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Biography of Dadasahab Phalke

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Dhundiraj Govind Phalke, broadly known as Dadasaheb Phalke, was a prestigious Indian movie producer and screenwriter, famously named as the ‘Father of Indian Cinema’. From an early age, he was imaginative in nature and showed incredible enthusiasm for the inventive expressions. He sought after expressions for finishing his graduation and later took up different occupations, for example, that of a picture taker and a sketcher.

photo via wikipedia

He likewise took a stab at setting up his printing business however shut it down when issues emerged with his accomplice. The defining moment in his life came when he saw a quiet film and was profoundly moved by its power. He chose to wind up a movie producer and saw it as his main goal to display Indian legendary characters on the moving picture screen. In the end he discharged the principal full length Indian film, ‘Raja Harishchandra’, the most imperative point of reference in Indian realistic history. His steady confidence and spearheading endeavors established the framework of Indian silver screen.

He was a visionary who anticipated the capability of the film medium and furthermore influenced individuals to understand its social and monetary worth. Through his constant duty and sincere endeavors, silver screen has turned into an unavoidable piece of Indian culture in this day and age. Named after him, the ‘Dadasaheb Phalke Award’ is the most renowned honor in the domain of Indian silver screen which is presented each year to respect recognized commitment to the film medium.

Adolescence and Early Life

  • He was conceived on April 30, 1870 at Tryambakeshwar, Maharashtra, India into a Marathi Brahmin family. His dad was a capable Sanskrit researcher.
  • He got his initial instruction from Sir J. J. School of Art, Mumbai in 1885. In 1890, he finished his school training and after that went to the Kala Bhavan in Baroda.
  • He learnt about model, building, drawing, painting and photography in Kala Bhavan.



  • He began his vocation as a picture taker in Godhra yet left it after the end of his better half and youngster. Afterward, he filled in as a sketcher for the Archeological Survey of India for a short timeframe.
  • At that point he decided on the matter of printing and began his own particular printing press. He flew out to Germany to ask about the most recent innovation and apparatus for his press.Alongside, he additionally worked for the Raja Ravi Varma, the popular painter of Indian fanciful divine beings and goddesses, and learnt more about workmanship.
  • In the wake of viewing a quiet motion picture ‘The Life of Christ’, he was enormously motivated and imagined Indian divine beings on the screen. This occasion turned into a defining moment of his vocation and denoted the start of the fantasy of silver screen making in India.
photo via wikipedia
Raja Harischandra 1913, directed by Dadasaheb Phalke
  • Subsequent to viewing the quiet film, he obtained some cash and influenced the principal movement to picture of Indian silver screen titled ‘Raja Harishchandra’, in 1912. The film was freely appeared on May 3, 1913 at Mumbai’s Coronation Cinema. It was an amazing background for open and he got much thankfulness for his work.
  • After the achievement of his first film, he made numerous motion pictures and short movies. A portion of his famous works were ‘Mohini Bhasmasur’ (1913), ‘Savitri Satyavan’ (1914), ‘Lanka Dahan’ (1917), ‘Shri Krishna Janma’ (1918) and ‘Kaliya Mardan’ (1919).
  • Before long quiet movies formed into a potential medium and furthermore demonstrated their monetary practicality. Along these lines business visionaries moved toward him and he opened a film organization ‘Hindustan Films’ in association with five specialists from Mumbai.
  • The essential plan of the specialists was to pick up benefits while he exclusively centered around the innovative part of filmmaking which prompted contrast of sentiments and he surrendered from the organization in 1920. Albeit after some time, he came back to the movie organization and guided a few movies, he never extremely comprehended or valued the benefit part of filmmaking and in the long run left the organization again. His last quiet motion picture was ‘Setubandhan’ (1932).
  • In 1937, he coordinated his first stable film ‘Gangavataran’ which additionally ended up being the last film of his vocation. With the presentation of sound in silver screen and the new broadened methods for filmmaking, his work lost esteem and in the long run he took retirement from filmmaking.
  • In his 19 long periods of film making vocation, he made 95 motion pictures and 26 short movies. His other film works incorporate ‘Rajrishi Ambarish’ (1922), ‘Slam Maruti Yuddha’ (1923), ‘Master Dronacharya’ (1923), ‘Ashwathama’ (1923), ‘Shivajichi Agryahun Sutaka’ (1924), ‘Satyabhama’ (1925), ‘Smash Rajya Vijay’ (1926), ‘Bhakta Pralhad’ (1926), ‘Hanuman Janma’ (1927), ‘Draupadi Vashtraharan’ (1927),’Parshuram’ (1928), ‘Sant Mirabai’ (1929) and ‘Kabir Kamal’ (1930).
photo via wikipedia

Significant Works

  • His most noteworthy and remarkable commitment to the world was Indian silver screen. His introduction film, ‘Raja Harishchandra’ (1913), a work in light of Hindu folklore, is thought to be India’s first full-length movie which established the framework of filmmaking in India.


Individual Life and Legacy

  • He wedded his first spouse in 1885 yet tragically she kicked the bucket in 1900. Later he wedded Saraswatabai and raised a family with her. His significant other was exceptionally strong of his calling.
  • He passed away on February 16, 1944, in Nashik, Bombay, British India, at 73 years old.
  • In acknowledgment of his lifetime commitment to the Indian film, the ‘Dadasaheb Phalke Award’ was organized in 1969 by the India government. The esteemed honor is the most elevated authority acknowledgment for film identities in India and is introduced yearly by the leader of India for surprising commitment to Indian silver screen.

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