| 1 | '''Vishnupant Pagnis (1892-1943)''' |
| 2 | |
| 3 | |
| 4 | Professional actor on the Marathi Sangeet |
| 5 | Natak from the age of 10; part of Kolhapur’s |
| 6 | Swadeshi Hitchantak Natak Mandali where he |
| 7 | played the female roles of Sharada and |
| 8 | Shakuntala in command performances for the |
| 9 | Shahu Maharaj. Appeared in some silent |
| 10 | Maharashtra Film movies but became known |
| 11 | for his female roles in Mama Warerkar’s first |
| 12 | play, Kunjvihari (1908), and in Tembe’s |
| 13 | Shivraj Natak where he played the heroine in |
| 14 | the Hindi version of Siddhasansar. His style is |
| 15 | said to have been strongly influenced by the |
| 16 | Gujarati actor of female roles, Jaishankar |
| 17 | Sundari. He became a music teacher in a |
| 18 | municipal school when his stage career flagged |
| 19 | and was a last-minute casting decision in the |
| 20 | lead of Sant Tukaram (1936). Apparently |
| 21 | remained under the spell of the great saint-poet |
| 22 | whom he played. Was thereafter in some |
| 23 | demand as a keertan singer. He did four more |
| 24 | films, all in the Saint films genre, with Jayant |
| 25 | Desai and Vjay Bhatt. Functioned as music |
| 26 | director for Sant Janabai (1938). His |
| 27 | performance as Tukaram has become a major |
| 28 | reference-point in debates about Indian |
| 29 | performance idioms: e.g. Kumar Shahani’s |
| 30 | essay The Saint Poets of Prabhat, 1981; Geeta |
| 31 | Kapur’s Mythic Material in Indian Cinema, |
| 32 | 1987. |
| 33 | |
| 34 | |
| 35 | '''FILMOGRAPHY''' (* also music d): 1921: |
| 36 | Surekha Haran; 1924: Poona Raided; |
| 37 | 1936: Sant Tukaram; 1938: Sant Janabai |
| 38 | (music d only); 1939: Sant Tulsidas*; |
| 39 | 1940: Narsi Bhagat; 1943: Mahatma |
| 40 | Vidur; Bhakta Raaj. |
| 41 | |
| 42 | [[Actor]] |