His complete name was Rajaram Vankudre Shantaram, and he progressed from being a time-keeper to sign painter to photographer's assistant to actor-director-film-maker! The legend is probably larger than the man ever was, but he remains an icon for many.

Prabhat Studios was established in Kolhapur in 1929 by Shantaram, Vishnupant Damle (a former electrician at the Bombay docks), Syed Fatehlal (previously an 'oil painter' of ships), K. Dhaiber and S.V. Kulkarni ( a goldsmith) who became their financier. All were professionals and lacked a strong financial background, but their sound knowledge base and willingness to learn ensured the success of their studio.

1929 - Gopal Krishna.

1930 - Khooni Khanjar.

The film was directed by V. Shantaram.

- Rani Saheba.

Directed by Shantaram.

- Udaykal.

The film was directed by V. Shantaram.

The original title of the film was Swarajya Toran (the flag of freedom) and the film was about Shivaji Maratha's fight against the Mughal rulers. Both these facts drew censorship - the title had to be changed and the story was frowned upon. Mahatma Gandhi's call for Civil Disobedience, the Dandi March against the Salt Law formed the political background of the period and the colonial government saw in the film an endorsement of the Mahatma's actions.

1931 - Chandrasena.

Directed by V. Shantaram.

- Zulum.

The era of the talkies had begun but Shantaram chose to study the films being made before commencing production.

1932 - Ayodhya Ka Raja.

This film of Raja Harishchandra's life was intended as a mark of respect to Dadasaheb Phalke whose first film had been on the same subject. While Shantaram's film had many flaws, the visual beauty and the powerful narrative more than compensated.

Durga Khote made her debut as Rani Taramati.

- Jalti Nishani.

- Maya Machchindra.

1933 - Sairandhri.

Shantaram took his film to the Agfa laboratories in Germany for colour processing - but the pictures were far too pale. Otherwise, this could well have been India's first colour film (the honour went to Ardeshir Irani's Kisan Kanya).

However, he remained in Germany for a while, much impressed by the German work ethic.

- Prabhat Studios shifted to Poona.

1934 - Amrit Manthan.

This film depicted beautifully the tension between Buddhism and established religious creeds. The close-ups and long views were particularly effective.

1935 - Dharamatma.

The film was on the life of the Marathi saint Eknath who preached against untouchability. The original title Mahatma had to be changed and certain scenes cut because of the similarity to Gandhiji's 'name' and his teachings. Shantaram refused to oblige the censors. The film was finally released by its distributors who brought about the required changes.

Bal Gandharva, a theatre legend, was cast as the saint Eknath.

1936 - Sant Tukaram.

The film stood apart because of its simplicity. Directed by V. Damle, it was awarded at the Venice Film Festival in 1937 - the first Indian film to be honoured thus.

One of the most revered saint-poets of Maharashtra, Tukaram was played by Vishnupant Pagnis. The saint's wife, Jijai, was played by Gauri who had joined the studio as an ordinary worker. A perfect casting since Tukaram, as also the other saint-poets, hailed from an ordinary background and transcended all social divisions because of his vision and charisma.

- Amar Jyoti.

This dealt with the prevalent attitudes towards women.

1937 - Duniya Na Mane.

Another film on women's issues, the film was immensely appreciated by all.

1939 - Aadmi.

Regarded as one of Shantaram's best films, this too dwelt on women's lives.

1941 - Padosi.

The story revolved round the theme of communal tension and the cause - profit seekers.

 

Shantaram and his partners parted ways.

1942 - Rajkamak Kalamandir established in Bombay.

1943 - Shakuntala.

A super success, the film ran for 104 weeks. Shantaram symbolized national aspirations in Shakuntala and Dushyanta's new-born son, Bharat.

1946 - Dr. Kotnis Ki Amar Kahani.

A remarkable film, unabashedly patriotic and, strangely enough, satisfying to the colonialist government in India, the Communists and the Congress party.

The film was based on K.A. Abbas' real-life story of Dr. Dwarkanath Kotnis - his work as part of a medical team in China during World War II. He was later taken prisoner by the Japanese, and died while working on the cure for an epidemic.

- Jeevan Yatra.

1947 - Lokshahir Ramjoshi.

This set the trend for the Marathi Tamasha mould and proved very successful.

Films like Jhanak Jhanak Payal Baje (1955), Navrang (1959), Sehra (1963), and Jal Bin Machchli Nritya Bin Bijli (1971) were dance extravaganzas, closely connected to the classical forms.

The actress-dancer Sandhya was the star in this films - an accomplished dancer, she brought the most complicated dances to the audience in an effortless manner.

1957 - Do Aankhen Barah Haath.

A brilliant film that depicted the true human being within. The story, performances, camerawork et al were all definitely above par. In 1958, the film was exhibited at the San Francisco Film Festival.

A policeman (Shantaram) sets up a farm with six murderers - the venture is successful and the murderers prove themselves to be essentially simple people. Residents of a nearby village resent their success and act out their hate. Sandhya as the toy-seller was, in Godard's words, 'charming'.

SOURCE

So Many Cinemas.
Author - B.D. Garga
Publishers - Eminence Designs Private Limited.

Encyclopaedia of Indian Cinema.
Author -Ashish Rajadhyaksha and Paul Willemen
Publishers -Oxford University Press.

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