Changes between Initial Version and Version 1 of Baburao Painter


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Jun 28, 2012, 4:13:21 PM (8 years ago)
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Trupti
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  • Baburao Painter

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     1'''Baburao Painter (1890-1954)''' 
     2 
     3 
     4Marathi-Hindi director born Baburao 
     5Krishnarao Mestri in Kolhapur, into family of 
     6traditional craftsmen. Taught himself to paint 
     7(hence his name) and sculpt in academic artschool 
     8style. He and his artist cousin 
     9Anandrao Painter were, between 1910 and 
     101916, the leading painters of stage 
     11backdrops in Western India, doing several 
     12famous curtains for Sangeet Natak troupes 
     13(esp. Bal Gandharva and Tembe’s 
     14companies) but also for Gujarati Parsee 
     15theatre. Became avid filmgoers after seeing 
     16Raja Harishchandra (1913). Perceiving its 
     17theatrical limitations, they turned to cinema, 
     18first as exhibitors (Shivaji theatre, Kolhapur) 
     19while trying to assemble their own camera. 
     20Anandrao died in 1916. Baburao and his main 
     21disciple, Damle, eventually put together a 
     22working camera in 1918. With financial 
     23support from local nobility, started 
     24Maharashtra Film with Seeta Swayamvar, 
     25although that film was later abandoned. 
     26Remained head of studio until 1932, 
     27launching many talented cineastes, including 
     28the group that later left to set up Prabhat: 
     29Damle, Fattelal and Shantaram. Resigned 
     30following Lanka, producing Prem Sangam 
     31for Anand Pics. Later ran Shalini Cinetone 
     32(1932-8). Then occasional freelance director 
     33(e.g. Lokshahir Ramjoshi on Shantaram’s 
     34invitation, although Shantaram finished the 
     35film himself). Added a Marathi soundtrack to 
     36his Prem Sangam and re-released it in 1934 as 
     37his first sound film. Practised cinema as a 
     38continuation of earlier craft traditions, seen as a 
     39contribution to Swadeshi, legitimated by 
     40nationalist leader B.G. Tilak’s public 
     41commendation of his achievements (1918). 
     42Developed sophisticated art direction and 
     43shooting techniques, e.g. the use of backdrops 
     44in red and yellow to register the right shades of 
     45grey on film, the manufacture of primitive 
     46filters with tinted glass, the first use of indoor 
     47electric lighting with generators, use of fades, 
     48etc. Also used costume design and art direction 
     49to relate to characters’ spaces, reserving 
     50elaborate sets and design for fantasy films. 
     51Helped codify the mythological and founded 
     52the social (Savkari Pash) and the historical 
     53(Sinhagad, Baji Prabhu Deshpande) as film 
     54genres. 
     55 
     56 
     57'''FILMOGRAPHY:''' 1919: Congress Session in 
     58Bombay (Doc); 1920: Sairandhri; 1921: 
     59Surekha Haran; 1922: Bhagwata Bhakta 
     60Damaji; 1923: Sinhagad; Shri Krishna 
     61Aavtar; 1924: Sati Padmini; Kalyan 
     62Khajina; 1925: Shahala Shah; Rana Hamir; 
     63Maya Bazaar; Savkari Pash; 1926: Gaja 
     64Gauri; Bhakta Prahlad; 1927: Muraliwala; 
     65Sati Savitri; 1929: Baji Prabhu Deshpande; 
     661930: Lanka; 1932: Prem Sangam (all St); 
     671935: Usha; 1936: Savkari Pash; 1937: 
     68Pratibha; Sadhvi Meerabai; 1946: Rukmini 
     69Swayamvar; 1947: Lokshahir Ramjoshi/ 
     70Matwala Shayar Ramjoshi; 1952: 
     71Vishwamitra; 1953: Mahajan. 
     72 
     73[[Director]]