| 1 | '''Gajanan Digambar Madgulkar 1919-77)''' |
| 2 | |
| 3 | Marathi scenarist, songwriter, actor and poet. |
| 4 | First film as lyric writer: Bedekar’s Pahila |
| 5 | Palna (1942), which was also his acting début. |
| 6 | Achieved prominence in the 50s via his |
| 7 | popular film songs on the radio and on discs |
| 8 | which, following the spread of playback, |
| 9 | evolved the bhava geet: orchestrated songs of |
| 10 | about three minutes duration using simple |
| 11 | emotive lyrics. His texts were mainly sung and |
| 12 | orchestrated by Sudhir Phadke, their Geet |
| 13 | Ramayan record series of 1957 remaining very |
| 14 | popular with the Marathi middle class and a |
| 15 | precursor of the 70s bhajan craze. Often wrote |
| 16 | for Raja Paranjpe (Jivacha Sakha, 1948; |
| 17 | Pudhcha Paool, 1950; Lakhachi Goshta |
| 18 | and Pedgaonche Shahane, both 1952; Oon |
| 19 | Paoos, 1954; Ganget Ghoda Nhala, 1955; |
| 20 | Andhala Magto Ek Dola and Deoghar, both |
| 21 | 1956; Pathlaag, 1964). This work dominated |
| 22 | the Marathi cinema in the 50s and 60s and is |
| 23 | associated with the shift, on the formation of |
| 24 | the state of Maharashtra, to a concern with |
| 25 | Marathi identity accompanied by the creation |
| 26 | of industrial infrastructures (and audiences) |
| 27 | based on regional capital. First script, |
| 28 | Shantaram’s Lokshahir Ramjoshi/ |
| 29 | Matwala Shayar Ramjoshi (1947; also act), |
| 30 | launched the gramin chitrapat genre of ‘rural’ |
| 31 | film typically using dialect, located in a village |
| 32 | and telling of a power struggle between a good |
| 33 | peasant lad and an evil sarpanch (village |
| 34 | elder). Also wrote scripts for Dinkar D. Patil, |
| 35 | the best-known Marathi director in the genre |
| 36 | (Baap Mazha Brahmachari and Prem |
| 37 | Andhala Asta, both 1962). However, where |
| 38 | Patil used the genre as an indigenous version |
| 39 | of the western, Madgulkar’s scripts conveyed a |
| 40 | sense of political awareness in line with e.g. |
| 41 | Vyankatesh Madgulkar’s stories about rural |
| 42 | characters. Wrote prose melodramas, e.g. for |
| 43 | Dharmadhikari (e.g. Bala Jo Jo Re, 1951; |
| 44 | Stree Janma Hi Tujhi Kahani, 1952). Also |
| 45 | adapted mythologicals and historicals to the |
| 46 | studios’ industrial requirements (e.g. Maya |
| 47 | Bazaar, 1949; Shri Krishna Darshan, 1950; |
| 48 | Narveer Tanaji, 1952). Acted in e.g. |
| 49 | Pedgaonche Shahane, Jeet Kiski (both 1952), |
| 50 | Banwasi, Adalat (both 1948). |
| 51 | |
| 52 | [[Writer]] |
| 53 | |
| 54 | [[Actor]] |