
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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
563:, depicting Harishchandra parting with his wife and son
341:, released on 18 May 1912, the maiden Indian film. The
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2156:(2nd ed.). Taylor & Francis. pp. 66–67.
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601:, 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
2445:[100 years for India's first premiere show].
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but was not listed among the final five nominations.
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Phalke decided to make a feature film after watching
27:. For the feature film made in Calcutta in 1917, see
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Rajadhyaksha, Ashish; Willemen, Paul, eds. (1998) .
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2852:"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
636: – Casting call published in various newspapers
3507:. Translated by Virkar, S. A. National Book Trust.
3260:"Vinod Khanna honoured with Dadasaheb Phalke Award"
3012:. Rowman & Littlefield Publishers. p. 25.
2980:. National Film Archive of India. pp. 10, 18.
2509:
2492:
2465:
2325:
2182:
2149:
2065:
2050:
1984:
1937:
1781:
1760:
1743:
1728:
1716:
1643:
1619:
775:. He decided to take on the responsibility for the
500:with his elder son Bhalchandra went to see a film,
2143:
2037:
2035:
1798:
3295:. Directorate of Film Festivals. pp. 38–42.
3132:"Torne's 'Pundlik' came first, but missed honour"
2613:. Directorate of Film Festivals. pp. 82–83.
840:Production design for the film started after the
4115:
3102:Kanan Devi: The First Superstar of Indian Cinema
2796:. National Film Archive of India. Archived from
2764:"10 times when fire caused damage to movie sets"
1448:
3009:The Encyclopedia of Musicians and Bands on Film
2032:
1672:Gokulsing, K. Moti; Dissanayake, Wimal (2013).
1455:Frawley, David; Ranade, Subhash (August 2004).
1214:Classification as first full-length Indian film
1080:" in the country. Director and cinematographer
2535:"Role reversal: Street play to promote cinema"
2253:. Vol. 3. Sarup & Sons. p. 189.
1573:. National Film Archive of India. p. 35.
1346:of 14 April 1911 contains an advertisement of
597:After considering various stories depicted in
491: – Phalke on watching Jesus on the screen
3614:
3504:Dadasaheb Phalke, The Father of Indian Cinema
3437:
1904:. University of Illinois Press. p. 224.
1703:
1701:
1699:
1697:
1695:
1496:
1454:
19:This article is about a feature film made by
3282:
3226:
3092:
2849:
2408:
2310:
2101:
1891:
1823:Filming the Gods: Religion and Indian Cinema
1667:
1665:
1663:
1508:
941:with low sensitivity to the red band of the
691:Phalke auditioned many boys for the role of
3036:
2945:"Saving India's cinema, one film at a time"
2818:
2761:
2707:British Academy of Film and Television Arts
2250:Musings on Indian Writing in English: Drama
1852:
998:, expressed his desire to screen the film.
3621:
3607:
3193:
3071:Mass Communication and Journalism in India
2569:
2201:
1692:
1406:
1282:List of incomplete or partially lost films
1043:300. Later, the film was also screened at
767:equipment, printing and editing machines,
44:
4154:Indian avant-garde and experimental films
3043:. University of Texas Press. p. 35.
2942:
2640:"UTV to release Harishchandrachi Factory"
2440:
2436:
2434:
2284:(in Hindi). Bani Prakashan. p. 164.
2117:. Indiana University Press. p. 270.
1660:
992:Coronation Cinematograph and Variety Hall
711:Phalke hired around forty people for his
300:Coronation Cinematograph and Variety Hall
52:Coronation Cinematograph and Variety Hall
3098:
2850:Rajadhyaksha, Ashish (7 February 2017).
2533:Dasgupta, Priyanka (28 September 2016).
2532:
2107:
1897:
1564:
1562:
1520:; Dhareshwar, Vivek; Sudhir, P. (eds.).
818:
702:
554:
356:
3401:
2876:
2046:(in Marathi). Nashik. 16 February 1946.
1858:
1594:
1412:
852:, an outdoor shooting was scheduled at
504:, at the America India Picture Palace,
4116:
3830:Kakashebanchya Dolyat Jhanjhanit Anjan
3197:Communication and media in India today
3162:
2975:"List of Digitized and Restored Films"
2575:
2431:
2346:
2277:
2207:
2096:Gulzar, Nihalani & Chatterjee 2003
1932:Gulzar, Nihalani & Chatterjee 2003
1568:
1208:Film and Television Institute of India
50:Publicity poster for film show at the
3602:
3500:
3425:from the original on 8 September 2020
3129:
3067:
2955:from the original on 14 November 2017
2713:from the original on 15 February 2013
2520:
2503:
2486:
2471:
2419:from the original on 8 September 2020
2360:from the original on 8 September 2020
2334:
2228:from the original on 15 December 2013
2195:
2153:Death and Bereavement Across Cultures
2131:from the original on 8 September 2020
2078:
2059:
1995:
1948:
1819:
1813:
1792:
1775:
1754:
1737:
1722:
1654:
1625:
1613:
1559:
1538:from the original on 19 January 2017.
1475:from the original on 8 September 2020
1436:from the original on 8 September 2020
1001:
3325:
2911:
2877:Katakam, Anupama (18 January 2003).
2843:
2743:from the original on 19 October 2017
2669:Jha, Subhash K. (18 December 2009).
2441:Bhingarde, Santosh (21 April 2012).
2246:
2008:Jha, Subhash K. (15 December 2001).
1807:
1675:Routledge Handbook of Indian Cinemas
3369:; Chatterjee, Saibal, eds. (2003).
3349:from the original on 3 January 2014
3105:. India: HarperCollins. p. 8.
2668:
2007:
1879:from the original on 7 January 2014
1840:from the original on 3 January 2014
1712:(in Marathi). Pune. 19 August 1913.
1461:. M. Banarsidass Publ. p. 28.
1278: – The first Indian sound film
455:Gajanan Vasudev Sane as Vishvamitra
204:
13:
4144:Films directed by Dadasaheb Phalke
3270:from the original on 28 April 2018
3240:from the original on 14 April 2018
3234:"Dada Saheb Phalke Award Overview"
3119:from the original on 30 June 2018.
3057:from the original on 30 June 2018.
2943:Chaudhuri, Mohini (20 June 2015).
2912:Paul, Cithara (19 February 2009).
2819:Chakravarty, Ipsita (4 May 2012).
2267:from the original on 30 June 2018.
723:and then completed the script for
349:as the first Indian feature film.
14:
4180:
3523:
3444:Indian Cinema: The Bollywood Saga
3389:from the original on 5 April 2019
3236:. Directorate of Film Festivals.
3214:from the original on 30 June 2018
3175:from the original on 29 June 2018
3088:from the original on 6 July 2018.
3074:. Allied Publishers. p. 54.
3026:from the original on 6 July 2018.
2987:from the original on 30 June 2018
2893:from the original on 30 June 2018
2858:from the original on 29 June 2018
2831:from the original on 29 June 2018
2774:from the original on 29 June 2018
2762:Shrivastava, Vipra (4 May 2015).
2679:. The Times Group. Archived from
2620:from the original on 9 March 2019
2596:from the original on 6 July 2018.
2582:. Psychology Press. p. 367.
2545:from the original on 30 June 2018
2298:from the original on 30 June 2018
2170:from the original on 30 June 2018
2020:from the original on 20 June 2012
1972:from the original on 29 June 2018
1524:. Seagull Books. pp. 76–80.
1419:Vedic Yoga: The Path of the Rishi
698:
449:as Taramati, Harishchandra's wife
3573:
3561:
3549:
3537:
3302:from the original on 3 July 2018
3130:Damle, Manjiri (21 April 2012).
2564:Rajadhyaksha & Willemen 1998
2390:from the original on 9 June 2019
1638:Rajadhyaksha & Willemen 1998
1554:Rajadhyaksha & Willemen 1998
1183:
1174:62nd British Academy Film Awards
953:
3318:
3252:
3187:
3156:
3123:
3061:
3037:Chakravarty, Sumita S. (2011).
3030:
2999:
2967:
2936:
2905:
2870:
2812:
2786:
2755:
2725:
2695:
2662:
2632:
2600:
2579:An Introduction to Film Studies
2526:
2402:
2372:
2340:
2278:Divedi, Mahavir Prasad (1995).
2271:
2240:
2001:
1954:
1366:
1353:
1336:
682:Krishna Hari alias Anna Salunke
575:, Phalke had published a story
390:(Gajanan Sane) is performing a
4139:Films about Raja Harishchandra
4134:Cross-dressing in Indian films
3465:Encyclopaedia of Indian Cinema
2671:"Mokashi lives American dream"
2415:. Indian Book Co. p. 34.
1502:
1294:
1194:National Film Archive of India
1124:National Film Archive of India
1023:week at the Nawabi Theatre in
512:(1906) by the French director
467:
316:National Film Archive of India
1:
3678:Satyavadi Raja Harishchandra
3372:Encyclopaedia of Hindi Cinema
3163:Mishra, Garima (3 May 2012).
2409:Rangoonwalla, Firoze (1975).
2247:Iyer, Natesan Sharda (2007).
1509:Rajadhyaksha, Ashish (1993).
1399:
1160:. It was selected as India's
1118:. Ashish Rajadhyaksha in his
462:
378:) is shown teaching his son,
16:1913 film by Dadasaheb Phalke
4159:Indian black-and-white films
4129:1913 directorial debut films
4096:Scenes of the River Godavari
4084:Nasik Trimbak Yethil Dekhave
3441:; Kothari, Jitendra (2004).
3266:. New Delhi. 13 April 2018.
2449:(in Marathi). Archived from
1422:. Lotus Press. p. 172.
1375:Satyavadi Raja Harishchandra
1203:Satyavadi Raja Harishchandra
937:stocks used were of limited
795:, his childhood friend from
321:Satyavadi Raja Harishchandra
308:film industry in the country
29:Satyawadi Raja Harishchandra
25:Satyavadi Raja Harishchandra
7:
4078:The Dreamland of Ganjandrao
3966:Kumari Millche Shuddhikaran
3471:. Oxford University Press.
3290:"17th National Film Awards"
3200:. Media House. p. 68.
2920:. New Delhi. Archived from
2608:"56th National Film Awards"
1458:Ayurveda, Nature's Medicine
1267:
648:through theatre companies.
283:, film editing, along with
10:
4185:
3806:Shivajichi Agryahun Sutaka
3194:Srampickal, Jacob (1998).
3099:Sengupta, Mekhala (2015).
2703:"BAFTA Screenings Archive"
1859:Schulze, Brigitte (2003).
1170:Best Foreign Language Film
948:
814:
801:Trimbakeshwar Shiva Temple
624:
535:which reached Bombay (now
18:
4102:Talegaoncha Kach Karkhana
4064:
3637:
2412:75 years of Indian cinema
2010:"10 pre-release big ones"
1826:. Routledge. p. 23.
1678:. Routledge. p. 73.
1497:Raheja & Kothari 2004
1252:processed in London. The
1222:as the first full-length
1158:56th National Film Awards
1070:
214:directed and produced by
208: King Harishchandra
188:
180:
170:
147:
133:
125:
115:
88:
80:
72:
62:
43:
38:
4149:Hindu mythological films
3411:. Taylor & Francis.
2918:The Telegraph (Calcutta)
2854:. Museum of Modern Art.
2737:Film Heritage Foundation
1898:Majumdar, Neepa (2009).
1386:, in Phalke's 1917 film
1287:
1178:66th Golden Globe Awards
1172:category along with the
1148:) depicts the making of
1141:Harishchandrachi Factory
848:at Phalke's bungalow at
803:. Phalke had taught him
658:Dattatraya Damodar Dabke
550:
441:Dattatraya Damodar Dabke
224:Dattatraya Damodar Dabke
2321:(in Marathi). May 1962.
1865:. Avinus. p. 127.
1146:Harishchandra's Factory
870:(village headman) that
846:sets were being erected
434:
352:
255:(1906) at a theatre in
156:21 April 1913
3140:. Pune. Archived from
2889:(2). The Hindu Group.
2208:Mittal, J. P. (2006).
1820:Dwyer, Rachel (2006).
1569:Dharap, B. V. (1985).
1262:Dadasaheb Phalke Award
837:
708:
633:
564:
488:
367:
345:, however, recognises
3950:Shri Krishna Shishtai
3838:Hidimb Bajkasur Vadha
3501:Watve, Bapu (2012) .
3375:. Popular Prakashan.
3068:Mehta, D. S. (1979).
2576:Nelmes, Jill (2003).
2111:(19 September 2017).
822:
706:
629:
558:
545:Growth of a Pea Plant
472:
365:
269:Growth of a Pea Plant
3934:Draupadi Vastraharan
3332:Bollywood: A History
2794:"Raja Harishchandra"
2114:Early Cinema in Asia
1518:Niranjana, Tejaswini
1363:artists to audition.
1016:The Bombay Chronicle
1010:The Bombay Chronicle
939:spectral sensitivity
787:, Film editing, and
603:Savitri and Satyavan
142:Phalke Films Company
4169:Indian silent films
3846:Chaturthicha Chanda
3774:Bhakta Gora Kumbhar
2924:on 26 February 2009
2800:on 26 November 2017
2489:, pp. 183–184.
1315:(prime qualities):
1254:Government of India
1224:Indian feature film
1198:partially lost film
1196:(NFAI) making it a
1166:82nd Academy Awards
1152:. The film won the
844:of 1912. While the
343:Government of India
210:) is a 1913 Indian
3910:Rukamangada Mohini
3694:Shri Krishna Janma
3646:Raja Harishchandra
3629:Films directed by
3589:Raja Harishchandra
3264:The Indian Express
3169:The Indian Express
3137:The Times of India
2825:The Indian Express
2739:. 28 August 2014.
2676:The Times of India
2539:The Times of India
2384:The Times of India
1416:(7 October 2014).
1348:The Life of Christ
1344:The Times of India
1150:Raja Harishchandra
1002:Theatrical release
986:The Times of India
838:
725:Raja Harishchandra
721:screenplay writing
709:
565:
510:The Life of Christ
496:On 14 April 1911,
476:The Life of Christ
368:
366:Raja Harishchandra
347:Raja Harishchandra
329:Raja Harishchandra
252:The Life of Christ
220:Raja Harishchandra
200:Raja Harishchandra
105:Bhalchandra Phalke
4164:Indian epic films
4111:
4110:
3734:Ram Maruti Yuddha
3710:Rajrishi Ambarish
3514:978-81-237-4319-6
3488:on 21 August 2016
3478:978-0-19-563579-9
3454:978-1-84513-016-9
3418:978-1-351-56590-5
3382:978-81-7991-066-5
3342:978-0-7524-2835-2
3207:978-81-7495-039-0
3112:978-93-5136-537-2
3081:978-81-7023-353-4
3050:978-0-292-78985-2
3019:978-1-4422-6987-3
2683:on 3 January 2013
2589:978-0-415-26268-2
2291:978-81-7055-386-1
2260:978-81-7625-801-2
2221:978-81-269-0615-4
2163:978-1-317-52092-4
2124:978-0-253-03444-1
1911:978-0-252-09178-0
1872:978-3-930064-12-0
1833:978-0-203-08865-4
1685:978-1-136-77284-9
1616:, pp. 24–26.
1531:978-81-7046-109-8
1468:978-81-208-2040-1
1429:978-0-940676-25-1
1258:Raja Harischandra
1242:Raja Harischandra
1238:Raja Harischandra
1220:Raja Harischandra
1033:Gujarati language
968:Small Cause Court
921:trick photography
805:still photography
793:Trymbak B. Telang
781:production design
577:Surabaichi Kahani
396:to get help from
363:
289:Trymbak B. Telang
277:production design
196:
195:
120:Trymbak B. Telang
39:Raja Harischandra
4176:
3998:Malvikagni Mitra
3894:Balaji Nimbalkar
3870:Janaki Swayamvar
3790:Vinchucha Dansha
3758:Guru Dronacharya
3750:Jarasandha Vadha
3662:Satyavan Savitri
3654:Mohini Bhasmasur
3631:Dadasaheb Phalke
3623:
3616:
3609:
3600:
3599:
3578:
3577:
3566:
3565:
3564:
3554:
3553:
3542:
3541:
3540:
3533:
3518:
3497:
3495:
3493:
3487:
3481:. Archived from
3470:
3458:
3434:
3432:
3430:
3398:
3396:
3394:
3367:Nihalani, Govind
3358:
3356:
3354:
3312:
3311:
3309:
3307:
3301:
3294:
3286:
3280:
3279:
3277:
3275:
3256:
3250:
3249:
3247:
3245:
3230:
3224:
3223:
3221:
3219:
3191:
3185:
3184:
3182:
3180:
3160:
3154:
3153:
3151:
3149:
3127:
3121:
3120:
3096:
3090:
3089:
3065:
3059:
3058:
3034:
3028:
3027:
3003:
2997:
2996:
2994:
2992:
2986:
2979:
2971:
2965:
2964:
2962:
2960:
2940:
2934:
2933:
2931:
2929:
2909:
2903:
2902:
2900:
2898:
2874:
2868:
2867:
2865:
2863:
2847:
2841:
2840:
2838:
2836:
2816:
2810:
2809:
2807:
2805:
2790:
2784:
2783:
2781:
2779:
2759:
2753:
2752:
2750:
2748:
2729:
2723:
2722:
2720:
2718:
2699:
2693:
2692:
2690:
2688:
2666:
2660:
2659:
2657:
2655:
2636:
2630:
2629:
2627:
2625:
2619:
2612:
2604:
2598:
2597:
2573:
2567:
2561:
2555:
2554:
2552:
2550:
2530:
2524:
2518:
2507:
2501:
2490:
2484:
2475:
2469:
2463:
2462:
2460:
2458:
2453:on 22 April 2012
2438:
2429:
2428:
2426:
2424:
2406:
2400:
2399:
2397:
2395:
2386:. 12 July 2003.
2376:
2370:
2369:
2367:
2365:
2344:
2338:
2332:
2323:
2322:
2314:
2308:
2307:
2305:
2303:
2275:
2269:
2268:
2244:
2238:
2237:
2235:
2233:
2205:
2199:
2193:
2180:
2179:
2177:
2175:
2147:
2141:
2140:
2138:
2136:
2105:
2099:
2093:
2082:
2076:
2063:
2057:
2048:
2047:
2039:
2030:
2029:
2027:
2025:
2005:
1999:
1993:
1982:
1981:
1979:
1977:
1958:
1952:
1946:
1935:
1929:
1916:
1915:
1895:
1889:
1888:
1886:
1884:
1856:
1850:
1849:
1847:
1845:
1817:
1811:
1805:
1796:
1790:
1779:
1773:
1758:
1752:
1741:
1735:
1726:
1720:
1714:
1713:
1705:
1690:
1689:
1669:
1658:
1652:
1641:
1635:
1629:
1623:
1617:
1611:
1598:
1592:
1583:
1582:
1566:
1557:
1551:
1540:
1539:
1515:
1506:
1500:
1494:
1485:
1484:
1482:
1480:
1452:
1446:
1445:
1443:
1441:
1410:
1393:
1370:
1364:
1357:
1351:
1340:
1334:
1305:hindu philosophy
1298:
1042:
1030:
964:R. G. Bhandarkar
769:negative cutting
747:
742:M. V. Dhurandhar
687:
664:lady, who was a
655:
637:
569:Marathi language
531:raw films and a
514:Alice Guy-Blaché
498:Dadasaheb Phalke
492:
443:as Harishchandra
364:
216:Dadasaheb Phalke
209:
206:
163:
161:
129:Dadasaheb Phalke
96:Dattatraya Dabke
84:Dadasaheb Phalke
76:Dadasaheb Phalke
67:Dadasaheb Phalke
48:
36:
35:
21:Dadasaheb Phalke
4184:
4183:
4179:
4178:
4177:
4175:
4174:
4173:
4114:
4113:
4112:
4107:
4060:
3918:Nala Damayanthi
3862:Ram Rajya Vijay
3633:
3627:
3584:
3572:
3562:
3560:
3548:
3538:
3536:
3528:
3526:
3521:
3515:
3491:
3489:
3485:
3479:
3468:
3455:
3447:. Aurum Press.
3428:
3426:
3419:
3392:
3390:
3383:
3352:
3350:
3343:
3321:
3316:
3315:
3305:
3303:
3299:
3292:
3288:
3287:
3283:
3273:
3271:
3258:
3257:
3253:
3243:
3241:
3232:
3231:
3227:
3217:
3215:
3208:
3192:
3188:
3178:
3176:
3161:
3157:
3147:
3145:
3128:
3124:
3113:
3097:
3093:
3082:
3066:
3062:
3051:
3035:
3031:
3020:
3004:
3000:
2990:
2988:
2984:
2977:
2973:
2972:
2968:
2958:
2956:
2941:
2937:
2927:
2925:
2910:
2906:
2896:
2894:
2875:
2871:
2861:
2859:
2848:
2844:
2834:
2832:
2817:
2813:
2803:
2801:
2792:
2791:
2787:
2777:
2775:
2760:
2756:
2746:
2744:
2731:
2730:
2726:
2716:
2714:
2701:
2700:
2696:
2686:
2684:
2667:
2663:
2653:
2651:
2650:on 14 July 2014
2644:Hindustan Times
2638:
2637:
2633:
2623:
2621:
2617:
2610:
2606:
2605:
2601:
2590:
2574:
2570:
2562:
2558:
2548:
2546:
2531:
2527:
2519:
2510:
2502:
2493:
2485:
2478:
2470:
2466:
2456:
2454:
2439:
2432:
2422:
2420:
2407:
2403:
2393:
2391:
2378:
2377:
2373:
2363:
2361:
2353:Collected works
2348:Gandhi, Mahatma
2345:
2341:
2333:
2326:
2316:
2315:
2311:
2301:
2299:
2292:
2276:
2272:
2261:
2245:
2241:
2231:
2229:
2222:
2206:
2202:
2194:
2183:
2173:
2171:
2164:
2148:
2144:
2134:
2132:
2125:
2106:
2102:
2094:
2085:
2077:
2066:
2058:
2051:
2041:
2040:
2033:
2023:
2021:
2006:
2002:
1994:
1985:
1975:
1973:
1960:
1959:
1955:
1947:
1938:
1930:
1919:
1912:
1896:
1892:
1882:
1880:
1873:
1857:
1853:
1843:
1841:
1834:
1818:
1814:
1806:
1799:
1791:
1782:
1774:
1761:
1753:
1744:
1736:
1729:
1721:
1717:
1707:
1706:
1693:
1686:
1670:
1661:
1653:
1644:
1636:
1632:
1624:
1620:
1612:
1601:
1593:
1586:
1567:
1560:
1552:
1543:
1532:
1513:
1507:
1503:
1495:
1488:
1478:
1476:
1469:
1453:
1449:
1439:
1437:
1430:
1411:
1407:
1402:
1397:
1396:
1371:
1367:
1358:
1354:
1341:
1337:
1299:
1295:
1290:
1270:
1230:'s silent film
1228:Dadasaheb Torne
1216:
1186:
1082:Govind Nihalani
1073:
1040:
1028:
1004:
956:
951:
817:
809:cinematographer
789:film processing
773:film projectors
765:Film laboratory
745:
738:Raja Ravi Varma
701:
685:
653:
639:
635:
627:
599:Hindu mythology
561:Raja Ravi Varma
553:
502:Amazing Animals
494:
490:
470:
465:
437:
357:
355:
335:'s silent film
333:Dadasaheb Torne
285:film processing
207:
173:
166:
159:
157:
150:
143:
138:
136:
111:
58:
32:
17:
12:
11:
5:
4182:
4172:
4171:
4166:
4161:
4156:
4151:
4146:
4141:
4136:
4131:
4126:
4109:
4108:
4106:
4105:
4099:
4093:
4090:Pithache Panje
4087:
4081:
4075:
4072:Ankurachi Wadh
4068:
4066:
4062:
4061:
4059:
4058:
4050:
4042:
4034:
4026:
4018:
4014:Kacha Devayani
4010:
4002:
3994:
3986:
3978:
3970:
3962:
3954:
3946:
3938:
3930:
3922:
3914:
3906:
3898:
3890:
3886:Bhakta Pralhad
3882:
3874:
3866:
3858:
3850:
3842:
3834:
3826:
3818:
3810:
3802:
3794:
3786:
3778:
3770:
3762:
3754:
3746:
3738:
3730:
3726:Wandering Soul
3722:
3714:
3706:
3698:
3690:
3682:
3674:
3666:
3658:
3650:
3641:
3639:
3635:
3634:
3626:
3625:
3618:
3611:
3603:
3597:
3596:
3583:
3582:
3570:
3558:
3546:
3525:
3524:External links
3522:
3520:
3519:
3513:
3498:
3477:
3459:
3453:
3439:Raheja, Dinesh
3435:
3417:
3403:Kosambi, Meera
3399:
3381:
3359:
3341:
3322:
3320:
3317:
3314:
3313:
3281:
3251:
3225:
3206:
3186:
3155:
3144:on 30 May 2013
3122:
3111:
3091:
3080:
3060:
3049:
3029:
3018:
2998:
2966:
2935:
2904:
2879:"Fire at FTII"
2869:
2842:
2811:
2785:
2754:
2724:
2694:
2661:
2631:
2599:
2588:
2568:
2556:
2525:
2508:
2491:
2476:
2464:
2430:
2401:
2371:
2339:
2324:
2309:
2290:
2281:Sahitya-Vichar
2270:
2259:
2239:
2220:
2200:
2181:
2162:
2142:
2123:
2109:Deocampo, Nick
2100:
2098:, p. 243.
2083:
2064:
2049:
2031:
2000:
1983:
1968:. 3 May 2017.
1953:
1936:
1917:
1910:
1890:
1871:
1851:
1832:
1812:
1797:
1780:
1759:
1742:
1727:
1715:
1691:
1684:
1659:
1642:
1640:, p. 177.
1630:
1618:
1599:
1597:, p. 320.
1584:
1558:
1556:, p. 243.
1541:
1530:
1501:
1486:
1467:
1447:
1428:
1414:Frawley, David
1404:
1403:
1401:
1398:
1395:
1394:
1365:
1352:
1335:
1292:
1291:
1289:
1286:
1285:
1284:
1279:
1269:
1266:
1246:Shree Pundalik
1233:Shree Pundalik
1218:The status of
1215:
1212:
1185:
1182:
1162:official entry
1132:Paresh Mokashi
1101:Satish Bahadur
1072:
1069:
1051:, London, and
1003:
1000:
955:
952:
950:
947:
842:monsoon season
816:
813:
700:
699:Pre-production
697:
670:red-light area
628:
626:
623:
592:Indian culture
552:
549:
541:Ankurachi Wadh
471:
469:
466:
464:
461:
457:
456:
453:
450:
444:
436:
433:
354:
351:
338:Shree Pundalik
327:The status of
312:partially lost
310:. The film is
265:Ankurachi Wadh
194:
193:
190:
186:
185:
182:
178:
177:
174:
171:
168:
167:
165:
164:
153:
151:
148:
145:
144:
141:
139:
134:
131:
130:
127:
123:
122:
117:
116:Cinematography
113:
112:
110:
109:
106:
103:
98:
92:
90:
86:
85:
82:
78:
77:
74:
70:
69:
64:
60:
59:
49:
41:
40:
15:
9:
6:
4:
3:
2:
4181:
4170:
4167:
4165:
4162:
4160:
4157:
4155:
4152:
4150:
4147:
4145:
4142:
4140:
4137:
4135:
4132:
4130:
4127:
4125:
4122:
4121:
4119:
4103:
4100:
4097:
4094:
4091:
4088:
4085:
4082:
4079:
4076:
4073:
4070:
4069:
4067:
4063:
4056:
4055:
4051:
4048:
4047:
4043:
4040:
4039:
4035:
4032:
4031:
4027:
4024:
4023:
4019:
4016:
4015:
4011:
4008:
4007:
4003:
4000:
3999:
3995:
3992:
3991:
3987:
3984:
3983:
3979:
3976:
3975:
3974:Bhakta Damaji
3971:
3968:
3967:
3963:
3960:
3959:
3955:
3952:
3951:
3947:
3944:
3943:
3942:Bhakta Sudama
3939:
3936:
3935:
3931:
3928:
3927:
3926:Hanuman Janma
3923:
3920:
3919:
3915:
3912:
3911:
3907:
3904:
3903:
3902:Rukmini Haran
3899:
3896:
3895:
3891:
3888:
3887:
3883:
3880:
3879:
3875:
3872:
3871:
3867:
3864:
3863:
3859:
3856:
3855:
3851:
3848:
3847:
3843:
3840:
3839:
3835:
3832:
3831:
3827:
3824:
3823:
3819:
3816:
3815:
3814:Simantak Mani
3811:
3808:
3807:
3803:
3800:
3799:
3795:
3792:
3791:
3787:
3784:
3783:
3779:
3776:
3775:
3771:
3768:
3767:
3763:
3760:
3759:
3755:
3752:
3751:
3747:
3744:
3743:
3739:
3736:
3735:
3731:
3728:
3727:
3723:
3720:
3719:
3715:
3712:
3711:
3707:
3704:
3703:
3702:Kaliya Mardan
3699:
3696:
3695:
3691:
3688:
3687:
3683:
3680:
3679:
3675:
3672:
3671:
3667:
3664:
3663:
3659:
3656:
3655:
3651:
3648:
3647:
3643:
3642:
3640:
3638:Feature films
3636:
3632:
3624:
3619:
3617:
3612:
3610:
3605:
3604:
3601:
3595:
3591:
3590:
3586:
3585:
3581:
3576:
3571:
3569:
3559:
3557:
3552:
3547:
3545:
3535:
3534:
3531:
3516:
3510:
3506:
3505:
3499:
3484:
3480:
3474:
3467:
3466:
3460:
3456:
3450:
3446:
3445:
3440:
3436:
3424:
3420:
3414:
3410:
3409:
3404:
3400:
3388:
3384:
3378:
3374:
3373:
3368:
3364:
3360:
3348:
3344:
3338:
3334:
3333:
3328:
3324:
3323:
3298:
3291:
3285:
3269:
3265:
3261:
3255:
3239:
3235:
3229:
3213:
3209:
3203:
3199:
3198:
3190:
3174:
3170:
3166:
3159:
3143:
3139:
3138:
3133:
3126:
3118:
3114:
3108:
3104:
3103:
3095:
3087:
3083:
3077:
3073:
3072:
3064:
3056:
3052:
3046:
3042:
3041:
3033:
3025:
3021:
3015:
3011:
3010:
3002:
2983:
2976:
2970:
2954:
2950:
2946:
2939:
2923:
2919:
2915:
2908:
2892:
2888:
2884:
2880:
2873:
2857:
2853:
2846:
2830:
2826:
2822:
2821:"Our no-show"
2815:
2799:
2795:
2789:
2773:
2769:
2765:
2758:
2742:
2738:
2734:
2728:
2712:
2708:
2704:
2698:
2682:
2678:
2677:
2672:
2665:
2649:
2645:
2641:
2635:
2616:
2609:
2603:
2595:
2591:
2585:
2581:
2580:
2572:
2566:, p. 18.
2565:
2560:
2544:
2540:
2536:
2529:
2523:, p. 50.
2522:
2517:
2515:
2513:
2506:, p. 48.
2505:
2500:
2498:
2496:
2488:
2483:
2481:
2474:, p. 47.
2473:
2468:
2452:
2448:
2444:
2437:
2435:
2418:
2414:
2413:
2405:
2389:
2385:
2381:
2375:
2359:
2355:
2354:
2349:
2343:
2337:, p. 46.
2336:
2331:
2329:
2320:
2313:
2297:
2293:
2287:
2283:
2282:
2274:
2266:
2262:
2256:
2252:
2251:
2243:
2227:
2223:
2217:
2213:
2212:
2204:
2198:, p. 43.
2197:
2192:
2190:
2188:
2186:
2169:
2165:
2159:
2155:
2154:
2146:
2130:
2126:
2120:
2116:
2115:
2110:
2104:
2097:
2092:
2090:
2088:
2081:, p. 42.
2080:
2075:
2073:
2071:
2069:
2062:, p. 41.
2061:
2056:
2054:
2045:
2038:
2036:
2019:
2015:
2011:
2004:
1998:, p. 40.
1997:
1992:
1990:
1988:
1971:
1967:
1963:
1957:
1951:, p. 52.
1950:
1945:
1943:
1941:
1934:, p. 29.
1933:
1928:
1926:
1924:
1922:
1913:
1907:
1903:
1902:
1894:
1878:
1874:
1868:
1864:
1863:
1855:
1839:
1835:
1829:
1825:
1824:
1816:
1810:, p. 50.
1809:
1804:
1802:
1795:, p. 39.
1794:
1789:
1787:
1785:
1778:, p. 38.
1777:
1772:
1770:
1768:
1766:
1764:
1757:, p. 37.
1756:
1751:
1749:
1747:
1740:, p. 36.
1739:
1734:
1732:
1725:, p. 34.
1724:
1719:
1711:
1704:
1702:
1700:
1698:
1696:
1687:
1681:
1677:
1676:
1668:
1666:
1664:
1657:, p. 35.
1656:
1651:
1649:
1647:
1639:
1634:
1628:, p. 33.
1627:
1622:
1615:
1610:
1608:
1606:
1604:
1596:
1591:
1589:
1580:
1576:
1572:
1565:
1563:
1555:
1550:
1548:
1546:
1537:
1533:
1527:
1523:
1519:
1512:
1505:
1499:, p. 17.
1498:
1493:
1491:
1474:
1470:
1464:
1460:
1459:
1451:
1435:
1431:
1425:
1421:
1420:
1415:
1409:
1405:
1391:
1390:
1385:
1382:and his wife
1381:
1377:
1376:
1369:
1362:
1356:
1349:
1345:
1339:
1332:
1331:
1326:
1325:
1320:
1319:
1314:
1310:
1306:
1303:
1297:
1293:
1283:
1280:
1277:
1276:
1272:
1271:
1265:
1263:
1259:
1255:
1251:
1247:
1243:
1239:
1235:
1234:
1229:
1225:
1221:
1211:
1209:
1205:
1204:
1199:
1195:
1191:
1184:Extant prints
1181:
1179:
1175:
1171:
1167:
1163:
1159:
1155:
1151:
1147:
1143:
1142:
1137:
1133:
1128:
1125:
1121:
1117:
1113:
1110:
1106:
1105:Maharashtrian
1102:
1098:
1097:
1093:
1087:
1083:
1079:
1078:film industry
1068:
1066:
1062:
1058:
1054:
1050:
1046:
1038:
1034:
1026:
1020:
1017:
1012:
1011:
999:
997:
993:
988:
987:
982:
981:
975:
973:
969:
966:, a judge of
965:
961:
954:Film premiere
946:
944:
940:
936:
935:film negative
932:
931:
927:
922:
917:
915:
911:
910:Trimbakeshwar
907:
903:
902:first aid kit
898:
896:
891:
887:
883:
879:
878:
873:
869:
868:
861:
859:
858:Hindu rituals
855:
851:
847:
843:
835:
834:
829:
825:
821:
812:
810:
806:
802:
798:
794:
790:
786:
782:
779:, direction,
778:
774:
770:
766:
762:
758:
754:
749:
743:
739:
733:
730:
726:
722:
718:
714:
705:
696:
694:
689:
683:
679:
675:
671:
667:
661:
659:
649:
646:
645:
638:
632:
622:
620:
619:mangala sutra
616:
612:
608:
607:Harishchandra
604:
600:
595:
593:
589:
585:
584:
578:
574:
570:
562:
557:
548:
546:
542:
538:
534:
530:
525:
523:
519:
515:
511:
507:
503:
499:
493:
487:
485:
481:
477:
460:
454:
451:
448:
445:
442:
439:
438:
432:
430:
425:
421:
420:
414:
410:
406:
405:
401:
400:
395:
394:
389:
385:
381:
377:
373:
372:Harishchandra
350:
348:
344:
340:
339:
334:
330:
325:
323:
322:
317:
313:
309:
305:
301:
297:
292:
290:
286:
282:
278:
275:, direction,
274:
270:
266:
262:
258:
254:
253:
247:
245:
241:
237:
233:
232:Harishchandra
229:
225:
221:
217:
213:
202:
201:
191:
187:
183:
179:
175:
169:
155:
154:
152:
146:
140:
132:
128:
124:
121:
118:
114:
107:
104:
102:
99:
97:
94:
93:
91:
87:
83:
79:
75:
73:Screenplay by
71:
68:
65:
61:
57:
53:
47:
42:
37:
34:
30:
26:
22:
4101:
4095:
4089:
4083:
4077:
4071:
4054:Gangavataran
4052:
4046:Setu Bandhan
4044:
4036:
4030:Bolki Tapeli
4028:
4020:
4012:
4006:Malti Madhav
4004:
3996:
3990:Sant Mirabai
3988:
3980:
3972:
3964:
3956:
3948:
3940:
3932:
3924:
3916:
3908:
3900:
3892:
3884:
3878:Dhanurbhanga
3876:
3868:
3860:
3852:
3844:
3836:
3828:
3820:
3812:
3804:
3798:Sita Shuddhi
3796:
3788:
3780:
3772:
3764:
3756:
3748:
3740:
3732:
3724:
3716:
3708:
3700:
3692:
3684:
3676:
3670:Tilak's Week
3668:
3660:
3652:
3645:
3644:
3588:
3503:
3490:. Retrieved
3483:the original
3464:
3443:
3427:. Retrieved
3407:
3391:. Retrieved
3371:
3351:. Retrieved
3331:
3319:Bibliography
3304:. Retrieved
3284:
3272:. Retrieved
3263:
3254:
3242:. Retrieved
3228:
3216:. Retrieved
3196:
3189:
3177:. Retrieved
3168:
3158:
3146:. Retrieved
3142:the original
3135:
3125:
3101:
3094:
3070:
3063:
3039:
3032:
3008:
3001:
2989:. Retrieved
2969:
2957:. Retrieved
2949:Forbes India
2948:
2938:
2926:. Retrieved
2922:the original
2917:
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1571:Indian Films
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172:Running time
149:Release date
108:Gajanan Sane
101:Anna Salunke
33:
4065:Short films
4038:Kabir Kamal
4022:Chandrahasa
3854:Sant Eknath
3718:Sant Namdev
3686:Lanka Dahan
3327:Bose, Mihir
2768:India Today
2541:. Kolkata.
2044:Dhanurdhari
1389:Lanka Dahan
1300:As per the
1256:recognises
1134:, the 2009
1114:style than
1065:intertitles
1037:Indian anna
833:Lanka Dahan
791:. He asked
771:tools, and
713:film studio
678:Kamathipura
644:Induprakash
615:Urdu stages
573:Suvarnamala
468:Development
388:Vishvamitra
376:D. D. Dabke
244:intertitles
212:silent film
81:Produced by
63:Directed by
4124:1913 films
4118:Categories
3982:Vasantsena
3822:Satyabhama
3782:Babruwahan
3335:. Tempus.
2521:Watve 2012
2504:Watve 2012
2487:Watve 2012
2472:Watve 2012
2335:Watve 2012
2196:Watve 2012
2079:Watve 2012
2060:Watve 2012
2014:Rediff.com
1996:Watve 2012
1949:Watve 2012
1793:Watve 2012
1776:Watve 2012
1755:Watve 2012
1738:Watve 2012
1723:Watve 2012
1655:Watve 2012
1626:Watve 2012
1614:Watve 2012
1400:References
1250:film stock
1063:-language
777:scriptment
753:exhibition
693:Rohitashva
674:Grant Road
581:A Tale of
533:perforator
482:and their
463:Production
380:Rohitashva
273:scriptment
261:exhibition
242:-language
176:40 minutes
160:1913-04-21
135:Production
3958:Parshuram
3766:Buddhadev
3742:Mahananda
3556:Bollywood
3405:(2017) .
2883:Frontline
2423:16 August
2364:16 August
1808:Bose 2006
972:pneumonia
571:magazine
296:premiered
294:The film
222:features
126:Edited by
3580:Business
3423:Archived
3387:Archived
3347:Archived
3329:(2006).
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2129:Archived
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1579:71801090
1536:Archived
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1434:Archived
1275:Alam Ara
1268:See also
1176:and the
960:premiere
943:spectrum
888:and the
666:mistress
419:dakshina
189:Language
89:Starring
3530:Portals
3429:25 June
3393:15 June
3353:16 June
3274:29 June
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3148:17 July
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1976:29 June
1966:Mid Day
1883:17 June
1844:16 June
1309:Prakṛti
1302:Samkhya
1168:in the
1164:to the
1156:at the
1136:Marathi
1112:Peshwai
1057:Marathi
1053:Rangoon
1049:Colombo
996:Girgaon
949:Release
895:Faujdar
890:Faujdar
882:Faujdar
877:Faujdar
872:dacoits
854:Vangani
815:Filming
785:make-up
625:Casting
611:Marathi
588:mystery
567:In his
522:Krishna
506:Girgaon
484:Ayodhya
474:"While
399:Triguna
304:Girgaon
281:make-up
236:Marathi
205:transl.
181:Country
158: (
137:company
56:Girgaon
4104:(1915)
4098:(1914)
4092:(1914)
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4074:(1912)
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1071:Legacy
980:Kesari
933:. The
836:(1917)
797:Nashik
759:, and
605:, and
537:Mumbai
404:Shakti
257:Bombay
238:, and
192:Silent
3544:India
3486:(PDF)
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3300:(PDF)
3293:(PDF)
3179:3 May
2985:(PDF)
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2611:(PDF)
2447:Sakal
1516:. In
1514:(PDF)
1330:tamas
1324:rajas
1313:gunas
1288:Notes
1244:that
1190:reels
1138:film
1092:Yajna
1061:Hindi
1055:with
1025:Surat
926:Yajna
914:reels
906:Kashi
886:Patil
867:Patil
850:Dadar
761:Pathé
729:saris
717:taboo
551:Story
529:Kodak
480:Gokul
429:Shiva
413:yajna
393:yajna
370:King
240:Hindi
184:India
3594:IMDb
3568:Film
3509:ISBN
3494:2018
3473:ISBN
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3431:2018
3413:ISBN
3395:2018
3377:ISBN
3355:2018
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3308:2018
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3150:2012
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2626:2019
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