Search results
Results from the WOW.Com Content Network
Surya Films 1931 Dhoomakethu: Sundarrao Natkarni 1931 Discarded Love: Suryaprakash Film Company 1931 Martyr: Sundarrao Natkarni 1931 Gamble of Life: Baburao 1931 Hero of the wilds: T Prakash 1931 Jaw Breaker: 1931 Kidnapped Bride: V.K. Patil 1931 Thief of Iraq: K.P. Bhave 1932 Rajadhi Raja: 1932 Chota Chor: Surya Films 1932 Hari Maya: Mysore ...
Indian silent film people (3 C) Pages in category "Indian silent films" The following 58 pages are in this category, out of 58 total. This list may not reflect recent ...
Manilal Joshi, an eminent Gujarati director, quit his job as a teacher in 1920 and joined Kohinoor Film Company, learning cinematography from Vishnu B. Joshi. [6]Majority of the silent films made in Indian cinema all over India including the South India states with the exception of Kerala, were mythological in context. [7]
Raja Harishchandra (transl. King Harishchandra) is a 1913 Indian silent film directed and produced by Dadasaheb Phalke. It is often considered the first full-length Indian feature film. Raja Harishchandra features Dattatraya Damodar Dabke, Anna Salunke, Bhalchandra Phalke and Gajanan Vasudev Sane.
This company, which produced the most Tamil silent films, had branches in Colombo, Rangoon and Singapore. The Ways of Vishnu/Vishnu Leela, which R. Prakasa made in 1932, was the last silent film produced in Madras. The silent era of south Indian cinema has not been documented well.
List of silent Bengali films; List of silent films from South India; Others. List of silent films released on 8 mm or Super 8 mm film; See also. Lists of films
Bhishma Pratigna (transl. The oath of Bhishma) is a 1921 Indian Hindu mythological silent film directed by Raghupathi Surya Prakash (R. S. Prakash). [1] Produced by Surya Prakash and his father Raghupathi Venkaiah Naidu under the Star of the East production company, the film stars Surya Prakash as Bhishma and Peggy Castello as Ganga.
Seventy per cent of the silent films produced in Indian cinema till 1923 were either mythological or devotional. The Gods were represented in the mythological films, while God-men featured in the devotional. The rest thirty percent films were associated with the historical and social drama genres. [5]