V. Shantaram
Indian film director and actor (1901–1990)
Nº Q1373408 ★★★
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V. Shantaram
Indian film director and actor (1901–1990)
V. Shantaram (born Shantaram Rajaram Vankudre; Marathi: [ʋiː ʃaːn̪t̪aɾaːm]; 18 November 1901 – 30 October 1990), also known as Shantaram Bapu, was an Indian film director, producer, screenwriter, actor and editor known for his work in Hindi and Marathi films. Widely regarded as one of the pioneers of Indian cinema, he was known for his socially conscious films, innovative filmmaking techniques and experimentation with colour, sound and cinematography.
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From Wikipedia
V. Shantaram (born Shantaram Rajaram Vankudre; Marathi: [ʋiː ʃaːn̪t̪aɾaːm]; 18 November 1901 – 30 October 1990), also known as Shantaram Bapu, was an Indian film director, producer, screenwriter, actor and editor known for his work in Hindi and Marathi films. Widely regarded as one of the pioneers of Indian cinema, he was known for his socially conscious films, innovative filmmaking techniques and experimentation with colour, sound and cinematography. He is best 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), Chaani, Iye Marathiche Nagari and Zunj. Shantaram began his career as an actor and technician at the Maharashtra Film Company in Kolhapur before co-founding the Prabhat Film Company in 1929 with V. G. Damle, Sheikh Fatelal, K. R. Dhaiber and S. B. Kulkarni. He directed several influential films for Prabhat, including Ayodhyecha Raja (1932), one of the earliest Marathi talkies, and Kunku (1937), which was released in Hindi as Duniya Na Mane. In 1942, he founded Rajkamal Kalamandir, through which he produced and directed several notable films. Among his best-known works are Sant Tukaram (1936), Manoos (1939), Shejari (1941), Dr. Kotnis Ki Amar Kahani (1946), Jhanak Jhanak Payal Baaje (1955), Do Ankhen Barah Haath (1957), Navrang (1959), Stree (1961) and Pinjara (1972). His films frequently addressed social issues, including caste, gender inequality, rehabilitation and the position of women in society. He received numerous honours for his contribution to Indian cinema, including the Dadasaheb Phalke Award in 1985. He was also awarded the Padma Vibhushan, India's second-highest civilian honour, in 1992, posthumously.
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