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| 18.11.1901-30.10.1990 |
When we talk about the great directors of Indian cinema, one name is usually conspicuously missing – that of Shantaram Rajaram Vankudre, otherwise known as V Shantaram. Known affectionately as Annasaheb or Shantaram Bapu, Shantaram had a successful career that spanned nearly seven decades. He was a good writer, a competent actor, a great producer-director and an excellent editor. Shantaram was witness to the evolution of cinema – from the silent movies to the talkies to the digital age. He directed 55 films in his lifetime and produced nearly double that number.
Look at the number of ‘firsts’ he racked up [Source: V Shantaram Motion Picture Scientific Research and Cultural Foundation]:
- · First Children’s Film – Rani Sahiba (1930)
- First Marathi Talkie – Ayodhyecha Raja (1932)
- First Bilingual Film – Ayodhyecha Raja (Marathi) / Ayodhya ka Raja (Hindi) 1932)
- First Marathi Colour Film - Pinjra (1972)
As a technical innovator too, he was a pioneer in the industry.
- · The first use of a trolley – Chandrasena (1931)
- First original soundtrack disc – Sairandhari (1933)
- First use of the telephoto lens – Amrit Manthan (1934)
- First animation film in Bombay – Jambukaka (1934) [The Pea Brothers, an animated short was released in Calcutta a few months earlier.]
- First use of back-projection – Amar Jyoti (1936)
So, why isn’t his name mentioned more frequently when people recall the greats of Indian cinema?
Born at the beginning of the 20th century (18 November 1901) to a Marathi Jain family in Kolhapur, Shantaram’s family moved to Hubli, Karnataka, when he was still a young boy. Shantaram was a reluctant student but an excellent mimic. That talent drew the attention of Govindrao Tambe, a well-known stage actor, who enrolled him in his theatre troupe – Gandharva Natak Mandali. Unfortunately, the young lad couldn’t sing and, in the days of singer-actors, his chances were dim. Chastened, the teenager returned to his studies.
A relative got him a job as a fitter in a railway workshop. But Shantaram spent his evenings at the New Deccan Cinema Theatre where he worked as the door boy. While this second job didn’t pay him a salary, he could watch all the movies screened at the theatre for free. In later days, Shantaram would reminisce about all of Dada Saheb Phalke’s movies that he had watched at New Deccan Cinema. His passion for films was ignited then.
Then, a maternal relative helped get him a job at the Maharashtra Film Company, where Shantaram would meet the man who would become his mentor: Baburao Krishnarao Mestry, better known as Baburao Painter. Like all youngsters who joined Baburao Painter’s company, Shantaram moved from department to department, learning the ropes of filmmaking. It is here that he imbibed his love for cinema technology from his mentor, and honed it further as he witnessed its evolution.
In 1921, he debuted as an actor in the silent film Surekha Haran. He was but an incidental actor, and continued to work in different departments until he was offered the chance to direct his own film. In 1927, the young actor debuted as a director with Netaji Palkar, a biographical silent film based on the life of Chhatrapati Shivaji’s commander-in-chief. The film was co-directed by Kaishavrao Dhaiber, who would become Shantaram’s primary cinematographer.
In 1929, Shantaram left the Maharashtra Film
Company to form his own production house – Prabhat Film Company (named after
his eldest son, Prabhat). Vishnupant Damle, Kaishavrao Dhaiber, S Fatelal and SB
Kulkarni were the other partners.
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| Shantaram and his partners with mentor Baburao Painter |
Shantaram was one of the earliest filmmakers to recognize the power of films to influence social change. He certainly earned a name for being unorthodox and unconventional. However, his first few films were mythological / historical. Prabhat Films’ first venture was Gopalkrishna (1929), followed by Udaykal (1931), based on Shivaji, the warrior. Udaykal was initially titled Swarajyache Toran (The Flag of Self-Rule); Shantaram had to change the title because the Censor Board saw it as an attempt to promote the freedom struggle.
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| Shantaram as Sivaji in Udaykal |
By this time, Alam
Ara (1931) had released. And Shantaram decided to make his first
talkie – Ayodhyecha Raja (1932), based on the life of Raja
Harishchandra. The film was simultaneously made in Hindi as Ayodhya ka Raja.
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| Govindrao Tembe and Durga Khote in Ayodhyecha Raja |
Prabhat Films thus had a foundational role to play in the history of Marathi cinema – three of the eight Marathi films made that year were produced by Prabhat and directed by Shantaram – Ayodhyache Raja, Agni Kankan and Maya Machhindra.
Shantaram was
nothing if not audacious in his ambition. In 1933, he wanted to make the first
Indian film in colour. Sairandhari, based on the Mahabharata was
shot in India and processed in Germany. However, the results were far from satisfactory
and Prabhat Films released it in black and white. The film is credited for the 'first original soundtrack disc'; the Gramaphone records were 'pressed' from the original soundtrack in Germany.
His next venture, another bilingual, was Amrit Manthan (1934), in which Shantaram used a telephoto lens to shoot tight close-ups (the first Indian filmmaker to do so).
Amrit Manthan has the distinction of being the first Indian film to celebrate a ‘silver jubilee’, running for 25 weeks in a single theatre.
In 1935, he made Dharmatma featuring stage veteran, Bal Gandharva. The film drew parallels between Sant Eknath, the titular character, and Mahatma Gandhi. Films like Amar Jyoti (1936) followed – a costume drama in which the characters of Durga Khote, Shanta Apte and Vasanti Ghorpade were startlingly progressive.
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| Durga Khote, Shanta Apte and Vasant Ghorpade in Amar Jyoti |
By now, Shantaram had established his reputation as a director with a fresh, new vision. His films were slickly made, entertaining, and had a social message. But it was just the beginning. In the next five years, Prabhat Films would switch to making socially relevant films that tackled some of the deepest of societal ills.
Kunku (1937) and its Hindi version, Duniya Na
Mane, with the theme of a May-December alliance, came out strongly
in favour of women’s emancipation. Manoos /Aadmi (1939) was another bilingual
based on a short story by A Bhaskarrao. It portrayed an honest police constable’s
love for a prostitute and his attempts to rehabilitate her. The film’s
highlight was the song, Kashala udyachi baat hi sarun Chalali raat (Why
do you worry about tomorrow, the night is slipping away), which had lyrics in seven
Indian languages – Marathi, Hindi, Tamil, Telugu, Bengali, Gujarati and
Punjabi.
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| Mazhar Khan and Gajanan Jagirdar in Padosi/Shejari |
The third film in this category was Shejari/Padosi (1941) which dealt with the subject of communal harmony by exploring the changing relationship between a pair of Hindu and Muslim neighbours. This was the last film he would direct for Prabhat.
In 1942, Shantaram moved away from Prabhat to establish a solo studio – Rajkamal Kalamandir. His first directorial venture was Shakuntala (1943), which is considered one of the best-known adaptations of Kalidasa’s epic tale even today. In 1946, he made Dr Kotnis ki Amar Kahani, based on KA Abbas’s story, “And One Did Not Come Back”. Soon after its release, Shantaram re-edited the film for distribution in England.
Shantaram’s focus on social issues and nationalism had not abated. After directing films like Apna Desh (1949) which was set against the backdrop of the Partition, and Dahej (1950), which dealt with the evils of the dowry system, Shantaram directed Amar Bhoopali (1951) based on the true story of a humble cowherd who became a legendary poet. Set during the waning days of the Maratha Confederacy in the early 19th century, the film was an ode to the saffron flag of Maharashtra. The film’s sound design was honoured with the Grand Prix Technique at the Cannes International Film Festival, 1952.
His pièce de résistance was, of course, Do Aankhen Baraah Haath (1959), based on a true incident that took place in the kingdom of Aundh pre-independence. The film marked his return to entertainment with social commentary.
Shantaram's career has been a remarkable one - from the silent era to the talkies. The studio he founded, Rajkamal Kalamandir, was the only studio in Asia that offered every aspect of filmmaking from sound mixing to designing and printing posters under one roof.
On his birth anniversary today, a look at some of the important films from a master storyteller’s vast repertoire.
Ayodhyecha Raja/ Ayodhya ka Raja (1932)
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| Pic Courtesy: Cinestaan |
Based on the story of Raja Harishchandra and Queen Taramati, Ayodhyecha Raja /Ayodhya ka Raja was not just the first Marathi talkie but also the first bilingual film in Indian cinema. The film also broke some social taboos – the heroine, Durga Khote, who had earlier appeared in two of Prabhat Films' productions – Farebi Jaal (1931) and Maya Machhindra (1932) – in minor roles, belonged to an upper-class Brahmin family. Technically, the film was a leap ahead in the sound, song and dialogue departments. Ayodhyecha Raja is also the earliest surviving talkie in India after Alam Ara's print was lost in the fire at the National Film Archive of India.
Amrit Manthan (1934)
By now, the founders of Prabhat Films had decided to move their studio from Kolhapur to Pune. Amrit Manthan was the first film to be shot in their new sound-proof tin studio. The film was based on Narayan Hari Apte’s novel, Bhagyashree. Setting up a confrontation between a king who is a reformer and his fanatical Rajguru, the film tackled the sensitive subject of religious bigotry. Actor Chandramohan, he of the piercing eyes and booming voice, debuted in this film as the antagonist.
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Having studied new techniques of filmmaking while he was in Germany for the colour mixing of Sairandhari, Shantaram made effective use of light and shade in this film. He also imported a telephoto lens from Germany to shoot close-ups with precision.
Amar Jyoti (1936)
Amar Jyoti narrates the story of a queen who turns into a sea pirate when patriarchal laws deny her the custody of her child. A feminist tale, of women who fight patriarchal norms and societal injustice (without being vilified for doing so), the film makes a strong case for women's emancipation. Durga Khote as Saudamini, the pirate queen, and Shanta Apte as Nandini, the feisty princess, are strong, nuanced female characters.
According to Wikipedia, Amar Jyoti is the first Indian film to be screened at the 5th Mostra Internazionale d'Arte Cinematographica in Venice. The film was a technical marvel for the times. The scenes at sea, the ships on the ocean, the pirate raids, etc., were shot beautifully and realistically, given that they were all studio shots. The attention to detail was also remarkable.
You can read my review of this film here.
Kunku / Duniya Na Mane (1937)
Prabhat Films' production from this era were marked by social awareness, empathy and an almost-radical progressiveness. Based on the novel Na Patnari Goshta by Narayan Apte, Kunku was shot simultaneously in Hindi as Duniya na Mane. Shanta Apte plays Nirmala, a young girl who is married off to a man old enough to be her father. But she refuses to consummate her marriage with husband, preferring to face social scorn instead of giving in to the injustice.
Kunku is considered one of the sharpest critiques of women's conditions in that period. Trapped in a marriage she did not agree to, unable to free herself from it because divorce was not acceptable, pressured by societal rules to 'be a wife' to her aging husband, Kunku traverses a young woman's journey to freedom. (Even if that freedom comes to her through her husband's 'sacrifice'.] The film is recognized as a landmark in Marathi/Hindi cinema for advocating for a woman's freedom.
Shakuntala (1943)
When Shantaram left Prabhat Films to open his own studio, Rajkamal Kalamandir, he borrowed once again from mythology for his first venture. Based on Kalidasa's classic Sanskrit play Abhijñānaśākuntalam, the film veered from the traditional text to offer a view of women's empowerment.
The film was a visual delight, and was one of the first Indian films to be commercially screened in the US.
Dr Kotnis ki Amar Kahani (1946)
Apna Desh (1949)
The Partition remains a raw, festering wound 77 years after it occurred. So much so, that there aren't very many films that deal with its consequences. But before films like Dharmputra (1961), Garm Hawa (1974), etc., there was the story of Mohini (Pushpa Hans), a young Hindu girl who is abducted and raped by Muslim rioters during the Partition. When she finally manages to return to her family, she is rejected by them. Angered at the injustice, she turns to smuggling to survive.
The abduction and rape of women (of both religions), corruption, black-marketing, smuggling, linguistic parochialism were all severely indicted by the film that did not hold back in exposing the problems that plagued India in the aftermath of its independence. The furore caused by the film was so intense that distributors were forced to remove the film from the theatres.
Teen Batti Char Rasta (1953)
A lighter film, compared to the ones that I've mentioned above, Teen Batti Char Rasta is still heavy on social commentary - the film tackles the theme of national integration with sub-plots that deal with societal prejudices like that against dark complexions, caste-class issues, and the linguistic divide. It also depicted the triumph of character over physical appearance.
Like in Manoos / Aadmi earlier, this film too had a multi-lingual song (Bangla, Tamil, Sindhi, Marathi, Hindi, Gujarati, Punjabi) with the different verses being composed by disparate music directors and written by various lyricists and sung by Lata Mangeshkar, Asha Bhosle, Zohrabai Ambalewali, Sandhya Mukherjee and Balbir.
Dated as it is, the film is socially progressive even in today's context. The importance and respect it gives its female protagonist is refreshing even today. It is also interesting to note that Shantaram takes potshots at nationalists who are adamant about throwing the baby out with the bathwater. I reviewed the film here.
Do Aankhen Barah Haath (1957)
Do Aankhen Barah Haath was definitely Shantaram's crowning glory as a film-maker. In a stark departure from colour film, of which he was one of the early pioneers, he decided to make the film in black and white. A fine blend of entertainment and social commentary, the film narrated the story of an idealistic jail warden who attempts to rehabilitate six dangerous prisoners who are out on parole.
The film was based on an experiment conducted by Maurice Frydman, an engineer and humanitarian, who lived and worked in India from the 1930s. Responsible for the 'Aundh Declaration' that handed self-governance to the people of the princely state, he then took on the responsibility of rehabilitation the state's prisoners. However, Frydman refused Shantaram's offer of credit in the film.
Do Aankhen Barah Haath won both national and international recognition. Like Sohrab Modi's Jhansi ki Rani, the film won the National Award for Best Feature Film and the National Award for Best Feature Film in Hindi. It won the Silver Bear Extraordinary Jury Prize at the 8th Berlin International Film Festival and the Samuel Goldwyn International Film Award at the Golden Globe Awards (1959).
Navrang (1959)
Perhaps necessitated by changing times, Shantaram returned to colour and entertainment with a vengeance, and Navrang justified his confidence upon its release. While the film was panned by critics, it was lapped up by the masses.
Addressing the theme of a poet and his muse, Shantaram blended songs (C Ramchandra) and dances (Shyam Kumar) with rich visuals and concise storytelling. Even here, he introduced innovative dance sequences to match the opulent sets – think of the pot sequence in Aadha hai chandrama raat aadhi, the quick male-female change in Arre ja re hut natkhat, or the temple-bell sequence in Tu chhupi hain kahaan.
Even as an entertainer, the film was a departure from the films made then - think of it as a musical fantasy, if you will. The sets, the costumes, the backdrops, everything was in sync in service of the director's vision. Navrang also proved to be Mahendra Kapoor's step into the big league.
Pinjra (1972)
I'm jumping to a film made over a decade later because of its subject. Loosely adapted from Der blaue Engel (The Blue Angel), a German film starring Marlene Dietrich, Pinjra was Shantaram's last major film. Set in the world of Tamasha (folk music theatre) of Maharashtra, Pinjra examines the relationship between an idealistic school master (Dr Shreeram Lagoo, in his debut) and a Tamasha performer (Sandhya). The schoolmaster's fall from grace finally results in him being accused of his own murder.
The film, a bilingual, was a huge box-office success, running for 134 weeks in a theatre in Pune. It won the National Award for Best Feature Film in Marathi.
V Shantaram was an institution in himself. Recognized nationally and internationally, there’s no gainsaying the influence he had on the industry that he so loved and played a huge part in making. In 1977, Shantaram set up the V Shantaram Motion Picture Scientific Research and Cultural Foundation in order to nurture existing technicians and to encourage the training and introduction of more technicians and film scholars. It was his way of giving back to the industry that had nurtured him, and allowed him to grow and flourish as a film-maker of repute.
The Government of India honoured him with the Dadasaheb Phalke Award in 1985 and posthumously awarded him the Padma Vibhushan in 1992. A postal stamp dedicated to him was released by the Indian Post in 2001.
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