| 1 | '''Krishna Film Company''' |
| 2 | |
| 3 | |
| 4 | Silent studio; Est: 1924 as a diversification of |
| 5 | the Krishna Film Laboratory in Bombay by |
| 6 | Maneklal Patel, a former exhibitor in |
| 7 | Ahmedabad, scenarist (usually under name of |
| 8 | Krishna Kumar), film-maker and partner in the |
| 9 | Kohinoor Studio. Among the most successful |
| 10 | of Kohinoor’s offshoots, they made 44 films |
| 11 | 1925-31, including works by Luhar’s partner |
| 12 | Harshadrai Mehta, Kanjibhai Rathod, |
| 13 | Mohanlal Shah, A.P. Kapur and Prafulla Ghosh, |
| 14 | cameramen Gordhanbhai Patel and Ambalal |
| 15 | Patel and actors such as Gulab, Ermeline, |
| 16 | Nandram and Rampiary. Its most famous silent |
| 17 | productions were Prafulla Ghosh’s mammoth |
| 18 | 4-part serial, Hatimtai (1929), the muchdiscussed |
| 19 | (e.g. by the 1928 Cinematograph |
| 20 | Committee) Janjirne Jankare (1927) and the |
| 21 | K.M. Munshi story Kono Vank? The studio |
| 22 | made a major financial investment in sound as |
| 23 | Krishnatone, making 5 talkies in 1931 (4 by |
| 24 | Rathod), but it closed in 1935 following major |
| 25 | litigation concerning their last film, |
| 26 | Fashionable India (1935), with financiers |
| 27 | Kapurchand & Co. and the agency supplying |
| 28 | imported film stock. In the silent days, Krishna |
| 29 | filmed the work of several noted Gujarati |
| 30 | novelists, e.g. Narayanji Vassanji Thakker, |
| 31 | Gopalji Delwadakar, Shaida, K.M. Munshi, |
| 32 | Champshi Udeshi and Ramanlal Desai, and also |
| 33 | hired some of them as scenarists. |
| 34 | |
| 35 | [[Studio]] |