Dadasaheb Phalke, who
passed away on 16 February 1944, was an Indian motion picture director who is considered the father of the Indian
cinema. Phalke was credited with making India’s first indigenous feature
film and spawning the burgeoning Indian film industry today chiefly known
through Bollywood productions.
As a child, Phalke displayed great interest in the
creative arts. Determined to pursue his dreams, he joined the Sir J.J. School
of Art, Bombay (now Mumbai), in 1885. While there he pursued a
variety of interests, including photography, Lithography, architecture, and
amateur dramatics, and he became adept even at magic. He briefly
worked as a painter, a theatrical set designer, and a photographer. While
working at the lithography press of celebrated painter Ravi Varma, Phalke
was significantly influenced by a series of Varma’s paintings of the Hindu
Gods, an impression that was evident in Phalke’s own portrayal of various gods
and goddesses in the mythological films he later made.
In 1908 Phalke and a partner established Phalke’s
Art Printing and Engraving Works, but the business failed because of
differences between them. It was Phalke’s chance viewing of the silent film The Life of Christ (1910) that marked a turning
point in his career. Deeply moved by the film, Phalke saw it as his mission to
bring all that was Indian to the moving picture screen. He went to London in
1912 to learn the craft from British pioneer filmmaker Cecil Hepworth. In 1913
he released India’s first silent film, Raja Harishchandra, a work based on Hindu mythology.
The film, scripted, produced, directed, and distributed by Phalke, was a huge
success and an important milestone in Indian
cinematic history. Likewise important, he introduced a female actor in the
leading role in his film Bhasmasur Mohini (1913)
at a time when professional acting was taboo for women.
Phalke, with the help of several partners,
established the Hindustan Film Company in 1917 and went on to produce several
films. A talented film technician, Phalke experimented with a variety of special
effects. His employment of mythological themes and trick photography delighted
his audience. Among his other successful films were Lanka dahan (1917), Shri Krishna janma (1918), Sairandari (1920), and Shakuntala (1920).
With the introduction of sound in cinema and the
expansion of the film industry, Phalke’s work lost popularity. He left
filmmaking in the 1930s and died lonely, embittered, and sick.