‘A Study of Mythological Films of Kolhapur Film Industry’

(1920-1960)

Dr. Kavita Gagarani

Assistant Professor,
Department of History,
The New College, Kolhapur.
Mob No. 9764469908
Email: [email protected]

Film, the technological novelty of 20th century, ushered many far reaching changes in life. It brought
revolution in the life styles all over the world. This medium opened a new horizon in the world of art,
entertainment and communication.
The history of film making in India may be traced to Dhundiraj alis Dadasaheb Govind Phalke of
Nashik. He came up with ‘Raja Harishchandra’ the first Indian film exhibited on April 24, 1913. This medium
of entertainment become very popular in India within a decade. Baburao Painter of Kolhapur laid foundation of
Maharashtra Film Company in 1917 and came up with his maiden mythological silent movie ‘Sairandhri’ in
1920. It was big hit and Lokmany Tilak conferred the title of ‘Cinema Kesari’ on Baburao Painter. Besides
entertainment, films were looked upon as an instrument of social and political awakening and enlightenment.
Various issues and problems were handled by the producers in their movies. Thus, this medium became rapidly
popular.
Kolhapur Film Industry produced one hundred two movies during 1920-60. Out of them thirty four
were based on mythological stories. Thematic study of these films with their specifications in undertaken in this
research article.
Mythological Films:
Thirty-four movies were produced during this period may be further classified into two categories (1)
Epic, (2) Others.

(1) EPIC:
Films on Mahabharat:
It was first priority of film producers. As many as sixteen films were produced on various episodes of
Mahabharat such as episode of Vatsala Harm, Kaliyamardan, battle between Kauravas and Pandavas etc.

Vatsala Horan:
As many as four films were produced on the said theme. - Maharashtra Film Company's Vatsala Haran
and Maya Bazar in 1921 and in 1925 respectively, Shyam Cinetone’s Parthkumar in 1934, and Prabha Chitra's
Maya Bazar in 1939. Vatsala Harm is a love story of Vatsala, the daughter of Balram and Abhimanyu, the son
of Aijun. Krishna is paternal uncle of Vatsala, and maternal uncle of Abhimanyu. However, Balram is not in
favour of this marriage, he arranges Vatsala’s marriage with Lakshaman, son of Duryodhan. Krishna, plans a

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way out with the help of Narad. Ghatotkach, a son of Bhim creates a illusionary festival with his supernatural
power and in the ensuing confusion, carries off Vatsala. The story has a happy end. Maharashtra Film Company
could not get a lady artist for the role of Vatsala. One Raghunath Khatavkar, an youngs ter aged about 13-14
years, played the role of Vatsala.1

Shri Krishna:
Six films were produced on the legend of Shri Krishna's childhood and heroism. The Maharashtra film
Compmy produced Krishnavatara in 1923 and Muraliwala in 1927. A film Krishnavatara was on the birth and,
childhood of Shri Krishna.Murliwala, revolves around Radha’s devotion for Krishna. As a result, the friction
developed between Radha and her husband Anaya. Baburao Painter was inspired by the renowned play-wright
of Varekar’s Kunjvihari to produce the film MuraliWala'2
Gopalkrishna produced by Prabhat Film Company in 1929 also depicted the exploites of child Krishna.
A confrontation between Krishna and Indra was the main theme. Krishna saves the people and animals of Gokul
from wrath of Indra by lifting Govardhan, a mountain on his little finger. Master Suresh who was in the role of
Krishna became the household name .3
Kolhapur Cinetone ’s first film, Akashawani (1934) based on the destruction of the evil Kansa. The
people are tired of the oppressive and brutal reign of the evil Kansa. According to divine prophecy, the eighth
son of his sister Devaki would destroy him. Panicked, Kansa decides to kill all newborn children of Devaki and
imprisons her and her husband Vasudeo. He manages to kill seven of her newborn babies. The eighth one, Lord
Krishna, he survives as Vasudeo, his father manages with divine grace to take him safely to Gokul. Infant
Krishna is brought up by Yashoda, wife of Nand. Finally, true to the prophecy Kansa is slain by Krishna,
Devaki’s eighth son.4
In the year 1935 Kolhapur Cinetone produced Kaliya Mardan on the legend of Shri Krishna captivating
Kalia, the monstrous black snake living in the river Yamuna. In order to save the people from his wrath, Shri
Krishna wrestles with the poisonous snake bare handed bringing him into submission. Thus divinity triumphs
over the evil.5
Again Shri Krishna’s childhood and heroism was depicted in Maharashtra Chitrawanis maiden venture
Gokulcha Raja in 1950.6 In the year 1926 Maharashtra Film Company produced a film on Gajgauri the elephant
of mighty Indra. Aqun brings him on the earth with the film help of Krishna.7

Maharathi Kama:
In 1928, Maharashtra Film Company produced Kama. Gitopadesh or the teachings of Lord Krishna to
Aqun on the battlefield of Kurukshetra, was the main theme of Kurukshetra produced by Chhatrapati Cinetone
in 1934. Kauvrav-Pandav war of eighteen days was very effectively shot in both the movies, according to Anant
Mane.8
Shalini Cinetone’s Usha was based on the legend of king Banasur of Shonitpur from the Dwapar Yug.
Banasur, a devotee of Shiva, obtains the boons from the Lord, which he misuses to harass the Udhavas, the
followers of Vishnu. Lord Krishana, the saviour, through his divine intelligence gets Banasur’s daughter marry
Aniruddha, his grandson. Thus, he proves to all that the powers of Shiva and Vishnu emerge from one and the
same source of divine energy. Coincidently, the actress Usha Mantri played the role of Usha.9

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Kichak Vadh:
Two films from the mythological series were based on the famous theme, the slaying of Kichak in
Mahabharata. In 1919 the Maharashtra Film Company produced Sairandhri. On the same story, color talkie was
produced by the Prabhat Film Company in 1933. The story relates to incognito stay of the Pandava in the
Kingdom of Virat. Kichak, the General, lusts after Draupadi who stays at king’s palace as maid servent. He is
ultimately slain by Bhima. Sairandhri, the silent film, had titles in Devanagaii. One such title par seva aadmi ko
kitnaa lachaar barmati hai (service of the foreigners make people helpless) gives the feel of the film. Gulabbai
and Leela Chandragiri enacted Sairandhri’s role in the silent film and in the talkie respectively.10

Films on Ramayana:
Ramayana, the legend of Rama, formed the theme of three films. Maharashtra Film Company's Lanka
in 1930, based upon the dramatic destruction of the evil Ravan’s empire in Lanka, by the ape army led by Lord
Rama.11
Prabhat Film Company's Chandrasena, in 1931, was the legend of Chandrasena, the daughter of the
Serpent King of Patal Lok, who is a devotee of Rama. Ravana seeks help of Mahi, the husband of Chandrasena,
to kill Rama. A strategy is worked out to induce Rama and Lakshaman down to the Patal Lok. However,
Chandrasena not only reveals the secret plot to Marati but also the secret of vulnerability of Mahi, who is
otherwise protected by divine powers. Using the said information Rama and Lakshaman foil Ravana’s pain and
kill Mahi.12
Pragati Pictures produced Ayodhyachi Rani in 1940. In Ayodyachi Rani, Rama excepts 14 years
banishment to honour his father, king Dashrath’s promise to queen Kaikai. Upsets by this injustice, Kaikai’s son
Bharat meets him in the forest and he begs of him to return to Ayodhya. However, the Lord persuades him to
follow his righteous duty back in Ayodya. Bharat, obeys Rama, but instead of sitting on the throne he places the
padukas (wooden footwear) of his beloved Rama there and in his name rules.13

Dhruva:
Two mythological films were produced on the legend of Dhruva in 1938 by Prabha Chitra and Shalini
Cinetone. Former had only the child artists aged below 16. Druva, the son of king Uttanapad and Suniti, is hated
by Uttam, his step brother. Once Suruch, his step mother pushes him off. Dhruva renounces everything and
observes penance in the wilderness. Spiritual enlightenment transforms him into a star, bringing him
immortality.14 Triumph of good over evil is the underlying message.

Bhakta Pralhad:
Maharashtra Film Company’s Bhakta Pralhad was produced in 1926 has the same message in
appearance of Lord Vishnu in form of Narasimha (Half man- half lion) to save Pralhad from his vicious father,
King Hiranyakashyapu.15

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(2) Others
Sati Savitri:
Sati Savitri invokes Lord Yama, the God of death, to bring her dead husband, Satyavan back to life.
Maharashtra Film Company’s Sati Savitri was based on this theme.16

King Harishchandra:
Prabhat Film Company's first talkie Ayodheycha Raja was on the life of King Harishchandra, a man of
his word. Vishwamitra demands from him, his royal throne as Guru Dakshina. The king, true to his word,
abdicates the throne and along with his queen Taramati proceeds on a self imposed exile to Kashi to lead the life
of ordinary people. A rich money lender Ganganath buys Taramati in an auction of slaves. Prince Rohidas tries
to free his mother from bondage, but in term gets slain by Ganganath. Taramati, accused of the evil deed, is
condemned to be beheaded. King Harishchandra is about to carry out the verdict when Lord Shankar appears
and saves Queen Taramati. The fruit of being truthful and righteous is always sweet, is the underlined massage
of the film.

Machchindranath:
Prabhat Film Company projected the legend of Machchindranath in Maya Mackchindra, in 1932. The
Queen of Kamroop hates men. Hence, Machchindranath creates an illusion where he visits her in Kamroop and
impresses her through his divine illusion to be enchanted by the uninspiring. Gorakhnath, the disciple of
Machchindranath realizes that it was all a drama of illusion and divine enchantment.17

King Jimuthavan:
In 1935, Samrat Cinetone produced Naganand on the legend of Nagas. There was the practice among
the serpents to sacrifice a human being to Garuda, the vehicle of Lord Vishnu. Once when they decide to
sacrifice a child, King Jimuthavan valunteers himself to save the life of a child. Having killed him, Garuda
realizes his mistake, and resurrects the noble king with the help of the elixir of life.18

Bhagirath
Kolhapur Cinetone’s Gangavataran was based oft the legend of Ganga, the daughter of the Himalays.
Kapil Muni bums the sons of King Sagara as they disturbed his Tapasya. Bhagiratha, his grandson, observes
long penance to invoke Lord Shiva release Ganga from his hair and flow down to the Earth. .

Mohini:
Mohini, produced in 1940 by Maya Pictures, was based on the legend of Apsara Mohini who enchants
King Fukmagandha and obtains two boons from him. She asks him to kill his son or break his Ekadashi fast19

Fantasies and Fairy Tales:

Maharashtra Film Company produced Nisha Sundary (Midnight Girl) in 1929 based on the famous
fairytale of Cinderalla. The ill treatment to Cinderalla by her stepmother and finally her marriage to the Prince,
thanks to her fairy Godmother was presented very well in the film.20

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 Rani Sahiba, produced by Prabhat Film Company in 1930 was woven around the story of imaginary
king and queen . Here the wise queen takes the reigns of the kingdom in her own hands in order to save it from
evil minister who wants to take advantage of her simpleton husband, the king. In this film, five years old Anant
Apte played the role of Rani Sahiba alias Bajarbattu.21
Prabhat Film Company produced Agnikankan in 1932 in which cunning General of the kingdom of
Vyjayanti assassinates the king in a coup. The queen Veermati takes refuge in the wilderness with her son who
returns to claim his father’s throne after twenty one years. He meets the Prime Minister’s daughter and with her
help defeats the General in battle. He is crowned the king and accepts the prime Minister’s daughter as his
queen.22
Rashtra Cinetone came up with Jadugarin alias Enchantress in 1937. In the year 1937, Shalini Cinetone
produced Pratibha based on die court poet who steals another poet’s poem and receives the royal acclaim.
However, Pratibha the genuine poet’s wife boldly pleads her husband’s case before the king, and brings justice
to him. Hans Picture’s next film, Jwala, unfolded the story of Angaar, the ambitious general who poisons the
king and marches against the prince. But his wife being loyal to the rulers walks out on him. The traitor meets
his end. The film depicts the fearsome consequences of mutiny against the King.23
Initially, because of a reasonable assurance of commercial success through committed audience,
mythologies dominated. Epics like Mahabharat and Ramayan are well ingrained in the collective Indian psyche.
Therefore, even illiterate audience could easily identify the storyline and all the characters in the film. Secondly,
there was much impact of mythology on the Indian mind and audience would have been automatically attracted
towards such films. The period of the beginning of film making in India coincides with the aggressive religion
based nationalism. Since the British concept of secularism meant exclusion of religion from state interference,
many Hindu Leaders like Lokmanya Tilak, used religious ideas and practices to build their political resistance.
In many ways mythological background offered wide scope for symbolic expression against the despotic rule
under the cover of mythology. Anti-British sentiments expressed would escape the Cencor’s scissor. Thus,
Kolhapur Film Industry helped and motivated Indian freedom struggle by producing mythologies.

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References:
1. G.R. Bhide and Baba Gajbai, Kala Maharshi Baburao Painter, pp. 131-132.
2. Ibid., p.170.
3. V. Shantaram, Shantarama, p.93.
4. Sudhir Phadke (ed.) Chitra Sharada, p. 4.
5. Ibid; p. 7.
6. Interview - Vijay Gajbar, Cassette No.6
7. Interview - Nanasaheb Yadav, Cassette No.3.
8. Ibid., Cassette No.3.
9. Sudhir Phadke, op.cit., p.9.
10. Leela Pendharkar, Mazi Jeevan Yatra, p.38.
11. Interview - Nanasaheb Yadav.
12. Vasant Sathe (ed.J, Chitrasampada, p.8.
13. Ibid., p.12.
14. Satyawadi, dated 23 February 1938.
15. G.R. Bhide and Baba Gajbar, op.cit., p. 171.
16. Ibid., p.173.
17. Sudhir Phadke, op.cit., p.2.
18. Interview - Vasant Vankundre, Cassette No. 1.
19. Vasant Sathe, op.cit., p.14.
20. G.R. Bhide and Baba Gajbar, op.cit, p. 163.
21. V.Shantaram, op.cit., p. 108.
22. Ibid., p. 572.
23. Baburao Pendharkar, Chitra Ani Charitra, p. 142.