Dadasaheb Torne, Indian director and producer (d. 1960)

Ramchandra Gopal Torne, affectionately known as Dadasaheb Torne (Marathi: रामचंद्र गोपाळ तोरणे), was a seminal figure in the nascent stages of Indian cinema. Born on 13 April 1890 and passing away on 19 January 1960, this pioneering Indian director and producer carved a unique niche in history, most notably for creating what is widely regarded as the first feature film in India. His contributions are often discussed in the context of the very origins of cinematic storytelling on the subcontinent, making him an indispensable personality in its rich heritage.

The Birth of Indian Cinema: Shree Pundalik

Torne's landmark creation, Shree Pundalik (Marathi: पुंडलिक), a devotional film centered around the revered Marathi saint Pundalik, premiered to audiences in 1912. This event marked a momentous occasion for Indian cinema, showcasing its potential to captivate and tell stories through the moving image. The film made its public debut on 18 May 1912, at the Coronation Cinematograph in Mumbai, a significant cultural hub of the time. The historical weight of this achievement is not merely anecdotal; it is firmly substantiated by contemporary evidence, most notably an advertisement published in the prominent newspaper, The Times of India, on 25 May 1912, which clearly announced the screening of Torne's film. Further reinforcing its place in the annals of cinema history, numerous authoritative reference books on the subject, including `The Guinness Book of Movie Facts & Feats`, `A Pictorial History of Indian Cinema`, and `Marathi Cinema : In Retrospect`, consistently acknowledge Shree Pundalik as a foundational milestone achieved by a truly pioneering Indian feature-filmmaker.

The "Father of Indian Cinema" Debate and Distinction

Despite Ramchandra Gopal Torne's earlier entry into feature filmmaking with Shree Pundalik, which predates Dhundiraj Govind Phalke's Raja Harischandra by just under a year, it is Phalke who is universally revered and recognized as the "Father of Indian Cinema." This distinction, while seemingly paradoxical given Torne's chronological lead, is rooted in several critical factors that illuminate the evolving definition and scope of indigenous cinema during its formative years. Two primary reasons contribute to this historical classification:

• Overseas Processing: A key differentiating factor was the production process itself. While Torne's film was conceived, shot, and directed in India, its raw footage had to be sent overseas for essential processing and printing. This meant that the entire cinematic workflow, from capture to final print, was not fully self-contained within India. In stark contrast, Dhundiraj Govind Phalke famously undertook every stage of filmmaking, including the challenging and technical aspects of film processing, entirely within India for his 1913 masterpiece, Raja Harischandra. Phalke's commitment to a fully indigenous production symbolized a complete, independent cinematic endeavor, free from reliance on foreign infrastructure, a crucial step towards establishing a truly Indian film industry.
• Film Length and Scope: Another significant element was the relative length and perceived narrative ambition of the two films. Shree Pundalik had a runtime of approximately 22 minutes, consisting of about 1,500 feet of film. Phalke's Raja Harischandra, on the other hand, was considerably longer, running for approximately 40 minutes and utilizing around 2,700 feet of film. In those early days, a greater length often implied a more complex narrative structure, a more immersive viewing experience, and a more substantial cinematic undertaking, which aligned more closely with the emerging international understanding of a comprehensive "feature film" that was produced entirely on home soil.

While the "Father of Indian Cinema" title is firmly attributed to Phalke for his holistic, indigenous approach, Torne's undeniable contribution as the maker of India's earliest feature film remains a pivotal and celebrated chapter in the nation's cinematic journey, marking him as an indispensable pioneer.

FAQs about Ramchandra Gopal Torne

Who was Ramchandra Gopal Torne?

Ramchandra Gopal Torne, also known as Dadasaheb Torne, was an Indian director and producer born in 1890. He is widely recognized for making Shree Pundalik, which is considered the first feature film in India.

What was Shree Pundalik?

Shree Pundalik was a devotional film made by R.G. Torne in 1912, centered around the life of the Marathi saint Pundalik. It premiered in Mumbai on 18 May 1912.

How is Torne's claim as the maker of India's first feature film substantiated?

His claim is well-supported by an advertisement in The Times of India published on 25 May 1912, as well as by numerous leading cinema reference books like `The Guinness Book of Movie Facts & Feats` and `A Pictorial History of Indian Cinema`.

Why is Dadasaheb Phalke, and not Torne, called the "Father of Indian Cinema"?

While Torne made a film earlier, Dadasaheb Phalke is considered the "Father of Indian Cinema" because his film, Raja Harischandra (1913), was a fully indigenous production, with all stages, including processing, handled within India. Torne's Shree Pundalik, though made in India, had its footage processed overseas.

What was the length difference between Torne's Shree Pundalik and Phalke's Raja Harischandra?

Torne's Shree Pundalik was approximately 1,500 feet long (about 22 minutes). Phalke's Raja Harischandra was considerably longer, roughly 2,700 feet (about 40 minutes), which contributed to its perception as a more substantial "feature film" in that era.