Zalim Jawani
Mishra, who died in 1932, followed his
Draupadi (1931) with this historical fantasy
establishing thestudio's trademark genre. The
story is drawn from the Rajput war sagas and
features the despotic Jaisingh (Poonawala)
who usurps the throne of Achalgarh. The court
intrigues involve the good Pratap (Vithal), lover
of Princess Chandmprabha (Ermeline), hidden
testaments from the dead King Udaybhanu,
fortune tellers and a swayamvar (a public
contest) to claim the princess as a bride. The
film's treatment of sexuality receives an
unusual twist when the misogynist Sher Singh
(Hadi), a friend of Pratap, is forced to
impersonate a woman to protect
Chandraprabha from the villain Ranamal
Uamshedji). The main highlights are Master Vithal's swordplay.
Bhagwati Prasad Mishra (1896-1932)
Hindi director, actor and producer born and
educated in Benares. Achieved some renown
as photographer and painter; apprenticed to
painter Hussain Bux (1916-21). Worked in
theatre group Vyakul Bharat Natak Mandali in
Meerut. Joined Star Film as poster designer
(1921). Directorial début: Razia Begum,
causing communal controversy in Hyderabad
(see Dhiren Ganguly). Worked with
Ardeshir Irani’s Star, Majestic, Royal and
Imperial Studios as actor-director, making
some of the latter’s big-budget sequels to Alam
Ara (1931). Promoted independent companies
Indian Pic. Corp. and Zarina Pics. Then worked
in Sharda and Sagar Studios until his death.
His films, with those of colleague R.S.
Choudhury, are often cited among the first
silent productions to stress the visual rather
than the plot. Did several covers and
illustrations for press books, including the
striking designs for Naharsinh Daku.
(?-1969)
Best-known Marathi and Hindi stunt star. Stage
début as a child at the Rajapurkar Natak Mandali.
Worked as editor at Maharashtra Film, a
studio with a reputation for stunts in their
mythologicals, e.g. by legendary actors Zunzharrao
Pawar (1891-1982) or Ganpat Bakre (1901-1983).
Vithal started playing a dancing-girl in Kalyan
Khajina. Played minor roles in Bhalji
Pendharkar silents before breaking through at
the Sharda Studio. First lead appearance in
Ratan Manjari. He was its top star for several years,
usually playing Douglas Fairbanks-type roles grafted
on to indigenous Rajput and Maratha legends.
Bhogilal Dave’s special effects accompanied his
work, along with the rapid editing of directors like
A.P. Kapur, Nanubhai Desai,
Harshadrai Mehta, Luhar, etc. The style
Vithal helped shape had a tremendous impact,
making the Sharda Studio synonymous with lowbudget stunt films in the silent era. Wadia
Movietone later tried to redefine the stunt
genre with direct reference to the Niblo/Fairbanks
figure of Zorro to distance the genre from Vithal.
Moved to Sagar in 1930 (and in a celebrated
lawsuit that followed with Sharda, he was
defended by M.A. Jinnah). Later starred in India’s
first talkie, Alam Ara, and in Saraswati Studio
productions, ending his career in the 60s playing
minor parts in Marathi films.