India's Brush with Colour: 'Kisan Kanya' and the German Connection
In the vibrant tapestry of Indian cinema, black and white reigned supreme for nearly three decades. However, a groundbreaking film released 88 years ago, in 1937, dared to splash colour onto the silver screen, forever altering the course of the industry. That film was Kisan Kanya.
Kisan Kanya, meaning "Farmer's Daughter," holds the distinction of being India's first indigenously made colour film. While V. Shantaram's Sairandhri (1933) featured colour scenes, it was processed and printed in Germany, making Kisan Kanya the first film entirely produced within India. Directed by Moti B. Gidwani and produced by Ardeshir Irani, the visionary behind India's first talkie, Alam Ara (1931), Kisan Kanya marked a pivotal moment in Indian cinema.
To achieve this colourful feat, Irani imported Cinecolor technology from an American company, involving machines and equipment brought in from Germany. This technology was cutting-edge for its time, but also presented logistical challenges. The film reels had to be sent abroad for processing before returning to India for editing and release. The Cinecolor process rights were obtained by Irani from an American company.
The film, based on a novel by Saadat Hasan Manto, tells the story of a poor farmer, Ramu, and highlights the struggles of rural communities. The storyline revolves around the exploitation of farmers by a cruel landlord named Ghani. Ghani is murdered, and the blame falls on Ramu, leading to twists and turns before justice prevails. The film, with a runtime of 137 minutes, featured ten songs set to music by Ram Gopal Pandey. The cast included Padmadevi, Jillo, Ghulam Mohammed, Nissar, Syed Ahmed, and Gani.
Although Kisan Kanya was not a blockbuster, its release was a sensation, and it is credited with opening doors for filmmakers to experiment with colour. The high cost of colour production meant that Kisan Kanya had a limited release, screening in only a few theatres. Despite its average performance at the box office, Kisan Kanya paved the way for future classics like Aan (1952), India's first Technicolor blockbuster.
Ardeshir Irani's pioneering spirit didn't stop there; he also produced a version of Mother India in colour the following year. However, colour filmmaking didn't gain widespread popularity in India until the late 1950s.
Kisan Kanya remains a significant film in Indian cinematic history. It not only introduced colour to Indian audiences but also showcased the potential for visual storytelling and social commentary in mainstream cinema. The film serves as a reminder of the innovative spirit of early Indian filmmakers and their willingness to embrace new technologies, even if it meant importing machinery from Germany.
