Jan 29, 2010 10:28 AM
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(Updated Aug 30, 2010 05:03 PM)
Very little is known about Dadasaheb Phalke, the father of Indian cinema who made the first desi motion picture. His life, the struggles and huge obstacles he had to face while making the first film is an interesting account to be captured on celluloid. Yet, in all these years, no Bollywood director ever touched it (and then they complained that they rarely come across good scripts!). Finally, Paresh Mokashi took up the challenge and has come with a Marathi film, Harishchandrachi Factory. The result is extraordinary-the film has turned out to be sweet, simple and extremely hilarious! It not only provides you with a slice of history but also complete and wholesome entertainment!
The story of the movie: The film begins in 1911. Dhundiraj Phalke (Nandu Madhav) gets separated from his business partner with whom he was running a printing business. As his family was struggling to make ends meet, he comes across a tent theatre that was screening a Western silent motion picture. This was a time when movies were patronized only by the Westerners and Indians rarely flocked to see it. However, Phalke was fascinated by what he saw and he called it ‘drama on screen’. He decided to learn the art of filmmaking and then himself make a film. His friends and well-wishers are outraged by Phalke’s new endaevour but his wife Saraswati (Vibhavari Deshpande) suppors him and doesn’t cringe when Phalke started selling household articles to raise money. He even goes to London to learn the art. He comes back to India, enriched, and decides to make a motion picture on Raja Harishchandra. Watch the film to learn how Phalke fights all odds and triumphs.
Paresh Mokashi should be appreciated for not only choosing this topic for his first film but also for keeping it light and funny most of the times. As soon as the film begins, you get absorbed into the world of Phalke. The engrossing screenplay doesn’t let you blink even for a second. As the film progresses, it gets funnier! The 2nd half consists of Phalke’s experience while shooting his film which was just out of this world! But even the 1st half is nicely executed. The scene where Phalke’s neighbours take him to mental hospital as they assumed that Phalke ‘has lost it’ raises lot of laughs. Phalke’s adventures in London bring a smile on viewer’s face. The best part was when Phalke convinces his neighbours and friends that what he is attempting is fascinating and interesting by showing them a very short film on the growing plant. It not only amazes the characters on screen but the viewers as well!
Paresh Mokashi also exposes the mindsets and narrow thinking that existed at that time. When still photography came to India, people were petrified as they felt that the camera would suck the soul from their bodies! Women refused to act in Phalke’s film and hence, a male had to play the part of Harishchandra’s queen! Eligible youths, working in Phalke’s film couldn’t get a suitable match as the girl’s parents hated the fact that the guy was working in a profession like cinema!
The film also shows some of the actual footage of the real Raja Harishchandra which Phalke had actually shot. And two scenes deserve special mention. In one of the scene, Phalke is having an outdoor shoot in countryside. The cinematographer notices that the jackfruit trees might come in the frame which'll make the film factually wrong as such trees didn’t exist in Harishchandra’s era. But Phalke rubbishes and says “Who cares? It is the story that is important!” It is an indication that the practice of not looking for logic in Indian films originated from the first film itself! Then, there’s a sequence where Phalke has to embark on a ‘publicity campaign’ to make people aware of his film! It reaffirms that promotion is equally important. Also, the film has an underlying message that come what may, follow your dreams and listen to your heart!
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