Marathi Cinema, also known as Marathi film industry, is the segment of Indian cinema dedicated to the production of motion pictures in the Marathi language widely spoken in the state of Maharashtra. It is based in Mumbai. It is the oldest film industry of India and one of the leaders in filmmaking in the Indian film industry.[4]
Kolhapur was a centre for film production during the 20th century, though currently, a majority of films are made in Mumbai.[4] During Marathi cinema's infancy between the 1910s and 1930s, which only had silent films, the majority of films were made on Hindu mythological subjects. Later during the 1970s, films were made on rural stories. Between the 1980s and 1990s, comedy and thriller films started to flourish. Since the turn of the millennium, there have been films based on social subjects and biographical dramas. Although the industry is much smaller than Bollywood (which is also based in Mumbai), Marathi cinema is tax free at the privilege of the government of Maharashtra, and is experiencing growth in recent years.
Advertisement in the Times of India of 25 May 1912 announcing the screening of the first feature film of India, Pundalik, by Dadasaheb TorneRaja Harishchandra (1913)
Marathi cinema is the oldest film industry in India.[4]Dadasaheb Phalke is widely considered a pioneer and founder of Marathi cinema and Cinema of India.[10] He brought the revolution of motion pictures to India with his first indigenously made film, Raja Harishchandra, released in 1913. Although the film had Marathi and English intertitles, it is considered a Marathi film by IFFI and NIFD,[clarification needed] citing that while filming, Phalke had employed a full Marathi crew, including actors.[11] Some claim that the first ever Marathi movie was Shree Pundalik of Dadasaheb Torne; it was released on 18 May 1912 at Coronation Cinematograph, Bombay.[6] But this claim is disputed; it is not considered the first Marathi or Indian movie because it was not a movie in the true sense; it was a recording of a then popular theater play; the cameraman who filmed that movie, Jonson, was a British national; it was processed in London; and the negative also remained in the United Kingdom.[7]
Kolhapur was a centre of film production in the twentieth century. Maharashtra Film Company's Sairandhri(1920), starring Balasaheb Pawar, Kamala Devi and Zunzarrao Pawar, was the first Indian film to cast women artists.[12] Notably, Sairandhri became the first Indian film to face censorship by the British Government.[13] Because of his special interest in sets, costume design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialized in the historical genre.[14] Baburao Painter made many silent movies till 1930, including Surekha Haran (1921), for which he brought the best camera of the time, manufactured by Bell & Howell, and Savkari Pash (Indian Shylock) in 1925, a social film based on a short story by Narayan Hari Apte. Baburao was not particularly keen on the talkies, for he believed that they would destroy the visual culture so painfully evolved over the years.[15]
The Transition to Sound: Early Talkies
Ayodhyecha Raja (1932), directed by V. Shantaram was the first talkie of Maharashtra and also the first double version talkie of Indian cinema; prior to it, all the movies were silent films with Marathi and English intertitles. It was released one year after the first sound film of the nation, Alam Ara (1931), and five years after the first Hollywood sound film, The Jazz Singer (1927), which is the first sound film made in the world.[16][17]Bhalji Pendharkar's Shyam Sundar was the first talkie to be made in Pune and apparently the first Indian film with a continuious run of more than 25 weeks at West End (present Naaz Talkies, Mumbai).
Nilu Phule, a legendary actor of the 1970s–1980s, achieved fame for playing villain roles with natural acting
The 1960s saw the emergence of directors such as V. Shantaram and Anant Mane, who made Marathi films based on the folk art form Tamasha. Mane’s Sawaal Majha Aika! (1964), marked his third Best Feature Film Award win and featured many popular songs.[20] Shantaram's Pinjra (1972) was a major hit, becoming one of the biggest commercial successes of its time, and ran for an impressive 134 weeks in Pune. It was also the first Marathi film to be made in color.[21][9]
Directors like Datta Dharmadhikari and Rajdutt later gained popularity for their traditional family dramas. Noteworthy films from this period include the family drama Manini (1961), the historical fiction Mohityanchi Manjula (1963) by Bhalji Pendharkar and the drama Aamhi Jato Amuchya Gava (1968), which took six years to make, was a big success upon release, while the comedy Pandu Havaldar (1975) brought Ashok Saraf into recognition.[22]
By the early 1970s, Dada Kondke captured audiences with his distinct style of ribald humor, often incorporating sexual innuendo. His first film in this genre, Songadya (1971), was loosely inspired by Tamasha and featured a seductive heroine, a bumbling yet innocent hero, and dialogue filled with innuendo and sexual puns. Kondke's films, blending humor with social and political satire, became cult classics.[23] Around the same time, Jabbar Patel'sSamna (1974) marked a pivotal shift in Marathi cinema, offering a profound critique of systemic corruption and social inequities, further broadening the scope of the industry.
By this time, Marathi cinema largely gravitated towards either Tamasha-based films or traditional family dramas, alongside Kondke's signature comedies.[24]
The Rise of Comedy and Star Power (mid 1980s–1990s)
In 1980s directors Mahesh Kothare (left) and Sachin Pilgaonkar (right) emerged as successful directors by directing mainly comedy-thriller and comedy genre films respectively.
The mid-1980s saw two comedy heroes raised to stardom, Ashok Saraf and Laxmikant Berde, become popular superstars. In the mid '80s Mahesh Kothare and Sachin Pilgaonkar made many box-office hit films. Kothare used to make action-comedy-thriller genre movies, while Pilgaonkar used to make mainly comedy movies. Pilgaonkar made hit classics such as buddy films Gammat Jammat (1987), Ashi Hi Banwa Banwi (1988), the latter becoming one of the highest-grossing Marathi films of its time, earning ₹3 crores. He also directed the supernatural revenge drama BhutachaBhau (1989), feel good movie Aayatya Gharat Gharoba (1991), Aamchya Sarkhe Aamhich (1990),[25][26] and around the same time Kothare made hit films Dhoom Dhadaka (1985),Dhadakebaaz (1990), DeDanadan (1987), and horror-thriller Zapatlela (1993), which was an unofficial remake of Hollywood cult classic slasher filmChild'sPlay (1988).[27] He introduced technological advancements, such as the fact that he was the first director who filmed his movie in CinemaScope, used chroma key technique and did wire-flying in Dhadakebaaz, used puppetry in Zapatlela, he filmed Zapatlela's sequel in 3D format, probably this film was the first ever sequel film made in Marathi cinema, and ventured into film genres such as horror comedy, thriller, and fantacy.[28] Both Kothare and Pilgaonkar acted and directed their respective films; latter even sang many songs for his movies. Other directors also made entertaining movies during this period, including Bin Kamacha Navra (1984), Amhi Doghe Raja Rani (1986), Kalat Nakalat (1989), Chaukat Raja (1991), Ek Hota Vidushak (1992) and Sawat Mazi Ladki (1993).[29] Following the significant success of Maherchi Sadi (1991), starring Alka Kubal, which grossed a record ₹12 crores and became a landmark in Marathi cinema, the industry experienced a wave of family drama films. This surge saw filmmakers exploring relatable themes centered around family dynamics, societal values, and emotional narratives, further solidifying the family drama genre's popularity in Marathi cinema.[30]
Challenges and Change: The Decline (mid 1990s–2000s)
While the theatre of Maharashtra earned recognition at the national level, the cinema failed to make a mark. A major reason was the proximity to the production centre of Hindi cinema (Bollywood), which encroached on the identity of Marathi cinema. Other reasons include the shortage of cinema halls for distribution due to poor marketing, a lack of money magnets, a vibrant theatre scene, and the emergence of private television. It also lacked the powerful lobby at the national level, unlike South Indian cinema, because the state encouraged Hindi cinema for profit mainly; the regional film industrial advantage being soaked up by Bollywood.[19]
In the mid-2000s, Marathi cinema explored a range of compelling themes through films that resonated with audiences. Not Only Mrs. Raut (2003) highlighted women's struggles against exploitation, while Aga Bai Arrecha! (2004) humorously depicted a man's frustration with city life and his ability to hear women's thoughts. Saatchya Aat Gharat (2004) tackled the serious issue of sexual assault, and Dombivli Fast (2005) followed a middle-class man’s fight against corruption and injustice. Uttarayan (2004) told a touching story of elderly love, Jatra: Hyalagaad Re Tyalagaad (2006) revitalized the comedy genre, and Saade Maade Teen (2007) became a cult classic, one of the highest-grossing Marathi films of the era.[31] Despite the success of these films, it was Shwaas that truly put Marathi cinema on the national map. Winning the Golden Lotus National Award and becoming India’s official entry for the Academy Awards, it marked a turning point and symbolized the industry’s potential for global recognition. It won the President's Medal for best film, beating Bollywood's prolific output with quality.[32]Shwaas was the second Marathi film to win the President's Medal after Shyamchi Aai (1950).
Road movie De Dhakka (2008), satire film Nishani Dava Anghatha (2009) based on failure of government of India's adult education program, political satire GallitGondhal Dillit Mujra (2009), film raising state's farmar's issue, rampant corruption in government officials, satire Jau Tithe Khau (2007), Kaydyach Bola (2005) and the social drama Jogwa (2009) made impacts on the audience's mind during this period.[21]
Deool, directed by Umesh Vinayak Kulkarni, made history by becoming the third Marathi film to win the National Film Award for Best Feature Film, following Shyaamchi Aai and Shwaas.[40] Its sequel, Deool Band (2015), also garnered significant attention from audiences. Acclaimed director Dr. Jabbar Patel emphasized the transformative nature of contemporary Marathi cinema, stating, "The kind of Marathi cinema that is being made today is very fresh and different. This is thanks to directors and writers getting exposed to world cinema via television and film festivals. They are coming up with new storylines and innovative concepts." With the outstanding contributions from various producers and directors within the Mumbai film industry, Marathi cinema notably outshone other Indian film industries, including Bollywood, in box office collections and critical appreciation during the first quarter of 2010.[41]
The landmark film Sairat (2016), a romantic drama directed by Nagraj Manjule and starring Rinku Rajguru and Akash Thosar, emerged as a game-changer, becoming the biggest weekend opener for a Marathi film and breaking records previously held by Natsamrat.[42]Sairat was the first Marathi film to gross over ₹100 crore (approximately $16 million) worldwide, solidifying its status as a cultural phenomenon.[43] The decade saw directors such as Nagraj Manjule, Ravi Jadhav, Satish Rajwade, Aditya Sarpotdar and Sanjay Jadhav making significant contributions to the industry.[44]
The New Wave (2020s–present)
The COVID-19 pandemic had a profound impact on the Marathi film industry, as it did on cinema worldwide. With theaters closing and production halting, many films scheduled for release were postponed, leading to significant financial losses for filmmakers and production houses.[45] Approximately 110 Marathi language films remained unreleased due to the pandemic. The pandemic forced the industry to adapt rapidly, embracing digital platforms for film releases, which allowed filmmakers to reach audiences. Films like Well Done Baby (2021) and The Disciple (2021) were released straight on streaming platforms.[46][47] Additionally, Picasso, directed by Abhijeet Mohan Warang, was the first Marathi film to have a direct digital release.[48] It also marked the first time a Marathi film documented Dashavatara, an early form of folk theatre, in its original style.[49]
As theaters reopened, the industry shifted its focus toward innovative storytelling and a variety of genres. The ensemble film Jhimma became the first to release in theaters post-pandemic, achieving significant success by running for 50 days, ultimately grossing over ₹14.07 crore.[50][51] The following year 2022, is considered as one of the most successful year as many films were hit. The year highlighted a diverse range of genres, including the zombie comedy Zombivli, the historical action Pawankhind, the musical romantic Chandramukhi, the thriller Y, and the accidental drama Ananya.[52] The year concluded with Ritesh Deshmukh's blockbuster film Ved, which grossed ₹75 crore (approximately $9.0 million), making it one of the highest-grossing Marathi films of all time.[53] Additionally, Pondicherry became the first Marathi film to be entirely shot on smartphone,[54] while Har Har Mahadev made history as the first Marathi film to be released in Tamil, Telugu, and Kannada languages.[55] Throughout the decade, the industry continued to produce biographical, comedy, drama, and historical films, but woman-centric films reached new heights. Notably, Kedar Shinde's Baipan Bhaari Deva, centered around six elderly sisters, became the second highest-grossing Marathi film of all time, grossing over ₹92 crore and making history as the first female-centric movie to achieve such success.[56]
Notable personalities
In the early days of Marathi cinema, theater experience was essential for actors. Dadasaheb Phalke, regarded as the father of Indian cinema, laid the foundation with his pioneering film Raja Harishchandra in 1913. During this period, acting styles in Marathi films were heavily influenced by stage performances.[57]
Phalke Films Company is considered the first production house in Indian cinema, as the pioneering feature film Raja Harishchandra was produced under its banner. Other notable films produced by the company include Satyavan Savitri (1914) and Lanka Dahan (1917). After the success of Lanka Dahan, several prominent figures, including Bal Gangadhar Tilak, Ratanji Tata, and actress Fatma Begum, approached Phalke with offers to convert the company into a limited company, but he declined.[70] However, Phalke eventually accepted a partnership with Waman Apte, Laxman Phatak, Mayashankar Bhatt, Madhavji Jesingh, and Gokuldas Damodar, leading to the company's conversion into "Hindustan Cinema Films Company." The first film produced under this new venture was Shri Krishna Janma.
In 1917, Baburao Mistry, popularly known as Baburao Painter, founded the Maharashtra Film Company with the support of the Maharaja of Kolhapur. His first significant historical film, Sairandhri (1920), was well-received. Although the studio initially focused on silent films, it closed its doors in 1930 following the advent of sound. Members such as Vishnupant Damle, Sheikh Fattelal, and V. Shantaram had left in 1929 to establish Prabhat Film Company.[71] By 1932, eight Marathi films had been released, three of which were by Prabhat Film Company, which went on to dominate the industry with 18 films in the following decade—more than any other studio in the pre-independence era. Prabhat’s first major hit was Shantaram's Amrit Manthan (1934).[72] In 1933, Prabhat Film Company undertook the ambitious project of making Sairandhri the first color film in Indian cinema, processing it at UFA Studios in Germany, but the results were unsatisfactory. After Prabhat shifted its operations to Pune, Shahu Maharaj of Kolhapur helped found Kolhapur Cinestone in collaboration with the Pendharkar brothers and Master Vinayak. Shahu Maharaj aimed to establish Kolhapur as the "Hollywood of Marathi Cinema." However, the studio produced only three films and closed after the failure of Phalke's Gangavataran (1937).
In the early 1940s, Shantaram founded his own production house, Rajkamal Kalamandir, which later produced notable films such as Lokshahir Ram Joshi (1947) and Pinjra (1972), both the films based on Tamasha genre.[73] During this period, many producers ventured into filmmaking under their own banners, with notable examples including Anant Mane’s Chetana Pictures and Dada Kondke’s Sadicha Chitra, the latter featuring Kondke himself in leading roles. However, despite the number of films being produced during this era, few production houses managed to establish a lasting name in the industry. In the mid-1980s, Mahesh Kothare founded his production house, Jenma Films, under which he produced and directed more than ten successful films, later founding its spin-off, Kothare Vision, in 2008.[74] Around the same time, Shantaram’s son also ventured into production, establishing V. Shantaram Productions, further extending the family’s legacy in Marathi cinema. Under this banner, he delivered superhit films like Balache Baap Brahmachari and Ashi Hi Banwa Banwi, which became classics in Marathi film history.[75] This era also marked the rise of two influential female producers, Uma Bhende and Smita Talwalkar, who made their mark with their production houses, Shri Prasad Chitra and Asmita Chitra, respectively, contributing significantly to the industry's growth.
Nowadays, Marathi movies have been listed at many international film festivals, which provides a platform for such movies and the filmmakers to know big in the world film industry. All Lights Film Services[122] provided platform for Marathi films such as Pinky – Ek Sathyakatha, Kapus Kondyachi Goshta, Hou De Jarasa Ushir, Sopanchi Aye Bahina Bhai, Touring Talkies, Langar to almost all leading international festivals across the world.
Further reading
Marathi Cinema: In Retrospect, by Sanjit Narwekar. Maharashtra Film, Stage & Cultural Development Corp., 1995.
Dhundiraj Govind Phalke, popularly known as Dadasaheb Phalke, was an Indian producer-director-screenwriter, known as "the Father of Indian cinema".
Shantaram Rajaram Vankudre, referred to as V. Shantaram or Shantaram Bapu, was an Indian film director, film producer, screenwriter and actor known for his work in Hindi and Marathi films. He is most known for films such as Dr. Kotnis Ki Amar Kahani (1946), Amar Bhoopali (1951), Jhanak Jhanak Payal Baaje (1955), Do Aankhen Barah Haath (1957), Navrang (1959), Duniya Na Mane (1937), Pinjara (1972), Chani, Iye Marathiche Nagari and Zunj.
Ramchandra Gopal Torne, also known as Dadasaheb Torne, was an Indian director and producer, best known for making the first feature film in India, Shree Pundalik. This historic record is well established by an advertisement in The Times of India published on 25 May 1912. Several leading reference books on cinema including The Guinness Book of Movie Facts & Feats, A Pictorial History of Indian Cinema and Marathi Cinema : In Restrospect amply substantiate this milestone achievement of the pioneer Indian feature-filmmaker.
Prabhat Film Company was an Indian film production company and film studios founded in 1929 by the noted film director V.Shantaram and his friends.
Film City; officially Dadasaheb Phalke Chitranagari is an integrated film studio complex situated near Sanjay Gandhi National Park in Goregaon East, Mumbai in India. It has several recording rooms, gardens, lakes, theatres and grounds that serve as the venue of many Bollywood and Marathi films. It was built in 1977 by the state government to provide facilities and concessions to the film industry. The plan for Film City was prepared and executed under the guidance of V. Shantaram. It was renamed Dadasaheb Phalke Chitra Nagari in 2001 in memory of India's first producer-director-screenwriter Dadasaheb Phalke, who is considered as father of the Indian film industry. It has been the shooting location for almost all Bollywood films. It has many types of location available for shooting including permanent sets of a temple, prison, court, lake, mountains, fountains, villages, picnic spots, gardens and a man-made waterfall.
Sonalee Kulkarni Benodekar is an Indian actress who has established herself as a prominent figure in Marathi cinema. Praised for her versatility and powerful performances, She is one of the highest-paid actresses in Marathi cinema and she has received numerous accolades, including two Filmfare Awards Marathi, a Maharashtra State Film Award, Four Zee Chitra Gaurav Puraskar and four Maharashtracha Favourite Kon Awards.
Paresh Mokashi is an Indian filmmaker, producer, actor and Theatre director-producer; working predominantly in Marathi cinema and Marathi theatre. He started working as a backstage worker for theatre and did few minor roles for plays as well as films. Mokashi made his directorial debut for theatre with the Marathi play, Sangeet Debuchya Mulee in 1999. He continued to work for theatre and made his directorial debut for cinema with the 2009 Marathi feature film, Harishchandrachi Factory. The film depicts the making of India's first full-length feature film, Raja Harishchandra (1913), made by Dadasaheb Phalke. The film was acclaimed critically and won several awards. It was also selected as India's official entry to 82nd Academy Awards in the Best Foreign Language Film category.
Chhatrapati Shivaji Maharaj, was the founder of the Maratha Empire in India. He is considered a prominent historical figure in India. A number of films, books, plays and television serials have been produced about his life and about figures associated with him.
Adinath Kothare is an Indian actor, producer, and director, who predominantly works in Marathi films. His directorial debut film, 'Paani', won the 'National Film Award for Best Film on Environment Conservation/Preservation' at the 66th National Film Awards and also won him the 'Best Actor' award at the New York Indian Film Festival. His father, Mahesh Kothare, is a veteran film director of Marathi films.
Usha Naik is an Indian actress who works in Marathi films. She started her career as a background dancer in films.
The Raj Kapoor Award is the highest lifetime achievement award in Hindi cinema, established by the Government of Maharashtra, India. It is presented annually by the Department of Cultural Affairs, Maharashtra. Award instituted in 1998 to recognises individual for their "Lifetime Achievement to Hindi cinema". The recipient is recognized for their exceptional contribution to the Indian cinema and is chosen by a panel of distinguished figures within the Indian film sector. The accolade includes a certificate, a shawl, and a monetary award of ₹5,00,000.
The Raj Kapoor Special Contribution Award is the highest contribution award in Hindi cinema, established by the Government of Maharashtra, India. It is presented annually by the Department of Cultural Affairs, Maharashtra in Maharashtra State Film Awards. Award instituted in 2009 to recognises individual for their "Special Contribution to Hindi cinema". The recipient is recognized for their exceptional contribution to the Indian cinema and is chosen by a panel of distinguished figures within the Indian film sector. The accolade includes a certificate, a shawl, and a monetary award of ₹3,00,000.
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