Anurag Basu - Televisionpoint.com | Pune
It was way back in 1937 that 'Sant Tukaram' became the first Indian film to win an award at the Venice International Film Festival. But time has not been a deterrent for the everlasting popularity of the film.

The film was one of the first Indian films to have won recognition at the international stage. But what is it that keeps the charm of the film alive even after seven long decades, during which the face of Indian cinema has undergone a sea change?

"It is a classic like none other. In the 5th edition of the International Film Festival at Venice, 'Sant Tukaram' was one of the best three films of that year. It is among one of the 'sane' films even today," says K. S. Sasidharan, director, National Film Archive of India (NFAI).

The film was made in 1936 by V. Damle and S. Fattelal and starred Vishnupant Pagnis in the role of the famous 17th century Marathi saint poet of Dehu. Produced by the Prabhat film company, it was one of the most popular films during that era. The script was written by Shivram Vashikar and the lyrics were penned by Shantaram Athavale. Keshavrao Bhole rendered the music for the film.

The film was released on December 12, 1936 at Central Cinema in Mumbai. It apparently ran in theatres across Maharashtra for over a year with thousands of people trooping in to watch it.

'Sant Tukaram' told the story of Sant Tukaram, who regaled villagers with his songs of devotion but was often reprimanded by his wife for not paying enough attention to his own household. The film also depicted Tukaram's encounters with Salomalo, a jealous priest, who passed off Tukaram's songs as his own and how Tukaram miraculously seemed to tide over most problems. The film then goes on to show how Tukaram's glory spreads far and wide, and how he finally attains Niravana.

The film managed to connect instantly with the audience and went on to become a blockbuster in that era, smashing all box office records, particularly in Maharashtra.

The film, of course, was an extension of the life of the poet who has been an inspiration even for poets and authors of our own time. Noted poet Dilip Chitre, who has translated Sant Tukaram's 'abhangs' from Marathi to English in the celebrated book 'Says Tuka' remarks: "Tukaram speaks the Marathi of the common man of rural Maharashtra and not that of the elite. It is the language of ordinary men such as farmers, craftsmen, traders, labourers and also the language of the average housewife. Tukaram transforms the colloquial into the classic with an universal touch."

Interestingly, the film also includes perfect characterisation of not just Tukaram and but also of his wife, Jijai.

"The film is an integral part of most film appreciation courses. Not just the Indian audience, but film lovers from other countries have also taken keen interest in the film," says Sasidharan. Film scholars have termed the film as one of the highest achievements of the early sound period of Indian cinema.

Chandrashekhar Joshi, film research officer, Film and Television Institute of India (FTII) remarked that its simplistic style is the most appealing aspect of the classic.

"Moreover, the clean images and frames as compared to the other films of the era, make it a pleasure to watch. The astounding character portrayed by V. Pagnis took the role of Tukaram to an entirely different level. And it is these very aspects that have also made 'Sant Tukaram' the most frequently screened Marathi movie for the students of the FTII in all these years," Joshi concludes.

The success of the film 'Sant Tukaram' made by the Prabhat film company remains a topic of interest among film scholars across the globe. But another interesting event took place with regard to the film, says National Film Archive of India (NFAI) director K. S. Sasidharan.

"The film had won an award at the 5th edition of the International Film Festival at Venice in 1937, but the citation of this award was believed to have been lost," said Sasidharan.

Interestingly, the green-coloured citation, with calligraphic text on it, was found by cinematographer Sunny Joseph in a dustbin at the Film and Television Institute of India (FTII) during his student days in 1979. How the citation landed in the dustbin remains a mystery till date.