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Tu din bhar isi shila ke aas pass rahega kahin jayega nahi. Kiyon tu raji hai? Tu din bhar isi shila ke aas pass rahega kahin jayega nahi. Kiyon tu raji hai?

Revision as of 13:21, 19 May 2006

BEES RANIYON KE BIOSCOPE

The Phalke story



By Kamal Swaroop



                       Image:Page1A.jpg

Tu din bhar isi shila ke aas pass rahega kahin jayega nahi. Kiyon tu raji hai? Din bhar tujhe aik hi baat sochni hogi.tu apne ghar ke vishay ke bare mein sochega.apne ghar ke sabhi logon ke chehre yaad karega.sage sambhndhi mitre adi ko nahi.un sabka smaran ker apni kalpna mein gharwallon ke saath sambandh sthapit karne ki chesta karna Theek hai Kal phir yehin pahunch jana phir baat hogi.

Kya aaj bhi ghar ki yaad aarahi hai? Aaj ki chinta is prakar hogi.vahan dekh,door mein pahad or aakash ka sangam hua hai Aakash ki or dhyan se dekh.souch yeh anant hai.such dukh se pare hai.or pahad virat hai kintu seems mein bandha hai.man le tera man aakash hai or man ki chintaye aakash mein vicharte badal.nerve darshak ki tarah dekh or sonch ki yeh badal kahan se aa rahe hain kahan ja rahen hai


The Ramayana and the Mahabharata contains the most inexhaustible stories for pictorial representation which any country possesses, all that is needed to promulgate their beauty and complete their fame in their purer and noble passages and with the power of European art, they should engage the service of the national pencil as they have fastened on the national memory and animated the national voice.

None can have a stronger claim on our attention than education. It is one of our sacred duties to be the means of conferring upon the natives of India, those vast moral and material blessings which flow from the general diffusion of useful knowledge, and which India may, under providence, derive from her connections with England.

Who am I? A father adding to the thirty crore population of India? My wife’s husband? A servant of India who has not paid his dues to his motherland? A victim to the desires of moneylenders? A man bereft of worldly wisdom, obsessed by only one aim, and thus ruining his family life?

1 father foretells that he will deal in something white...


father and son are bathing in the river. father recites purush sutra and son repeats. they close there nose and go down in the water. river flowing over their head. when father emerges ,child is out of sight. father anxiously looks around. calls for him.terror.then suddenly son emerges at distanse.father is angry.walks out of water. Son runs after.touch.father pleads for not to touch

jyotirling ka shastriya rahasye kya hai?


kyonki jyotirling shabd prakash vachak hai or ling shabd srishti or samhar ka ghotak hai.kyonki ling shabd do dhatuon se banta hai,aik ka chitrikaran or doosre ka gati arth hai

avakt swaroop se vyakt hona arthat vividhakar jagat ka roop mein pragat hona





TRIMBK Do hatho ne atta goontha.tod ker goll kiya.belan chalaya .phirhatho se utha ker hawa me nachaya.or garamtave per rakha.miti ke chule mein aag bhbhak rahi thi or is wajha se ma ka chehra damak raha tha.swarn kan aise ki suraj ke anne per inkar karati subh ki oss Ma ne mudker dekha to ghutne ke bal chal ker dundhiraj chalker deewar ke pas mitti khodh ker kha raha tha.

Foren uth khadi hui or bhag ker use god me uthaya.ek ungali mu me dal kermiti baher nikali.do thapped rasida or dham sezamin per patak diya.dhundiraj.cheekh ker rone laga. Dwarkabai--------ro,pet bhar ker ro.

Dwaraka ko kuch sujja.tezi se uth ker kuch dhoodhne lagi.ek sadi ka fata tukada mila.use do tukado me fada or govind ke hatho me aise bandha jaise ghodhe ke khur.

Kha or miti,tere hath ab aise hi bandhe rhnge.

Bal swarte dwarkabai,eak nazar aasmaan dekha.aakash me iklota badal. Kuch shano badh jaise jaise palang ka dolana stabhit hua ……badal ka tukda gati mai hua.dhundiraj ki naak ki seedh me aaya. Rodan achanak thama. Palne me aise pada raha jaise ki parlokik ghatna ka mook sakshi.

Uski aankho ki putaliyno me ek kampan hua. Chal ker naak ke paas mili. Tabhi ek vichitra sa saphed saras palne ke paas utar ker baitha. Vah Kisi dhuser saphed dhatuon ke kalpurzon se bana tha. Idhar ,chule ke angaar ko rakh se dhak ker vh sonch rahi thi ….hawa me chai stabta ne use chnka diya.dhndiraj ka achanak tham kiyo gaya.dil per haath rakh ker wo baher ki or lapki.dundiraj mano samadhi me leen tha.haath aise khule the jaise tukaramji ne kartal pakad rakhi ho.chere per vighankari muskan per mu me koi awaz nahi palana sthir tha.mano akash per us badal ke tukde ne use summohit ker rakha tha.

Yakayak tabhi vatavaran me chai teervata lupt hui.hawa bhane lagi or sath sath us badal ke tukde ko bhi le jane lagi.idher badal hila or udhar palana khud b khud jhoolne laga…… dhundiraj ki samadhi tooti ….vh roya Dwarkabai-------------he deva,me to dar gai thi….shama ker de.ab kabhi n bandhogi.


Jyotirling ke muhn per dhare sone ke panch mukut mastak ko hatate hi dipako mein lo aye.prakash bahar ki or phalne laga.mandir ke darwaze khulne lage.kai adrishya haath ghntinya bajane lage. Taza ,saphed puti deewaron se giren aangan mein dhundiraj ke peeche uski hamumre bhan daud rahi thi.dhundiraj manir mein ghusa or chup chap khada hogaya .kuch door kamala apne parivar wallon ke sath khaddi thi.koyale ka tukda dikha ker kaha chal tujhe ghoda bana ker dikhata hoon. Dono daud ker mandir ke akant mein aaye.bina haath uthaye aik ghoda bana diya.deewar se do kadam peeche hat ker niharne laga.uske peeche khadi kamala visfarit netro se taak rahi thi.phir peeche mudhe to bahan shivram se shikayat ker rahi thi. BAHAN-------dekho kaka phir se deewar kali ker di.ab mein sahan nahin ker sakti yeh koi phathshala hai. Dhundi dar ker bola,ab nahi karoonga Phir achanak laga passa palat gaya,jab kaka bole sunder hai








.


2 father invited to join the college as a Sanskrit teacher.3The family leaves for Bombay.


FATHER IN THE CLASS ROOM Student-sabe jaat goal ki.hinduon ka shastra pansari ki dukanhai. Sada shiv-chamar kuch banna hahe to usko bhi kuch bana dijiyega? --kya banna chahe? -brahmin. --chamar Brahmin hai isme kya sandeh hai.chamar me teen aksher hai.ch,charo ved.r, ramayan.m mahabharat.jo in teeno ko padhaye wo chamar.in charmkaron ne ak bar bahut bada yagye kiya tha.usi se charmavati nadi nikli thi .lao nikalo dakshina. --aur dom? --dom to Brahmin shatriya dno kul ke hain.vishvamitr vashist vansh ke Brahmin dom hain,harishchander shatrya vansh ke -aur kripa nidhn musalman? -miyan to charon vansh me hain,valmiki ramayan me likha hai jo varn ramayan padhe miya ho jaye.dwarika me do bhanti ke Brahmin the,jo baldevji mante the(mushli)mushlimanya kahlaye aur jo shri krishn ko mante the krishnmanya hua.


aur dhobi
ache khase Brahmin jai devke zamane me dhobi Brahmin hote the…dhoi kavi shamapati

---aur neech ko oonch ---oonch neech kya hai aap dakshina dete jaiye.nag pakdne se nagar aur gul jalane se gujrati










4After a time, it enters a cave-like Victoria Terminus, almost as though entering a camera obscura, and halts.5Phalke is separated from his family and gets lost. Darkness descends.6He is alone in a deserted Victoria Terminus, bewitched by the carvings of gargoyles, lizards, lions, tigers, flora and fauna, like in a fairyland. Suddenly it starts to rain, and everything comes to life. Streams of water pour out of the stone mouths of mythical monsters, frothing at the jaws. Phalke is shaken, shivering with cold, crying for his father in the dark.7 JJ School of Arts sits with hammers and knives, carving out figures on the terraces and the tops. The cotton loaders are teasing a Victoria look-alike, a mad woman at the fountain outside.8Picking up leaves as if to build a nest, small birds move above.9A Victoria enters and drags the woman away by the hair.10A mad dog chases Phalke through a backdrop – streets, railway lines, ships and factories.11He enters a palace and finds the princess stretching her arms and calling his name, and then metamorphosing into a frightening old woman. Victoria12With a jerk, Phalke comes awake. He is fifteen years old. And he has to run for his examination at the Sir JJ School of Art. As he sketches the live model, sitting nude, the hands and toes of the drawing keep disappearing. JJSCHOOL RAV VARMA LECTURES dhundiraj dher sare vidhyarthiyon ke beech khada hai.painting per lecture sunte. Karan aik hai.jal rang jab kagaj per avatari t

Hota hai to uske tej prsar ko dheek wakt rokne samarthya kalakar mein hona chaiye.tel rangon jaisa sudhar vahan nahin kiya jasakta hai.is ka arth ye hai ki telchitre kee apeksha jalrang adhik prbhaveshali hote hain?bilkul nahin .ulte main kahunga ki jalrang theek hai per usme shanty nahi hai.usli shanty hai kayale mein.vh adhik wastvik hai.per rang jalrang mein daud t Dhoop rahati hai.tel rang ki gati dheemi,kadhin kashtdae hoti hai.


k


1886 – CLOCK AND CHIMES 13Mr. Griffith, the Principal, and Mr. Tarry, the Vice-Principal, present their annual report on the institute, while discussing their hjfuture prospects after graduation with his friends, Phalke podiscloses his intention to go to Baroda where his brother works with Romesh Chandra Dutt, the eminent scholar from Bengal.14 there is a commotion in his father’s classroom. Phalke’s father is objecting to the presence of a non-Hindu in his Sanskrit class. Impulsively, he resigns his post and leaves the premises, taking his son with him. He decides to return to Trymbak and resume his old job of kathavachak.15Phalke’s brother from Baroda is at home, paying the family a visit, and Phalke prevails upon him to take him back to Baroda with him.1886 – 90 – THE MASTER 16 Phalke is taken to meet Prof. Gujjar, Principal of Kala Bhuvan, the technical institute under the royal patronage of HH the Gaekwad of Baroda.17Seeing extraordinary talent in Phalke, Prof. Gujjar puts him in charge of Kala Bhuvan’s photography studio where Phalke makes several experiments in photochemical processes.18He spends days and nights at the Sir Sayaji Rao library, reading 19Phalke also comes into contact with Shankar Moro Ranade, a dramatist who is about to perform ‘Winter Tales’ and his own play ‘Veni Samhar’ at the Maharaja’s palace.20To train his voice, Ranade sends Phalke to the Maulabux Musical School for training in music.

21The work of the director of the ‘Veni Samhar’ drama performed by the Baroda College had naturally fallen to my lot. HEMLET

Rhana hai ya nahin .yehi sawal hai.acha kya hai,zalim takdir ke zamane ki chot,man hi man sahana ya musibato ke samundar ke khilaf hatiyar uthana orlad ker un ka khatma ker dena.mer jata so jata bas.kash ki hum eak neend le ker kha sakte kisone me ab koi dard nahin hai.or n weh hazar chois haad maas ke putle ko.kaisi man chahi pariniti hoti hai yeh mar jana.koun jane yeh chola choot jane per maut kius neend mein kaise kaise sapane aye.unhi ke dar se to hum thithak jate hain,or jhelejate hain jindigi ko.eak kali bala ki tarah.aisa na ho to jamane ki nafarat ko koun sahe or koun sahezalim ka zulm ,gamandi ki shekhi.nakaam mohabat ki kachot,kanoon ki dhilai,hukkam ke tever or nalayako ki thoker.

Mout vah anjan desh hai jiski sarhad se kabhi koi musafir naahin lotata.apane usi dar ki wajah se hum apni taklifo sebhagne ki badle unko jhelte hain.





21I had some interest in magic also. On a darkened stage, a large blank canvas was illuminated by limelight. As he made passes with his right hand, the canvas gradually and mysteriously gave birth to a brighter and brighter painting, Raja Ravi Verma reproduction.21Dada stands first and is offered a scholarship.22After consulting Prof. Gujjar, he buys his first still camera with the first installment of his scholarship. he is gifted photo gun.

His father takes him to hilltop telling the story of descent of Ganga. He grows up in mist.

23He was nineteen years old. He was lying on his back on a hill, looking up at the sky. His camera stood on the tripod to one side. Suddenly, mist began to creep towards the field. A cloud of mist enveloped him and hid him from view. All he could see was white mist. White blindness, as if he was buried in a cloudbank of mist. Then a snake slithered through the mist, crawled over his chest and stood above his face with fanned hood. Rubbing itself against his chest, the snake began to slough off the skin covering its eyes. Understanding, Govind picked up a cloth on which his head was resting and wiped the snake’s eyes clean. Having regained its sight, the snake went quietly away. When the mist cleared, the surrounding hills had turned into the white, snow-covered Himalayan Mountains. The infinite sun peeped out from behind the infinite mountains. On all sides the multicolored tree barks of autumn… Govind was exhilarated by this vision. This was the source of the Godavari…


1890 Telang or phalke


mitr suna hai tum photpgraphy kerne lage ho to phir camera kidhar hai?
kuch atankari bandaro ne loot liya.
kon the kinyo the kuch gyaat hua?
anveshan gari hai.
shayad me tumare anveshan me sidh rahun.kaam aun.kintu jis yug me chitre gatimai ho tab tum mujhe yaad karoge
artharth?
photography kya hai?
the formation of an image on aflat surface by an optical device and achemical method of sensitizing that surface to a light source so that the image can be captured permanently.

---isi baat per tumeh apne mitro se milata hu



mitre ,ye mere vanar sakha hain.tumhare gane ke baad keval yehi mitre the.kai varsho se tumhari mitrata ki charcha karta aaya hnu.kintu milane ke phale tumhe acharya me dalne ki ischa thi .

monkeys were ready with the camera,moving around hanumanji.phalke sits with them,posing.telang takes the picture



24He watches the Prince ride his horses, play cricket, shoot crows, wrestle. He cannot comprehend palace intrigue, and the changes occurring in the state of Baroda.

26When he comes home, there is a surprise waiting for him. His father has arrived from Nasik, bringing Phalke’s wife, Kamala, with him. Phalke is shy as well as nervous. His father asks about his prospects.27 his wife, She urges him once more to set up a separate home.

1895 – ALCHEMY, GODHRA

28Godhra is a railway junction surrounded by small tribal kingdoms.29Phalke hangs a sign outside his house. ‘Photographer Phalke’ it reads.

Miss malkm A photograph comes alive. Tum aagay or mein kitni kush hun.hamari residency ka munshi bdha badmash hai mein chahti hunki tum yeh patre padh ker iska tarkuma kerke sunao mein tumhen inam doongi.mr parkison ne kal sham club mein batlaya ki ap angreji bhi jante hai.

Ji .kisi hadh tak bol samajh to leta hunor ischa bhi haiki aapki is shandar juban ko urdu ,hindi gujrati,marathi ki tarah bol saku

Meri aaya ko mahalo se khat mila hai raja ki kisi begam ka khat.ak kuphiya dastavez .khas residency saheb ka.mein janna chati hun ki ye patre bhejne ke kabil hai?

Mere Calcutta ke ak dost parkison Sanskrit ki purani kitabe kharidne ko bahut utsuk hain umda kitabo prr acha daam bhi milega Kuch kitabe leker hazir hounga. mein jald hi jald

Agar mujhe ynha paunchne mein der ho jaye to hazoor mujhe maaf keren.mere paas vilayati ghadi nahin hain .is liye aap logon kitarah wakt ka paband nahin ho pata O!thariye ,ise kholiye Dhakken khula to vah….. Ghdi mein nar nari ka apurve rati sakriye joda bana huva tha


oh god ,apne to wrong side khol di

1896 dhobitalave per nadkarni ki photo—sports ke samane aik ghoda gadi ruki.gadi per likha tha traveling photographer. Gadi mein se kareeb 24 ,25 saal ka aik navjavan us jamane ki pant, kameez or jaket pahane utra.vh seedha dukan ke bheter gaya.dukandar mano use achi tarha janta pahchanto ho. Uth ker khule dil se usse gale milta hai baithne ko kursi deta hai

nadkarni…….dhundiraj,matapita tyag ,kahan ki pradikshana se aa rahe ho dhundiraj……ye dekho ajanta ,allora khajuraho.clock tower se Bombay ke drishya,pashu-pakshi,deshi videshi sundriyan,raje maharaje,circus ke kalakar rajadeendayalapne samne……or ye chadi orye kamuk ghdi

nadkarni ghdi kholta hai aik chitre mein sambhog karti mudra sanggeet per ghoomne lagti hain dhundiraj…….aik mitra mahila ki bhent.acha ye batao ,tumhe yaad hai aik panditji ko sona banane ki sanak thi,or unke pas pustakon ka bhandar tha.hai kya?


kyon nahi. Ve yhin se rasayan le jate hain.yehrahi tumhari udtichidyiyan ke per gin sakne valli bandook,kisi bhi udan ko kaid ker sakti hai.ghoda apneadrishya pero ko……

shukriya mujhe vo kitaben chahiye.aik mahila hain London ke vidhvan premi ko khush karna chati hai ………..brahmn ho ker vishvasghat ker rahe ho?


mitre,gyan ke bhandar ko deemek chat ker jaye,us se acha hai ye gore kuch padh likh len

……….tum brisht ho rahe ho matre.apne pita ki tarha nahin jinone dev ki pavitrta ki khtir apna path tyag diya








30 meets alchemist ghoda gadi aik chandni rat mein nhaye sphed mandiron kee galiyon se guzer rahi thi aaker aik khandernuma char manzila imarat ke samne ruki dhundiraj ne ghode ko ghass di oar imarat ke andar prevesh kiya.shastriji ko us bool bhulbhulaya mein pukarne laga

tahkhane ke eik andhere kamre mein panditji apne kimiyagiri ke upkarno ki sahayta sesona banane mein vyast the.dhundiraj jaise hi pravesh huye—usi samaye rasaynik kriya mein eak visphot hua.panditki ke much per kalikh puti.oar sphot ke sath hi hare rang ka dhuan teji se kamre me phalne laga.eak chuhe ki akriti ka dhun dhundiraj ne apne nathnu mein bhara.panditji ki surat dekh ker uski hansi chooti. Panditki----------kahiye kya kaam hai?meine aap ko pahchana nahin. Dhundiraj-------mein dji shasti ka putra hun,dhundiraj Dhundiraj ne apne kamarband se khusa hua chota sa bauva nikala,usme se paanch rupaye nikal ker panditji ke charnon mein rakhe


kya matlab hai?
aapse kuch jaroori batten karni thi.
ye apne rupye uthaye or chalet banye, paanch rupye mein is pandit se seala koi kuch nahin ugalwa sakta hai.
ye to dakshina matre hai,apni baat arj karne ke baad sone ki ashrafiyon se sauda karoonga.
sone ki ashraffiyan?yani ki mohren?sona to mein khud chahata hoon magar khud ke haato se banaya hua

kimiyan ke upkarno se tarah tarah kerangon ki bhap nikal rahi thi.aik tambe ke bartan mein aml ki boond tapak rahi thi.panditji ne jaanch ker dekha sona nahin bana tha.gusse se bartan uchal ker phenk diya, sona nahin bana tha.haath ponch liye.


khre bhaeya aap se baat ker loonga,kya garmi hai
meine suna hai ki aap ke pass Sanskrit ki bahut pothiyan hai?
ji han hai to sahi ,per ab unhen maine khurake dimkan bana diya hai.kambakht ghar bhar mein phellen,lakdi ke darwaze khokle ker isse acha hai ki in namurad kitabon ko khati rahe.kya garrmi hai.tashreef rakhye.
vilayat se aik angrej aaya hai,uske pas aik kitab hai.maine khud apni aankhon se dekha ki usne apni jeb se sheeshi nikali or sirf do boond tambeke bade lote per dal di or phir apne nauker se kaha kiab is lotte ko bell patron se manjh do….manjhte hi mano karishma ho gaya.poora lota sone jaisa chamchma raha tha.phir bole yeh sara sona angrez sarkar mujhsse kharid leti hai

meri croro ki daulat vilayat mein hai.magar mujhe yahan se jane ke liye kames kam pachas sone ki deegre chahiye.to maine kaha jo lota apne abhi banaya use bech dijiye----rupiya mil jayega.vah bole nahin ,rejident babu ne isai mantr ki kasam khila rakhi hai.sona angrej sarkar hi le sakti hai. Mane kaha to angrez sarkar se hi paissa le lijiye……..is per voh gora kahne laga sona yahan bana ker deta hun to ve kalkatte ke bade laatt sahib ko khat likh ker batlate hai,or bade latt sahib vilayet meincompany bahadur ko….tab vh rupiya vhan unko bhej diya jata hai.is bechare ko aik bhi dhela nahin milta kinyoki yeh sharab bahut peeta hai.is liye veh chata ki koi uski kimiyagiri ki kitaabe pachas dinaron mein khareed le..kiyonki nuskha use yaad ho gaya hai


aisi kitab to sirf arab zaban mein hogi
sahi farmaya.
ye angrez saltane bhalen loot len magar kya khaker angrezi zaban padenge
is gore ka vald English nasle ka hai.or ma arbi nasle ki.isai hote huve bhi apne bete ko kalmapak padaya.mera khayal hai ki yeh kitab bhi use uski walida ne…..

vh kitab apne dekhi hai? Ankho se pachas dinaron main kitab us sharabi English man se khareed sakte hain.


ullu ka patha ho gaya hai jo aisi beshkimti kitab bech raha hai
chunki nuskha use yaad hai isliye bechne ko taiyar ho gaya hai.

Per pachas du kahan se.haveli bech doonga to rahunga kahan?


ye kitabe aap mujhe bech dijiye main pachaas dinaren aap ko nagad doonga.

Panditji ko pasine choote.kuch sonch kerkisi doosre kamre ki taraf janelage.unoneh aik kivad ki sankal kholi,andar andhera tha.jalti tel bati leker ander ghuse ,peecbe dhundiraj or aik chuha.

Lagbhag teen char hazar pustken thi.haath lagate hi panne ret ho rahe the.sunhere rango mein sachitre.dhundiraj ne tel batti apne hatho mein le li.


inki kya kimat lenge aap?
aji kimat kya……main in saliyom se kutte ka pakhana utha ke n phenku,itni nafrat ho gai hai mujhe….apke devi devtaon se aap ke majab se.mujhe duniya ke tamam majabhon se nafrat hai.bus aik bar sona banaker dekhna chahta hun.
to inke liye pachas mohre pesh karu
jee nahi,51ya 101.mujhe shudh rakam chahiye.lena ho to leejiye varna dafa ho jaiye.dhundiraj ne ashrafiyan gin ker pesh ki,


dhundiraj ne kitabe bandhi,ghodagadi mein ladhi.

Is bar pandit ji kuch hari jaddi ghot rahe the. Panditji……..janab aap shikari bhi hain?


nahin panditji ye tasveeren lene ki bandook hai.udti chidya ki bhagte ghode ki,narsima ki.

Panditji-------ruko, mujhe lagta hai tum mere kaam asakte ho.mere paas aik jaddi hai,use khane se admi sher mein badal sakta hai.doosri ko khane per manushya mein.main chahta hun jab meri kaya parivartan ho rahi hoto tum is bandook ko baraber tane rakhna.tasveeren utarana.mein bhi dekhun kya savar o jata hai?phi mujhe goli chata dena.main phir se admi ho jaunga. Dhundiraj------aap mujhe mar ker kha gaye to?


beta tumhare paas bandook hai,sher banne ke baad mujhe kaise pata chalega ki ye nakli hai?ye pryog hai vigyan ki kasam.daro mat

panditji ne aik goli khudh kha li oar aik dhundiraj ko thama di

dhundiraj ki bandook ki nok tale sher mein badalne lage.dhundirajj ne banook ka ghoda teen baar dabaya per apna bhya adhik der tak nahin daba paye.bhge.door chandni raat men ghoda gadhi kitabe leker bhag rahi thi.


Idhar dhundiraj ki neend tuti.khidki ke bahar sara alam chand ki dudhiya roshni mein nahaya hua tha.kamala bagal mein so rahi thi.vh utha, seedhiyan chadhi.tale mein chabhi lagai.telbatti ki roshni tej ki ti dekha khidki khuli thi orkitaben gayab thi

Khidki ke bahar sota hua shaher tha,kuch chimniyon ka dhua,or door bhaap ki rail.mula ki azaan.

Dhundiraj daud ker neeche aya Kamala kamala kitabe chori chali gayi.mein us mem ko kya muh dikhaunga?

Dhundiraj thane gaye. Kotwal,laldadi walla muslman thaankho mein surma jaise ki babbersher ho


humne her padhe likhe admi ki talashi le li hai,per janab aap jin kitabon ka zikre ker rahe hai ve kahin nahin mili.or janab angreji angrezon ki talashi lene ka hak nahin hai.waise apka karobar kya hai.
kamere ki tasveere khichna
toba toba
in cheron ko pahchante hain?
ji han mere haath ki hain
ye bachhe kai dino se ghar se gayab the.apki in tasveeron ki vajah se pahchan liye gaye,inke sar per inam rakha tha aap uske hakdar huve.dhundiraj kuch bolta nahin ,mudhker dekhta hai.kamra kai logo se bhar chukka tha.
per janab mil to gaye,per gayab kyon huae.logaap per ungli utha rahe hain.kisi bhi tasveer ka banana yahan gunah mana jata hai.aap butparast hai to hinduon ki jagah ja ker rahiye.hume yahan chen se khuda ki ibadat mein


dhundiraj thaka hara ghar lota kamala-------chor pakda gaya


ulta kotwal mujh per bhadak gaya
kya hua
kuch ladkon ne tasveeren khichwai thi.bhage to pahchan liye gaye
ye to achi baat bazaar mein pheli hai.police ke kaam bhi aoge
nahin unka manna hai un tasveero ne uneh …..yhan se dukan utha ker…….

Kamala laker aik parsal deti hai Kamala------nadkarni ka hai Parsel kholker dekhta hai.photo rasayan ki sheeshiyan


kya likha hai?
photo postcard phatako ki tarah bik raheh hain.khsker gorimemon ki rang bhari tasveeren.railshell ko bhooljao.ajanta allora kajurap chalega.sapere ki tasveer dekh ker been baj gai.

Kamala--------tum is meem ko kya javab doge?


sona banane ki vidhya sikhni padegi.tumeh bhi sone se laad doonga.-
gusa kyon ho sahe ho…..tum kisi jagah padhane ki naukri kyon nahi ker lete,apne pita ki ta
or phir tyag ker bheekh ki katha bachun’ tum nahin pachim kitna agye bad gaya hai.aik din main german jaroor jaunga



Dark room Dhundiraj darwaza band karata hai.mome batti phook ker bhujhata hai.sirf lalten ki lal roshni.aik chuha pighalti batti mome chaat raha tha.tashtari ke rasayano mein aik tasvee ubharti tair rahi thi Achanak,kamala dhadam se kamre mein darwaza dhakel ker ghusi.vh dar ke mare cheekh rahi thi. Kamala-----ab mein yahan nahi rahungi Tashtari ke jal meinpanditji kasher mein badalta chitre kala hua,dhundhiraj krodhit hua.kamala ko apne se alag kiya


khatkhataya kyon nahin?yehi to aik proof tha.kya jawab doonga ab scientific sabha mein?ki meri patni ne be mauka dark room mein ghus kerproof mita diya.kahan dhoondu panditji ko


dono mein ruthna or manana,sulah

dhundiraj ne darwazeke chote se chaidh se bheeter dekha.momebatti pighli hui thi.chuha ja chukka tha .dheek momebatti ke neeche table per sone ki bareek chadhiyan ke do gahtter the.chamak seedhe dhundiraj ki ankho se takraee.usne sone ki pin ko momebtti ki lo mein pighla ker dekha sona khara utra.

Dhundiraj ghar se bahar nikla,main jaldi aata hoon.

Dhundiraj ke haatho mein ba hut sari khareedari thi.per ghar aaya to dekha kamala pagla rahi thi.jalti hui lakdi liye jahan tahan bane chuhon ke billon ke munh mein aag bhar rahi thi.dhundi ne kamala ko sambhala jalti lakdi ghar ke bahar phanki


hosh mein aao kamaka
main tang aagai hun tum chale jate ho to yeh ghar bhoot ki tarah……dhundiraj ne darkroom ka darwaza khola ,ander koi nahin tha.
tumhari mem ka aadmi aaya tha kitabon ki pooch raha tha.


darkroom raat ko vahi choohon ki kit kit ,dhundi utha ,darkroom ke ched se jhanka.chooha pighalti mom chaat raha tha.phir tashtari mein rakha chandi ki bhasm ka mishran laplapati jeebh se chaata,phir jam ker saans leta or thoda phoolta.moonche naak ke neeche ugati jaddon ki or se sunhari hoti sunaharapan dheere dheere mooch ki or badhne laga.iske saath mooche bhi badhne lagati.tatpaschyat , kisi pencil ki lead ki tarah tootker aik gather mein badli.

Dhundirajne dwar khola,peeth per band kiya.dekhne laga.choohadara nahin.mome chati.nitrate pee.moochki noke se pighal kersona tapak ker ganpati ki moorti mein dhalne laga.chooha table faand kerdhundiraj ke kandhe per gilhari kee tarah chadh ker baith gaya mooshk ne moorti adhbut gadi thi.


DHUNDIRAJprathkal utha.balti se nahata ,purush sutre padh raha tha.kamala pooja ghar gai to vahan ganpati ki sone ki sunder si moorti saja ker rakhi thi.chakit hui.


ye kya tum laye ho?
kya
ganpati
sunder hai?
maine soncha jab tum akeli hoti ho tumhari raksha karega.
abki bar main sath chalungi


dhundiraj chala gaya.kamla ne apni bachiko deka munh se lar tapak rahi thi.ghabrai.


MARKET Nathdvara mandir ki painting ke samne baith ker bhgat patni pati ne photo kichvaa tha.usiko sone ke rango se dhundiraj ne ranga tha.johari parivar dekh ker prasn ho utha.baki bhi aise chitron ki mang karne lage. Johari-----------aap hai unche karigar


ye to aap kah rahen hain baki shahar to mujhe nikalne per tula hai.dhamkiyon se kya hota hai?ishvar ne chaha to aik din aapko khoob yash milega.







1896 godhra phalke photograf

kamala brings the water ,p washes hand p takes out the photo plate,puts in developer.tribles sitting against the city back are leaving. p-----------aiyne molvi saheb,aap ke liye mere paas kayee parde hne.ajmer,udte ghode,hoor or pariyan.tashreef rakhiye. m----------aap se kuch jaroori baat karni hai. p----------aap mere waalid samaan hai,mujh se jo khidmat ho sake .kamala ,standing behind the door,tries to put her child to sleep.out side sun is setting. k---------kitabe samet loon?kya samaya huva hoga.gaadi aati hogi. p---------isme dekh lo. k---------mujhse nahi khulti. P -------- lao mujhe do p--------- molvi saheb ,dekhiye goro ka kamal,n ajjan n sandhiya bas ek tik tik ghdi.


Phalke opens the watch from the wrong side.a princlly couple were coupulating.and music. p---------o,maff kijiye,bas yehin mar khajate hai angrez. m---------per janab,ghadi mili khna se apko? p---------mis malkam.kaha lo young man tum bhi hamari tarha time ke paband rahana.unke hindi angrezi ke tarzume dekhta hoon,badale me tasveere utarne ka kaam mil jata hain. m--------kaisa tarjuma? p---------shikayati chithiya m--------or ye kitabe? p---------england jayengi. m--------aap kis mulk se tashreef layen hain? p----------nasik.trimbak m---------wahan ke log to butparast nahin hain ,han kissa goi me mashoor zaroor hain.phir aap in tasveeron ke totke me kyon phanse? p-----------jyotiling ka arth hi hai roshni se likhna.laye ka gati se milna.mrit ka smrit hona m-----------tumarhi girha manu to tasveeren eak kism se murde ki khal hain.baki jo bacha ruh raha.kher mein sirf aagah karna chahata tha. Main khud in jin jinnat ruhon ki duniyan se wasta rakhta hoon.lekin apne logo ko unke saye se bacha ker rakhta hoon.tum mere bete saman ho,mein chahta hoon tum yeh kaam chod do ya kisi aisi duniya mein raho jahan ye chalata ho.riwaz ho. Ye sheeshein ki ankh aadmi ki ruh kheench kar usein jinda lashon ki duniya mein is tasveer mein bundh kar dhakeil deti hain. Tum aksar bahar rahetein ho. mein nahin chahta hoon ki tumhari gairhajiri mein koi kahar Aa padein. Khuda hafiz.

Maulvi leaves. Overhearing the conversation, kamala is scared. Kamla- kya samjha rahein thein? Phalke- kuch nahein, inke mujahub tasveeron ki manahi hain. Kahi log to aeina tuk nahin dekhtein. Deko,jamana kitana aaghe badh gaya or ye log!

Aik namaz padhi gai.fir molvi saheb ka bhashen.apne. logon ko photography se aagha karaya.

PHALKE STUDIO p-----------tum janti ho,mujhe is vyvsaye meinke panpne ke liye mujhe rail sher oar melon ka ashrye chahiye,ye teeno yehan ikatha hain oar ye andhvishvasi ! inse to ache yeh bheel hain. Seena kheench ker tasveeren utarwate hain.photography!bas yehi to aik tarika hai bache rahne ka.varna kaal ki bhatti mein aik mutthi rakh. Kamala vese yeh bhi chutki bhar chandi hai.



31While he is developing the pictures in the dark room, someone opens the door by mistake, and the pictures evaporate from the paper. The large numbers of rats that are dying around them frightens Phalke’s wife


Rat story Shar mein gudhsavar fauje gasht laga rahi hain.kch adiwasi bansurian leker chuhon ki talash mein the.aik adhikari meren hua chuhon ki ginti karta paise baat raha tha.

Policeman---------kyon kalakar,kuch pakad ker laye ho.

Achanak kuch nakabposh us per hamala kerte hain. Phalke ne aankh kholi,jeb tatoli .mushak nahi tha. Charon taraf chuhe rang rahe the.vh utha to use ghare Adivasi baithen the.


darne ki koi baat nahi,tumahra mushak yhan ka devta hain.

Phalke ko dekh uska mushak doodh ladoo chod uske kandhe per chad gaya.sone ki mooch jab chodta to sab tali baja ker haste. Tabhi us choohon ke mandir ko nasht karne ke liye angrezo ne dhava bol diya.mushak ka di dhadakne laga. Mandir ka darvaza toota.goliyan barud oar teer the. Mushak ke bhasm hone ke sath sath uski moochke swarn rasayano ke padarthe….suieyan ,butten ,sikke,abhushan,nagaron ke swarn mandit gumbajsab ki sab aik ke baad aik kali bhasm ban dhane lage.yehan tak ki muhn me sone ke daant vali nakli battisian Bhap ke engino se nikla koyleka . dhuan nagaron mein chimnio se uthta dhua aise……kale badalo ka toofan ghir aya ho


Phalke apne ghar ki oar jane laga.kamala mano sadiyon se intzar ker rahi thi Raat bher baaten ki subh utha to sab gayab tha







36An empty house yawns at him.

Phalke rushes inside, calling for his wife and child.


37Phalke roams from camp to camp with photographs of his wife and child, looking for their bodies.

38Wandering desolate after their death, a paranoid Dada meets Nicephore Niepce, one of the Lumiere Brothers’ 40 magicians. A 33PLAGUED BY MEMOR.

Toward midnight, that night, there was another function. I think it was a betrothal ceremony. We seemed to move through a city of the dead. The plague was not in Bombay then, but it is devastating the city now. The shops are deserted, When we had pierced deep into the native quarter and were threading its narrow dim lanes, we had to go carefully, for men were stretched asleep all about and there was hardly room to drive between them. And every now and then a swarm of rats would scamper across past the horses' feet in the vague light - the forbears of the rats that are carrying the plague from house to house in Bombay now. The shops were but sheds, little booths open to the street; and the goods had been removed, and on the counters families were sleeping, usually with an oil lamp present. 34But at last we turned a corner and saw a great glare of light ahead. It was the home of the bride, wrapped in a perfect conflagration of illuminations, - mainly gas-work designs, gotten up specially for the occasion. Within was abundance of Brilliancy - flames, costumes, colors, decorations, mirrors - it was another Aladdin show.

35The bride was a trim and comely little thing of twelve years, dressed as we would dress a boy, though more expensively than we should do it, of course. She moved about very much at her ease, and stopped and talked with the guests and allowed her wedding jewelry to be examined. It was very fine. Particularly a rope of great diamonds, a lovely thing to look at and handle. It had a great Emerald hanging to it.


35A while after midnight a couple of celebrated and high-priced nautchgirls appeared in the gorgeous place, and danced and sang. With them were men who played upon strange instruments, which made uncanny noises of a sort to make one's flesh creep. One of these instruments was a pipe, and to its music the girls went through a performance that represented snake charming. It seemed a

It is of a porch and short flight of steps crowded with dark faces and ghostly-white draperies flooded with the strong glare from the dazzling concentration of illuminations; and midway of the steps one conspicuous figure for accent - a turbaned giant, with a name according to his size: Rao Bahadur Baskirao Balinkanje Pitale, Vakeel to his Highness the Gaikwar of Baroda. Which showed epidemic of the Black Death, and he has imagined the terrors that creep into a man's heart at such a time and follow him until they themselves breed the fatal sign in the armpit, and then the delirium with confused images, and home-dreams, and reeling billiard-tables, and then the sudden blank of death: - his mouth is parched; the throbbing brain - his brain Does throb; the rapid pulse - he touches his own wrist (for he dares not ask counsel of any man lest he be deserted), he touches his wrist, and feels how his frighted blood goes galloping out of his heart. There is nothing but the fatal swelling that is wanting to make his sad conviction complete; immediately, he has an odd feel under the arm - no pain, but a little straining of the skin; he would to God it were his fancy that were strong enough to give him that sensation; this is the worst of all. It now seems to him that he could be happy and contented with his parched mouth, and his throbbing brain, and his rapid pulse, if only he could know that there were no swelling under the left arm; but dares he try? - In a moment of calmness and deliberation he dares not; but when for a while he has writhed under the torture of suspense, a sudden strength of will drives him to seek and know his fate; he touches the gland, and finds the skin sane and sound but under the cuticle there lies a small lump like a pistol-bullet, that moves as he pushes it. Oh! But is this for all certainty, is this the sentence of death? Feel the gland of the other arm. There is not the same lump exactly, yet something a little like it. Have not some people glands naturally enlarged? - Would to heaven he were one! So he does for himself the work of the plague, and when the Angel of Death thus courted does indeed and in truth come, he has only to finish that which has been so well begun; he passes his fiery hand over the brain of the victim, and lets him rave for a Sunday morning, for all the church bells are ringing); he looks up and down through the universe, and owns it well piled with bales upon bales of cotton, and cotton eternal - so much so that he feels - he knows - he swears he could make that winning hazard, if the billiard-table would not slant upwards, and if the cue were a cue worth playing with; but it is not - it's a cue that won't move - his own arm won't move - in short, there's the devil to pay in the brain of the poor Levantine; and perhaps, the next night but one he becomes the "life and the soul" of some squalling jackal family, who fish him out by the foot from his shallow and sandy grave." large mirror in a carved frame is on the stage. Phalke is invited onstage, where he is asked to walk around the mirror and examine it to his satisfaction. Niepce asks him to don a hooded red robe. He then positions him some ten feet from the mirror, where the vivid red reflection is clearly visible to the audience. The theatre is darkened, except for a brightening light that comes from within the mirror itself. As Phalke waves his robed arms around and bows to his bowing reflection, his reflection begins to show signs of disobedience. It crosses its arms over its chest and sta0rts waving them about. Suddenly, the reflection grimaces, removes a knife and stabs itself in the chest. The reflection collapses onto the reflected floor – it is he himself. Now a ghost-like white form rises from the dead reflection and hovers in the mirror all at once, a ghost emerges from the glass. It looks towards the startled, terrified spectators. The masterful illusion mystifies even professional magicians who agree only that the mirror was a trick cabinet with black lined doors in the rear and an assistant hidden inside. The lights were probably concealed between the glass and the lightly silvered back. As the lights grew brighter, the mirror grew transparent, and a red-robed assistant showed himself in the glass. The ghost was more difficult to explain, despite a big tradition of stage ghosts. It was said that concealed magic lanterns produced the phantom, but no other magician was able to imitate the effect. Even in these early years, there was something uncanny about the illusions. But some said that Nicephore was not a showman at all, but had sold his soul to the devil in return for unholy powers.38As the guru and his disciple traveled across the country, Nicephore made him paint the backdrops with his chemical jugglery. Cops come and take Phalke away.



39Phalke is a changed man when he returns home to Baroda. The family welcomes the prodigal back with love.38After hearing his story, they arrange his marriage to the daughter of Shankar Vasudev Karandikar so Phalke marries Saraswati. She is 13, he is 32.39But the face of his first wife haunts him. POONA & TRAVELING FOR THE ASI

40In Poona, Phalke’s job requires him to travel across the country, leaving his young wife behind his job is to make sketches of excavated sites, drawings that will later help him to design the sets for his films..41He still has not been able to reconcile the memories of his first wife Kamala, with the reality of his second wife, Saraswati.42But in Prof. Bhandarkar he sees and father figure, and they spend hours in conversation .43Phalke and his wife set up their small printing press at Karla caves, engraving the visionary images of Ravi Verma on the stores, from where they multiply on calendars and become household gods LONAVALA FATIMA------eak baat poochun,idher apne kitne naye chitre banaye hain? Ravi-------------tum to dekh rahi ho,is press ki jimmedari.iske liye mujhe vibhin riyasto mein jana padta hai Fatima--------aap chitrkar hain ya chapa khana wale? Ravi---------kiyon, rajmahalo mein kendrit meri kala ab bharat mein mukt vicharan karati hai.



Helo mister phalke!mrslicer kam kaisa chal raha hai
gangavtaran ki khudai baki hai
chitre ache bane hai—
aap ne hi sikhaya hai.rajaji,aap chitrekar hain,lekinyeh pather per kudhaye,nazuk bhav pather per khodna,vh bhi prtiroop.yeh kala ahilodwar ke saman hai .ram ke pad sparsh se shila sajive ho gayi thi,usi tarah
achi upma di.


Ravi-------meine ye press bechne ka nirnye liya hai. slasher----mujhse koi bhool?


nahin
press nafe se chal raha hai
mujh se ab ye bhag daud sahan nahin hoti.ise bechte huya mujhe dukh ho raha hai.eak hi baat yaad arhi hai,arthohi kanya perkiya avem.
kisne kaha vyapar kanyan ki tarah hota hai.vyvsaye apne putre ,utradhikari ki tarah hota hai.
kabhi kabhi aisa bhi hota hai.
tumeh chaheye?
kimat dena mere liye kaise sambhve hoga.
eak mitre ke roop mein poochta hoon.
videshi hone ke nate koi karza bhi nahin deg or meri bachat kul 25 hazar hai.
mujhe sauda manzoor hain.
or chapunga kya?
or chapunga kya  ?
mee sa chitron ke adhikar tumhare pas hai.tum jaisa guni grahak kahan milega.


Seth mavji------------apne pres bech diya kya ye sach hai? Ravi-------------------sach hai.


apne humse poocha hota.
bhavna ke avesh mein humne vachn de diya
press ka bikri patre tayar hai.
ho jayega.
ye sauda mat kijeye,press mein leta hoonh.
usne paisa de diya hai.jaisa apne bhagidari todne per kaha tha,suvidhanusar.
or chitre?
ab unhi ka adhikar hai.


Phalke’s house Mavji makes a deal with phalke.sends him to germany to study printing.












1907That day, Raja Ravi Verma dies. Dada’s father also dies the same day.47Seth Purushottamdas Mavji comes to Lonavala to ask Phalke to open the Laxmi Printing Press at Dadar, Bombay. He offers Phalke a trip to Germany for training in advanced printing technology.48Phalke returns to India and starts Swarnmala, a Marathi monthly printed in the 3-color process of Gutenberg.44Friday, June 28,

45Bhalchandra is born.46A second son, Mahadev, is born to Phalke.

1910 for a remarkable flair in blending literary and illustrative journalism we must turn to the brilliant phalke. His career coincided with the Bengal reaissance and the founding of the Indian congress in 1885. in 1909,the sanest Indian are for a nationhood of India,undivided by caste, religion orracial differences.a notable representive is phalke.he seeks through medium of the press, to rouse India to asense of its fallen condition and inspiere .

Govind ko sammanit kiya jata hai.kintu usi meeting mein use pata lagta hai ki swarnmala band kiya ja raha hai.uski jagah angrezi patre nikala ja raha hai.phalke mavji se naraz hai.

48Differences with Seth Purushottamdas grow day by day and also take their toll on his health. Their relationship becomes bitter over the running of the press. Phalke---------------meine suna hain masik ka kaam apne rukva diya hai? Seth---------------apka press eak dum ghate mein chal raha hai iski aap ko khabar hai? Phalke------------yeh press keval nafe ke liye nahin hai isliye mein ghate ka vichar nahin ker raha hoon.


nafa nuksan aap nahin mante honge ,lekin meine jo paisa aap mein lagaya hai,vah nafe ke liye hai.
is karar se aap mujhe mukt ker de to……
aap mukt hain lakin karar ki teesri shart shayad aap ko yaad nahin hain. Aap apna isteefa apni jeb mein rakhiye.masik ka kaam rok diya gaya hai.pahle kutch paisa chapiyen.






In order to find a new profession for himself, Phalke wanders around Bombay. 49As the conflict between Seth Purushottamdas and Phalke grows, he decides to leave Laxmi Printing Press. ‘His association with Laxmi Art Printing Press came to an end.


51All his friends, like the erstwhile mayor, Nagindas Master, and a few Gujarati businessmen try to persuade him to start a new printing press, naming it Saraswati Printing Press. But Phalke is reluctant to compete with his own earlier creation if you wish,we can build a sarswati printing press overnight.

I have already said,icant rise against my oun child.lakshmi printingpress.

Your giving away does not assure that nobody else will rise. I don’t care. Then ,what do you want? Ill see. What? Cinema.


52 Phalke’s eyesight is deteriorating fast.

Scene phalke’s home Phalke get’s up, see’s saraswati preparing baba raya for the school. Noticing Phalke awake, Saraswati picks up the news paper on the bed. It shows many illustrated advertisements. Saraswati- “There are so many things being sold in the market.

                       Why don’t you make something too? …Musical                                                               
                        Instruments, gramophones, body building                                                
                        Machines, refrigerators. Printing is not the end of 
                        Life. You know so many things.”

Phalke takes the paper from her. Saraswati brings tea for phalke and breakfast for Mahadev. Phalke reads the newspaper. Slowly he’s losing his sight. Suddenly he’s frightened.

   Phalke-     “I do not know what’s happening to my eyes. I can’t 
                     See.                    

Saraswati- “ is it because of the lack of light?

  Phalke-       “No! My eyes!

Saraswati- “Oh god! Now what?



 He is almost blind.

All kinds of medical treatment and ritual offerings fail to effect a cure.53During his blindness, his brother-in-law, Anandrao Karandikar, and a playwright, Vitthalrao Shanthalkar, visit him and organize kathas and kirtans. 541912 – ‘RAJA HARISCHANDRA’, THE PLAY

The whole family is at the theatre, watching the play. Harischandra-----priye!aaj tumhara mukhchandra maleen kiyon? Rani----------------pichli raat maine kuch dusapan dekhe jise chit yvakul ho raha hai.


priye,yadhpi streyon ka svabhav sahaj hi bheeru hota hai per tum to veer kanya,veer patni oar veer mata ho.tumhara svabhav aisa kiyon?
nath moh se dheeraj jata rehata hai.
svapan to hamne bhi dekha.aik krodhi brhaman vidhya sadhan kerke sab divye mahavidhiyaon ko kheenchta hai oar jab mein stree jan ker bachane gaya hun.to mujhi se rusht ho gaya.oar jab meine use vinaye se manaya to merasara rajya mang liya.
nath aap ek saath itana vyakul kyon ho uthe?
ab mein us brhman ko kahan paunga.?bina uski thali sonche bhojan kaise karonga?nath,kya sapan ke vyhvaher ko bhi ap such manege?spansansar apne kal mein asatya hai aisa kounsa praman hai?phir diya so diya.kya sapan mein kya prataksh.
shama, maharaj.streeyon ki samaj hi kitni!
nagar mein dindhore pitva diye jaye ki rajya aaj se agyat nam gotre Brahmin ka samjhen
maharaj, ek krodhi Brahmin darvaze per khda hai.

Vishvamitre--------bol abhi tune mujhe pahchana ki nahin


mahraj, purve parichit to aap jan padhte ho
satya he re shatriyadham,tu kiyon pahchanega,are dusht bhool gaya,kalprithvi kisko daan di thi ?thar thar is dekh is ghoot ka kaosa dand bhogta hai.krodh se jaise meri dahini bhuja shap dene ko uthti hai,jati smaran ke sanskar se,bain bhuja phir se kripan grhan karna chahati hai.kahna hai meri prithvi?
isme vilamb kya hai,meine to apke agman se purve hi apna adhikar chod diya hai’
oar is maha daan ki dakshina!
jo agya ,mahamantri hazar swarnmudra abhi le auo
kya ab khazana tera hai ki mantri per hokum chalata hai.
kshama keren,kya hua,nahi to mera sharer hai

ek mahine mein dakshina nahin mili to tum per kathin brhmdand giraunga


mein brhamdand se utama nahi darata jitna satyadand se.








Act2. 57‘Then Dr. Prabhakar came like an angel, and restored his eyesight after a year’s treatment.58‘But our economic state was even worse now

ismile building

sagar ki laheren prakash noukaon ki tereh dikh rahi thi.aker kinare lagati tochaknachur ho jati.sarswati bai khidki ke pas baith ker bun rahi tji.palang per baba or mahadev neend mein has rahe the. Phalke ki ankho mein andhera tha.table per eak momebati.baher,chimni se uthta dhua chand ki or bah raha tha.gramaphone per ya to koi tilak ka bhashen ya koi sangeet.


yadi aap mavjiseth se koi sulah nahi karna chahte to aap apna chapakhana kiyon nahi kholte?bavishya ka kya hoga.akhir is hath ka kiya karan hai?
meine kaha na jis udhyog ko meine janm diya hai uski prtyogita mein nahi utrunga.
to kya karoge?
tum so jao vh janna n janna mera kertave hai.



.59As he slowly recovers his sight, he takes daily walks on the beach with his young son, Babaraya. With four annas in his pocket, he goes for his walks and returns late in the evening.60On Easter day, he sees that next to the Girgam Bank Road, at the America-India tent theaters a film is being shown, a song ankhe phir se loti to roj jeb mein 8 ana dal ker phalke samunder ke kinare ser ko jane laga. Jeb mein haath dal ker sikke ko palat raha tha, sikka baher nikal ker toss kiya or dekha jaise ki apni kismat ka andaz ker raha tha.pairon ke pass baba ka banaya ghar tha. Door samandar ke kinare ladke ball khel rahe the.baba ball ke peeche bhaga to mano samne sheshnag ke phano ke kai saamp Bhage chale aa rahe the.phalke utha or cheekha….baba. Baba peeche hata tosamandar peeche hatne laga.baba pita ki taraf dhodha .fir pita ka haath pakda, “chalo shar jayenge. Un per tra motoro ki parchayean padti. Dono nenazer uthai


Easterka din tha adhiktar bheed English or irish logo ki thi.tent ke bahar life of Christ ka poster laga tha.eak maskhra or teen ladkiyan naach ga rahe the.

                                            Baba u come near
                                            I calling u my dear
                                            If u love me I also shall
                                            Love is very universial
                                             No Indian no English
                                             U come near or hum ker le pyar


Baba or phalke ticket ki line mein lag gaye Phalke or baba mantrmughd ho ker dekh rahe the,darshak chors ke sath ga uthe jab isa ko sooli per chdaya

Phalke ne bagal mein dekha to,baba krishn ke roop mein betha mand mand muskuraraha tha. Or phir yakayak kabr ka muhn khudh b kudh khula.isa ke badan se aik alokik abha photo rahi thi.is ishverian prakash ne mano darshko ki ankhe khol di.apne ghutno ke bal gir padhe.


Film chooti.baher darshko ka saillab tha.phalke ne phir se do tickten kharidi.

Sarswati sweater bunti sagar tak rahi thi.neeche tram ke rukne ki awaz aye.4 sal ka mahadev darwaza kholne dhoda.vah pita ke pairon se lipta dada ne use pyar se uthaya.seedha ravi varma ke chitre ke samne khada huwa.baba utejit tha.

                      Mai, aaj humne hilte chalet chtre dekhe.
                      Rail,murgi eak mota admi,isa ki kahani
                      
          Sar-------            Kya dikha ker la rahe ho?
                      
           Dada-------           Kal tum khud dekh lena  













‘The Life of Christ’. 61It shows the birth, miracles, trials, sufferings, burial, resurrection and the ascension of Christ.62While the film is unspooling before his eyes, he mentally visualizes the gods, Shri Krishna, Shri Rama, their Gokul and Ayodhya63He finds himself in the grip of a strange spell. He buys another ticket and sees the film again. 64Later, Phalke meets the theatre manager, Mr. Mehta and sees the projection machine.


64Babaraya is excited and clings to his mother saying, ‘Today we saw pictures that move.’ Saraswati asks Phalke, ‘What is cinema?’ He promises to take her to see it the next day.65The next day, the whole family goes to see the picture. The hall is crowded with Christians and Europeans.

66On the way home, Phalke tells his wife that he is going to enter the picture business, and make films on Rama and Krishna. Mahadeve is asleep,head on phalke’s shoulder.baba holding mother,s hand.i want to start this business. What business? Cinema. A shiver runs through her spine.on the road a piece of film strip slips like a snake.

67The next morning he goes back to the theatre and finds a discarded strip of film.68He brings it home and studies it under a magnifying glass.69He buys a toy cinema and a piece of film from a British company.70At home that night, with a candlelight projector, he screens the film on a wall. He picks up the white sheet from the bed,tries to use it as ascreen on the wall. s----------mujhe bolo to sahi kya kar rahe ho? p----------parda taang raha hoon.charo kono per keel thok kar s-----------jab se tumne .tum ab hum sabko suli per chsdhane walle ho .lao mujhe do,mein parda si kar deti hoon

She stiches on the machine.a cndle light projecter beems the picture on the sheet








71Like a madman, at the age of 40, he is absorbed in his plan to make a picture, with no thought for the future.

Phalke sees as he has never seen before.something within him clicks as Christ shines forth a silver coin from taken afishs mouth-and like shakuntala’s king he has a blinding revelation, an lighten of consuming nature.

The life of Christ’ makes an impact,andsown the seeds of raja harishchandre. For phalke possesses acubist sight.

As ambers are fed,the flame within is ablaze,devouring him. p.works furiously,each night oil burns,as p studies and absorbs.

b-----------play with me baba s-----------listen to me, look at me r-----------you are wasting your time

               Why don’t you earn a living?
               You are going mad lunatic asylum

Sar steps back in to shadow There is no income. There is no security. Children are hungry. She is a lone B----------baba doesn’t take me for walks anymore, am I not his child still? Saraswati - Your father is a great man… and he has

                                  many children.        

Saraswati steps forth from behind the curtains. The ocean lies in between them. Saraswati, his vessel, brings forth, from darkness to light Mandakini, Ganga’s avtaar.


Meanwhile, in London, 1912

Cabourne - your knowledge and foresight impress me,

                               Mr. Phalke. I suggest you meet Mr. Hepworth, 
                              Owner of a studio, he will be able to help you        
                             With training and equipment.

Phalke -thank you Mr.Cabourne. I wish you great

                              Success with your weekly and I hope to see you        
                              Soon – but, with my films next time.     

Diary: Hepworth has been a great help. I am finally

                              Purchasing a Williamson camera, a perforator 
                          And a printing machine. I can’t wait to get back to
                          India and start!
 

b-------------------now that baba has come back from vilayat,he is always with that new machine.i can barely tell which is baba and which under that cloth. Even little mandakini gets more attention then me. I hate them both. P------------------the pea plant grows fast.iwill test my science through it and if god be willing,the Indian nation will watch,while an industy grows as fast as this. PEA PLANT GROWS For my country men I will recreate life,Indianon screen.it will be their faith and my life.,that willcome alive on the Indian screen.







72Inspite of my enthusiasm and confidence in my success, I knew very well that nobody would dare to give me the capital unless I had something tangible in hand to attract them.73So I liquidated whatever possessions I had, and directed my efforts towards this end.74My friends thought I was mad, and one of them even planned to put me in the lunatic asylum lets hurry to where to? Doctor For what? Why are you blinding youe self?at least think of your little children. Sarswati locksthe house.children remain inside.


Phalke,sarswati,er brothrin a tram.

Phalke sits harassed irritated.sars cries.


what happened?
he is above fourty.has two children to feed.so far every thing was fine.now he wants to give up every thing.take sanyas.

There is nothing wrong with me.i don’t know why this gentleman is hellbemt on proving me mad.ok,let me ask yoy,have you seen a moving picture? Atram crosses from the opposite direction.from the window,as ifthe motion cesases for a second.


MAD HOUSE Sarsvati-------I don’t know if he wants to marry one more time! all these screen mimes are riding on his head.unneccasararly getting involved in thisevil craft.it’s the second time he has lost his mind.


.75The responsibility of maintaining the family, the contemptuous treatment I received from my relatives, and above all, the lurking fear of the possible failure of my plans –


77This was the period of the Swadeshi movement, and there was profuse talking and lecturing on the subject. I took this opportunity to explain my ideas about cinema to my friends and to the leaders of the Swadeshi movement.78Even people who were familiar with me for over fifteen years considered my ideas impractical. And thus, I became a laughing-stock for them.79At last, one of my friends who had been associated with me for ten years and could vouch for my conduct, financial honesty, love for the profession and perseverance, was willing to consider me sympathetically. 85He visits his friend, Yeshwantrao Nadkarni, who runs photography and sports shop at Dhobi Talao. He tells him of his intention to set up a factory that will make Swadeshi films.86The next day, they both go to Nadkarni’s father-in-law, the solicitor Annasaheb Chitnis. Nadkarni agrees to loan Phalke the money.87To raise the rest of the money, Phalke takes out a life insurance policy for 12,000 rupees.81I was able to get that limited amount of money at an exorbitant rate of interest, and willingly signed an agreement that was very favorable to the moneylenders SPORTS AND PHOTO SHOP NADKARNI-----------25 hazar to mein nahi de sakata,kintu mere pas 10 hazar hain.anubandh tayeyar hai. p--------------------------baki 15 hazar ? n--------------------------tumahare pas girvvi rakh wane ke liye kuch hai? p----------------------------stri ke abhushan to fook chukka hoon,han,aik bema ke kakaz hain. n----------------------kitne ke? p--------------------15…..20 n---------------------chalo samjho kaam ban gaya.tum jane ki taiyari shuru kar do.


.191288He then buys a ticket to England from Thomas Cook, and on 1 February 1912, Phalke sets sail for England.89Back home, on 3 February 1912, his daughter, Mandakini, is born.

Ship Sea ,waves,like serpant hoods.on the horizon tiny Krishna dancing on the heads of the waves.phalke wakes up from the thought……he started writing a letter, shrimatiji,kal savere mein England pahunch jaunga , mandakini ke janm per aapko mubarak.vah hamari asha hain.meine apani hath dharamita ki wajah se ap sabko kafi kasht pahuchaye hain.apni kunthao ke karan bachon ko bhi dukh diya hai.uska mujhe khed hai.


Act 2 LONDON It is snowing90Seeking a vegetarian diet, Phalke locates a ho.91He reaches the offices of the ‘Bioscope’, a cinema weekly, next to Piccadilly Circus. At first, Mr. Cabourne, the manager, tries to dissuade Phalke from taking up the profession. But when I had explained to him how I had anticipated difficulties and also my plans for overcoming them, he was distinctly pleased. Promptly, he telephoned the manager of the Hepworth Cinema Company, some thirty to thirty-five miles from London, and arranged for me to see the factory in detail.92Eager to test his theories against the actual practice of filmmaking, Phalke visits the Hepworth studios and observes their shooting methods.94Then, on the recommendation of Mr. Hepworth, Phalke buys a Williamson camera for 50 pounds sterling and a printing and perforating machine.

95Once home, the precious camera is guarded jealously from the children by Phalke’s wife, Saraswati. The camera is mounted before a pot of earth.96Phalke works out the mechanism of intermittent photography, and shoots a capsule history of the growth of a pea plant into a pea-laden plant.

DADAR As he took the dish down from the loft, brushing cobwebs away from his face, Sarswati’s voice climbed the stair .now what are you doing? You shall pull every thing down and then go away…I shall have to tidy up. He held the platter in both hands, gauging the size and weight of it. He would need to bore a small hole in its side for water to drain out. ``````` He finishes dressing, winds his watch, tuck into his waistcoat pocket and carry his shoes down with him.

CAFÉ He looks at the mirror on the wall, it reflects a scene out of the pit, bare bodies luminous with sweat close to the food simmering on coal burning stoves, orange flames leaping up. Salunke was there, squatting on his haunches, shoulders moving in a circular rhythm as he grounds the batter for the dosa. Phalke slides a coin under his undrunk cup of tea

FALKLAND ROAD Two pimps against the café wall look him over…Foul dog! Comes here to stare at a boy! From the balconies, whores lean, screaming his name, pelting him with groundnut shell. A group of grinning prostitutes barred his way. The streets open, the houses are unlit except for single oil –a lamp burning at the doorsteps .He hears the faint notes of a harmonium, a low-pitched voice begins an alaap for yaman. A roar of the cloth-mill, a clatter of horse’s hooves forces him to step aside, splash his clothes with the slush. They plunge down the narrow street, yelling for the whores to come out of their cages.

Fatima’s house The house had no lamp at the entrance. Fatima emerged, her gait quick and graceful, hands held out in greeting. I saw him today TOO but how to ask him. I have been coming to this place almost for four months. I can’t get a single women to act. If my wife knew where I am going, if my friends knew… HER eyes were her sole claim to beauty ,pale brown in the afternoons.

Dadar phalke`S house He sprinkled water over the surface, removing shards of white shell. He had to find a place for the platter, it needed light and air. The platter is taken to the terrace. Bombay chimneys rising to the sky. DEVDUT Devs voice had broken late, something that had worried him immensely. His girlish sopano. Dada would make him sing at the height note. bass unexpectedly cracking into a comical girlish squawk .on his 17 birth day, he `had lost his voice completely. Mandakini dosed him with ginger and honey; wound a slick scarf around his neck. One morning a deep voice calling out mai

Dadar Baba is reading the English newspaper. Dada asks him to read, has that gujrati lawyer been arrested again in South Africa? Baba was more interested in cricket and sar in her money matters, trade news. Dada with his glasses in film adds.

Kamala a picture post card The asura king had almost asked for it.He`d had specified too many condition—he could be killed neither by man or beast,not at niggt or day,neither inside the house or out side,not on the earth nor sky

YOU’shall becursed….she snaps,snatghes the comb away,dragging her indoors, he was taller than any other boy she knew. She stands on the door-step,face freshly washed with turmeric and gram flour,opaque black eyes lined with kohl,combing out her wavy hair.She spots the the tall thin boy walking down the road,head slightly bent,books in hand dressed in an English coat and whit dhoti,black cap on the head.

Kamalapeeps at him from behind the curtain.my sisters daughter..

Phalkes father glances her briefly and then continues talking   

He comes to her house with his father ,silent while conversatin flows around him.Her uncle shoots a question at him.He iS leaving For Baroda,to join Kalabhavan,to do a cource in fine arts. She opens the flap,discovers she was looking at her self.when had he seen like this?AND A LETTER.


She wakes up startled.There is a banging at her door.Kamala,its me,open the window.And there he was,laughing,perched dangerously.PARALYZED BY EMOTION,she makes her Way back to her bed,shaken .Go away some one will come.Say you love me first.he laughed..She ran to the window and slamed it shut in his face.she could hear him out side chuckling.

Her mother comes to her as she is rolling out the cotton wicks. “ You will be leaving us soon”.SHE Smiles AND lays soft hand on Kamala head“where am igoing?Mother, “Where every girl must go in the end,to her husbands place.There family may not be rich but they’are a few rungs above ours in cast.The boy is only an artist.But your uncle has agreed.

DADAR.PEA PLANT… He had the green-pea ready between finger and thumb. He pressed down into the mud, going down almost an inch, a neat cylindrical hole. He dropped the soaked seed in and covered it up, carried the platter onto the table. The sun streamed into the room, the light was superb. He picked up the five-pound movie camera he’d bought in London. Draper had been so helpful… He squatted down low, keeping the table at eye level. He wound the tripod down till he got it at the same level and fixed the camera on it. Sixteen frames a second- he had to keep count as he cranked. Through the lens, across the rim of the platter, the view looked like the surface of the earth- a barren landscape. He shot one set of sixteen, shut the lens and put the camera down, picked up the platter and walked upstairs to the terrace.

Baroda. He had found something that consumed all his thoughts – the photographic studio. He had stumbled upon it one afternoon while he was on his way to the library. He heard a woman laugh something rarely heard in these corridors. Phalke glanced in the direction of the sound and found himself looking into a half open door. It was dark inside the room. Someone yelled, “Shut that door for bloody gott’s sake!” A German accent. A laughing woman came out and banged the door after her. “Fatima!” She stopped stared and started burst out laughing again. “You!” what are you doing here? When did you leave Trymbakeshwar?” “Years and years ago. I teach here, started just a few days ago. Fatima glanced at him and giggled, “Lost again! Those trances still bothering you Maharaj?” “What are you doing here?” She came close and whispered, “I’m a bad woman, Phalke ,I take off my clothes for money!” “What!” He was scandalized. “You’re an artist’s model? Fatima, what’s wrong with you, can’t you find a descent job, get married? What happened to that fellow in Nasik?” She bared her small teeth in what was meant to be a smile. “Descent job! Fellow in Nasik!” He caught a flash of tears and fell silent. “What were you doing in here anyway?” “Oh that modeling, you know. But this doesn’t take as long as a painting. It’s photography. A mere two or three minutes and I can go. And the man only wants to do my face, so I can keep my clothes on. Pay’s the same, though.”




97He shows the film to friends and financiers with the help of Seth Umashankar, owner of an electrical shop at Kalbadevi. Solicitor Chitnis and Yeshwantrao Nadkarni congratulate Phalke on his success.98Phalke looks for a subject for his first feature film, and decides to make ‘Raja Harischandra’


main paisa lagane ko taiyarhoon.picture na sahi,parde ka kapada to bikega.
hum apni kahaniyon ka soot kategn.
mera bijali ka vyapar or ye andhere or ujale ka beejganit.
phalke tumeh yaad hai jab tumhari drishti chali gayi thi?sabse goodh baat yeh hai ki vah maya jall uski pariksha hetu racha gaya tha.or antim pariksha apni stree ko nagan hote dekhna.use shuru se paa hai suli per chadna hai.





. 100So I advertised. ‘Wanted, fair looking actors’101The very next day, a man came to me with this new advertisement in his hand. His normal complexion was very dark, which could at best be improved to bluish after soaping the face. And this blue-black person told me he had enacted the role of Mahashveta, the lady in white, in ‘Shapa Shambhrama’ for a famous company! 102 After two hours descended another gem of an actor. They were an ugly lot, with gloomy faces, visible protruding teeth, with malformed eyes and noses, with hollow cheeks scarred with pox i.e. faces which were created by the god Brahma at the end of the working day, when he had run out of material. Oh India, what a terrible state you are in!

105So I advertised. ‘Wanted, fair looking actors’ To my surprise, most of the applicants flocking to my door were ignorant even of the meaning of the word ‘good looking’ The very next day, a man came to me with this new advertisement in his hand. His normal complexion was very dark, which could at best be improved to bluish after soaping the face. And this blue-black person told me he had enacted the role of Mahashveta, the lady in white, in ‘Shapa Shambhrama’ for a famous company! After two hours descended another gem of an actor .He gave an impression of looking at the boxes in the inner room while he was talking face to face with me of his experience of acting. In an afternoon, a man with a 40-inch waistline came to claim the role of Taramati in my ‘Harischandra’. As if this person, who looked like a woman in the advanced stages of pregnancy, or even as a walking advertisement for some health tonic, was the power actor to portray the character of Taramati, an unfortunate, dejected and resigned person. They were an ugly lot, with gloomy faces, visible protruding teeth, with malformed eyes and noses, with hollow cheeks scarred with pox i.e. faces which were created by the god Brahma at the end of the working day, when he had run out of material .Oh India, what a terrible state you are Sometimes, some candidates used typical womanish expressions as refrains while describing their acting experience, in order to prove that they had been portraying female characters. I was even scared that one of them would put his arms around me in embrace!

106The truth dawned on me when I looked at a mirror in a betel leaf Any man chewing betel leaf in front of a shop would look at the shop mirror and indulge in a play of his eyes Only when he is convinced, after seeing from all angles, that there is not the slightest flaw in his total appearance will he move off with a smile of content.107In India herself, there will be 30 x 2 crore mirrors. But how many faces will there be which can really grace these mirrors, and how many of these are likely to come to my films?

108Even the women of the red-light areas are reluctant to work in the film. Per dekh babu hum log nachne gane wali hain.per kisi ke samne kapde nahin utarengi.hum ticketvallian nahin.izzat se rahati hain.tamasha banana hai to apni ghar walli ka bana.




109Finally one day, in a restaurant at Grant Road, he notices a young man at work, Salunke, a cook with delicate features and slender hands. Phalke asks him how much is making as a cook. ‘Five rupees a month’, Salunke replies, ‘I will give you fifteen to act in my film. So Salunke is hired to play the role of Taramati in ‘Raja Harischandra’.


acting karoge
han
yhan kiya milta hai/
char rupiya .
barah rupiya or khana peena rahna saath mein.

1912 – THE MAKING OF RAJA HARISCHANDRA


110Kashi is staged in Trymbakeshwar.The whole unit lives there like a family. Phalke’s wife Saraswati looks after them. Shooting by day and developing by night, the work progresses. PHOTOGRAPHY AND DIRECTION111The outdoor scenes are shot at a village on the Pune railway line. The villagers mistake the actor’s words for the real thing. s------------stand still, babaraya, let me dress you, so you look like rohit B------------o! Mother, how I hate this scene where I am being sold. baba is so strict and I always go wrong. p------------rohit ,your gesture is too stiff, live the part you are playing, steps back and watches as phalke puts his heart into the disrobing of Tara mati HARISHCHANDRA Hai,is kusamye mein aarya putre ki kaun stuti karta hai? Priy dheeraj rakho!yeh rone ka samay nahin.dekho savera hua chahta hai.aisa n ho koi aa jaye or hum logon ko jaan le.or aik matre lajja bachi hai or vh bhi chali jaye .chaliye kaleje per sil bandh ker rohitashvy ki kriya Karen.or adha kafan hame do.

Nath!mere paas to aik bhi kpada nahin.apna aanchal phad ker ise lappet lai hoon.isme se bhi adha de doongi to yeh khula raha jayega. Hai ,chakrevati ke putre ko kafan bhi nahin milta

Adhe gaz ke kapde ke liye mera dharma n chuda.adha kapda phad de.








S-----------I wonder why a chill passes down my spine

She pulls her sari tightly around herself and goes back to prepare for the next shot.


112Requiring a dancer for one sequence, Phalke trains and hires a dancing girl. But her patron arrives and forcefully takes the girl away.113Saraswatibai, shy of appearing on the screen, refuses to play the Nati.114‘Raja Harischandra’ is completed.

21 April 1913, 6. 45 p.m. 116Mandakini has been left at home with a high fever.115A charity show of ‘Raja Harischandra’ is being held for the Catholic Hospital at Olympia Theatre. Everybody present knows that they are watching history being made.117At the end of the show, a jam-packed house gives a standing ovation to the modest unpretentious pioneer of the Swadeshi film, DG Phalke. 118‘Raja Harischandra” receives fantastic publicity in the manufacturing papers in India.119The reason why Harishchandra failed to draw crowd in suratWaas that the famous wakaner theatre group was staging plays in surat ‘our town is commercial to the bone. Everybody here means business. Look at what wakener people are doing? They charge two annas for six hours of entertainment. This film of yours is too expensive to see. Start charging two paisa per show. Or make it a longer show. Phalke ignored the advice See fifty thousand pictures in two annas .don’t miss your chance to see the wonderful pictures which are two miles three-inch in size It worked120Phalke travels everywhere with the film, and meets Baburao and Anandrao Painter, who are exhibitors of the film. THEY are dreaming of an indigenous camera.


3rd October 1913

121Phalke Films shifts to Nasik to set up the studio. Rents How dacha Bangla, an outhouse in Phule Market, from Balakrishna Dadajee Vaidya, a Gujarati landlord, for seventy-five rupees a month. 122The Chitakarshak Theatre Company owned by Rambhau Daji Gokhale visits Nasik with their Shakespeare plays. Dadasaheb invites their actresses Kamlabai and her mother Durgabai to act in ‘Mohini Bhasmasur122At night Saraswatibai, Phalke’s wife, perforates and develops the film, and by day plays the role of cook and mother to the unit.123Neelkanth, Phalke’s fourth child, is born. ‘Mohini Bhasmasur’ gets a fantastic reception all over India. He continues to correspond with Mr. Cabourne of ‘The Bioscope’, London, and thinks about upgrading his equipment.

124Accordingly, on 1 August 1940, Phalke sets sail for London on a German liner. On the ship he misses his family and writes a letter asking them to forgive him for being an uncaring father.125 3 days later, the Second World War breaks out.126He reaches London and arranges for trade shows to be held of his film with the help of Mr. Cabourne.127He receives an order for 200 prints of his film from Warner Bros. and Vitaphone128The Hepworth factory offers him a partnership to make Indian films in England. Phalke refuses, believing that Swadeshi films must be made with indigenous resources and money. He goes about placing orders for the latest equipment and raw materials.129While it is business as usual in England, in India, the war panic is on.130His financier has stopped paying any salaries to his workers.131It is Saraswati who, in Dada’s absence, skillfully avoids the total shut down of the studio and the dismissal of all the trained staff by pleading with the financier to wait till her husband returns.132Empty-handed, Phalke returns to India.133, the orthodox Nasik Brahmins insist that he perform prayaschit since he has crossed the seas.134With great difficulty he manages to convince his financier to offload his equipment when the ship arrives in port.135But troubles never come singly. His photographer falls sick136His electrician dies of cholera. His generator falls to pieces.138His manager is falsely implicated by the police in a case.139In spite of all these setbacks, he collects petty funds from various sources and starts to work on the film, ‘The Life of Shriyal’. 140But the actor playing King Shriyal falls sick, and the actress playing the role of Chaguna sprains her ankle.141Once again, Saraswatibai comes to his rescue. She offers to play the role of Chaguna on two conditions – that her name will not be publicized, and that Phalke himself should play Shriyal. The child Chilaya is to be played by theirs eldest son, sarswati-----------kya mein chaguma ka abhinya nahi ker sakti.aap to parde per machis ki nirjive teeliyon senritya karva sakte hain, phir mein to eak insane hoon.

Parmatama tumhe dirgh ayu banayen,or mein to keval mangal sutre se santusht hoon.mein koi abhushan nahi chahti.






Bhalchandra.142But ‘The Life of Shriyal’ has to be abandoned. Phalke is on the verge of despair.

142Phalke advertises for loans and funds, but there is no response. 143He contacts Lokmanya Tilak for help in his Swadeshi film movement. Tilak immediately agrees to arrange for the loan through the Paisa Fund Scheme, but it fails.144Phalke issues another circular for funds in which he appeals, ‘Do not let this institution die.’145He meets various heads of state for funds.146The princess of Indore gives him five thousand rupees, through Shrimant Talcherkar Mamasaheb.147Another child, 148Phalke is invited to deliver a lecture to the workers in the factory of Laxmanrao Kirloskar. One worker, overwhelmed by tears, touches his feet and says, ‘You showed us the moving image.’ At the station, a man sells mechanical toys, calling these moving images ‘Phalke for four annas’. Prabhakar is born.

153The United States enters the war. A revolution takes place in Russia. Phalke starts shooting ‘Lanka Dahan’. 154During the shooting, men dressed as monkeys lose their way to the shooting location. Passing villagers mistake them for real gods and the people worship them. Phalke suspends his four children by wires to give perspective to the flight of Hanuman in the film. 149Nothing could stop Hanuman. On the horizon, he could see Lanka. As he approached the city, he changed back to his normal size. Once in Lanka, he set out to find Sita. 150whereabouts. Then he saw a grove of trees. Beneath one of the trees was the most beautiful woman Hanuman had ever seen. She was crying and repeating, "Rama, Rama. I have found her," Hanuman declared. "Lord Rama will be so happy." Hanuman looked around. He noticed that Sita was surrounded by many she-demons. Just as Hanuman was about approach her, he saw Ravana coming. The king of Lanka was sat on the ground next to Sita. He was saying, "Sita, come with me. Come live in my palace. I will make you my queen. You can have anything you wish. "Hanuman hid from view. Sita spoke: "How dare you speak to me this way. You have kidnapped me. I am Rama's wife, King Janaka's daughter. Rama will come for me. He will rescue meand kill you and all you demons. If you let me go, I will try to spare your life." Ravana seemed hurt by Sita's words. Anger and sorrow filled Ravana's heart. He knew at that moment he would never have Sita. "Then you shall remain here," he said as he turned away. Hanuman did not move a muscle. He waited and waited. The she-demons guarding Sita were getting tired. One by one they fell asleep. Here was his chance to speak to Sita. Hanuman approached her and knelt at her feet. “Do not fear. I am Hanuman, Rama's servant and messenger. He has sent me to find you. He cries for your return.” “How do I know you are telling me the truth? You may be just another demon in disguise." Sita said. Hanuman reached into his pocket and removed Rama's ring. "Here," he said, "This should prove that Rama has sent me." Sita pressed her hands to her face and cried. "I am sorry I doubted you. Go to Rama and tell him where I am. Tell him I will wait for him to save me." Sita gave Hanuman a jewel. "Here. Take this to my lord as proof of my love." Suddenly the demons awoke. They attacked Hanuman. He killed them with ease. Hanuman was finally taken to the palace. Ravana ordered him killed. One of Ravana's wise men reminded the king, "It is not permitted to kill a messenger.” Then we shall punish him. Set his tail on fire. Let him return home that way," Ravana declared. As the king's men wrapped Hanuman's tail in cloth to set it on fire he grew it Longer and longer. The more they wrapped, the longer Hanuman grew his tail. Finally, Ravana ordered, "Set it on fire!" cried Ravana. With his long tail on fire, Hanuman flew into the sky. He decided to set the city of Lanka ablaze to punish Ravana. He flew low over the city and set each building, temple, palace and garden on fire. Flames shot high into the sky. As he flew over Asoka garden he made sure Sita was safe. Then before he headed home, he put his tail in the ocean to put out the fire.

155‘Lanka Dahan’ is a thumping success156The receipts from sales have to be carried away in a bullock-cart guarded by the police.

With the help of Manmohandas Ramjee and Ratanseth Tata, Tilak decides to set up a private film company for Phalke.160Phalke finally accepts an offer from the industrialists of Bombay, who are brokers. Phalke Films is incorporated into the Hindustan Film Company, with Phalke as working partner, and VS Apte, Mayashankar Bhatt, LB Phatak, Madhavjee Jaisingh, and Gokuldas Damodardas as financing partners.161Phalke gives up Western dress and takes to wearing a dhoti andkameez.162Srikrishna, his sixth child, is born. Inspired, Phalke decides to make ‘Sri Krishna Janam’. 163After this, Phalke decides to make ‘Kaliya Mardan’ with his daughter Mandakini in the role of the mischievous child-god, Krishna. s 164The shooting begins One day, during the shooting, Mandakini is making faces at herself in the mirror. Dada sees her and slaps her face. The apparatus with the glass tank for the trick photography showing the serpent in the water explodes, injuring Dada in the leg.166. When Krishna leaves home, Mandakini gets carried away and sheds real tears.167During the shoot one day, she falls into the water, but refuses to allow her father to pack up. 168When it is finally released, ‘Kaliya Mardan’ is a huge success.

169It is an idyllic time, and they all live together like one big happy family. But the happiness is short-lived. Differences soon crop up between Phalke and his partners.170To meet the demand for 36 prints, he goes to Bombay to buy another printer. But the regional office of the Hindustan Film Company declines to pay the bill.171Without Phalke’s knowledge, negatives are sent to America with Bhogilal Dave, nephew of his partnerMayashankarBhatt.172When he returns to Nasik, Phalke finds that an American householder has been appointed as Studio Manager for the princely sum of Rs. 1700 a month.173Phalke wants to leave the film company, but he is under contract for fifteen years. If he leaves he has to indemnify the loss to the tune of fifty thousand rupees. But he leaves.

182Eating off old gold, lodging at Agrechiwadi, paranoid, in tatters, Dadasaheb ties 5 knots in his dhoti, one for each child. Then he takes the dhoti and burns it to ashes and draws a circle around the children with the ash.183A Marathi journalist, Achyut Balwant Kolhatkar, writes an open letter to Phalke in his paper Sandesh, requesting him to come back and make more films. Phalke says, at the end of his reply, ‘Dadasaheb Phalke is dead.’ In a scoop in Sandesh, Kolhatkar headlines this letter ‘Dadasaheb Phalke Dead’ and publishes it prominently. The letter causes a sensation throughout Maharashtra. Hundreds of his admirers write letters to Phalke requesting him to stage a comeback in cinema. 75He begins to write a play, ‘Rangabhoomi’, about his own life. To keep him company, Kirloskar Music Company’s Master Manohar Barve, the company’s owner, Bapuji Majumdar, Prof. Ganpatrao and the famous storywriter Narayan Hari Apte, sit for hours in Phalke’s home and discuss art. Stage per bahut se patre makeup ker rahen hai. Dadi munchen chipkane mein lage hai.kuch log munh per powder pot rahen hai.aourton ka kam karne walli sadi bandhva rahi hai.aik tamdore ka tar kas raha hai.do teen chai peene mein magan hai.aik bhikshuk stree dhumre paan ker rahi hai.aik raja machi jala ker uski ciggerete jala raha hai.jahan tahan arajkta or masti hai.teesri ghanti bajte hi parda neeche uthta hai. Tabhi company ka malik sangeet rao achanak theater mein pravesh karta hai.yatra ki poshak pahane aik haath mein hand bag or dusre mein over coat hai.peachy hamal ser per holdall utha ker. Sangeet rao parda kheenchta hai,bhadkta hai.


ganpati kheencho ooper

aik dum upper jane do.(kalakar use parda neeche lane ko kahate hain.)


neeche nahin.paper mein ad ke mutabik barober sadhe aath baje parda upper jana chahiye.bilkul right time.8.30 sharp.

Actor-----hume kames kam das minute…. Sangitrao----never Bikshuk stree----sutredhar ke pravesh ki taiyari mein paanch minute hai. Sangeet---------wont do Sutradhar-------thoda baki hai,tambore ki taar bhi chadhani hai. Sangeet---------nahin mangta Aik actor-------do minute mein moonch chipka leta hun.nahin to char logo mein hansi ho jayegi. Sangeet----------zaroor honi chahiye Doosra----------jaisi aapki marzi. Man apman vegyehra jo gupt bate hain,prakashit nahin honi chahiye.aisa shastre kahate hain.aayushye grih…. Sangeet-------aisi kahavte mujhe senkadon aati hain.tum log tamasha bano aisi mert ischa nahin.kyon ki tumhara tamasha mano mera hi tamasha hoga.or her vakt tumhara kuch n kuch rona hai.bade bade actor tayaar hai…kintu yeh chiler piller,lakhu!TUAB TAK TAiYAR KYON NAHINhua Bhelu……main batata hun main taiyar kyon nahin hua.ise ham logo ne abhi neend se jagaya hai.makeup room mein ,gate ke samne.


hume kames kam das minute.
never
vishvamitre nahin aye hain abhi tak.

Sangit rao ka dhyan upper choli aurneeche chadi pahane actor ki taraf jata hai.


annaji!abhi tak aap aise hi.
meri sadi gopiya ne pahani thi.

Gopiya------galti se pahan li thi saheb.lekin kafi pahle louta di thi. Sangeet------pahale batao ki makeup room chod ker stage per kyon kapde badal rahe ho Actor------vhan paseena hai.badan kapde sab bheeg gaye. Sangeet----theater nahin tabela lagta hai.phir bhi baki se theek hai.ab ad gaye tokarna hi padega.do char show karna hai bus.humare manager nahin dikh rahe. Prbhaker-----wo makeup room mein chivda khate baithe hain.


aur secretary bhikhaji panth kya ker rahen hain.
wo us kone mein venu kosadi pahana rahen hai aur gudguda rahen hain.

Ramu---- aur uski pappi le rahe hai.chillata hai to uski jeb mein aik paisa dal deta hai.mujhe bhi isi tarah karte hai. Sangeetrao-----pant….aji bheekaji pant…nana….aji bhikaji nana,ye manajment hai ya sangeet rao ki izzat ka phaluda.ap per poora theater soup ker 2…3 dinke liye bahar kya gaya ki sab gadbad ker diya.badi himmat dikhate the mere bina theatre chlane ki.(tabhiaik nauker kerte huia aik chithi deta hai)kya kahne?itna prem ki abhi isi vakt milna hai.aur vh bhi s parivar .mitre prem.ye do pass unke ser per patak aa.(doosra nauker daudta hua pairon per gir padta hai.)once more supplying company.nahin chahiye bhade ki taliyan.nahin chahiye bhade ke revew.dharmarth khelyachak samaj.bahut khoob hamara natak dharmarth ka karkhana nahin hai. Ab kya chahiye?


saab koi bahar……
ja ker kaho sangeet rao ko 150 degree bukhar hai.sutredhar!badopant khdopant.kamer per haath rakhe vithoba ban ker kyon khade ho?

Khadopant------sahab aaj iska phaisla hona hi chahiye


kaisa phaisla
natak mein pahle kise poja jaye
palankrta Vishnu ki.kintu badopant ko Vishnu per prem aaya hai.

Sangit rao-----aaya hoga,kintu aaj kvi ne deviji ki prathna likhi hai Badopant------saheb mujhe maaf ker deejiye,main apne shanker ka apman nahin sah sakta.mahadev yadi krodhit huae to sare brahmand ko bhasm ker denge. Khadopant----ab aap hi bataye,shast anusar Vishnu se …..


saheb,natak mein ghusa ye kal ka chokra,main pichle barah saal se hava deti dasi ka kaam ker ke is pad per pahuncha hu

jab tak ye meri baat nahi manega main is jodi mein kaam nahin karunga.


ye hoga anubhvi sahib,lakin keval stree patre mein.mujhe kareeb teen saal hogaye ,baees bar raja bana hoon,no time rani,bara bar dasi.char bar khoon kiya,no bar daga baji se mara.chalees time ladai me kaam aaya.teen bar judge,do bar shankaracharya aur aik bar to lokmaniya tilak bhi bana

sangeetrao-----shabas veeron,in jhagde fasado,vaad vivado se to pahle hi hum gart me gaye hai.kisishant jagah ja ker paisla karo ki kaun shresht hai.get out.(bahut se kalakar jane lagte hai) main aaj nai tarah se mangla archana arounga,rangdevi! Aik ladka-----saheb ,wo upri manjil per baith ker ro rahi hai,teen dino tak choona mana hai. Sangeet-----sada shive aur nati ,na chuna. Mein to jhamele mein pad gaya.


uske ghar se khat aaya hai…..kisi ke marne ka.
theek hai ab mein aap ka jyada wakt nahin loonga.

Madhuri---mat lijiye,ye dekhiye,main hoon yahan,aap agya dijeeye aur ashirvad,main mangalacharan karoongi. Sangeet----achi ardhagini ho tum.lekin jo kaam tum ne nahin kiyaphir kaise.


kaise?hero heroine ke naraz hote hi aik film nirmata ne nirjeeve vastuon ko nacha ker kis tarah se lok manoranjan kiya tha?aur main to aapki sajeeve ardhagini hui mujhe to ye kaam jamna hi chahiye
shabas parmatma tumahri madad kare.ye kakaz lo aur padte padte vidhyahran ke pahale pad ki chal lagaker gana shuru kro.
kya brhamdev ki stuti ascharye hai!is mein ascharye kya.us vishkarma ko inventor ko prasann ker lena chahiye.
mahadev Vishnu ganpati dattatraye jaise bhagwanon ko chod ker..ganpati dattatye in jaise bhagvan ko chod ker pushker teerthe meinaik kone me pade brhamdev ki pooja karna thoda chamtkari lagta hai.
chamatkari.priye ho jao shuru(peeche se aawaze aane lagti hain.humari pagar do,)koi baat nahin, main akela hi bhagvan ki kripa senai natya srishti ka srijan karunga.duniya ko aschariya mein dal doonga.manushya ka saath n mila to nirjeevon mein pran fookunga.-

………nath jmain kya bolu tujheaisi aap ki marzi (vah aursangeetkar stage ke beech ja ker khade hote hain.) sangeet------ganpati, mahal ka parda inke peeche aane do,phir jangal ka parda aane do(pagar do,pagar do)


koi baat nahi,jab tak yeh sangeetrao jeevit hai,kala ka apmaan nahin hone dega.bhagvan ki kripa se akela hi nai natya srishti ka nirman karoongan.nirjeve mein pran phook ker,keval adbhut aur ramniya drishyon se duniya ko aschariya mein dal doonga.madhuri mere khilaaf sazish hone ki sambhavana hai,tum andar jaker savdhani se khadi raho.



Main kya bolo tujhe.swadesh ke liye pran dene ko taiyaar hoon,swadesh matblab mera pran.mujhe kitni bar sapne me aaya ki mujhe moonche aaye hain.mein bada ho gaya hoon.mai chat per Gandhi topi pahan ker khada hoon.taliyon ke beech bhashan deta hoon.lokmanya meri jai jai kar ker rahe hain. Kyon re swaraj milne ke baad kahate hai ki angrezi pustakon ki kit kit khatam hogi?mujhe wo spelling,wo uchaar,aur wo arth Aur wo maar aur wo schadi Kab wo din aayega Kab ishver prasan hoga



Sangeetrao------shabas mere herculis shabas,mere bhimsen shabaash.ek dhake se 5 mala building girasakte ho.kyon popat tum mujhe pune ke lagte ho.tumhare baba naukri ti karte hai ya koi swatantra dandha?


naukri ko baba laat marte hain.teen sal se roz lat marte hai.bolte hai bheekh mang ya to hamali ker.main khane ko saaf nahin daloonga suver ki aulad
kitne bhai bhan ho
bharpoor hain,single double aur special.
matlab?
hum teen bhai aur paanch bahene jiske aath single aur kal hi ma kejudva yani double.
hari hari .tumhe naukeri mili to tum kya karoge?
bheekh mangooga per naukri nahin karoonga.aji ye desh isi vajah se dooba hai.aisa baba kahte hain.



Sangeetrao-----anuraag kakaz ka phool kitna bhi sunder ho vo manko nahin bhata vo nirjeeve hai vhneeras hai.usme abhinaye ki shakti nahin.vahi kisi upvan me jao aur shakha pe lage pushp ko dekho,hava ke jhonke se jaise man dolle.tumhari taraf dekh ker khoob hansege….jaise abhinay ho Anurag--------aise vaicharik ko kaun pagal kahega? Madhuri bhabhi,aap chinta kyon karti hain?dekhiye me bhi inki tarha gungunane laga.


gungunao behosh hoker gungunao
profeser saheb ab ye bolna band madhuri bhabhi ko pareshani hoti hai
main ab kuch n bolu …theek hai sur pakdo…na bolu na bolu

…….ab aap band bhi kijeeye,varna mujhe maryada chodni padegi.anuraag tum kala ko ghar chod aao. Anuraag--------kalavati gharchalenge na?


mujhe aap se kuch kahna hai.mujhe to inki prakriti ke bare mein chinta hai.inka sir bigda hai aisa kahate hai
ye jhoot hai
kintu is ati vichar se kisi ka kya bhala hoga.



Taleem master Vigyapan mein likha tha arzbar aur gore varn,kintu ise baitha ker nhalane baithe to syahi ka karkhana zaroor khul sakta hai. Aap kahan se Company ka nam Nam nahi bata sakta kyonki company ne nav bar naam badla hai aur aaj hi subha dasva naam rakha hai’


Mainchar maheno se ghar me baitha hoon.pahle jagat natak mein tha per vahan ke malik se pati nahin.malik ki aadat chamatkari thi.mere swabhave se bilkul alag.me hansu to ve rowe.

Main ak nut hoon.baal subhdra ka natak dekhne ke baad hamne taye kiya ki hum bhi vridh subhdra ka role khelenge.ak ischa hai ki ak ameer company hum budhon ka khel khelen.

Aap garg muni ki bhoomika lete honge Chi main subhdra hun Aap kaun? Tailer .upto date tailer, urdu or gujrati company ka darji.tumhara raja log ka dress humko bilkul kangal lagta.main naya dress bana ker laya hoon.vilayti kaschi ne jhaler ,cham cham karti bijli ki battiyan ,baju me batan.pariyon ka……


Tu kahan se Ghar se Kabhi natak me kaam kiya Club me scool me ganpati ke utsave me,

Aap Bhikshuk,janeu tayar karke pet bharna nahin,socha baithe baithe koi manager ka post milega to dekhenge.sab dukan chn ker thk gaya,phir vichar aaya ki chehra shastr virudh ,per company ke manager me kya Me aaj se do saal phale cinema company me tha,mere haath me film ka tukda tha.mujh se poocha cinema ke parde per ye chize hilti dulti dikhti hai,phir isme kyon nahin


Madhuri

Suron ke charn ka zikre ker rahi ho Are nahin,suron ke charan kyon hua Acha ab me ak pad bolta hun Sari yade meri aisi ho Ki adhik hote hote Ak doosre ko mar mite Ye kavita sun ker main sukh ke path se door ho rahi hun Mainvahan se shuru karunga jahan sukh ke pad khatam ho Besur vilayti kitaben gudgobar ke godam ki Naam n lena jab tak swaraj n aaya Kala koshal nahin lesakta swaraj kasthan. Apradhi kaun bhala Ab mujhe theek se n pata Chaandal aur brahmin ak hain pata Ho gai Sanskrit bilkul lapata


Daudte ki sur me.rote kis sur me.scheekte kis sur me.aur kis sur me kharrante lete ho Ab kahenge mere bhadkne ka sur nikal

Din pratidin inke sangeet au r natak ka pagalpan badta ja raha hai .aur hukm hua hai ki meri kharrato ka notation karke rakho.ab ye kis sur me kharratn lete hai,kitni matra me late hai,sur hai ki besur.kya bolu mera sir.sargam me nahin bandha to kahenge mere bhadkne ka notation nikaal.

Compny ko rang dene walla rang devta bahar gaya hua hai.mere pass aye ho to me bhi bahar gaya hua hun ,haste kya ho,main khud bol raha hoon.main bahar gaya hoon,kal aao dakshina ke taur per ak adh tickit bhi doonga. Sangeet rao pagal ho chukka hai.

Her her mahadeva,ye sangeetrao ki adhogati,aur iske chehre per viyog janya actingnahi dikhti.are chitro jaisi dammi jaisi.

Ye wakt tumahra nahi,ye wakt vasa nahi ki khin bher khadi ho jao.ser neeche ker ak aah bharo.meri aur aanso bher aankhon se dekho.aankhe aadhi band karo ,chyan rahe prasag viyog ka hai.pad jaise hi samapt hua gale lagne ka hai.


MAIN KAUN HOON? Bharat ki tees krod ki aabadi me ak or sankya jodne walla baap,ak patni ka pati.bharat varsh ka aisa das jisne matra boomi ka karz ada nahi kiya.sahukaaron ki ischaon ka shikar vyakti.kabhi kabhi main un anubandho ki prakrti ko prkat karna chahta hunkijis ke karan meri sari ummido aur aakanksha nirartak ho gai.ise me anivare samajhta hun ki main apne sahayogi kalakaar ko yeh tathye ujagar karu ki hum jase gareeb aur zarorat mand kalakar vyarth me dhokha kha jate hai.aise anuband vedhy hai ya Kaun hu main,mane apna kuch bhi ho iska dava chod diya hai,sukh or dukh ki avdharna tyag di hai.

Lekin kyon nahin meri patni manch…. Vahi to hai jo mujhe mere navejeevan se bhar rahi hai.sansarik chintao se trast mere mastishk ko shanty pradan karti hai.mere jeevan ke bikhre sutron ka mel karati hai Meri priye,jab tumne parde ke peeche itni madad ki hai to zara manch per aajao.


hai ishvar to kya is parde ke liye kaam karo.?tumahra kathan hai,is parde ne sab jagah dvand khada kiya hai. Mahilao ke liye parda,vichar aur vyvhar me parda or ye hi dhohra pan ghar mr bahar me.is parde ne ak chera andar ka ak bahar ka.isiparde ne rahasya or gopniyata ko badhava diya hai.chipi cheezo ko ujagar hone se bachaya hai.

Sach hai,kaun aisa hoga ko aise dohre vyvahar ko banane vale pardo ke khatme ka virodh kare




SONGS







1766Lokmanya Tilak visits Varanasi. Phalke narrates some scenes from his play to him. He shows him a matchbox model for a revolving stage, built by his son Mahadev. Tilak promises to help him financially to stage the play.

179Children are playing on the swings. Suddenly, due to Mandakini’s mistake, one of the girls falls off and dislocates her hand. Mandakini is terrorized by guilt. To make things worse, she steals some roses and is caught by the mali.


178One day, mahadev and Prabha, two of Phalke’s sons, go out to buy some cooking oil. Prabha suddenly finds that he is lost in the midst of a busy bazaar. A Maharashtrian boy takes him home, where he meets a small doll-like girl with open hair. The boy’s mother asks him to take Prabha back where he found him. Prabha s brother, Mahadev, dies of sunstroke.181Then they receive news of Tilak’s death. Death is everywhere in Kashi…184Phalke leaves for Kolhapur to stage his play.

185Baburao Painter screens his ‘Sairandhari’ for Dada. Phalke is moved by their achievements, surprised at their ingenuity in making their own camera. There is a fire in the studio, and the camera melts down. Tough competition compels the financing partners of Hindustan Films to recall Phalke to the fold once more.

186But the Phalke who rejoins the Hindustan Film Company is now a different man. His activities are conditioned by budgetary controls and release schedules. He adopts an attitude of resignation and is satisfied with supervising only the technical side of the studio.187Phalke’s second daughter, Malati, is born. Dadasaheb takes the whole family for an excursion in the Victoria. 194The school children bunk class and watch ‘Gold Rush’ by Charlie Chaplin. Possessed by Chaplin, Prabhakar announces that he too will eat his shoe. The others challenge him to do this. There is no mango papad to be had in Nasik, so Prabhakar and Neelkanth order a packet from Warlekar Company, Bombay. One afternoon, the postman arrives at the Phalke home with a parcel. The children are petrified that Dada will scold them. But he already knows about it. Instead of scolding the children, he offers to help them to make the shoes. Dada goes to a cobbler and has 2 pairs of shoes made from the mango papad. So Prabha manages to eat his shoes in front of the whole school’s disbelieving eyes. He comes running home to tell his father of his success. But Dada has already left for Delhi to appear before the Cinematograph Inquiry Committee.

195 In Delhi Phalke is interviewed extensively by a five-man committee consisting of Dewan Bahadur T. Rangacharya, Sir Ibrahim Jaffer, Mr. Green, Col. Crawford, Mr. Courtman and Pandit Hridayanath Kundzru. Mr. GG Hooper (ICS) is the secretary of the committee.

188Prabha breaks a glass gas lantern. Dada punishes the child, making him bend over, holding his toes. He forbids anybody to plead on his behalf, saying, ‘If you want to relieve him, you’ll have to do it instead. The terms of the punishment have to be met.’ Undaunted, Mandakini volunteers on her brother’s behalf. Within five minutes, Dada lets her go.189They look for a suitable match for Mandakini, but nobody is prepared to accept a girl who has acted in the movies… She is in the seventh standard.190Athavale, having seen ‘Kaliya Mardan’ prior to the engagement, was happy to accept, despite the stigma attached.191Dada gives Mandakini away in orthodox style.192The whole family misses Mandakini when she goes.


1928 – SETU BANDHAN196DadasahebHis partner, Mayashankar Bhatt, is waiting for him Together; they announce their next film, ‘Setu Bandhan’.

201I wanted an actress to portray Seeta in my film ‘Setu Bandhan’. I was faced with two dozen cuties. It took me an hour to make one understand the character. After I have given a long discourse, the would-be Seeta tells me, ‘don’t worry, I’ll play the role fine. But will you give me the best zari clothes to wear?’ The poor soul did not know what hardships one has entails when sent to the forest for suffering (Rama and Seeta are complete paupers, with tree leaves and animal skins for cover.) Further, this ignorant girl says, ‘I have a sister. Shall I bring her to you? She can ride a horse, climb trees, and she swims well. She can play Hanuman’s wife.’ (In fact, Hanuman, the most devoted follower of Rama, was a 208Brethren! Doesn’t it hurt you when the characters of Seeta and Draupadi are portrayed on the screen with vulgar gestures, fluttering eyes, semi-bare breasts, and swinging hips? Doesn’t it enrage you? I feel it would be good if such type of actresses vanish from our studios. Frankly, it would be welcome if some rich playboy lured them away from our studios by offering them thrice of what we can pay. At present they are swarming all over the studios. By God’s grace, if these vamps are replaced by a few from good families, the whole atmosphere in the film studio will entirely change, and the black spot of its being compared to brothels will be completely wiped off. If at all, because a play is a truthful representation of life, one has to include a dance, it would be so clean and pure that one will not be compelled to watch the vulgarity of swinging hips, skirts flying thigh high and bare breasts bobbing up and down in rhythm with the tune. Then came another jewel of a cutie.209To give her an idea how ladies from good families sit, adjust their pallav, I had myself to act like a lady suffering the separation from her husband, but nothing could be seen from her face. Perhaps her dictionary lacked words like separation, and the resultant loss or sorrow.

210After experiencing such cheap models, I became sure in my mind that to portray such a noble character like Seeta, I must have a lady from a noble family.211To become an actress, one should be blessed with many factors, and the primary asset is beauty. And by that I mean real beauty. Truthful beauty and unreal beauty, now this is new. Yet, there is nothing new in this thought. It is only a question of looking through the right type of glasses. Actually, beauty is God’s gift.212Beauty is neither love, nor a feeling of belonging. A Sanskrit saying which literally means that even an ass that has come of age looks attractive only proves that a throbbing youth or a girl of that age is also a type of beauty. If even this does not suffice, keep a small sharp instrument always with you and be bold to use it in an emergency, to teach these people the lesson of their lifetime

202On an outdoors shooting, his Vanar sena lose their way to the location. The actors decide to walk to the location, 2 miles away. The townspeople are not familiar with the movies, and mistake the actors for Lord Rama’s real monkey army. The excited crowds garland the heroes and make offerings to them. The actor playing Hanuman is a big hit. The whole town gathers to see them off. When they finally reach the location, Dadasaheb is very upset with the actor playing Hanuman and slaps his face. Tears spring to the unfortunate actor’s eyes. That night, Dada goes to meet the man and apologizes for being so harsh with him.


198Hanuman received a great welcome from his warriors.. When Rama saw Hanuman returning, he ran to him." I pray you have word of Sita." Without saying a word, Hanuman gave Rama Sita's jewel. Rama praised Hanuman for his bravery and said, "You have given me reason to live again." 199Rama stood on the shoreline of the great ocean and spoke to the ocean god. "Hear me," he called. "I am Rama. I have weapons that are beyond imagination. In an instant I can dry your ocean. If you wish to avoid this fate, show me how to reach Lanka." The ocean said, "Rama, here is Nala, son of the great builder. He will build you a bridge across these waters. I shall support that bridge." With the help of the monkey army, Nala put up a bridge made of wood, rocks, and stones. Every creature helped in its own way. It took five days to complete the bridge to Lanka. Rama, Hanuman, and the monkey army crossed the bridge by nightfall. As they crossed into Lanka they shouted, "Victory to Rama!" Hanuman's army surrounded the city. Rama knew that Sita would soon be safe. Enraged he called upon one of his demons. "Make me an exact copy of Rama's head. Then bring it to me," he said. Ravana took the head to Sita. "O, Sita," he said, "Rama has failed in his attempt to rescue you. His army has been destroyed. That is the end of your hope. The time has come to change your mind and become my queen." Sita looked at Ravana and said, "I do not believe any of this." Ravana responded: "I thought you might say that. So I brought the head of your husband, soaked in blood and sand, to prove my words." Sita collapsed wailing, "Alas, O Rama, you have followed your by now Rama and Lakshmana, having regained consciousness but still dazed, Returned to the fight. Ravana viewed the battle scene from the clouds. Then he spotted Lakshmana. He aimed his magic bow and fired. The arrow cut through the air and struck Rama's brother in the chest. He collapsed. Hanuman rushed to Lakshmana's side. He gently lifted the wounded prince and carried him to safety. Palace, every monkey was either wounded or killed. Only Rama, Hanuman, and Vibhishana remained standing. Rama looked upon around and said, "The battle has been lost." Then in a weakened voice, Jambuvan, one of the leaders of the army, said, "No, Rama. There is still a way we can regain the advantage and defy Ravana. Tell 199Hanuman to go to Kailasa Mountain. There he will see a blazing hill of medicinal Herbs. Have him bring these herbs back before sunrise and our army will be saved. Hanuman rose above the earth and flew off with great speed. When he reached the mountain, he saw the hill that Jambuvan described. But he could not find the herbs. Realizing time was short; he uprooted the entire hill and carried it back to Lanka. Hanuman flew off balancing the hill in one hand. When he returned to Lanka, the monkey warriors began inhaling the healing air of the herbs. One-by-one, they rose to their feet and regained their strength. Even Lakshmana recovered from his near-mortal wound. Hanuman returned the hill to its Original place.

205Phalke and Ardeshir Irani are delighted to see ‘Showboat’, a talkie, at the Excelsior Theatre. Phalke consults his partner about producing a talkie, but the partner is reluctant. s

192920baba rai swims two kilometers, from the first ghat to the last. Here he finds an Englishwoman drowning, and manages to save her. she has lost her voice.

203prabhaker fails his Matriculation examination. Instead, he climbs up the Government building at midnight and hoists the Indian tricolor. he runs away from home.206The Civil Disobedience movement makes the freedom struggle a truly popular movement. Khadi-clad nationalists demonstrate in front of cloth shops against the sale of foreign textiles

bhagatsing ne bomb phoda,TO MAKE THEM HEAR,OPEN THEIR EARS. CHALO GANDHIJI KO DEKHENGE Dimag ka chakra zoron se chalne laga.kkya kiya jaye ki koi mujhe uchaka n samjhe,iske liye school ke praman patra saath me le lene chahiye Bhor hua nhaya --aaj ye kya ---master saheb ne dekhne ke liye sab mangaya hai

baste me sab thoosa.

Congress house me bade zor shor se kaam ho rahe the.Gandhi topi,tirange jhande.me us yog me kho gaya. Prabht farriyon ka zamana tha Sare jahan se acha hindostaan hamara-------zor se bolo tiranga unha uthayenge


Namaksar ka vaibhve ,chamchamata namak dekh ker aankhen choundhiya gai


kyon bhai,ghar se poochker aye ho n?
kyon ji andolan hote hi swaraj mil jayega n?






And a small party of one projectionist and two mechanics cart along their Royal 

Touring Talkie, screaming ‘Alam Ara!’ prabha joins them . 1932213 ‘Setu Bandhan’, a silent film, does not do well214With the dawn of the Talkies, trademarks come alive. MGM’s lion roars. Pathe’s rooster starts crowing. A film production company called ‘Radio Pictures’ has a very apt symbol – it shows a tall steel tower at the foot of a hill, and sound waves radiate from the top of the tower. The sound track announces that ‘It is a Radio Picture’. 215One day, Prabhakar meets Mahadev and starts to travel with him.216…As soon as our train steamed into the Madras Central Station, and his eager ears caught our shouts of ‘Talkies! Talkies!’ the manager of the Kinema Central ran towards our compartment in response, shouting above the din of the crowded station. 217‘Extreme care was taken by all concerned, wherever we went, to look after our “precious luggage and persons”. Wherever they camped, they were given a princely ovation and a hero’s send-off.218A guard at Trichy Junction delayed a train by four minutes for the latecomers because ‘they are the Talkie people’.219A theatre proprietor in Salem slept by the loudspeaker on the stage to guard it during their stay there. 220Every coffeehouse they visited in Tumkur town in Mysore refused payment for food and drink – the cinema proprietor took care of the bill.221After all the bouquets, they had their first taste of brickbats at Kumbakonam. The all-important sound machine failed! An urgent telegram was dispatched to the Head Office, who in turn called for an engineer from Bombay. The proprietor apologized, and offered refunds. The audience refused, rightly pointing out that they had come to see and HEAR – not to take any money back. Three long hours later, the patient audience was rewarded when the ‘silent’ film came back to life.222Members of the party were carried on people’s shoulders to the bazaar.223In Conjevaram, a showman who, at his ‘talkie’ display, hid interpreter, harmonium, and female singer, all behind the screen, beat the Talkie people to the draw. But the trick was discovered, chairs were broken, and the screen torn down. 1934prabha returns in a music room sahib,ab char jubanon ki samak suniye.isme farsi,marathi,angrezi bhasha ka upyog kiya hai




224‘Setu Bandhan’ is post synchronized with a huge multipurpose machine. Prabha returns. Helps dada.225The sound of a gunshot is obtained by striking a drum on top of the machine on which a chain mat has been placed. At the bottom of the machine is a large bellows operated by foot. Their manipulation in conjunction with one or other of the handles will produce the sound of exhaust steam issuing from a locomotive, the rumbling of a train rushing through a tunnel, and so on. Running water, rain, hail, and the sound of rolling waves are obtained by turning a handle which rotates a ribbed wooden cylinder against a board set at an angle from the top of which hang a number of chains. The puffing of an engine is made by revolving a cylinder with projections against a steel brush. The crash of china pots and pans is due to the revolution of a shaft on which are mounted a series of tappets striking against hammers, which, in turn, come into contact with a number of steel plates. The cracking of a machine gun is caused by turning a shaft having tappets, which strike and lift up a wooden lathe, subsequently releasing them to strike smartly against the framework of the machine. The same device serves for imitating the crash attending the upsetting of chairs, tables and so on Pendant tubes serve to produce the effects of church bells, fire alarm, ship’s bell, and similar noises. Revolving a shaft with 3 tappets, which lift up inverted cups, causes the sound of trotting horses. A trot can be converted into a gallop, and vice versa. Shaking a sheet of steel hanging on one side of the machine makes the sound of thunder. The pross of a bulb gives the bark of a dog. The bellows and another attachment operate the warbling bird, while the cry of the baby is emitted by the dexterous manipulation of plughole and bellow1935 - 36227Flaherty advertises for a hero for his ‘Elephant Boy’. Prabhakar applies.228Anglo-Indian girls who had almost monopolized the female lead roles in silent films are unable to cope with the spoken word. Baba falls in love with her. He had saved her from drowning. He leaves home.



.230The king of Kolhapur invites Phalke to make. initially He is reluctant to shoot but baba and m pursued him. ‘Gangavataran’ Phalke meets abalal. NH Apte is chosen to do the dialog and the screenplay. Kolhapur’s Vasudevrao Karnatiki is hired as the cameraman. Kolhapur’s old-school shastriya sangeetkar Pandit Vishwanath Jadhav is put in charge of the music. Dadasaheb directs the film. They cant decide the location..


231It was baburao again who was first to erect sets.dada only used painted backdrops used in stage.babu rao used 3d sets. Dadasaheb always preferred natural settings to artificial ones erected in the studios. He placed emphasis on outdoor shootings. Even when he used artificial settings, he used them in the open. His love of natural scenery is revealed in a very amusing incident. Dadasaheb was in Kolhapur for filming GANGAVATARAN. There was a scene in the film which showed the snow-clad Himalayas. How to bring the famous mountain-range into Kolhapur was dadasaheb’s problem. He would have preferred to shoot the scene on location in Himalayas if he could afford it. But that would have involved a fabulous expenditure. However, Dadasaheb could not reconcile to the idea of studio-made ‘Indoor Himalayas’. He made a 243


act1 Behind the Horse - To the House of Death

Sagara now had another thought in his mind. His children were grown   up, and if they had no work to do, they might create unnecessary   trouble, like his first son. So he thought of giving proper work to all of his children. There was also in his mind a certain wish Anyone, who performed a hundred horse-sacrifices, would gain Indra's position as the King of Heaven. He had already performed ninety-nin  such Yagas. If he performed one more Yaga with the help of all hischildren, he would become Indra. So thought King Sagara Sagara's ministers approved his idea. 244The one hundredth Ashwamedha  commenced. The horse was worshipped and sent to wander, as he liked.The entire army of Sagara followed, to protect the horse. Amshumanta, Sagara's grandson, was loved by all. He was made the commander of the army. Thus the sacrificial horse went from kingdom to kingdom. And behind him marched the armed forces of Amshumanta. Nobody had the courage to challenge them.

2"Meanwhile, in Heaven, Indra trembled with fear; he would have to give up his position to the king who performed one hundre horse-sacrifices. He lost interest in everything because of this

worry. It is always so with people who desire power and position.  Until a person gets such a position, he was anxiety - to attain it.After getting it, there is the anxiety to retain that position. 
Indra thought of a plan to safeguard his kingship of Heaven."Most important in an Ashwamedha Yaga was the Ashwa or the horse. The Yaga would be complete only after the horse returned from his wanderings. Suppose the horse disappeared! Then how could the Yaga  be completed?

246 So Indra came unseen by anyone, stole the horse and took him to Patala Loka, the lower world far below the earth. A sageby name Kapila was performing 'Tapas' there. Indra tied up the horse in his Ashrama"There was much confusion 247 Amshumanta's army when the horse was not to be seen. They searched everywhere for the horse, but in vain. They returned to Ayodhya in despair and narrated everything to the emperor Sagara was very worded. He called his sixty thousand sons and said, 'You must find the horse wherever he be, and bring him. Also punish the thief.' He' sent his army with them. They were all young and proud on account of their strength. They had now a huge army alsowith them and in addition, the father's command. Raising loud war cries, the army went far and wide searching for the horse. Every 249 forest, hill and mountain was searched. But the horse was nowhere to be seen"They were angry rather than disappointed. Since they could not find the horse on the earth, they decided to go to the lower world. They did not know the way, 300 but they started digging the earth to make a way. They dug a big hole, and crawling in it, entered Patala. Roaring aloud, they roamed everywhere and began to search for the horse. By and by, 301 they came to Sage Kapila's Ashrama and uprooted all the trees and creepers there. They had no fear of anybody - Moreover, they were so angry they wanted to chop off everything that they saw. As they were moving on in this manner, they saw SageKapila in deep meditation. Their horse was grazing there. They thought that the sage has stolen the horse and were pretending to perform 'Tapas' and were very angry. So all of them rushed towards him shouting, 'Catch the thief. Beat him. ‘The Maharshis 'Tapas' wa disturbed. He started with wrathful eyes at those who had disturbe his 'Tapas'. The flame of anger shot forth from his eyes and burnt all those sixty thousand brothers. Only a huge pile of ash could be seen in the place where they were standing. The horse too remained in the Ashrama itself.

compromise. He decided to paint Ramalings Hill near Kolhapur and turn it into the Himalayas.Every body laughed at this crazy idea.but dada would not give up.Ramalingahill was bathed in white mortar.It looked rather poor imitation of Himaliyas


236 The Duty of the Descendants 237 Many days passed, but the sons did not return. Emperor Sagara was again very worried. He had already performed the preliminary rites for the sacrifice. So he himself could not go in search of the horse. He sent for his grandson Amshumanta and said, 'Dear child, your sixty thousand uncles who went in search of the horse have not come back till this day. Please go and find them and the horse also. You must be careful and judge wisely. Come back with success.' He sent his grandson with his blessings Amshumanta started with the army, as instructed by his grandfather. He was unable to find the horse on the earth though he roamed fa and wide. He finally entered Patala through the hole dug by his uncles. As he was wandering there, his eyes fell upon Sage Kapila's Ashrama and the ashes piled up like a mountain. The horse was grazing at a distance. There was no road ahead He was a little frightened. There was no way beyond and there was such a huge pile of ash. What could have happened? He was deep in thought. Just then he heard a voice from Heaven -'Child, this is the pile of ashes of your uncles. They were destroyed by the wrath ofSage Kapila.' Amshumanta felt very sad on hearing this. He decided to perform the funeral rites for them so that the souls of the dead might attain salvation. But though he searched everywhere for water, there was none. He did not know what to do and was worried. Just then he saw Garuda in the sky. As you know, Garuda is the big eagle. He is Lord Vishnu's favourite, on whose back the Lord flies wheneverHe wants to go anywhere. Garuda addressed Amshumanta'Royal prince, do not worry. There have died for -the good of the world. They ended thus here, suse of the curse of a sage. Their souls cannot go heaven by the ordinary funeral rites. They can get salvation only when the divine Ganga is brought from Heaven and made to flow on this pile of their ashes. Yet, first take back this horse to your grandfather. Amshumanta had no other way either. So he returned to Ayodhya with the horse and delivered him to his grandfather. Though Sagara felt happy on seeing the horse, he felt very sad on hearing that all of his brave and strong sons had died at once. But since he had already performed the preliminary ceremonies for Ashwamedha, he controlled his sorrow, and performed the sacrifice in the prescribed way But until the divine Ganga was brought down from Heaven, his sone could not attain salvation. This thought continued to worry him. Finally, becoming desperate, he left his kingdom to his grandsonAmshumanta, saying, 'The task of seeing that your uncles attain salvation is yours.' Sagara then went to the forest to perform 'Tapas'"Though he became the king, Amshumanta never thought of his personalhappiness. He was always thinking of the task he had to perform - he had to bring the divine Ganga, according to his grandfather' command. As he could not think of any solution, after some years, he also made over his kingdom to his son Dilipa." Bhagiratha's mother, who was telling him the story, continued"That same king Dilipa was your father. He too was always thinking about the means of bringing Ganga from Heaven. He had also another worry, as he had no children. At least, guided by our kind preceptor, the sage Vasishtha, we worshipped the sacred cow Nandini in his hermitage. She blessed us and you were born. But your father was worried that he could not bring Ganga and help his grandfathers attain salvation. He passed away while you were still young"This, dear son, is the story of your race. And also the answer toyour question. You have now heard all. And now let us see what you will do. Having said this, Bhagiratha's mother gazed at her son, curious and eager to hear what he would say. Act2

232 Thus leaving behind him his mother, wife and the kingdom, he went to the Himalayas.233 He came to a beautiful lake there. He bathed in i purified himself, and feeling clean, started on his 'Tapas', with the firm resolve that the divine river Ganga should come down to the earth and his ancestors should go to the higher worlds. His meditation was not of an ordinary kind. In the beginning he performed meditation squatting cross-legged in the Padmasana posture. He prayed to Lord Brahma. There was no room for anything else in his mind. By his strong 'Tapas' he desired the coming o Ganga.234 After a few days, it was winter. Bhagiratha then stood in the lake with water up to his chest and continued his 'Tapas' with intense concentration. Winter passed giving place to summer. 235 Then he took to a more severe kind of 'Tapas', the Panchagni Tapas, or meditation in the midst of five fires. He stood in the midst of burning fires on all four sides, with the hot sun above as the fifth fire. He stood amidst these five fires, and steadily stared at the sun with eyes wide open. Thus his 'Tapas' continued.

236 He changed his food too. During the first few days, he had food only once a day. Later it was once in a few days. Then it became once in a month. After that, he just used to drink a little water and continue his 'Tapas'. Finally the air was his only food. While performing 'Tapas' thus, a bright flame shoots forth from the body of the devotee. It is called the flame of 'Tapas'. Such a bright flame emerged from Bhagiratha also and it became very severe. Bhagiratha was now as radiant as the Sun God himself. Unable to bear

236 the effects of his 'Tapas', all the gods in Heaven went to Lord Brahma and appealed to him: "O Lord, it has become impossible to bear Bhagiratha's meditation. Please protect us." Brahma consoled

237 them and went to Bhagiratha. Bhagiratha was overjoyed on seeing Brahma. He prostrated before Hi with great devotion and worshipped Him. Brahma was pleased with himand said: "O King, what do you desire? Why are you performing thi 'Tapas'? Bhagiratha begged him: "My Lord, my forefathers are in th nether world, Patala, dead and burnt to ashes. They cannot go to Heaven without proper funeral rites. The divine Ganga herself has to come to deliver them from their sad state. So please send the divine river and help me. Secondly, I have no child. My race will come toan end. Kindly bless me that I may have sons." Brahma replied, "You are really blessed, Bhagiratha, for having performed such a severe'Tapas'. Your wish to bring the divine Ganga to the earth is a very noble one. I shall send Ganga with pleasure. But when she descends from heaven to the earth, the earth cannot bear her terrible force.The whole earth will be destroyed completely. So somebody will have to control her force. It can be done only by iswara, the Lord of allWorlds. None else can do that. Therefore, persuade iswara to arres the force of Ganga and quieten her. Then I will send Ganga. You second wish is also granted. Your lineage will certainly continu with worthy children. So be not worried." On seeing Brahma, Bhagiratha had felt as happy as though he had already performed his task fully. But now he had to face another difficulty. How was he to persuade Lord iswara to control the turbulence of Ganga when she descended to the earth 238 Well, men who think of difficult tasks are of three kinds. There are cowards, who do not begin their work at all, afraid that sometrouble may arise midway. Those who begin but later give up the task, afraid of the difficulties that arise, belong to the secon group. So far as the -task is concerned, both these groups useless. But there are brave people who belong to a third group They continue to work in spite of even an army of difficulties, a finally achieve the goal 239 Bhagiratha belonged to this third category of brave men. He knew ho to bring down Ganga to the earth. He was confident that it could be done. He had only to overcome some difficulties that would arise on the way. Bhagiratha was determined to accomplish his task. Accordingly he began a severe 'Tapas' once again to please Lord

240With folded hands, and standing on one leg, he meditated on Lord iswara with the deepest concentration. So a whole year passed.241 Pleased with Bhagiratha's devotion Lord iswara came to Bhagiratha and asked him"Dear Bhagiratha, what do you want? Why have you been meditating on me thus? With folded hands, Bhagiratha appealed to him: "What is it that you do not know? Lord Brahma has granted my prayer to send the divine river Ganga to the earth. But the earth cannot bear the force of gangas descent. Only you can control the turbulence of thedescending Ganga242 Be pleased to do so." iswara said smilingly, "Yes; I will soften Ganga's descent by my tresses.So said Lord iswara and stood on a big peak nearby, ready to receive the divine river. Act3

231 Taming the Ganga Bhagiratha's joy knew no bounds since his anxiety was over. Iswara, the great God, had consented to arrest the force of Ganga. Thinking that his task was accomplished, Bhagiratha eagerly awaited the descent of Ganga. All the gods of Heaven were looking on with wonder. Even Parvati, the wife of iswara, was there. Ganga decided to flow down to the earth as ordered by Brahma. Just then she remembered Brahma's words that no one could check her force. 'How can even iswara check me?" She thought and this made her very very proud. So she thought she would descend with such force as to drag Lord Iswara along with her waters, so that the gods in Heaven would have some fun. Ganga leaped on Ishwara’s head with tremendous force and at crushing speedThe sight of the descending Ganga was most pleasing. Many animals like fishes, tortoises, crocodile and sea snakes also came down with the stream of Ganga. As Ganga flowed down with waves of white foam and the speed of lightening, everyone gazed with wonder and joyIshwara felt the impact of the powerful flow. He understood that Ganga was haughty. He became wild with anger. As Ganga came down on him with a deafening roar, he tied her up amidst his flowing tresses so tightly that she could not slip away. Thus Ganga, who came to engulf him with such turbulence, was checked and imprisoned. Arrogant people not only bring suffering on themselves, but also cause trouble to those who depend on them. Bhagiratha had been praying with such piety for the divine mother Ganga to flow down to the earth; he had watched her foamy descent. In his joy that Ganga had come down to the earth, he had closed his eyes in meditation After a while, when he opened his eyes, he could not see Ganga, or any flowing water. He could only see Lord Ishwara, terrible in his anger, with Ns hands on his waist, his eyes darting fire Bhagiratha felt that he was ruined. Just when he thought that his very difficult task was completed, a new difficulty had cropped up. It was true that the proud Ganga deserved punishment. But if hethought it right and kept quiet, what about his task? He had no time even to think. 232He was a man of action-So at once he stood with folded hands before Lord Ishwara and begged him "O Lord, be kind and release Ganga. Let her descend to the earth and flow on. Let her sanctify my ancestors and all the people on the earth." Ishwara was pleased. He said: "Bhagiratha, I am pleased with your devotion and humility. Look, I will release Ganga from my tresses. But I cannot allow her as one stream since that will cause trouble to you. She might cause more trouble again in her pride. So I shall release her in seven separate streams. Let three streams go to the west, and three to the east. Only one stream will follow you - With these words he set free GangBhagiratha was happy that his difficulty was over as he wished. Heconsidered himself lucky to have one of the seven streams of Gangafollowing him. Again he bowed to Lord Parameswara and set outtowards the south.233 Ganga now calmly followed him. Her flow now was like the dancing lively steps of an innocent girl following her father. Wherever she flowed, she spread peace, created green foliage and infused life. Sometimes rapid and sometimes slow, she followedBhagiratha, flowing with playful glee. Bhagiratha walked on and on.He was anxious to reach Patala, and to have the ashes of his ancestors made holy by the touch of the waters of the divine Ganga and thus fulfil his task. He had already faced many difficulties; so he was still rather afraid that some trouble might crop up again. So he walked very fast to complete his good deed as soon as possible Bhagiratha had now come down to the open plains from the Himalayan range. Ganga followed Bhagiratha, who was now walking on level ground, like a new bride, shy and happy, Bhagiratha was filled with happiness.


234 There was an Ashrama on the way. It looked very beautiful, with and flowers all around. Peace pervaded this Ashrama of Sage Jahnu. Since Bhagiratha knew the place, he entered the Ashrama with devotion and humilityGanga had been so far following him shyly and slowly. But somehowafter entering the Ashrama, she grew a little mischievous. Sh wandered all over the Ashrama like a small girl. The entire placewas filled with water and it looked as if the Ashrama would be washed away. There was grief and confusion everywhere. But stillGanga was laughing like a naughty girl. Inside the Ashrama was Sage Jahnu. He had been meditating on God. Ganga's mischief disturbed him. He understood everything. He decided to teach that naughty girl a lesson. Drawing Ganga into his palm, h 235 swallowed her at a single gulp. Bhagiratha could not see Ganga anywhere. He was shocked. He waafraid that some other difficulty had come up. Where was Ganga? Whathad happened to her Ganga had disappeared in Jahnu's Ashrama. So Bhagiratha thought the sage would know what had happened. He bowed to the sage with reverence. He narrated his story and prayed in these words: "I was coming to see you, but just then Ganga disappeared. I beg of you, holy sage, tell me what has happened if you know anything." Havinheard everything, the sage replied: "I myself have drunk her. I wanted to teach her a lesson. Bhagiratha did not know what to say. How could he ask the sage to set free Ganga? But he could not fail in his task now. So, summoningup courage, he appealed to him: "0 venerable sage, it is my duty tosee that my dead ancestors go to heaven. So with great difficulty I pleased Brahma and Ishwara. I brought Ganga down to the earth. But her childishness has now come in my way. I beg of you, be pleased toforgive her. Kindly set her free so that my elders may go to heaven." 236 Moved by his prayer and humility, the sage let Ganga escape through his ears and asked her to behave properly.

The Earth Smiles Bhagiratha felt very happy. He again bowed to Sage Jahnu thanking him for his kindness, and left the place. He was afraid that some other obstacle would come up if he delayed in his work. He directlycame to the hole dug by his ancestors Ganga had also grown more sensible by this time. She now understood that her own pride and childishness had brought her trouble and shame. Bhagiratha had worshipped her with devotion. But she had caused him physical and mental suffering. She realized this. So, giving up her foolishness, she followed Bhagiratha into the hole promptly. The whole area, which had been a huge hole earlier, now turned into a vast sheet of water. Since the sons of Sagara had dug it, it came to be known as 'Sagara', or the Ocean Bhagiratha went to Patala and stood near the pile of ashes there. He implored Ganga thus: "0 Mother, piled up here are the ashes of m ancestors. Please touch these ashes, help their souls attain salvation." Ganga straight rushed on the heap of ashes. The souls of all the sixty thousand sons of Sagara, neglected and restless for so many years, were now made holy. Freed from sin, the souls went to Heaven. All the gods in Heaven, who had been eagerly watching this, were full of praise for Bhagiratha's achievement. Bhagiratha had completed the holy task of his life. So his joy knew no limit. He bowed to the divine Ganga and all the gods and goddesses around. Everyone was full of praise for him. All of them also bowed to Gangaaddressing her by various names They called her 'Bhagirathi' since she had followed Bhagiratha like his daughter. She also came to be known as 'Tripathake' one who flowed in three-path -since she had flowed through three worlds Heaven, Earth and Patala. She was called 'Jahnavi' as she had come out of the ears of Sage Jahnu and was his daughter. Bhagiratha, who was returning t his kingdom, was praised by all for having thus brought down to the earth the divine Ganga, who was worshipped by many different names. They hailed him as a great man and a life-giver. Thus, worshipped by one and all, Bhagiratha came back to his capital. His mother was anxiously waiting for him. He touched her feet. He had done a great anct difficult task, facing many dangers. So the mother was overjoyed. She blessed him whole-heartedly Having thus performed a great task, which made everybody happy, Bhagiratha ruled over the kingdom for many years. He was a good king, and earned great fame for himself, his dynasty and his country. That is why the accomplishment of a very difficult task, with stupendous effort, is described as a Bhagiratha-like endeavor. With great difficulty, Bhagiratha brought Ganga to a desert region, which had no water and no green growth at all. The divine Ganga gavethat place clear streams and. made it fertile and fruitful. What was a desert became a smiling land with plentiful crops. Thus, alongwith the ancestors, the later generations also could be happyand Prosperous. This, then, is the story of how Bhagiratha brought Ganga to the earth. It is not just thrilling? Bhagiratha's devotion to duty, and his strong determination, which was not shaken by any kind of difficulty, shines forth in the story. His will power, hard like a diamond, should be an example to US.




.It was asheepshowing itself out of the lions skin.But a sad thing happened over night ,it rained.himaliyas were washed out and striped of there imitation snow.idea proved absured.




    played the sage Narada. 
                 Credited cast: 
                 Chitnis.... Shankar
                 Suresh Pardesi.... Narada
                 Kusum Deshpande
                 Bhagwat
                 Shankarrao Bhosle
                 Pathan
                 Ibrahim
                 Gawli
                 Dongre
                 Barch Bahadur
                 Mahananda
                 Leela Mishra
                 Ansuya(as Ansuyabai)
                   (more)





A certain misunderstanding occurs between Phalke and the producers.The strain of filmmaking is too much for a man nearing seventy, with the result that Phalke falls sick and is taken to Koregaon Act3 Prabhakar remembers:‘After watching “Hurricane Hansa”, our entire gang had to re-enact the stunts with sounds like “dishum”.Mother had strictly forbidden us from coming near the living room.A person hit squarely on the chin had to fly backwards, but climbing a tree backwards was impossible.’Phalke’s son Shri Krishna is hit in the stomach by a cricket ball, but he hides the injury from his parents.It becomes serious, and the boy dies.Shri Krishna was tall, strong and the rowdiest of the lot.He was called ‘Ravan Mama’ or ‘Rakshas Mama’.In Poona, the Phalkes stay near SP College, in Dhole’s house.Dada is sick with malaria.Shantaram visits him.Dada makes plans to make a 3-D film

- Dada saheb ne aapko bulaya hain. - Kaun dada saheb? - Phalke. - Kahan hain ve? Tum kaun ho? - Unhonein kaha ki jub fursut ho aa jaiein. - Tum thoda rukho abhi aata hoon tumhare saath.

Ek chhota sa kamra, jameen par bichha purana gadda. Dada us pur soyein the. Hur cheej se ghar ki gareebi najar aati thi. Kamre ke bheetri durwaje pur saraswati bai B.A ki seva. Dada saheb ne aankhein kholi. Shaantaram ko dekh kur ve muskuraein. Haath apne haathon mein lekur niharte rahe. - Bahut laachar hokur main tumharein saamne gidgidda raha hoon. Swaasthya laabh hone tak prati maas kuch niyamit roop se sahaayta bheji jaaein to upkaar hoga. Shantaram ne phoren unke munh per haath rakha, -is me upkar ki kya baat hai ham sab aap ki chatrechaya me khade hain.


---ye pitaji ko de dena.






.A trust is set up in his name.But he himself sees most of his material destroyed, and he has to sell about one hundred of his medals for a paltry sum. 1938 Dada is honored with a purse of Rs. 5,000 at the silver jubilee celebrations of the film industry, held in Bombay.At the function, he compares the industry to Shakuntala, daughter of Vishwamitra and Menaka, and himself with Rishi Kanva, poor guardian of Shakuntala, and says that now Shakuntala is patronized by the rich and the wealthy.

Aaj ke is vishesh avsar per hamare beeh baithe hain,hame ashirvad dene aaye hai—hamare pita saman,father of film industry dada saheb phalke. Ab me unse kuch shabd kahneka anurodh karunga.

I am happy to find that the Indian film industry has come to stay in.its initial stages, I have rendered my quota of humble services on its on ward march,as an ardent devotee in the sacred shrine of mother art.but,I sincerely regard that,owing to apparent reason ,the industry is not taking a healthy path The core of the recuitment of fabulously paid stars and the inclusion of many songs.leanthy dialogue,comic interludes that have no bearing on the story.




Of course, in its initial stages, I have rendered my quota of humble service in its onward march, as an ardent devotee in the sacred shrine of Mother Art. But I sincerely regard that, owing to apparent reasons, the industry is not taking the healthy course, which it ought to. In the present circumstances, I would suggest to the producers to give up for good these inordinately long feature films and direct their pointed attention to producing shorter films, say around 7,000 or 8,000 feet long, and include in the program one educational short, one reel of healthy comedy, a reel of some short theme which requires illustrations and illusion, magic, one reel of travelogue, etc. The craze of the recruitment of fabulously paid ‘stars’, and the inclusion of too many songs and lengthy dialogs should also be put an end to.

As one who has been responsible for doing my bit in laying the foundation of the industry in India,it will be a great consolation for me in my old age to find the child which I nursed in its infancy grows up in a healthy environment

APPEAL FOR FUNDS


---letter----- Bombay jaker baburao andse se mil aaya hoon .jo bhi mil raha hai usse her halat mr kush hoon Gat vijayadashmi per aapne mujh per jo kripa ki vase sobhagya ke shan apni saari jindagi me maine kabhi anubhav nahi kiya.varna vijaydashmi ka vo din humekisi keeched bhare gande sthan per beemar avastha me guzzar na padta,kintu us din se din prati din sukh bhare din lot ker aane lage hain.aaj tak apni budhi ke kartab se mane 60 70 rupyon ka kaam kiya hoga.kintu usi samaye bheetre dhun lag gai.mera gharbar jameen aadi sab swah ho gaya.aur me poori tarah se gahare gart me ja gira. Ma bhojan nahin deti thi .baap bheekh mangne nahin deta tha.upper se lato aur ghooson ki maar.kintu rone ki mania thi.

Isi avastha me filmi filmi duniya ko barbas niharte rahne ke baad parmatma ne mujhe apko sari daastan sunane ki prerna di. Varna phalke parivar hi duniya se mit jata.aap aisi bhasha sunna pasand nahin karte .kintu maine jo kaha meri antreatma se uthi bhavnaye hain

Devdat raste per chalta hua chithi padh raha hai. Shriman,dadasaheb. Saprem namaskar, Apki chithi mili.antaram se vyakt apki bhavnaon ko main aap jase tapasvi ki shubhashash manta hu. Aapki hardik bhavnao se gad gad ho gsya hoon.bahut santosh anubhave ker rahan hoon.yeh sach hai ki mujhe apne bare me aisa likha jana katai bhata nahin.kintu aapki bhavanaon ki gahrai samajh ker pranjalta se swikaar karta hoonki aise sarthak shabdon ki avashkta admi ko jindagi me avashye mahsoos hoti hai.aapke shabdo ne mujhe vh santosh prdan kiya hai.jo lakho rupye karch karne per bhi nahi mil pata. Is samay main bahut jaldi mein hoon naya chitre pat samap karne ki daud dhoop ker raha hoon’abhi abhi aaj kam samapt ker taka manda ghar aaya aur mez per rakha pate khol ker padha.bahut acha laga. Kintu,aapko vijayadashmi ke din mile aisa prband ker aapko paanch rupaye bhejhne, aur unhe pooja ghar me rakhne ki jo baat apne likhi vh ajeebo gareeb lagi.aapko paanch rupye bheju na bhejun ye duvadh bhi man me jaag gai.lakin haan apne mere prati jo bavnaye vakt ki hai unhe ashirvad ke taur per apnr poojha ghar me avashye rakh raha hoon.


Shrimaan shantarambapu Seva me sadar pranam Patre is liye likh rahi hoon ki aapne hamare sankat ke dino me aapne hamare poore parivarjo samaye samaye per sahayata puhoonchvae hai,uske liye apne baal bachon ki aur se aapko bahut dhanayvad doon. Aapne thelli nidhi chala ker hamare liye jo 5000 rupey ikatha ker bheje uske karan ham aik bahut bade sankat se mukt ho gaye.is upkar ko main aur mere bache hamesha yaad rakhenge.hamare gharwallo ka swabhave kuch ajeeb sa aur krodhi hai. Phal swaroop aap jaise bale logon ko bhi kabhi kabhi kasht pahunchta hai,ham per isi thare kripa drishti banaye rakhe’88```````````````````







Prabhakar and Neelkanth plan to make ‘Tarzan’ with Prabhakar in the lead role since he is a body-builder and a swimmer. Baba is roped in. But Dada dissuades them. They join the army and neel are away fighting japs. Mandakini has come visiting family. Dada after a recollecting loses his memory

That day I had gone to meet…… That day there was some function .we had gone there to eat. after food, in the evening ,I came home with my daughter. i was pregnant. I came home and my father sat to eat for the night. He sat and said sona sona…no one was before him. mother said who are you calling…why she is sitting in front me…..he was deluded… he fainted and fell.

1942. On 16th February, at about 5 in the morning, He is suffering from senile amnesia, which makes him skip the present and recent past, and allows him to remember only his early life vividly. He takes a bath and performs his daily worship regularly, even though his health is poor

Suresh ,devdat,malti dada ko nahla rahe the.jaise hi ser per lote ka thanda pani girta,dada ko purush sutra yaad aata.baki kuch yaad nahi tha.




. Saraswati has suffered a paralytic stroke and is confined. Dada used to sign the school register simply as ‘DG Phalke, Artist’. Dada receives a telegram announcing that Prabhakar is missing in action. The family turns on the radio to hear the names of the dead being announced. p is not dead. he is hiding from every body

Devdut Phalke writes to Bhalchandra, saying that his time is up and he must come to see his father It is a time of musicals amidst the horrors of war. Dadasaheb Phalke, the father of Indian cinema, passes away, with Malati, Suresh and Deodutt by his side. Mandakini remembers, ‘How red he was, even in death. I remember his face, his feet, nice and delicate, like a child’s they seemed in the white sheet…’

‘Ankhiyan milake chale nahin jaana, chale nahin jaana…’

SONGS

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