Marathi cinema

Marathi cinema, also known as Marathi Chithrapat, is the segment of Indian cinema, dedicated to the production of motion pictures in the Marathi Language widely spoken in the state of Maharashtra. It is based in Mumbai. It is the oldest film industry of India and one of the leader in Filmmaking in India's film industry. The first Marathi talkie film was Ayodhyecha Raja, released in 1932, just one year after Alam Ara the first Hindi talkie, before releasing the Aayodhyecha Raja, all the Marathi films until then were Silent films with Intertitles.
Although the industry is much smaller than Bollywood (which is also based in Mumbai), Marathi cinema is tax free at the privilege of the state of Maharashtra, and is experiencing growth in recent years. Raja Harishchandra, directed by Dadasaheb Phalke, released in 1913 was the first Marathi film ever made, which also was India's first full-length feature film. Although the claim is disputed, few claim that Dadasaheb Torne's movie Pundalik (1912) was first film made in Maharashtra.
Kolhapur was a centre for film production during 20th century but now majority of movies got made in Mumbai. During Marathi cinema's infancy, that is 1910s-1930s which was also silent era of Marathi cinema, majority of movies got made on Hindu mythological subjects, in 1970s films got made on rural stories, in 1980s–1990s movies got made on comedy, thriller genre, 2000s onwards it being made about social subjects, biographical-dramas. Pinjara (1972) directed by V Shantaram was first ever colour Marathi movie.
History
Silent era
Marathi cinema is the oldest film industry of India.
Dadasaheb Phalke widely considered as pioneer and founder of Marathi cinema and Cinema of India. He brought the revolution of motion pictures to India with his first indigenously made film Raja Harishchandra, released in year 1913. Although the film had Marathi and English Intertitles, it is considered as a Marathi film, by IFFI and NIFD, citing while filming director Phalke had employed full Marathi crew including actors.
Some claim that the first ever Marathi movie was Shree Pundalik of Dadasaheb Torne, it was released on 18 May 1912 at Coronation Cinematograph, Bombay. But this claim is disputed, it is not considered as first Marathi or Indian movie, because it was not a movie in true sense, it was a recording of a then popular theatre play, the cameraman who filmed that movie, Jonson was a British national, it was processed in London and negative also remained in United Kingdom.
Kolhapur was a centre of film production in the twentieth century. In 1919 Baburao Mistry popularly known as Baburao Painter, founded the Maharashtra Film Company with the blessings of the Maharaja of Kolhapur and released the first significant historical film, Sairandhari (1920) starring Balasheb Pawar, Kamala Devi and Zunzarrao Pawar. Because of his special interest in sets, costumes design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialized in the historical genre. Baburao Painter made many silent movies till 1930. However, after a few more silent films, the Maharashtra Film Company pulled down its shutters with the advent of sound. Baburao was not particularly keen on the talkies for he believed that they would destroy the visual culture so painfully evolved over the years.
Sound era
Ayodhyecha Raja (1932) was the first talkie of Maharashtra, prior to it all the movies was Silent films with Marathi, English Intertitles. It was released one year after the first sound film of the nation, Alam Ara (1931) and five years after first Hollywood sound film The Jazz Singer (1927), which is first sound film made in the world.
As cinema grew in Union of India, major production houses rose and one of them was again a company owned wholly by Maharashtrians, the Prabhat Film Company. Prabhat's Sant Tukaram (1936) was the first Indian work to win the Best Film Award at the Venice Film Festival in 1937.
In 1954 at the very first edition of the National Awards, Shyamchi Aai, won the first President's gold medal for Cinema. It was directed by Acharya P K Atre, and it was an adaptation of the eponymous novel by Sane Guruji.Marathi cinema was in its full bloom by this time with the advent of greats like V. Shantaram, Master Vinayak, Bhalji Pendharkar, Acharya Atre, followed by Raja Paranjpe, Jyotiram, sonal and mumtaz, Dinkar D Patil, G. D. Madgulkar, Sudhir Phadke, Raja Thakur .
1960s and '70s
The 1960s saw the emergence of directors such as V Shantaram and Anant Mane who made Marathi films based on the folk art form Tamasha. Shantaram's Pinjara (1972) was a hit, it is the first movie of Marathi cinema that was made in colour. Then came directors like Datta Dharmadhikari and Raj Dutt who made traditional family dramas. The early 70s saw the advent of Dada Kondke who captured the audiences with his sense of humour that included sexual innuendo. He went on to create satirical, pun-ridden films often including social and political commentary, many of which became cult classics. By this time Marathi cinema was caught in either the Tamasha genre or tragedies revolving around traditional family dramas on one side and the comedies of Dada Kondke.
1980s
The 1980s saw two comedy heroes raised to stardom, Ashok Saraf and Laxmikant Berde became popular superstars. In mid '80s Mahesh Kothare and Sachin Pilgaonkar made many box-office hit films. Kothare used to make action-comedy-thrillers genre movies, while Sachin Pilgaonkar used to make maily comedy movies. Pilgaonkar made hit classics such as buddy film Gammat Jammat (1987), Ashi Hi Banwa Banwi (1988), supernatural revange drama film Bhutacha Bhau (1989), feel good movie Aayatya Gharat Gharoba (1991), Aamchya Sarkhe Aamhich (1990), and around the same time Kothare made hit filmz Dhoom Dhadaka, Dhadakebaaz (1990), De Danadan (1987), horror-thriller Zapatlela (1993) which was an unofficial remake of Hollywood cult classic Slasher film Child's Play (1988). He introduced technological advancements, such as he was the first director who filmed his movie in CinemaScope, used Chroma key technique and did Wire-flying [ in Dhadakebaaz (1990)], used Puppetry [in Zapatlela (1993)], he filmed Zapatlela (1993)'s sequal in 3D format, probably this film was first ever sequal film made in Marathi cinema, he ventured in film genre such horror comedy, thriller, fantacy. Both Kothare and Sachin acted and directed their respective films, latter even sang many song for his movies. Few other director also made entertaining movies during this time: fantacy and political satire genre's Ek Gadi Baki Anadi, Bin Kamacha Navara (1984) respectively.
decline
While the theatre of Maharashtra earned recognition at the national level, the cinema failed to make a mark. A major reason was the proximity to the production centre of Hindi cinema (Bollywood), which encroached on the identity of Marathi cinema. Other reasons include the shortage of cinema halls for distribution due to poor marketing, lack of money magnets, a vibrant theatre scene and the emergence of private television. It also lacked the powerful lobby at the national level unlike South Indian cinema because the state encouraged Hindi cinema for profit mainly; the regional film industrial advantage being soaked up by Bollywood.
Revival after mid 2000s
In past few years, the Marathi cinema industry has produced many films that are not only critically acclaimed but commercially successful as well.
Acclaimed director Dr Jabbar Patel explains the reasons behind the change, "The kind of Marathi cinema that is being made today is very fresh and different. This is thanks to directors and writers getting exposed to world cinema via television, film festivals etc. They are coming up with new storylines and innovative concepts."
With outstanding contribution and efforts from different producers and directors of the Mumbai film industry, Marathi cinema relatively outshined other Indian film industries such as Bollywood in the first quarter of 2010 in box office collections and critical appreciation.
Actor-director Mahesh Kothare brought a number of innovations in the technical quality of Marathi films and was the first to bring Dolby Digital sound to Marathi cinema with Chimni Pakhara in 2003. He made the first Marathi film with Digital Special Effects, Pachadlela, in 2004. He also made first Marathi movie in 3D Zapatlela 2, in 2013.
Art filmz
Marathi cinema received critical acclaim in 2004 with the film Shwaas winning the Golden Lotus National Award. It was India's official entry to the 77th Academy Awards. It won the President's medal for best film, beating Bollywood's prolific output with quality. Shwaas was the second Marathi film to win the President's Medal after Shyamchi Aai (1950).
The Maharashtra state government has begun to issue grants to Marathi film (between 1.5 million and 3.0 million rupees). After the success of Shwaas, Indian media players like Shringar Films and Zee Telefilms are exhibiting a re-emerging interest in Marathi cinema. The growing popularity of Marathi television (notably Zee Marathi, ETV Marathi, Mi Marathi, Star Pravah, Saam TV) has helped to popularize older Marathi cinema and promote the genre. Zee Talkies and Shemaroo MarathiBana a 24-hour channel dedicated to Marathi movies, has been introduced.
Recent history
In 2009, Harishchandrachi Factory (with a budget of Rs. 6 crore), told the struggle of Dadasaheb Phalke in making Raja Harishchandra (1913), directed by theatre-veteran Paresh Mokashi, it was selected as India's official entry to Academy Award in the Best Foreign Language Film category, making it the second Marathi film, after Shwaas, to receive this honour.
Road movie De Dhakka (2008), Satire film Nishani Dava Anghatha (2009) based on failure of government of India's Adult education programme, political satire Gallit Gondhal Dillit Mujra (2009), period drama and musical hit Natarang (2009), film raising state's farmar's issue, rampant corruption in government officials, satire Jau Tithe Khau (2007), Kaydyach Bola (2005) were box-office hits and made everlasting impact on the audience's mind.
Since the new decade beginning in 2010, several contemporary Marathi artistic films released including Vihir (2009) and Deool (2011), and Nagraj Manjule's Fandry (2013). They have given a new direction to Marathi films. Ritesh Deshmukh's Lai Bhaari (2014) achieved eyeballs.
Deool became the third movie after Shyaamchi Aai and Shwaas to win the National Film Award for Best Feature Film. Deool Band (2015) grabbed audience attention.
Sairat (2016) musical romantic drama starring Rinku Rajguru and Akash Thosar, directed by Nagraj Manjule emerged as the biggest weekend opener for a Marathi film breaking record previously held by Natsamrat. Sairat was the first Marathi film to cross ₹50 crore (US$7.8 million) mark. The film has become the first Marathi film to gross over ₹100 crore (US$16 million) worldwide.
In recent past Ritesh Deshmukh's Mauli (2018) earned audience's attention, his Ved (2022) became a hit.
Highest grossing movies
Awards
Filmfare award Marathi
Maharashtra State Awards
Nowadays, Marathi movies have been listed at many international film festivals, which provides a platform for such movies and the filmmakers to know big in the world film industry. All Lights Film Services provided platform for Marathi films such as Pinky – Ek Sathyakatha, Kapus Kondyachi Goshta, Hou De Jarasa Ushir, Sopanchi Aye Bahina Bhai, Touring Talkies, Langar to almost all leading international festivals across the world.
Further reading
Marathi Cinema: In Retrospect, by Sanjit Narwekar. Maharashtra Film, Stage & Cultural Development Corp., 1995.
See also
List of Marathi films
List of Marathi film actresses
List of Marathi film actors
References
Culture of Maharashtra
Indian film industries