and a Marathi crew who were performing Marathi and Sanskrit Sangeet natikas (musicals) and plays in Marathi at that period. The first Marathi talkie film, Ayodhyecha Raja, was released in 1932, just one year after Alam Ara the first Hindi talkie. Although the industry is much smaller than the large market driven Hindi cinema based in Mumbai, Marathi cinema is tax free, and is experiencing growth in recent years. Raja Harishchandra, directed by Dadasaheb Phalke, was a Marathi film, now known as India's first full-length feature, released in 1913. The Dadasaheb Phalke Award is India's highest award in cinema given annually by the Government of Maharashtra for lifetime contribution to Indian cinema. It is also known by the sobriquet Mollywood in various print and online media (a portmanteau of Marathi and Hollywood).
Marathi cinema is the oldest form of Indian cinema.
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The first Marathi movie released in India was Shree Pundalik by Dadasaheb Torne on at Coronation Cinematograph, Mumbai. ĭadasaheb 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 and NIFD as part of Marathi cinema as it used Marathi dialogues while shooting and had a fully Marathi crew.
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 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. After advent of soundĪs 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 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 another Marathi film, 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.
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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. The 1960s 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 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.
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