Keshav Narayan Kale (1904-74)

Marathi and Hindi director born in Dayal, Ratnagiri Dist., Maharashtra. Studied English at St. Xavier’s College, Bombay (1924-8). Started as a journalist. Noted Marathi literary and theatre critic associated with radical journals Ratnakar, Yashwant and Pratibha. Co-founded vanguard theatre group Natyamanwantar (cf. Date? and Bhole?) in 1933, claiming influence of Ibsen, Shaw and Stanislavski (whose theoretical writings he translated into Marathi). As the group’s ideologue, actor and playwright, emphasised the absence of a performance theory in Marathi theatre and sought to rewrite its history in terms of acting and emotionality. Joined cinema as actor (1926) with S.N.Patankar?, later worked at Imperial and Ranjit Studios?. Left cinema to study law (1931- 4). Hired as scenarist for Prabhat (1934). Wrote dialogue and lyrics for Dharmatma, giving this Saint film a political thrust by drawing analogies between Sant Eknath and Gandhi and by deflecting the mandatory miracle scenes towards more social concerns. Provided the lyrics for Chandrasena? and the script for Amar Jyoti?. Turned director at Prabhat in 1937 and made best-known film Mazha Mulga? as fictional autobiography about the struggles of a young radical writer. Worked with humourist P.K. Atre? and filmed two of his screenplays (Lapandav?, Baeelweda). Devoted himself to the theatre (1943-53) before making more films. Published a number of books, e.g. several essays on film theory and a volume of poetry, Sahakarmanjari (1932). First Professor of Film Appreciation at the FTII in early 60s. Worked on the Marathi journal, Sahitya Patrika.

FILMOGRAPHY '(* act only): 1926: Satyavijaya*; 1928: Pataal Ketu*; Jagadguru Shrimad Shankaracharya*; 1929: Bhikharan*; Jai Somnath*; Pati Patni* (all St); 1932: Marathyatil Dulhi/Amar? Shaheed*; 1935: Dharmatma*; 1936: Amar Jyoti*; 1937: Wahan; 1938: Mazha Mulga/Mera? Ladka; 1940: Lapandav; 1943: Baeelweda; 1953: Ammaldar; Bolavita Dhani*; 1959: Didi.

Director