| South Asian cinema |
Marathi cinema (मराठी चित्रपट) refers to films produced in the Marathi language in the state of Maharashtra, India. It is the oldest and pioneer film industry in India. The first film in India was a silent film called Raja Harishchandra (1913), which was made in Marathi by a legendary marathi, Dadasaheb Phalke and a Marathi crew who were performing Marathi & Sanskrit Sangeet natikas (musicals) and plays in marathi at that period. The first Marathi talkie film, Ayodhyecha Raja[1] (produced by Prabhat Films) was released in 1932, just one year after "Alam Ara" the first Hindi talkie film. Marathi cinema has grown in recent years. The industry is based in Mumbai, Maharashtra.
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Marathi Cinema is the oldest form of Indian cinema. Dadasaheb Phalke is known as the first pioneer and founder of cinema in Pre-Independence India. He brought the revolution of moving images to India with his first indigenously made film Raja Harishchandra in 1913, which is considered by IFFI & NIFD as part of Marathi cinema as it was made by a Marathi dialogues while shooting and fully marathi crew.[2] Kolhapur in Western Maharashtra was another centre of active film production in the twenties. In 1919 Baburao Mistry - popularly known as Baburao Painter formed the Maharashtra Film Company with the blessings of the Maharaja of Kolhapur and released the first significant historical - Sairandhari (1920) with Balasheb Pawar, Kamala Devi and Zunzarrao Pawar in stellar roles. Because of his special interest in sets, costumes, design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialised in the historical genre.[3]. 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.[4]
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 was the first Indian film to win the Best Film Award at the Venice film festival in 1937.[5] In 1954 at the very first edition of the National Awards, Shyamchi Aai another Marathi film, won the first President's Gold Medal for Cinema. The film was directed by Acharya P K Atre, and it was an adaptation of the eponymous novel by Sane Guruji.[6]
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, Dinkar D Patil, G. D. Madgulkar, Sudhir Phadke. The 60s saw the emergence of directors like Anant Mane who made Marathi films based on the folk art form Tamasha. 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. He later 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.
The 80s saw two comedy heroes catapult to stardom, Ashok Saraf and Laxmikant Berde. Around the mid 80s two young actors, donned the director's mantle: Mahesh Kothare and Sachin Pilgaonkar. Pilgaonkar directed Navri Mile Navryala and around the same time Mahesh Kothare directed Dhumdhadaka. Pilgaonkar's film was a box-office hit while Mahesh Kothare's film not only became a mega hit at the box-office but it also became a trend-setter and brought young audiences to Marathi Cinema. Mahesh Kothare then went on to make comedy films that became major hits. He made the first Marathi film shot on the anamorphic format (Cinemascope) - Dhadakebaaz. He brought a number of innovations in the technical quality of Marathi films and was also the first to bring Dolby Digital sound to Marathi Cinema with the film Chimni Pakhara. He made the first Marathi film with Digital Special Effects, Pachadlela in 2004.
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 Bengali and South Indian cinema because state congress (ruling party over 40 Years) encouraged Hindi Cinema for profit mainly ; the regional film industrial advantage being soaked up by Bollywood.[6]
In past few years, the Marathi cinema industry has produced many films that are not only critically acclaimed but commercially successful as well. It has brought fresh ideas, untouched subjects and deeper human sensitivity on the celluloid.
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."
Actor Mrunal Kulkarni remarks, "There is a lot of content and variety in Marathi films. A lot of bold subjects have been handled well by them. They carry a lot of substance." But, she adds, "We need to start watching a lot more Marathi films. Until we see the films ourselves, we will never be able to appreciate them when they are sent to the Oscars."
With outstanding contribution and efforts from different producers and directors of Mumbai Film Industry, Marathi cinema relatively outshined other Indian Film Industries such as Bollywood in the first quarter of 2010 in terms of box office collections and critical appreciation.[7]
Marathi Cinema received critical acclaim in the year 2004 with the film Shwaas bagging the Golden Lotus National Award[8]. It was also India's official entry to the 77th Academy Awards and it also won the President's medal for best film, beating Bollywood's prolific output with quality.[9] Shwaas, after Shyamchi Aai (1950) is only Marathi film to win the President's Medal.
The Maharashtra state government has begun to issue grants to Marathi film (between 1.5 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 and ETV Marathi) has also helped to popularize older Marathi cinema and promote the genre. Zee Talkies, a 24 hour channel dedicated to Marathi movies has been introduced. Movies like Aga bai areccha, Khabardar, Dombivali fast, Anaahat, Sarivar sari, Yanda kartavya aahe, Uttarayan, Tingya, "Saade Maade Teen", Valu - The Wild Bull, "SAAWALI", 'De Dhakka, Maati Maay, Kadachit, Me Shivajiraje Bhosale Boltoy/ मी शिवाजी राजे भोसले बोलतोय "SAAVARIYAA.COM", Samaantar, Rita, Restaurant, Nirop, Vihir, Vartul, Gabhiricha Paus, Harishchandrachi Factory, Natarang, Jogwa have received commercial and/or critical success. This decade has seen the emergence of stars like, Makrand Anaspure, Sunil Barve, Shreyas Talpade, Ankush Chaudhari, Sandeep Kulkarni, Sadashiv Amrapurkar, Sonali Kulkarni, Amruta Subhash, Ashwini Bhave, Sanjay Narvekar, Sachin Khedekar, Bharat Jadhav. Film-makers like Kedar Shinde, Gautam Joglekar, Gajendra Ahire, Bipin Nadkarni, Mahesh Manjrekar, Ankush Chaudhari, Prashant Pethe, Sanjay Surkar, Chandrakant Kulkarni, Satish Manwar, Nishikant Kamath, Paresh Mokashi, Umesh Kulkarni, Mangesh Hadawale, Avdhoot Gupte, Nitin Nandan, Yogesh Dattatraya Gosavi, Sachin Kundalkar are new entrants with veterans like Mahesh Kothare, Chitra Palekar (Maati Maay), Sumitra Bhave (Devrai, Vaastupurush, Doghi, Nital, Badha) Smita Talwalkar, Amol Palekar (Anaahat, Samaantar, Bangarwadi), Renuka Shahane (Rita).
In 2009, Marathi film Harishchandrachi Factory (With budget Rs. 6 Crore), depicting the struggle of Dadasaheb Phalke in making Raja Harishchandra in 1913, India's first feature film, directed by theatre-veteran Paresh Mokashi 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 [10][11][12].
In the year 2009 released the blockbuster musical movie Natarang, which got both commercial and critical applause and has served as a path-breaking movie for Marathi cinema in many ways.
In the year 2010 released Vihir (Umesh Kulkarni), Zenda (Avdhoot Gupte), Jhing Chik Jhing (Nitin Nandan), Pratisaad - The Response (Yogesh Dattatraya Gosavi), Mumbai - Pune - Mumbai (Satish Rajwade), Paaradh (Gajendra Ahire) had given different direction to marathi films.
| Production Year | Film | Director | Actor | Actress | Music |
|---|---|---|---|---|---|
| 1963 | Maza Hoshil Ka | L.B.Thakur | |||
| 1964 | Sant Nivrutti Gyandeo | Vinayak Sarasvate & Bal Chavan | |||
| 1965 | Lakshmi Aali Ghara | Madhav Shinde | |||
| 1966 | Gurukilli | Raja Paranjpe | |||
| 1967 | Pawnakanthcha Dhondi | Vinayak Thakur | |||
| 1968 | Ekti | G. Chaugule | |||
| 1969 | Jiwhala | Atmaram | |||
| 1970 | Apradh | Sharad Pilgaonkar | |||
| 1971 | Shantata! Court Chaloo Ahe | Satyadev Dubey & Govind Nihalani | |||
| 1972 | Kunku Mazhe Bhagyache | Shamrao Mane | |||
| 1973 | Andhala Marto Dola | Dada Kondke | |||
| 1974 | Sugandhi Katta | Not Awarded | Shreeram Lagoo (Sugandhi Katta) | Sarla Yevlekar (Sugandhi Katta) | |
| 1975 | Samna | Jabbar Patel (Samna) | Shreeram Lagoo (Samna) | Sandhya (Chandanachi Choli Ang Ang Jali) | |
| 1976 | Aaram Haram Aahe | Vasant Joglekar (Ha Khel Saavlyancha) | Ravindra Mahajani (Zunj) | Asha Kale (Ha Khel Saavlyancha) | |
| 1977 | Naon Mothan Lakshan Khotan | Murlidhar Kapdi (Naon Mothan Lakshan Khotan) | Shreeram Lagoo (Bhingree) | Usha Chavan (Naon Mothan Lakshan Khotan) | |
| 1978 | Devki Nandan Gopala | Jabbar Patel (Jait Re Jait) | Yashwant Dutt (Bhairu Pahilwan Ki Jai) | Smita Patil (Jait Re Jait) | |
| 1979 | Sinhasan | Jabbar Patel (Sinhasan) | Sachin (Ashtavinayak) | Ranjana (Sushila) | |
| 1980 | 22 June 1897 | Jayu & Nachiket Patwardhan (22 June 1897) | Nilu Phule (Sahkar Samrat) | Usha Chavan (Ran Pakhre) | |
| 1981 | Umbartha | Jabbar Patel (Umbartha) | Girish Karnad (Akriet) | Smita Patil (Umbartha) | |
| 1982 | Shapit | Raj Dutt & Arvind Deshpande (Shapit) | Ashok Saraf (Gondhalat Gondhal) | Madhu Kambikar (Shapit) | |
| 1983 | Gupchup Gupchup | V. K. Naik (Gupchup Gupchup) | Ashok Saraf (Goshta Dhamal Namyachi) | Ranjana (Savitri) | |
| 1984 | Lek Chalali Saasarla | N. S. Vaidya (Lek Chalali Saasarla) | Ashok Saraf (Sage Soyre) | Supriya Sabnis (Navri Mile Navryala) | |
| 1987 | Dhoom Dhadaka | Mahesh Kothare (Dhoom Dhadaka) | Laxmikant Berde | ?? | |
| 1994 | Vazir | Sanjay Rawal (Vazir) | Vikram Gokhale (Vazir) | Sukanya Kulkarni (Varsa Laxmicha) | Shridhar Phadke (Varsa Laxmicha) |
| 1995 | Aai | Mahesh Manjrekar (Aai) | Sayaji Shinde (Aboli) | Renuka Shahane (Aboli) | Anand Modak (Mukta) |
| 1996 | Putravati | Nichiket & Jayoo Patwardhan (Limited Manuski) | Ashok Saraf (Soona Yeti Ghara) | Sonali Kulkarni (Doghi) | Shridhar Phadke (Putravati) |
| 1997 | Bangarwadi | Amol Palekar (Bangarwadi) | Mohan Joshi (Rao Saheb) | Sukanya Kulkarni (Sarkarnama) | Anand Modak (Sarkarnama) |
| 1998 | Tu Tithe Mee | Sanjay Soorkar (Tu Tithe Mee) | Mohan Joshi (Tu Tithe Mee) | Suhas Joshi (Tu Tithe Mee) | Anand Modak (Tu Tithe Mee) |
| 1999 | Bindhast | Chandrakant Kulkarni (Bindhast) | Dilip Prabhavalkar (Ratra Aarambh) | Sharvari Jamenis (Bindhast) | Shridhar Phadke (Lekru) |
| Production Year | Best Film 1 | Best Film 2 | Best Film 3 |
|---|---|---|---|
| 1962 | Prapanch (Madhukar Pathak) | Suvaasini (Raja Paranjpe) | Shaahir Parshuraam (Anant Mane) |
| 1963 | Ranglyaa Raatri Ashyaa (Raja Thakur) | Ha Maazaa Marg Ekla (Raja Paranjpe) | Phakir (Chandrashekhar) |
| 1964 | Chhotaa Jawaan, Paathlaag (Raja Gabale, Raja Paranjpye) | Pahu Re Kiti Vaat (Raja Thakur) | Thoraataanchi Kamalaa (Madhu Shinde) |
| 1965 | Vaawtal (Shantaram Aathavale) | Sawaal Maazaa Aikaa (Anant Mane) | Third award not given |
| 1966 | Saadhi Maanse (Bhalji Pendharkar) | Kelaa Ishara Jaataa Jaataa (Anant Mane) | Shewatchaa Maalusaraa (Vasant Joglekar) |
| 1967 | Santh Vaahate Krushnaamaai (Madhukar Pathak) | Kaakaa Malaa Waachwaa (Raja Paranjpe) | Swapna Tech Lochani (Chandrawadan) |
| 1968 | Gharchi Raani (Rajdatt) | Aamhi Jaato Aamuchyaa Gaawaa (Kamalakar Torne) | Ekti (Raja Thakur) |
| 1969 | Apraadh (Rajdatt) | Mukkaam Post Dhebewaadi (Madhukar Paathak) | Dharmkanyaa (Maadhav Shinde) |
| 1970 | Mumbaicha Jawai (Raja Thakur) | Warnecha Wagh (Vasant Painter) | Laxmanresha (Manshav Shinde) |
| 1971 | Gharkul (Raja Thakur) | Shantata Court Chalu Aahe (Satyadev Dubey) | Dohni Gharcha Pahuna, Songadya (Garjanan Jagirdar, Govind Kulkarni) |
| 1972 | Jawai Vikat Ghene Aahe (Raja Thakur) | Bholibhabdi (Rajdutt) | Aandla Marto Dola (Dinesh) |
| 1973 | Sugandhi Katha (Vasant Painter) | Kartiki (Datta Mane) | Ashi Hi Sataryadi (Murlidhar Kapadi) |
| 1974 | Pandu Hawaldar (Dada Kondke) | Saamna (Dr. Jabbar Patel) | Bayanno Naure Sambhala (Dattatry Kulkarni) |
| 1975 | Charicha Mamla (Babsaheb Phattelal) | Tumch Aamch Jamle (Dada Kondke) | Pahuni (Anant Mane) |
| 1976 | Phrari (V. Ravindra) | Bala Gau Kashi Aangai (Kamlakar Torne) | Naav Motha Lakshan Khota (Murlidhar Kapadi) |
| 1977 | Devkinandan Gopala (Rajdutt) | Bhairu Phehelwan Ki Jai (Kamlakar Torne) | Jait Re Jait (Dr. Jabbar Patel) |
| 1978 | Janki (Vasant Joglekar) | Ashtavinayak (Rajdutt) | Bot Lavin Tithe Gudgulaya (Dada Kondke) |
| 1979 | 22 June 1897 (Nechiket and Jayu Patwardhan) | Sinhasan (Dr. Jabbar Patel) | Paij (Babasaheb Phattelal) |
| 1980 | Umbartha (Dr. Jabbar Patel) | Gondhlat Gondhal (V.K. Naik) | Aakrit (Amol Palekar) |
| 1981 | Shapit (Rajdutt and Arvind Deshpande) | Ek Dav Bhootacha (Ravi Namade) | Aali Angawar (Dada Kondke) |
| 1982 | Raghu-Maina (Rajdutt) | Goopchoop Goopchoop (V.K. Naik) | Thorli Jau (Kamlakar Torne) |
| 1983 | Hech Mazhe Maher (Rajdutt) | Thkas Mahathak (Raja Bargir), Mumbaicha Phoujdar (Rajdutt) (Divided) | Bahurupi (Satish Randive) |
| 1984 | Ardhangi (Rajadutt) | Deva Shapath Kharan Sangen (Bhaskar Jadhav) | Stridhan (Babasaheb Phattelal) |
| 1985 | Pudhcha Paul (Rajdutt) | Tuzhyavdachun Karmena (Damu Kenkare) | Aaj Zale Mukt Me (Rajdutt) |
| 1986 | Prem Karuyaa Khullam Khullaa (Girish Ghanekar) | Gammat Jammat (Sachin) | Khatyaal Saasoo Naathaal Soon (N.S. Vaidya) |
| 1987 | Ashi Hi Banwaa Banwi (Sachin) | Nashibwaan (N.S. Vaidya) | Rangat Sangat (Girish Ghanekar) |
| 1988 | Kalat Nakalat (Kanchan Nayak) | Aatmavishwaas (Sachin) | Hamaal De Dhamaal (Purushottam Berde) |
| 1989 | Aaghat (Ramakant Kavthekar) | Ekaapekshaa Ek (Sachin) | Kooldeepak (N.S. Vaidya) |
| 1990 | Chaukat Raja (Sanjay Surkar) | Vedh (Pradip Berlekar) | Anapekshit (Sanjiv Naik) |
| 1991 | Ek Hotaa Vidushak (Dr. Jabbar Patel) | Aapli Maanasa (Sanjay Surkar) | Wajwaa Re Wajwaa (Girish Ghanekar) |
| 1992 | Vajir (Sanjay Rawal) | Sawat Maazi Laadki (Smita Talwalkar) | Lapandaaw (Shravani Devdhar) |
| 1993 | Muktaa (Dr. Jabbar Patel) | Waarsaa Lakshmichaa (Madhukar Pathak) | Maazaa Chhakulaa (Mahesh Kothare) |
| 1994 | Doghi (Sumitra Bhave) | Baangarwaadi (Amol Palekar) | Abolee (Amol Shedge) |
| 1995 | Raosaaheb (Sanjay Surkar) | Putrawati (Bhaskar Jadhav) | Sunaa Yeti Gharaa (A. Radhaswani) |
| 1999 | Gaabhaaraa (N.F.D) | Gharaabaaher (Suyog Chitra) | Bindhaast (Devyani Movies) |
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