Paresh Mokashi, director of India’s Oscar entry ‘Harishchandrachi Factory’, tells ALAKA SAHANI why things are looking up for Marathi cinema

What made you choose the making of India’s first motion film as a subject for your film?

This is the first film ever on Dadasaheb Phalke. When I first read his biography written by Bapu Watve in 2005, I was fascinated with the story of an ordinary man who laid the foundation of Indian cinema. However, I chose to focus only on the period from 1911-13, when he made India’s first feature film, Raja Harishchandra. I ruled out the idea of a biopic as it covers only the high points of a person’s life. The story of Raja Harishchandra’s making is also that of the beginning of India’s cinematic journey. It encompasses the adventures, the madness, the passion and the character of Dadasaheb Phalke, the father of Indian cinema.

How did you flesh out characters like Phalke, his wife and others, and the milieu for this period drama?

Watve’s book provided some pointers. My research too gave me some insight into Phalke and his associates’ character. Still, I had to use my imagination to portray them. Phalke was known for his sense of humour, which the film has captured. It also showcases his madness, passion and adventure involved in making Raja Harishchandra. However, giving shape to characters like his wife Saraswatibai, who knew how to operate a camera and helped Phalke in editing and shooting, was much more difficult as material on them is very rare. The set posed a bigger challenge. But Nitin Desai stepped in to create that era.

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