Dadasaheb Phalke: The Father of Indian Cinema

Introduction

Dhundiraj Govind Phalke (1870-1944), popularly known as Dadasaheb Phalke, is widely regarded as the “Father of Indian Cinema.” A pioneer filmmaker, director, producer, and screenwriter, Phalke made the first full-length Indian feature film, Raja Harishchandra (1913), and laid the foundation for the Indian film industry. While his films were primarily mythological and not overtly political, his very act of establishing indigenous filmmaking and choosing Indian themes played a crucial role in fostering a sense of national cultural identity in the early 20th century. This article examines Dadasaheb Phalke’s life, his pioneering journey into filmmaking, the significance of his early works, and his contribution to planting the “seeds of national identity” within Indian cinema.

Background: Early Life and Influences

Dhundiraj Govind Phalke was a multifaceted individual with diverse artistic and technical skills before he ventured into filmmaking.

Key aspects of his early life and influences:

• Diverse Artistic and Technical Training: Phalke studied at the Sir J.J. School of Art, Bombay, and later at the Kala Bhavan, Baroda, learning photography, lithography, drawing, and architecture. He also worked as a photographer, draftsman, and even briefly as a magician. This diverse training equipped him with a unique combination of artistic and technical skills that would be crucial for filmmaking.
• Exposure to Western Cinema: Phalke’s encounter with the film The Life of Christ (1906) in Bombay was a transformative experience. He was deeply impressed by the visual storytelling power of cinema and reportedly envisioned making Indian stories on film, particularly mythological narratives. This initial encounter sparked his ambition to become a filmmaker.
• Nationalist Sentiment and Swadeshi Era: Phalke lived during a period of rising Indian nationalism and the Swadeshi movement. While not directly involved in political activism, he was likely influenced by the broader cultural nationalist spirit of the time, which emphasized self-reliance and the promotion of indigenous industries and culture.
• Desire for Indigenous Indian Industry: Phalke’s ambition to make Indian films can be seen as part of this Swadeshi spirit. He envisioned creating an Indian film industry that would not be reliant on foreign (primarily Western) productions and would cater to Indian audiences with Indian stories and sensibilities.

Pioneering Journey into Filmmaking: Raja Harishchandra and Beyond

Dadasaheb Phalke faced immense challenges in his pioneering journey to make the first Indian feature film.

Key milestones in his filmmaking journey:

• Learning the Craft: Having been inspired by The Life of Christ, Phalke traveled to London in 1911 to learn filmmaking techniques. He acquired equipment and studied film production processes, returning to India with the determination to establish indigenous film production.
• Establishing Phalke Films Company: In 1913, Phalke established his own film production company, “Phalke Films Company,” marking the beginning of organized film production in India.
• Raja Harishchandra (1913): The First Indian Feature Film: Phalke directed and produced Raja Harishchandra, a silent film based on the popular mythological story of King Harishchandra’s legendary honesty and righteousness from the Mahabharata. This film is widely recognized as the first full-length Indian feature film. Its release in 1913 marked the birth of Indian cinema.
• Early Mythological Films: Following Raja Harishchandra, Phalke predominantly focused on mythological subjects for his films. He made films like Mohini Bhasmasur (1913), Satyavan Savitri (1914), Lanka Dahan (1917), Shri Krishna Janma (1918), and many others, drawing from Hindu epics, Puranas, and popular religious narratives.
• Technical Innovation and Indigenous Production: Phalke was not only a creative filmmaker but also a technical innovator. He undertook almost all aspects of filmmaking himself – direction, production, screenwriting, cinematography, editing, and even distribution in the early stages. He indigenously sourced equipment and trained his own crew, laying the groundwork for a self-reliant Indian film industry.

Significance of Early Mythological Films: Seeds of National Identity

While Dadasaheb Phalke’s films were not overtly nationalist in their themes, their significance in fostering a sense of national cultural identity in early Indian cinema is profound.

How Phalke’s films contributed to national identity:

• Indian Stories for Indian Audiences: Phalke consciously chose Indian mythological stories for his films, catering to Indian audiences with narratives that were deeply ingrained in their cultural consciousness and religious beliefs. This was a departure from the predominantly Western content that dominated early cinema globally and within colonial India itself.
• Assertion of Indian Culture on Screen: By bringing Indian mythology, epics, and religious narratives to the screen, Phalke asserted the visibility and importance of Indian culture in a new mass medium. This was a form of cultural self-assertion in a colonial context where Indian culture was often marginalized or misrepresented.
• Creating Indigenous Visual Spectacle: Phalke’s films, despite their technical limitations compared to Western productions, offered Indian audiences a visual spectacle rooted in their own culture. The depiction of gods, goddesses, mythological events, and traditional costumes and settings created a sense of wonder and visual appeal that resonated deeply with Indian viewers.
• Mass Entertainment and Shared Cultural Experience: Cinema, even in its silent era, became a powerful form of mass entertainment. Phalke’s mythological films drew large audiences across social strata, creating a shared cultural experience around Indian stories and figures. This shared experience contributed to a sense of collective Indian identity, albeit primarily along cultural and religious lines in this early phase.
• Foundation for an Indian Film Industry: By establishing indigenous film production, distribution, and exhibition systems, Phalke laid the foundation for a self-sustaining Indian film industry. This industry, in subsequent decades, would become a major vehicle for expressing and shaping Indian national identity in diverse ways.

Mythological Themes as Implicit National Allegories

While Phalke’s films were primarily religious and mythological, some scholars argue that they could be interpreted as having implicit nationalist allegorical dimensions, particularly in the context of colonial rule.

Possible Allegorical Interpretations:

• Stories of Righteous Kings and Dharma: Mythological narratives often revolved around righteous kings, virtuous characters, and the upholding of dharma (righteous conduct). These narratives, in a colonial context, could be seen as implicitly contrasting with the perceived lack of righteousness or just rule under foreign power. Figures like Raja Harishchandra, known for his unwavering truthfulness and moral integrity, could be seen as representing ideal Indian virtues in contrast to colonial rule.
• Battles Between Gods and Demons: Many mythological films depicted battles between gods and demons, forces of good and evil. While primarily religious, these narratives could be interpreted allegorically as representing the struggle between Indian virtue and colonial oppression, or between Indian cultural and spiritual values versus Western materialism and dominance.
• Themes of Self-Sacrifice and Resilience: Mythological stories often featured characters displaying self-sacrifice, courage, and resilience in the face of adversity. These themes could be interpreted as subtly encouraging similar qualities in the context of the nationalist struggle, even if not explicitly stated.
• Assertion of Indian Moral and Spiritual Superiority: Mythological narratives often emphasized the moral and spiritual superiority of Indian traditions and philosophies. By showcasing these stories on screen, early Indian cinema implicitly asserted the value and strength of Indian culture in a context where it was often denigrated by colonial discourse.

Reception and Legacy of Dadasaheb Phalke

Dadasaheb Phalke’s pioneering work was initially popular and recognized, but he later faced financial difficulties and relative obscurity in his later years. However, his legacy as the “Father of Indian Cinema” has been firmly established.

Reception and Legacy Aspects:

• Initial Popular Success: Raja Harishchandra and Phalke’s early mythological films were commercially successful and popular with Indian audiences. They marked the beginning of a new form of mass entertainment in India.
• Establishment of Film Industry: Phalke’s pioneering efforts are credited with establishing the foundation for the Indian film industry, which grew exponentially in subsequent decades to become one of the largest in the world.
• Later Financial Struggles and Relative Obscurity: Despite his initial success, Phalke faced financial difficulties in the later phases of his career. With the advent of sound cinema and changing audience tastes, his silent mythological films lost popularity, and he faded into relative obscurity for a period.
• Posthumous Recognition as “Father of Indian Cinema”: After India’s independence, Dadasaheb Phalke was posthumously recognized as the “Father of Indian Cinema.” His pioneering contributions were celebrated, and he became a symbol of indigenous creativity and the birth of Indian filmmaking.
• Dadasaheb Phalke Award: In 1969, the Dadasaheb Phalke Award, the highest award in Indian cinema, was instituted by the Government of India in his honor, further cementing his legacy.
• Enduring Symbol of Indigenous Film Culture: Dadasaheb Phalke remains an enduring symbol of the origins of Indian film culture, representing the spirit of indigenous enterprise and the early articulation of Indian stories and sensibilities on the cinematic screen.

Conclusion

Dadasaheb Phalke’s contribution to Indian cinema is foundational and multifaceted. As the maker of the first Indian feature film and a pioneer in establishing indigenous film production, he laid the groundwork for the vast Indian film industry we know today. While his films were primarily mythological and not overtly nationalist, his choice of Indian themes, his assertion of Indian cultural narratives on screen, and his creation of a popular form of indigenous mass entertainment played a crucial role in sowing the “seeds of national identity” within early Indian cinema. Dadasaheb Phalke’s legacy endures as a testament to the power of individual vision and the cultural significance of cinema in shaping national consciousness and cultural expression in a rapidly changing India.