| 1 | '''Master Krishnarao Phulambrikar (1891-1974)''' |
| 2 | |
| 3 | |
| 4 | Music composer and actor born in Alandi, |
| 5 | Maharashtra. Trained by Bhaskarbua Bakhle in |
| 6 | music school Bharat Gayan Samaj. Employed |
| 7 | by Bal Gandharva’s Gandharva Natak Mandali |
| 8 | as male lead and composer. With Govindrao |
| 9 | Tembe, he helped shape Bal Gandharva’s |
| 10 | enormously influential populist versions of |
| 11 | North Indian classical music. Entered film at |
| 12 | Prabhat Studio with Bal Gandharva in |
| 13 | Shantaram’s Dharmatma and stayed on to |
| 14 | do several films, developing a reputation as an |
| 15 | orthodox Sangeet Natak classicist, |
| 16 | distinguishing him from his Prabhat |
| 17 | contemporary, Keshavrao Bhole. His songs |
| 18 | for Manoos/Admi (esp. Hublikar’s seduction |
| 19 | number, Ab kis liye kal ki baat) and the musical |
| 20 | spoofs of Bombay Talkies and New Theatres |
| 21 | were among the few original compositions |
| 22 | when, particularly at Prabhat, most songs drew |
| 23 | on the repertoire of traditional gharanas |
| 24 | (notably the Jaipur gharana). His only success |
| 25 | after the studio era was at Rajkamal in Mali, |
| 26 | also playing the lead role. |
| 27 | |
| 28 | |
| 29 | '''FILMOGRAPHY''' (* also act): 1935: |
| 30 | Dharmatma; 1936: Amar Jyoti; 1937: |
| 31 | Sadhvi Meerabai; Wahan; 1938: Gopal |
| 32 | Krishna; 1939: Manoos/Admi; 1941: |
| 33 | Shejari/Padosi; 1942: Vasantsena; 1944: |
| 34 | Bhakticha Mala/Mali*; 1945: Lakhrani; |
| 35 | 1947: Meri Amanat (act only); 1949: Sant |
| 36 | Ramdas; 1953: Tai Teleen; 1959: Keechaka |
| 37 | Vadha; 1962: Vithu Mazha Lekurvala. |
| 38 | Krishna Shastry, Devulapalli see Sastry, |
| 39 | Devulapalli Krishna |
| 40 | |
| 41 | [[Actor]] |
| 42 | |
| 43 | [[Music]] |