Harishchandrachi Factory 2009

The film opens in 1911, with Dhundiraj Govind Phalke, known as Dadasaheb Phalke (Nandu Madhav), working as a printer and photographer in Bombay. He lives with his wife Saraswati Bai (Vibhavari Deshpande) and their children. Phalke’s work at the printing press is interrupted by disagreements with his business partners, and he eventually leaves the printing business.

Phalke later watches a screening of a foreign silent film about Jesus Christ. Fascinated by the medium, he becomes determined to make films in India. He begins experimenting with filmmaking and photography at home, much to the curiosity and concern of his family. Saraswati Bai supports his interest despite the financial uncertainty it creates for the household. He studies available material about filmmaking and experiments with a camera and film equipment. He decides that he needs to learn the technical aspects of cinema and travels to London. Before leaving, he explains his plans to Saraswati Bai, who agrees to support him. In London, he meets filmmaker Cecil Hepworth and learns about filmmaking equipment and techniques. He returns to India with a motion-picture camera and begins preparing to make an Indian film.

Back in Bombay, Phalke starts experimenting with the camera and film stock. He conducts various tests, including filming a growing plant over several days to demonstrate the possibilities of time-lapse photography. He gradually assembles a team of assistants and begins searching for actors. He decides to make a film based on the story of King Harishchandra from Hindu mythology. He names the project Raja Harishchandra. Finding actors willing to work in films proves difficult, particularly for the female roles, as acting is regarded as socially unacceptable. He searches for suitable performers and eventually casts Anna Salunke (Mayur Khandge) a man who works as a cook, as Taramati.

As preparations continue, Saraswati Bai becomes closely involved in the production. She prepares costumes, helps with makeup and assists with the practical work required for the shoot. The family also becomes part of Phalke’s filmmaking activities, with his children participating in the production. He and his team construct sets and begin shooting Raja Harishchandra. Because the actors and technicians have little experience with cinema, Phalke has to explain how scenes are to be performed for the camera. The production is repeatedly interrupted by technical and practical difficulties. He continues shooting despite these problems and the financial pressure caused by the production. At one point, Phalke’s continued investment in filmmaking creates concern within his family. Saraswati Bai nevertheless remains supportive of his efforts. Phalke also faces difficulty feeding and maintaining his growing group of workers, while the production requires increasingly more money and resources.

After completing the shooting, Phalke processes and assembles the film. He prepares Raja Harishchandra for its first public screening. The film is screened at the Coronation Cinema in Bombay on 3 May 1913. The screening attracts an audience and establishes Phalke as the maker of India’s first full-length Indian feature film.

Following the success of the screening, Phalke and his family celebrate the achievement. The film concludes with Phalke continuing his work in filmmaking, while his efforts have established the foundation for the growth of Indian cinema.