How Raja Harishchandra Became India’s First Film Against All Odds

How Raja Harishchandra Became India’s First Film Against All Odds

There’s something oddly moving about looking back at a time when cinema didn’t exist in India… no stars, no studios, no Friday releases. Just an idea waiting to happen. Over a century later, as Indian films dominate screens across the world, it all traces back to one quiet but decisive moment in 1913, when Raja Harishchandra first met an audience. What followed wasn’t just the release of a film, but the beginning of an entire cultural industry. And behind it was one man’s relentless belief that India could tell its own stories on screen.

A Historic Release That Changed Everything

On May 3, 1913, Bombay witnessed something it had never seen before, a full-length Indian feature film screening at the Coronation Theatre in Girgaon. At a time when cinema was still a novelty in many parts of the world, Raja Harishchandra introduced Indian audiences to a new form of storytelling. The silent film, running close to 50 minutes and spanning roughly 3,700 feet across four reels, used Marathi intertitles to narrate its story. Interestingly, the film had an earlier premiere on April 21, 1913, (exactly 113 years from today) at the Olympia Theatre on Grant Road for a select audience, before opening to the public in May. The response was immediate and enthusiastic.

The film told the story of King Harishchandra, a figure from Indian mythology known for his unwavering commitment to truth and righteousness. His life, filled with trials designed to test his integrity, resonated strongly with audiences familiar with the tale.

Dadasaheb Phalke: The Man Who Built Cinema From Scratch

At the centre of this landmark moment was Dadasaheb Phalke, widely regarded today as the pioneer of Indian filmmaking. Phalke’s journey into cinema was anything but conventional. Before entering films, he had explored multiple professions, including photography, printing, stage design, and even illusion-based performances. This diverse skill set would later prove invaluable when he set out to make a film in an environment that lacked even the most basic filmmaking infrastructure.

A defining moment came when Phalke watched the silent film The Life of Christ (1902). The experience left a deep impression on him, sparking the idea that Indian stories, rooted in mythology and culture, could also be brought to life through cinema. Acting on this vision, he left behind the relative stability of his printing business and began pursuing filmmaking, a field that was virtually non-existent in India at the time.

Learning The Craft And Bringing It Home

Understanding the need for technical expertise, Phalke travelled to London in 1912 to study filmmaking techniques. Convincing financiers to support this trip was a challenge in itself, and he reportedly demonstrated his capabilities through a short experimental film titled Birth of a Pea Plant, which used stop-motion photography to show the growth of a plant. The film served as proof of concept, helping him secure the necessary backing.

During his time in London, Phalke acquired essential filmmaking equipment, including a Williamson camera, a film perforator, raw film stock, and a printing machine. He also gained hands-on training in processing and developing film. When he returned to India, he brought with him not just tools, but the technical knowledge required to create a film industry from the ground up.

Financial Risks And Personal Sacrifices

Producing Raja Harishchandra required significant financial investment, and Phalke faced severe monetary constraints throughout the process. In order to fund the film, he mortgaged his life insurance policies and relied on personal resources, including selling his wife’s jewellery. The decision to invest everything into an untested medium reflected both his conviction and the scale of risk involved.

Despite securing some financial support, resources remained limited, and the production had to be managed with extreme frugality. Every aspect of filmmaking, from raw materials to processing, required careful planning, often under challenging conditions. Yet, Phalke remained committed to completing the project, even as uncertainties persisted.

Casting Challenges In A Conservative Society

One of the most significant hurdles during the making of the film was casting, particularly for female roles. At the time, acting in films was not considered a respectable profession, especially for women. Phalke reportedly approached several women, including those from unconventional backgrounds, but was unable to find anyone willing to appear on screen.

As a result, the role of Queen Taramati was played by a male actor, Anna Salunke, who worked as a cook. This practice, though unusual by today’s standards, was consistent with the social norms of the time. The titular role of King Harishchandra was played by Marathi stage actor Dattatraya Damodar Dabke, bringing theatrical experience to the screen. Phalke also cast his own son, Bhalchandra, in the role of the king’s son, Lohitashwa.

Building A Studio And Shooting The Film

With no established studios available, Phalke set up a makeshift production space in Dadar, Bombay, where a significant portion of the film was shot. Outdoor sequences were filmed in a village near Pune, making use of natural locations. The production process was entirely manual and labour-intensive, involving a small team working under tight constraints.

The film took approximately seven months and 21 days to complete. During this period, Phalke not only directed the film but also handled cinematography, processing, and editing. The absence of a structured filmmaking ecosystem meant that every step had to be developed independently, making the completion of the film an achievement in itself.

Saraswatibai Phalke: The Unsung Force Behind The Film

While Phalke is rightly celebrated as the pioneer of Indian cinema, the contribution of his wife, Saraswatibai Phalke, remains equally significant. She played a crucial role in the production process, often working behind the scenes without formal recognition.

Saraswatibai assisted in processing film, managing costumes, preparing props, and even editing by manually cutting and joining film strips. In addition to her technical contributions, she also managed the household, cared for the children, and cooked for the cast and crew, which reportedly included around 70 people. Her decision to support the project, including selling her jewellery to fund it, was instrumental in ensuring its completion.

Innovation In Technique And Storytelling

Despite limited resources, Raja Harishchandra incorporated several technical innovations. Phalke experimented with visual techniques such as double exposure and basic special effects, demonstrating an early understanding of cinema’s creative possibilities. While the film itself was silent, it laid the groundwork for integrating music into film screenings.

The choice of a mythological narrative was also strategic. By adapting a well-known story, Phalke ensured that audiences could easily connect with the film, even without spoken dialogue. This approach helped bridge the gap between traditional storytelling and a new visual medium.

Marketing And Audience Engagement

Promoting the film was another challenge, given that cinema was still unfamiliar to many. Phalke adopted innovative marketing strategies to attract audiences. One of his advertisements famously described the film as: “A performance with 57,000 photographs. A picture two miles long. All for only three annas."

In the initial days, screenings were preceded by dance performances by European artists to draw crowds and create interest. These efforts helped position the film as an event, encouraging audiences to experience something entirely new.

Reception, Success And Global Reach

Upon its public release, Raja Harishchandra received a strong response from audiences and ran successfully for 23 days, a notable achievement at the time. Its success demonstrated that Indian audiences were willing to engage with locally produced films, paving the way for the growth of the industry.

The film’s impact extended beyond India, with screenings held in London in 1914. This early international exposure highlighted the potential of Indian cinema to reach global audiences, even in its infancy.

The Beginning Of An Industry

More than just a film, Raja Harishchandra established the foundation of Indian cinema as a viable industry. It proved that films could be produced locally, that there was an audience for them, and that filmmaking could evolve into a profession. The film inspired many others to enter the field, leading to the gradual development of a structured film industry in the years that followed.

It also reinforced the importance of culturally rooted storytelling, setting a precedent for the use of mythology and folklore in early Indian films.

A Legacy That Lives On, Even In Fragments

Today, only portions of Raja Harishchandra survive, with the first and fourth reels preserved at the National Film Archive of India in Pune. While much of the film has been lost over time, its legacy remains intact.

More than a century later, Indian cinema stands as one of the largest and most influential film industries in the world. From silent black-and-white frames to global blockbusters, the journey has been extraordinary and it all began with a film that dared to exist when the idea itself seemed improbable.

In many ways, Raja Harishchandra is not just the first Indian film. It is the origin story of an entire creative universe that continues to evolve, innovate, and inspire.

Source: News18
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