Manilal Joshi (1893-1927)
Major silent director and one of the first to stand up for authorial rights of film directors. Also initiated the convention of giving onscreen credit to cast and crew. Former schoolteacher in Bombay, apprenticed to cameraman V.B. Joshi at Kohinoor Studio (1920). Turned film-maker at Ardeshir Irani’s Star Film (1922) with Veer Abhimanyu, apparently containing Indian cinema’s first flashbacks. His first independent production house (Swastika Film; Est: 1923) failed; then set up Ashoka Pics (1924) and made [[Prithvi Vallabh]]. Its success encouraged others to go independent as well. Worked for Kohinoor and took over production of its sister company, Laxmi Films (1925). Major film directors who worked with him around this time inc. B.P. Mishra and R.S. Choudhury (with Prithvi Vallabh and until the closure of Laxmi), and Chandulal Shah (who joined films at Laxmi). Made Mojili Mumbai, about the decadence of the urban Westernised bourgeoisie, one of the first films in a contemporary setting. Also worked briefly at Sharda? Studio and at Vazir Haji’s Excelsior Film (1927). Films distinguished by careful cinematography and for ‘popularising the social’ (Bharucha, 1938).
FILMOGRAPHY:' 1922: Veer Abhimanyu; Raja Parikshit; Ratnavali; 1923: Sati No Sraap; Kirat Arjun; 1924: Prithvi Vallabh; 1925: Indrasabha; Raj Yogi; Desh Na Dushman; Veer Kunal; Mojili Mumbai; Devadasi; Suvarna; Khandani Khavis; Kala Chor; Sati Simantini; 1926: Jungle Ni Jadibuti; Ajabkumari; Ratan Manjari; Dulari; Kashmeera; 1927: Nanand Bhojai; Parsa Eblis; Shrimati Nalini; Laila Majnu; Lohika Lilam; Prem Ni Pratima (all St).