Ayodhyecha Raja (1932), the Marathi film, was made by Prabhat Films

Marathi cinema (मराठी चित्रपट) refers to films produced in the Marathi language in the state of Maharashtra, India. It is the oldest and pioneer film industry in India. The first Marathi movie released in India was 'Shree Pundalik' by Dadasaheb Torne on 18 May 1912 at 'Coronation Cinematograph', Mumbai.^{[1] [2]}and a Marathi crew who were performing Marathi & Sanskrit Sangeet natikas (musicals) and plays in marathi at that period. The first Marathi talkie film, Ayodhyecha Raja^[3] (produced by Prabhat Films) was released in 1932, just one year after "Alam Ara" the first Hindi talkie film. Marathi cinema has grown in recent years. The industry is based in Mumbai, Maharashtra.

History[link]

Silent movies period[link]

Advertisement in the Times of India of 25 May 1912 announcing the screening of the first feature film of India, Pundalik, By Dadasaheb Torne

Raja Harishchandra

Marathi Cinema is the oldest form of Indian cinema.The first Marathi movie released in India was 'Shree Pundalik' by Dadasaheb Torne on 18 May 1912 at 'Coronation Cinematograph', Mumbai.^[1] still Dadasaheb Phalke is also known as the first pioneer and founder of cinema in Pre-Independence India. He brought the revolution of moving images to India with his first indigenously made film Raja Harishchandra in 1913, which is considered by IFFI & NIFD as part of Marathi cinema as it was made by a Marathi dialogues while shooting and fully marathi crew.^[4] Kolhapur in Western Maharashtra was another centre of active film production in the twenties. In 1919 Baburao Mistry - popularly known as Baburao Painter formed the Maharashtra Film Company with the blessings of the Maharaja of Kolhapur and released the first significant historical - Sairandhari (1920) with Balasheb Pawar, Kamala Devi and Zunzarrao Pawar in stellar roles. Because of his special interest in sets, costumes, design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialised in the historical genre.^[5]. Baburao Painter made many silent movies till 1930 however after a few more silent films, the Maharashtra Film Company pulled down its shutters with the advent of sound. Baburao was not particularly keen on the talkies for he believed that they would destroy the visual culture so painfully evolved over the years.^[6]

After advent of Sound[link]

As cinema grew in Union of India, major production houses rose and one of them was again a company owned wholly by Maharashtrians, the Prabhat Film Company. Prabhat's Sant Tukaram was the first Indian film to win the Best Film Award at the Venice film festival in 1937.^[7] In 1954 at the very first edition of the National Awards, Shyamchi Aai another Marathi film, won the first President's Gold Medal for Cinema. The film was directed by Acharya P K Atre, and it was an adaptation of the eponymous novel by Sane Guruji.^[8]

The Golden era[link]

Marathi Cinema was in its full bloom by this time with the advent of greats like V. Shantaram, Master Vinayak, Bhalji Pendharkar, Acharya Atre, followed by Raja Paranjpe, Dinkar D Patil, G. D. Madgulkar, Sudhir Phadke. The 60s saw the emergence of directors like Anant Mane who made Marathi films based on the folk art form Tamasha. Then came directors like Datta Dharmadhikari and Raj Dutt who made traditional family dramas. The early 70s saw the advent of Dada Kondke who captured the audiences with his sense of humour. He later went on to create satirical, pun-ridden films often including social and political commentary, many of which became cult classics. By this time Marathi Cinema was caught in either the Tamasha genre or tragedies revolving around traditional family dramas on one side and the comedies of Dada Kondke.

80s[link]

The 80s saw two comedy heroes catapult to stardom, Ashok Saraf and Laxmikant Berde. Around the mid 80s two young actors, donned the director's mantle: Mahesh Kothare and Sachin Pilgaonkar. Pilgaonkar directed Navri Mile Navryala and around the same time Mahesh Kothare directed Dhumdhadaka. Pilgaonkar's film was a box-office hit while Mahesh Kothare's film not only became a mega hit at the box-office but it also became a trend-setter and brought young audiences to Marathi Cinema. Mahesh Kothare then went on to make comedy films that became major hits. He made the first Marathi film shot on the anamorphic format (Cinemascope) - Dhadakebaaz. He brought a number of innovations in the technical quality of Marathi films and was also the first to bring Dolby Digital sound to Marathi Cinema with the film Chimni Pakhara. He made the first Marathi film with Digital Special Effects, Pachadlela in 2004.

Reasons for the decline of Marathi cinema[link]

While the theatre of Maharashtra earned recognition at the national level, the cinema failed to make a mark. A major reason was the proximity to the production centre of Hindi cinema (Bollywood), which encroached on the identity of Marathi cinema. Other reasons include the shortage of cinema halls for distribution due to poor marketing, lack of money magnets, a vibrant theatre scene and the emergence of private television. It also lacked the powerful lobby at the national level unlike Bengali and South Indian cinema because state congress (ruling party over 40 Years) encouraged Hindi Cinema for profit mainly ; the regional film industrial advantage being soaked up by Bollywood.^[8]

Revival of Marathi Cinema (Marathi New Wave)[link]

In past few years, the Marathi cinema industry has produced many films that are not only critically acclaimed but commercially successful as well. It has brought fresh ideas, untouched subjects and deeper human sensitivity on the celluloid.

Acclaimed director Dr Jabbar Patel explains the reasons behind the change, "The kind of Marathi cinema that is being made today is very fresh and different. This is thanks to directors and writers getting exposed to world cinema via television, film festivals etc. They are coming up with new storylines and innovative concepts."

Actor Mrunal Kulkarni remarks, "There is a lot of content and variety in Marathi films. A lot of bold subjects have been handled well by them. They carry a lot of substance." But, she adds, "We need to start watching a lot more Marathi films. Until we see the films ourselves, we will never be able to appreciate them when they are sent to the Oscars."

With outstanding contribution and efforts from different producers and directors of Mumbai Film Industry, Marathi cinema relatively outshined other Indian Film Industries such as Bollywood in the first quarter of 2010 in terms of box office collections and critical appreciation.^[9]

Contemporary[link]

Marathi Cinema received critical acclaim in the year 2004 with the film Shwaas bagging the Golden Lotus National Award^[10]. It was also India's official entry to the 77th Academy Awards and it also won the President's medal for best film, beating Bollywood's prolific output with quality.^[11] Shwaas, after Shyamchi Aai (1950) is only Marathi film to win the President's Medal.

The Maharashtra state government has begun to issue grants to Marathi film (between 1.5 and 3.0 million rupees). After the success of "Shwaas", Indian media players like Shringar Films and Zee Telefilms are exhibiting a re-emerging interest in Marathi cinema. The growing popularity of Marathi television (notably Zee Marathi and ETV Marathi) has also helped to popularize older Marathi cinema and promote the genre. Zee Talkies, a 24 hour channel dedicated to Marathi movies has been introduced.

In 2009, Marathi film Harishchandrachi Factory (With budget Rs. 6 Crore), depicting the struggle of Dadasaheb Phalke in making Raja Harishchandra in 1913, India's first feature film, directed by theatre-veteran Paresh Mokashi was selected as India's official entry to Academy Award in the Best Foreign Language Film Category, making it the second Marathi film, after Shwaas, to receive this honour ^[12][13][14].

In the year 2009 released the blockbuster musical movie Natarang, which got both commercial and critical applause and has served as a path-breaking movie for Marathi cinema in many ways.

In the year 2010 released Vihir (Umesh Kulkarni), Zenda (Avdhoot Gupte), Jhing Chik Jhing (Nitin Nandan), Pratisaad - The Response (Yogesh Dattatraya Gosavi), Mumbai - Pune - Mumbai (Satish Rajwade), Paaradh (Gajendra Ahire) had given different direction to marathi films.

Awards[link]

Filmfare Awards[link]

Maharashtra State Awards[link]

National Film Awards[link]

Further reading[link]

Maharashtra portal

• Marathi Cinema: in retrospect, by Sanjit Narwekar, Raghuvir Kul, D. B. Samant. Corporation. Maharashtra Film, Stage & Cultural Development Corp., 1995.
• All about Marathi Cinema, by Dana Rasmussen. 6 Degrees Books, 2010. ISBN 1-171-06824-7.

References[link]

See also[link]

• List of Marathi films

External links[link]

• Largest information repository on Marathi Film Industry
• All about new marathi movies
• Marathi Film and Movies
• Watch Marathi Movies Online
• Marathi Chitrapat
• A portal of Marathi Cinema
• Marathi Movies
• Stills From Marathi Movies
• Reviews and storyline of marathi movies
• a complete portal of marathi glamour industry
• Latest Marathi Movie Stills

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Priya Bapat
Born	Mumbai
Nationality	India
Occupation	Actress
Known for	her role as Shashikala Bhosale in Me Shivajiraje Bhosale Boltoy
Spouse	Umesh Kamat

Priya Bapat is an Indian Maharashtrian actress,^[1] well known for her role in the popular Marathi film Me Shivajiraje Bhosale Boltoy as Shashikala Bhosale. She is originally from Maharashtra, India and has also played roles in regional Marathi TV soaps and other Bollywood movies.

Television[link]

Priya has been a part of many televisions soap in the earlier part of her career. A simple girl from a middle-class Maharashtrian family, most of the characters she has played so far have been girl next door roles. With roles in Bandini, Damini, De Dhamaal, Abhal Maya and Shubham Karoti, she became a regular on the television screen.She Played the second lead in Adhuri Ek Kahani. She plays the lead character of Kimaya in the popular Marathi serial 'Shubham Karoti', which is a story of the ‘Mahajan’ family. A simple, contented joint family which consists of three generations, an interesting blend of characters right from an old grandfather who is 75 years old and up to his grandson who is 10 years old. The story’s focus is on the bonding and togetherness amongst these family members. Like every other normal family, the members of Mahajan family too have their own likes, dislikes, happy moments, sad moments, positive and negative traits. All in all, nobody amongst is perfect but they still live together in harmony under one roof. Kimaya is a loving, caring, positive and enthusiastic girl. Everybody loves her for her qualities. She’s helpful and wants the family to be together at any cost.^[2]

She has also worked in Sarabhai vs Sarabhai, a popular Hindi sitcom which was aired on Star One channel.

Regional Films[link]

Priya Bapat gained stardom due to her role as Shashikala Bhosale in Me Shivajiraje Bhosale Boltoy which was one of the Blockbusters of all time in the Marathi film history. She played the role of the daughter of the main protagonist, Dinkar Bhosale, played by veteran Marathi actor, Sachin Khedekar. Shashikala is an aspiring actor but is turned away at film auditions and she believes that the only reason is her Maharashtrian surname 'Bhosale' which is very 'downmarket' in the film industry. However after a major turn of events and Shivaji Maharaj's teachings, Dinkar persuades Shashikala and instills in her the much needed Maharashtrian pride and she believes in the ideology ultimately. Her dance in the movie titled, Masolevani Tuzi is popular amongst the younger generation.^[3]

Priya also played the lead role of Anandi in the Marathi flm 'Anandi Anand'. She is a college drop out; who prefers to live with her Grandparents in a picturesque village in Konkan, rather than migrating to U.S. with her parents. She hates the modern city lifestyle. Instead, she prefers the traditional, learning music and spending most of her time with nature. She gets married to a NRI, a son of a music company owner at the request of her grand parents. The boy, highly impressed by her voice, is keen on using the same for his next assignment. After marriage, Anandi moves to Mumbai. Not happy with the city environment, she goes into depression and is advised to return back to her village, on the advice of the doctor. With few moments of ups and downs, she finally sings for her husband's own music album. With a happy ending, Anandi and Anand reunite.^[4]

Bollywood[link]

Her drama teacher, Vidya Patwardhan, gave her contacts out in the industry and got Priya her first role as a child actor in Dr Jabbar Patel's national award winning movie Dr Baba Saheb Ambedkar, where she played the younger Sonali Kulkarni.^[5] Priya has played a few cameo roles in Bollywood movies, such as the Munnabhai series. Munnabhai M.B.B.S. and Lage Raho Munnabhai

Filmography[link]

References[link]

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2010)

Mohan Agashe
Mohan Agashe at 43rd KVIFF
Nationality	Indian
Occupation	Actor

Mohan Agashe is an Indian theatre and film actor. He was awarded the Sangeet Natak Akademi Award in 1996.^[1]

Biography[link]

He is a psychiatrist by profession and works as a Professor of Psychiatry at the B. J. Medical College and Sassoon Hospital in Pune, India.

Career in psychiatry[link]

Dr. Mohan Agashe studied in B. J. Medical College, Pune for his MBBS and PG degree in Psychiatry. He had been a student of eminent pstchiatrist Dr. D.N.Nandy.But during his medical college in Pune,he fell in love with theatre by Utpal Dutt; even the night before his final examination,he was caught red-handed by Prof.Nandi in Academy of Fine Arts,rabindrasadan watching a theatre.Apart from his medical career he had an illustrious career in clinical psychology and psychopharmacology. Agashe started his early career by opting to work in The Government Hospital at Pune. He had the honor of chairing the Organizing Committee meetings for the Annual National Conference of Indian Psychiatric Society held at Armed Forces Medical College, Pune.

Agashe was a founding Director of Maharashtra Institute of Mental Health until he moved on to become Director of FTII. His students have progressed in their careers to become renowned psychiatrists in India, the UK and the United States.

Advisor to the Government[link]

In 1998, Agashe's project to improve the mental health education and service lead to the formation of a new policy on mental education by the Government of Maharastra. He has also served as an Advisor to the Government of Maharastra on Mental Health Education and Service. He was also instrumental in establishing the Maharastra Institute of Mental Health in 1991. MIMH is now a prestigious state level training and research institute in Mental Health Sciences. It is located in Pune, India.

Principal investigator[link]

In 1994, western India witnessed a major earthquake centred on Latur. To understand the mental health effects of the quake, a research project was initiated by the Indian Council of Medical Research. For that project Agashe served as Principal Investigator.

Agashe is currently the Principal Investigator for an Indo-US joint project on Cultural Disorders of Fatigue and Weaknesses.

Career in acting[link]

Agashe's love of acting made him take time out of his busy schedule to work in plays. He started his career in acting by working in plays.

Director at Film and Television Institute of India[link]

From April 1997 to April 2002 he was the Director General of the Film and Television Institute of India, Pune.

Filmography[link]

• Susman (1987) .... President of Handloom Cooperative Society
• Kala Dhanda Goray Log (1986) .... Custom Office Sudarshan Kumar
• Mashaal (1984) .... Keshav
• Paar (1984) .... Hari Singh
• Gandhi (1982) .... Tyeb Mohammed's friend
• Sadgati (1981) (TV) .... The Brahmin
• The Sea Wolves: The Last Charge of the Calcutta Light Horse (1980) - Brothel Keeper
• Aakrosh (1980) .... President of the City Council
• Bhumika: The Role (1977)
• Jait Re Jait (1977)
• Ghashiram Kotwal (1976) .... Nana Fadnavis
• Manthan (1976) .... Deshmukh
• Nishaant (1975) .... Prasad (Zamindar's brother)
• Samna (1974) .... Maruti Kamble
• Sinhasan (1980) .... Budhajirao
• Ghashiram Kotwal (1972) (Marathi Play) .... Nana Phadnavis
• Bombay Blue (1998) (mini) TV Series
• Mohini (1995) (TV) (as Dr. Mohan Agashe) .... Anand

He also acted as Maganlal Meghraj in Bengali telefilms Feluda 30 on Feluda (based on stories by Satyajit Ray and directed by Sandip Ray)

Television[link]

• Agnihotra on Star Pravah as Appa

Awards and nominations[link]

• 1996:Nominated:Filmfare Best Villain Award forTrimurti

References and notes[link]

1. ^ Awards and Honours

External links[link]

• Mohan Agashe at the Internet Movie Database

Wikimedia Commons has media related to: Mohan Agashe

Persondata
Name	Agashe, Mohan
Alternative names
Short description
Date of birth
Place of birth
Date of death
Place of death

Smita Patil (17 October 1955 – 13 December 1986) was an Indian actress of film, television and theatre. Regarded among the finest stage and film actresses of her times,^[1] Patil appeared in over 75 Hindi and Marathi films in a career that spanned just over a decade.^[2] During her career, she received two National Film Awards and a Filmfare Award. She was the recipient of the Padma Shri, India's fourth-highest civilian honour in 1985.

Patil graduated from the Film and Television Institute of India in Pune and made her film debut with Shyam Benegal's Charandas Chor (1975). She became one of the leading actresses of parallel cinema, a New Wave movement in India cinema, though she also appeared in several mainstream movies throughout her career.^[3] Her performances were often acclaimed, and her most notable roles include Manthan (1977), Bhumika (1977), Aakrosh (1980), Chakra (1981), Chidambaram (1985) and Mirch Masala (1985).^[3]

Apart from acting, Patil was an active feminist (in a distinctly Indian context) and a member of the Women's Centre in Mumbai. She was deeply committed to the advancement of women's issues, and gave her endorsement to films which sought to explore the role of women in traditional Indian society, their sexuality, and the changes facing the middle-class woman in an urban milieu.^[4]

Patil was married to actor Raj Babbar. She died on 13 December 1986 at the age of 31 due to childbirth complications. Over ten of her films were released after her death. Her son Prateik Babbar is a film actor who made his debut in 2008.

Early life[link]

Smita Patil was born in Pune into a Marathi family to a Maharashtrian politician, Shivajirao Patil and social worker mother Vidyatai Patil, from Shirpur town (Village-Bhatpure) of Khandesh province of Maharashtra State. She studied at Renuka Swaroop Memorial high school in Pune.

Her first tryst with the camera was in the 1970s as a television newscaster for Doordarshan, the Indian government owned television service.

Career[link]

Smita Patil belongs to a generation of actresses, including Shabana Azmi and, like her, who are strongly associated with the radically political cinema of the 1970s. Her work includes films with parallel cinema directors like Shyam Benegal, Govind Nihalani and Mrinal Sen as well as forays into the more commercial Hindi film industry cinema of Mumbai. Patil was working as a TV news reader and was also an accomplished photographer when Shyam Benegal discovered her.^[5]

She was an alumna of the Film and Television Institute of India, Pune. In 1977, she won the National Award for 'Best Actress' for her performance in the Hindi film Bhumika. In her films, Patil's character often represents an intelligent femininity that stands in relief against the conventional background of male-dominated cinema (films like Bhumika, Umbartha, and Bazaar). Smita Patil was a women's rights activist and became famous for her roles in films that portrayed women as capable and empowered.

"I remained committed to small cinema for about five years ... I refused all commercial offers. Around 1977-78, the small cinema movement started picking up and they needed names. I was unceremoniously dropped from a couple of projects. This was a very subtle thing but it affected me a lot. I told myself that here I am and I have not bothered to make money. I have turned down big, commercial offers because of my commitment to small cinema and what have I got in return? If they want names I'll make a name for myself. So I started and took whatever came my way."

In time she was accepted by commercial filmmakers and from Raj Khosla and Ramesh Sippy to B.R. Chopra, they all agreed that she was "excellent." Her fans, too, grew with her new-found stardom. Patil's glamorous roles in her more commercial films — such as Shakti and Namak Halaal — revealed the permeable boundaries between "serious" cinema and "Hindi cinema" masala in the Hindi film industry.

Her association with artistic cinema remained strong, however. Her arguably greatest (and unfortunately final) role came when Smita re-teamed with Ketan Mehta to play the feisty and fiery Sonbai in Mirch Masala (1987). Smita won raves for playing a spirited spice-factory worker who stands up against a lecherous petty official.

Personal life[link]

When she became romantically involved with actor Raj Babbar, ^[6]Patil drew severe criticism from her fans and the media, clouding her personal life and throwing her into the eye of a media storm. Raj Babbar left his wife Nadira Babbar to marry Patil.^[7]

Overnight, Patil was labeled a "home-breaker" by the very feminist organizations she had worked so assiduously for and became the target of barbed criticism.^[8]

Death and legacy[link]

Smita died from childbirth complications on 13 December 1986, age 31, barely two weeks after having given birth to her son, Prateik Babbar.

Nearly two decades later, one of India's greatest film directors, Mrinal Sen alleged that Smita Patil had died due to gross medical negligence.^[9]

In 2011, Rediff.com listed her as the second-greatest actress of all time, behind Nargis.^[10] According to Suresh Kohli from Deccan Herald, "Smita Patil was, perhaps, the most accomplished actress of Hindi cinema. Her oeuvre is outstanding, investing almost every portrayal with a powerhouse realistic performance."^[11]

Awards[link]

Winner

• 1978 - National Film Award - Best Actress for Bhumika
• 1978 - Filmfare Award for Best Actress — Marathi for Jait Re Jait
• 1981 - Filmfare Award for Best Actress — Marathi for Umbartha
• 1982 - Filmfare Award for Best Actress for Chakra
• 1982 - National Film Award - Best Actress for Chakra
• 1985 - Padma Shri Award

Nominated

• 1978 - Filmfare Award for Best Actress for Bhumika
• 1983 - Filmfare Award for Best Actress for Bazaar
• 1984 - Filmfare Award for Best Supporting Actress for Arth
• 1984 - Filmfare Award for Best Supporting Actress for Mandi
• 1985 - Filmfare Award for Best Actress for Aaj Ki Aawaz

Filmography[link]

References[link]

External links[link]

• Smita Patil at the Internet Movie Database
• Raw stock, rare appeal: Smita Patil Rediff.com