Baburao Painter
| Baburao Painter | |
|---|---|
| Born |
Baburao Krishnarao Mestry 3 June 1890 Kolhapur, British India |
| Died | 16 January 1954 Kolhapur, Maharashtra, India |
| Occupation | Director, painter, sculptor |
Baburao Painter (1890–1954) was an Indian film director.
He was born Baburao Krishnarao Mestry in 1890 in Kolhapur. He taught himself to paint and derives its name "Painter". (hence the name) and sculpt in academic art school style. He and his artist cousin Anandrao Painter between 1910 and 1916 were the leading painters of stage backdrops in Western India doing several famous curtains for Sangeet Natak troupes and also for Gujarati Parsi theatres. They became avid filmgoers following Raja Harishchandra.
Baburao and his cousin Anandarao bought a movie projector from the Bombay flea market and proceeded to exhibit films, studying the art of movies all the while. Anandarao was busy with assembling a camera for their maiden venture, and his untimely death at this juncture compelled Baburao to go it alone
They turned to cinema first as exhibitors while trying to assemble their own camera. Anandrao however died in 1916 and Painter and his main disciple V.G. Damle eventually put together a working camera in 1918.
Baburao was one of the leading stage painter for theatres in Western India during the period of 1910 and 1916. He was also a film enthusiast and founded Maharashtra Film Company in 1919. To enable this Baburao borrowed money from Tanibai Kagolkar, a long-time admirer. Movie acting, especially tamasha's were looked down upon in conservative societies like Kolhapur so the studio itself was a living quarter for quite a few including leading ladies – Gulab Bai (renamed Kamaladevi) and Anusuya Bai (renamed Sushiladevi). Painter got onboard his old colleagues including Damle and S. Fatehlal and later on V. Shantaram, trio who later on left him to set up their with the formation of Prabhat Film Company.
Baburao's first feature film was Sairandri (1920), which got heavily censored for its graphic depiction of slaying of Keechak by Bhima. However the movie itself got positive critics and commercial acclaim spurring Painter on to take on more ambitious projects. He wrote his own screenplays, and led the three-dimensional space rather than stage-painting in the Indian movie. 1921/22, he published the first Indian films and programs designed to even the movie posters. Publicity was not alien to Painter's many talents – in 1921–22, he distributed programme booklets complete with photographs and film details.
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