The 'Factory' aspect of Filmmaking

Director Paresh Mokashi definitely deserves accolades for making Harishchandrachi Factory(2009). The film depicts the struggle of Dadasaheb Phalke, the father of Indian cinema in making his first feature film Raja Harishchandra around 1913.


Besides the craft of the film itself, I think the title of the film, 'Harishchandrachi Factory' is not just apt but has an intriguing quality and Paresh Mokashi should be given credit for coining this interesting title.

The title is an integral part of the narrative of the film. While Phalke is engrossed in making his first movie, his colleagues question Phalke about what should they inform their people when they are asked about the work (work of filmmaking) they are carrying. Phalke says tell them that you are working in a 'factory' that manufactures movies.

Throughout the movie, while preparing to film Raja Harishchandra, Dadasaheb Phalke keeps guiding the people involved in the filmmaking in various capacities about the basics of their respective departments. He explains the actors about acting, the cameraman about shot-taking and the art-director about set designing. In the process of guiding these people, Phalke touches upon the various aspects of filmmaking and in a way lays foundations of the art of filmmaking.

I think the filmmaker's vision for this film was at its best when he coined the title 'Harishchandrachi Factory' because while establishing film as a form of art the director respects its aesthetic values but at the same time through the word 'factory' in the title he takes care to underline the 'commercial' and 'manufacturing' aspect of the craft of filmmaking.

Over the years various art forms like literature, music and dance have influenced and defined the art of filmmaking but at the same time filmmaking has always remained a commercial activity. No doubt the film brings forth the efforts taken by Phalke in establishing film is an art form but with the title 'Harishchandrachi Factory' the director makes it sure that audience doesn't overlook the 'commercial' reality of this art.

Siddiqui saab, hats off!!!

After watching Sujoy Ghosh's Kahaani, you come with three prominent things on your mind. 1. Vidya Balan, 2.The city of Kolkata and 3. Officer Khan ie Nawazuddin Siddiqui's performance. Against all the plans and strategies of Vidya Bagchi and Satyuki, officer Khan stands strongly and distinctively as an antagonist in the film.... Nawazuddin Siddiqui just carves out space in your mind with his performance.

The character of of officer Khan's is on one hand and the character of Rakesh, a journalist in Peepli Live is on the other hand. Watch these two performances back to back and you will realize the caliber of Nawazuddin Siddiqui's acting prowess.

Remember in Peepli Live, when Rakesh a small town journalist of a vernacular newspaper at the end of the film raises questions to national TV channel journalist that why Natha's story is so important to media when there are number of other farmers who are dying of different reasons. The way he delivers the dialogues at that time is so peculiar and unique – he speaks to the journalist in completely oblivious to camera or any crew around – he speaks in so much of true-to-life manner!! Siddiqui saab hats off!!!