These are the days to spend time watching Marathi and Hindi web series during lockdown. However, even though web series do not have the limitations of censored content, the big screen as a medium and the small screen of a computer or mobile still have technical limitations. In such a situation the golden age of Marathi screen from black and white is getting forgotten in today's internet small screen age...This revision of the history of Marathi screen content, themes and quality cinematography.
During the period which is referred to as the golden age of Marathi films, there was competition for films like today, in fact more than today. Ticket Bari was the only means of entertainment. Drama, spectacle were living arts. However, due to its large volume, most of the tents of this art were pitched in the urban areas like talukas, that too during fairs and festivals every two years. So there was no alternative to folk art. The indelible impression of folk art remained in the result of the film.
Movies have strong social norms. To manipulate art beyond ritual was considered rebellious at this time. Moreover, since only a few works of art had social recognition, the subjects of such films were cultivated from the literature and art aesthetics of the time. Shyam's mother was released in 1953. Direction Q. K. was by Atre and the story was by Sane Guruji. This film, which won the President's Golden Lotus, was a cult film at that time. This Marathi screen had many shilledars during its golden age. Raja Paranjpe, Bhalji Pendharkar, Gadima, Dada Kondke, Rajdutt and many others made Marathi films popular due to their quality. So Ashok Saraf, Raja Gosavi, Dr. Great artists like Kashinath Ghanekar, Suryakant and Chandrakant Mandhare, Arun Sarnaik, Yashwant Dutt were the witnesses of this golden age. During that time films were influenced by references to social events. The plot had a rural edge. The center of life of common people was in village. So the plot was the same. The screens of Marathi films were filled with the struggle stories of farmers. Along with this, the heritage of folk art was maintained through Tamasha, Lavani and Vaga. That is why folk artists like Leela Gandhi, Jayashree Gadkar were central to the film. Marathi screen was not as urban as it is today.
The status of women in the social system of that time, especially the exploitation of artists and the social attitude towards women artists was also highlighted in the film. Sandalwood bodice and netting, scented necklaces, and plantains were not taboo for the society. The umbilical cord of the audience was also closely tied to folk arts of social content. Therefore, scandalous subjects became popular on the screen. The film reflected the innocence of rural life. Arun Sarnaik's tamasha drummer was a reflection of the Maratha life of those times. Farmers, moneylenders, talathi and policemen Patil, Sarpanch, Patil were the main characters in the film. The audience for the question and answer in the show was the Hukmi class. The politics of the village, the gossip on the table was coming from the pageant. This was the time. At that time the center of Marathi Chitranagari was in rural areas like Satara and Kolhapur. Today, this center has shifted to barista cafes in Pune and posh areas in Mumbai.
As urban films were made at that time too, Ramesh Dev took the lead of the urban youth hero. The love films like Shikheli Biko, Khuraha had also given a huge competition to the Hindi screen. That was the era of Marathi movies that broadened the horizons of Marathi. This film was different from Marathi Tamashapat, its audience was also different. The black soil cinema of Satara Sangli was also rooted in the red soil of Konkan. Gomu Maherla Jaite Ho Nakhawa... this popular song was an example of that. The couple Ramesh Dev and Seema Dev gave true romance to Marathi cinema. Kashinath Ghanekar's Ha Khel Sawalyancha left an indelible impression of Konkan on the Marathi screen. It was the 1980s. Now came the era of fujicolor by putting colorful eastmancolor on Hindi screen.
However, the use of fuji color in Marathi had not yet started. CinemaScope films were also a distant dream. A screen of 70 mm is possible for a multi-starrer show in Hindi. Mahesh Kothare belatedly accomplished this feat in 1990 with a story-driven film called Dhadakebaaz. But the Fuji color on the Hindi screen. P. It was used a decade ago in Sippy's Shan. It took ten years to come to Marathi. Now there was no distinction between rural and urban on the Marathi screen. Banyabapu, Maja Ghar Maja Sansara, Faujdar of Mumbai was the 80s. The villain of Nana Patekar, who witnessed the apology, turned into a bear at that time... the village was good but hanged at the gate, the unemployed husband, the fight, this village hawk survived even during this period due to Ashok Saraf and Kuldeep Pawar, Ravindra Mahajani.
Even before that, director Jabbar Patel's name had become known for quality content-rich films for the Marathi screen. Dr. Shriram Lagoo and Nilu Phule these two giants of dialogue and acting ruled the Marathi screen. Shantaram Bapu's Pinjra, Jabbar Patel's Sinshan and Saamana changed the content and quality dimensions of the Marathi screen. In the 70s and 80s there was a movement of parallel films on the Hindi screen. It was going to have an impact on the Marathi screen as well. Such successful efforts are Dipti Naval and Nana Patekar's Suryodaya or Jabbar Patel's Jait Re Jait, Umbaratha and Mukta.
V. Shantaram was a pleasant dream on the Marathi screen. He made a cage to capture the human fangs of Shakespeare's moral decadence. Dr. Lagoo's portrayal of the central role of Master became a milestone in Marathi. Each character in the cage was distinct, firm and effective. Jagdish Kheboodkar's songs and Ram Kadam's music were godsends to the screen.
Dada Kondak's off-duty films were ridiculed. However, Dada's cinema was not for the discerning audience. The working class, agricultural labourers, attacking laborers in Mumbai and rural areas were the dominant audience for Dada Kondek's films. This was the audience that thronged the Bharatmata cinema hall in Mumbai. On the strength of this audience, Dada's films Golden Jubilee and House Full hit the charts. Dada's films were derided for their duplicitous dialogue and low level humor. However, Dada's Kondke Movies never cared about it.
Apart from that, the period of 80s was somewhat disappointing for the Marathi screen. Sachin's Navri Mume Navaryala and Mahesh Kothare's Dhumhadaka brought a wave of names with matching words. The wave of films like Halla-Gulla, Changu-Mangu, Neighbor-Neighbor continued for five to ten years. During this period, female-led films like Lek Chalali Saarla, Maherchi Saadi were also made. It was the early nineties. Different themes such as Wazir, Bhasma, Tu Thith Me, Bangarwadi also appeared on the Marathi screen. Young and fresh directors such as Gajendra Ahire, Mahesh Manjrekar took the Marathi screen on their shoulders.
Marathi cinema was now changing drastically. Films like Not Only Mrs. Raut, Uttarayan deepened this change. The era of Chandrakant Kulkarni, Kedar Shinde, Rajiv Patil had started. After the breath of Arun Nalavde, the commercial calculations of Marathi cinema were changing. The question was getting theater in Marathi as compared to Hindi. After that, the challenge was to bring the Marathi audience back to the Marathi screen. So there was no substitute for quality content topics. New experiments were necessary. Marathi cinema started taking shape from it. Dombivli fast, this year is the duty. In the new century many extracurricular topics came to the fore. The films Pak Pak Pakak and Tingya, Valu made films outside Marathi popular. In the new decade, Ankush Chaudhary's Saade Made Three saw the crore mark.
Big actors like Makarand Anaspure, Upendra Limaye, Atul Kulkarni have maintained the identity of the Marathi screen. In the new century many extracurricular topics came to the fore. The films Pak Pak Pakak and Tingya, Valu made films outside Marathi popular. In the new decade, Ankush Chaudhary's Saade Made Three saw the crore mark. Big actors like Makarand Anaspure, Upendra Limaye, Atul Kulkarni have maintained the identity of the Marathi screen. In the new century many extracurricular topics came to the fore. The films Pak Pak Pakak and Tingya, Valu made films outside Marathi popular. In the new decade, Ankush Chaudhary's Saade Made Three saw the crore mark. Big actors like Makarand Anaspure, Upendra Limaye, Atul Kulkarni have maintained the identity of the Marathi screen.
The aggressive invasion from the south has raised a challenge in front of the Marathi and Hindi screens as well. Therefore, a kind of hi-tech and artificiality is seen on the screen. He has also come with options in technique, screenplay, presentation, sound, camera. The crop of fast food movies is increasing. So the old movie lovers are worried about the end of the content. The plot of Marathi films, their depth of content, depth of topics, story screenplay and most importantly the social consciousness, awareness and depth of Marathi film writer director along with the audience is great.
The theater here is the foundation of Marathi films. Therefore, a Marathi man cannot tolerate any compromise in acting and creativity. Nagaraj Manjule's fandry, Sairat, has demonstrated this. A new hall of art has opened up as web series has also taken the place of the small screen. Although the mediums change, the depth of art does not change. There is no doubt that this faith maintained by the art world of Marathi screen will continue to be valid. Prabhat film's Raja of Ayodhya first planted this seed in the Indian film industry, that is why the Marathi screen has no choice in terms of authenticity.
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