Stunning good looks – and the man behind it
August 7 2009
The other day we were watching the kids play dumb charades and eventually the discussions moved around to the Hindi films and film industry. Someone commented on how beautiful Madhubala looked in movies while others commented on the way Waheeda Rehman looked in Guru Dutt’s movies. All this lead to a heated debate around directors, who made heroines look so beautiful. In all that we actually forgot the one person responsible for these stunning good looks of the heroines – the cinematographer!
Neeta Vale, our host, commented that her dad was a cinematographer and an award winning one at that! This took me by surprise. Here was an opportunity to meet one of the silent greats of the movie world. Rarely does a cinematographer, editor or dubbing editor get recognition for their work. We hardly award the technicians with the highest National award in the Film fraternity – the Dadasaheb Phalke Lifetime achievement award. Manohar Kulkarni, Neeta’s dad, won this prestigious award in 2008 and is the first cinematographer to win this coveted award, with the exception of Nitin Bose who won in 1977, but he was a writer, director, producer and a cinematographer. I immediately seized the opportunity to talk to Mr Kulkarni and get a glimpse of his journey in cinematography!
Born on 25th December 1923 in Mumbai into the Kulkarni family, a family full of Doctors, Manohar Kulkarni was different from his other siblings. Even in school he was interested in photography and filming the sports events. This interest led him to attain full-fledged training in cinematography. And against the wishes of his family, he joined the film industry. Unlike the fans and respect which film fraternity artists get today, in those days, it was an industry shunned by the society at large and anybody joining this industry was considered as a failed individual in life! This however, did not deter the young Manohar. He wanted to fulfill his dreams of being an ace cinematographer, and pursued this dream seriously.
Mr. Kulkarni joined the film industry around 1944-45, but his first big break came in 1947 when Colonel Gandhi took him to Pakistan, where he filmed his first documentary “The Birth of Pakistan,” which earned him quite a reputation. On his return he got his first feature film – Bedard (Sadabahar productions). In those days, there were no independent production houses but film studios hired the artists and the crew. He did a couple of films for production houses in Patna which included Pyar zindagi hai and a few other films.
He also did several Marathi films. It was a challenge to do the films as the sets, costumes were elaborate and the artists very particular about their appearance. Shahu Modak, Jeevan, Trilok Kapoor , Sulochana, were some of the famous artists in these films. Recalling an incident Mr Kulkarni remarked that the late Trilok Kapoor, famous for his role of “Shiva” in Hindi films, used to dangle a real live snake around his neck for authenticity. During one such shooting, a close up shot was required and as the camera started rolling and Trilok Kapoor finished his lines, the snake decided to move over to the camera and came very close to Mr Kulkarni, but Trilok Kapoor managed to get the snake away.
Mr Kulkarni recalls that Ashok Kumar was a true gentleman and had a very thorough understanding of the film making process. With Ashok Kumar he did films like Uljhan, Kala Admi and also the famous Pehli tarikh, the song “Aaj Pehli Tarikh hai” has become famous over the years and is regularly played on Radio. He would often help the directors understand the difficulties faced by cameramen while using close-ups or long shots. Mr Kulkarni regrets that during his time there were no light meters or colour films in the earlier days and it was very difficult to film in the era of black and white films. Today an art director can separate the colour easily. In those days, care had to be taken if the background was white and the artist hair was white, the use of backlight was necessary to highlight hair which was always a challenge for cinematographers.
Apart from the films, Mr Kulkarni did several documentaries and film promos as they fetched quite a steady income. Among his notable documentaries are Kokan – Paradise of Maharashtra, Goa – Yesterday & Today and Tibet – Roof of the world , which captured the life and culture of Tibet, for an American production. An interesting incident about Goa – yesterday & today, is that it was filmed by both Films Division and Mr Kulkarni. Even though the government’s Films Division had some of the best resources available at their disposable, Mr Kulkarni’s film was better in terms of presentation and won the Films Division recognition and award.
Mr Kulkarni also specialised in Medical shoots and did several films on open heart surgery, cancer operations, ENT operative practices for noted doctors. It was challenging to shoot these films in those days as the blood has to be seen in the correct shade of red or it would be seen as pink when over exposed and brown when under exposed. Filming in the operation theatre for long hours of operation in silence was a test in itself. Mr Kulkarni also did several documentaries for pharma companies.
Mr Kulkarni’s brother R N Kulkarni was the erstwhile Mayor of Mumbai. Manohar Kulkarni was married to Smt Mangala Kulkarni and had 3 children; Deepak, Geeta and Neeta. Unfortunately, Mr Kulkarni has lost both his wife and his son now. The loss of his son took all his interest away and he reduced his involvement in cinematography. Today, he reminiscences the good old days and fondly remembers the best director of them all, V Shantaram. His work was finally acknowledged when the National committee for awards decided to reward him for his lifetime dedication to cinematography and awarded him the ‘Dadasaheb Phalke lifetime achievement award’ in 2008. He received the award at the hands of thespian Dilip Kumar.
It was a pleasure to meet Mr Kulkarni in Auckland at their daughter Neeta Vale’s residence. Rarely, do we get to meet such personalities who are responsible for making such visual treats and make the hero’s look so macho and heroine’s so beautiful on the celluloid. Though Manohar Kulkarni has retired now from his craft, his work will remind us of his contribution to the film fraternity. As they say – a picture can speak thousand words and remain in memory forever!
Neeta Vale, our host, commented that her dad was a cinematographer and an award winning one at that! This took me by surprise. Here was an opportunity to meet one of the silent greats of the movie world. Rarely does a cinematographer, editor or dubbing editor get recognition for their work. We hardly award the technicians with the highest National award in the Film fraternity – the Dadasaheb Phalke Lifetime achievement award. Manohar Kulkarni, Neeta’s dad, won this prestigious award in 2008 and is the first cinematographer to win this coveted award, with the exception of Nitin Bose who won in 1977, but he was a writer, director, producer and a cinematographer. I immediately seized the opportunity to talk to Mr Kulkarni and get a glimpse of his journey in cinematography!
Born on 25th December 1923 in Mumbai into the Kulkarni family, a family full of Doctors, Manohar Kulkarni was different from his other siblings. Even in school he was interested in photography and filming the sports events. This interest led him to attain full-fledged training in cinematography. And against the wishes of his family, he joined the film industry. Unlike the fans and respect which film fraternity artists get today, in those days, it was an industry shunned by the society at large and anybody joining this industry was considered as a failed individual in life! This however, did not deter the young Manohar. He wanted to fulfill his dreams of being an ace cinematographer, and pursued this dream seriously.
Mr. Kulkarni joined the film industry around 1944-45, but his first big break came in 1947 when Colonel Gandhi took him to Pakistan, where he filmed his first documentary “The Birth of Pakistan,” which earned him quite a reputation. On his return he got his first feature film – Bedard (Sadabahar productions). In those days, there were no independent production houses but film studios hired the artists and the crew. He did a couple of films for production houses in Patna which included Pyar zindagi hai and a few other films.
He also did several Marathi films. It was a challenge to do the films as the sets, costumes were elaborate and the artists very particular about their appearance. Shahu Modak, Jeevan, Trilok Kapoor , Sulochana, were some of the famous artists in these films. Recalling an incident Mr Kulkarni remarked that the late Trilok Kapoor, famous for his role of “Shiva” in Hindi films, used to dangle a real live snake around his neck for authenticity. During one such shooting, a close up shot was required and as the camera started rolling and Trilok Kapoor finished his lines, the snake decided to move over to the camera and came very close to Mr Kulkarni, but Trilok Kapoor managed to get the snake away.
Mr Kulkarni recalls that Ashok Kumar was a true gentleman and had a very thorough understanding of the film making process. With Ashok Kumar he did films like Uljhan, Kala Admi and also the famous Pehli tarikh, the song “Aaj Pehli Tarikh hai” has become famous over the years and is regularly played on Radio. He would often help the directors understand the difficulties faced by cameramen while using close-ups or long shots. Mr Kulkarni regrets that during his time there were no light meters or colour films in the earlier days and it was very difficult to film in the era of black and white films. Today an art director can separate the colour easily. In those days, care had to be taken if the background was white and the artist hair was white, the use of backlight was necessary to highlight hair which was always a challenge for cinematographers.
Apart from the films, Mr Kulkarni did several documentaries and film promos as they fetched quite a steady income. Among his notable documentaries are Kokan – Paradise of Maharashtra, Goa – Yesterday & Today and Tibet – Roof of the world , which captured the life and culture of Tibet, for an American production. An interesting incident about Goa – yesterday & today, is that it was filmed by both Films Division and Mr Kulkarni. Even though the government’s Films Division had some of the best resources available at their disposable, Mr Kulkarni’s film was better in terms of presentation and won the Films Division recognition and award.
Mr Kulkarni also specialised in Medical shoots and did several films on open heart surgery, cancer operations, ENT operative practices for noted doctors. It was challenging to shoot these films in those days as the blood has to be seen in the correct shade of red or it would be seen as pink when over exposed and brown when under exposed. Filming in the operation theatre for long hours of operation in silence was a test in itself. Mr Kulkarni also did several documentaries for pharma companies.
Mr Kulkarni’s brother R N Kulkarni was the erstwhile Mayor of Mumbai. Manohar Kulkarni was married to Smt Mangala Kulkarni and had 3 children; Deepak, Geeta and Neeta. Unfortunately, Mr Kulkarni has lost both his wife and his son now. The loss of his son took all his interest away and he reduced his involvement in cinematography. Today, he reminiscences the good old days and fondly remembers the best director of them all, V Shantaram. His work was finally acknowledged when the National committee for awards decided to reward him for his lifetime dedication to cinematography and awarded him the ‘Dadasaheb Phalke lifetime achievement award’ in 2008. He received the award at the hands of thespian Dilip Kumar.
It was a pleasure to meet Mr Kulkarni in Auckland at their daughter Neeta Vale’s residence. Rarely, do we get to meet such personalities who are responsible for making such visual treats and make the hero’s look so macho and heroine’s so beautiful on the celluloid. Though Manohar Kulkarni has retired now from his craft, his work will remind us of his contribution to the film fraternity. As they say – a picture can speak thousand words and remain in memory forever!
The other day we were watching the kids play dumb charades and eventually the discussions moved around to the Hindi films and film industry. Someone commented on how beautiful Madhubala looked in movies while others commented on the way Waheeda Rehman looked in Guru Dutt’s movies. All this lead to...
The other day we were watching the kids play dumb charades and eventually the discussions moved around to the Hindi films and film industry. Someone commented on how beautiful Madhubala looked in movies while others commented on the way Waheeda Rehman looked in Guru Dutt’s movies. All this lead to a heated debate around directors, who made heroines look so beautiful. In all that we actually forgot the one person responsible for these stunning good looks of the heroines – the cinematographer!
Neeta Vale, our host, commented that her dad was a cinematographer and an award winning one at that! This took me by surprise. Here was an opportunity to meet one of the silent greats of the movie world. Rarely does a cinematographer, editor or dubbing editor get recognition for their work. We hardly award the technicians with the highest National award in the Film fraternity – the Dadasaheb Phalke Lifetime achievement award. Manohar Kulkarni, Neeta’s dad, won this prestigious award in 2008 and is the first cinematographer to win this coveted award, with the exception of Nitin Bose who won in 1977, but he was a writer, director, producer and a cinematographer. I immediately seized the opportunity to talk to Mr Kulkarni and get a glimpse of his journey in cinematography!
Born on 25th December 1923 in Mumbai into the Kulkarni family, a family full of Doctors, Manohar Kulkarni was different from his other siblings. Even in school he was interested in photography and filming the sports events. This interest led him to attain full-fledged training in cinematography. And against the wishes of his family, he joined the film industry. Unlike the fans and respect which film fraternity artists get today, in those days, it was an industry shunned by the society at large and anybody joining this industry was considered as a failed individual in life! This however, did not deter the young Manohar. He wanted to fulfill his dreams of being an ace cinematographer, and pursued this dream seriously.
Mr. Kulkarni joined the film industry around 1944-45, but his first big break came in 1947 when Colonel Gandhi took him to Pakistan, where he filmed his first documentary “The Birth of Pakistan,” which earned him quite a reputation. On his return he got his first feature film – Bedard (Sadabahar productions). In those days, there were no independent production houses but film studios hired the artists and the crew. He did a couple of films for production houses in Patna which included Pyar zindagi hai and a few other films.
He also did several Marathi films. It was a challenge to do the films as the sets, costumes were elaborate and the artists very particular about their appearance. Shahu Modak, Jeevan, Trilok Kapoor , Sulochana, were some of the famous artists in these films. Recalling an incident Mr Kulkarni remarked that the late Trilok Kapoor, famous for his role of “Shiva” in Hindi films, used to dangle a real live snake around his neck for authenticity. During one such shooting, a close up shot was required and as the camera started rolling and Trilok Kapoor finished his lines, the snake decided to move over to the camera and came very close to Mr Kulkarni, but Trilok Kapoor managed to get the snake away.
Mr Kulkarni recalls that Ashok Kumar was a true gentleman and had a very thorough understanding of the film making process. With Ashok Kumar he did films like Uljhan, Kala Admi and also the famous Pehli tarikh, the song “Aaj Pehli Tarikh hai” has become famous over the years and is regularly played on Radio. He would often help the directors understand the difficulties faced by cameramen while using close-ups or long shots. Mr Kulkarni regrets that during his time there were no light meters or colour films in the earlier days and it was very difficult to film in the era of black and white films. Today an art director can separate the colour easily. In those days, care had to be taken if the background was white and the artist hair was white, the use of backlight was necessary to highlight hair which was always a challenge for cinematographers.
Apart from the films, Mr Kulkarni did several documentaries and film promos as they fetched quite a steady income. Among his notable documentaries are Kokan – Paradise of Maharashtra, Goa – Yesterday & Today and Tibet – Roof of the world , which captured the life and culture of Tibet, for an American production. An interesting incident about Goa – yesterday & today, is that it was filmed by both Films Division and Mr Kulkarni. Even though the government’s Films Division had some of the best resources available at their disposable, Mr Kulkarni’s film was better in terms of presentation and won the Films Division recognition and award.
Mr Kulkarni also specialised in Medical shoots and did several films on open heart surgery, cancer operations, ENT operative practices for noted doctors. It was challenging to shoot these films in those days as the blood has to be seen in the correct shade of red or it would be seen as pink when over exposed and brown when under exposed. Filming in the operation theatre for long hours of operation in silence was a test in itself. Mr Kulkarni also did several documentaries for pharma companies.
Mr Kulkarni’s brother R N Kulkarni was the erstwhile Mayor of Mumbai. Manohar Kulkarni was married to Smt Mangala Kulkarni and had 3 children; Deepak, Geeta and Neeta. Unfortunately, Mr Kulkarni has lost both his wife and his son now. The loss of his son took all his interest away and he reduced his involvement in cinematography. Today, he reminiscences the good old days and fondly remembers the best director of them all, V Shantaram. His work was finally acknowledged when the National committee for awards decided to reward him for his lifetime dedication to cinematography and awarded him the ‘Dadasaheb Phalke lifetime achievement award’ in 2008. He received the award at the hands of thespian Dilip Kumar.
It was a pleasure to meet Mr Kulkarni in Auckland at their daughter Neeta Vale’s residence. Rarely, do we get to meet such personalities who are responsible for making such visual treats and make the hero’s look so macho and heroine’s so beautiful on the celluloid. Though Manohar Kulkarni has retired now from his craft, his work will remind us of his contribution to the film fraternity. As they say – a picture can speak thousand words and remain in memory forever!
Neeta Vale, our host, commented that her dad was a cinematographer and an award winning one at that! This took me by surprise. Here was an opportunity to meet one of the silent greats of the movie world. Rarely does a cinematographer, editor or dubbing editor get recognition for their work. We hardly award the technicians with the highest National award in the Film fraternity – the Dadasaheb Phalke Lifetime achievement award. Manohar Kulkarni, Neeta’s dad, won this prestigious award in 2008 and is the first cinematographer to win this coveted award, with the exception of Nitin Bose who won in 1977, but he was a writer, director, producer and a cinematographer. I immediately seized the opportunity to talk to Mr Kulkarni and get a glimpse of his journey in cinematography!
Born on 25th December 1923 in Mumbai into the Kulkarni family, a family full of Doctors, Manohar Kulkarni was different from his other siblings. Even in school he was interested in photography and filming the sports events. This interest led him to attain full-fledged training in cinematography. And against the wishes of his family, he joined the film industry. Unlike the fans and respect which film fraternity artists get today, in those days, it was an industry shunned by the society at large and anybody joining this industry was considered as a failed individual in life! This however, did not deter the young Manohar. He wanted to fulfill his dreams of being an ace cinematographer, and pursued this dream seriously.
Mr. Kulkarni joined the film industry around 1944-45, but his first big break came in 1947 when Colonel Gandhi took him to Pakistan, where he filmed his first documentary “The Birth of Pakistan,” which earned him quite a reputation. On his return he got his first feature film – Bedard (Sadabahar productions). In those days, there were no independent production houses but film studios hired the artists and the crew. He did a couple of films for production houses in Patna which included Pyar zindagi hai and a few other films.
He also did several Marathi films. It was a challenge to do the films as the sets, costumes were elaborate and the artists very particular about their appearance. Shahu Modak, Jeevan, Trilok Kapoor , Sulochana, were some of the famous artists in these films. Recalling an incident Mr Kulkarni remarked that the late Trilok Kapoor, famous for his role of “Shiva” in Hindi films, used to dangle a real live snake around his neck for authenticity. During one such shooting, a close up shot was required and as the camera started rolling and Trilok Kapoor finished his lines, the snake decided to move over to the camera and came very close to Mr Kulkarni, but Trilok Kapoor managed to get the snake away.
Mr Kulkarni recalls that Ashok Kumar was a true gentleman and had a very thorough understanding of the film making process. With Ashok Kumar he did films like Uljhan, Kala Admi and also the famous Pehli tarikh, the song “Aaj Pehli Tarikh hai” has become famous over the years and is regularly played on Radio. He would often help the directors understand the difficulties faced by cameramen while using close-ups or long shots. Mr Kulkarni regrets that during his time there were no light meters or colour films in the earlier days and it was very difficult to film in the era of black and white films. Today an art director can separate the colour easily. In those days, care had to be taken if the background was white and the artist hair was white, the use of backlight was necessary to highlight hair which was always a challenge for cinematographers.
Apart from the films, Mr Kulkarni did several documentaries and film promos as they fetched quite a steady income. Among his notable documentaries are Kokan – Paradise of Maharashtra, Goa – Yesterday & Today and Tibet – Roof of the world , which captured the life and culture of Tibet, for an American production. An interesting incident about Goa – yesterday & today, is that it was filmed by both Films Division and Mr Kulkarni. Even though the government’s Films Division had some of the best resources available at their disposable, Mr Kulkarni’s film was better in terms of presentation and won the Films Division recognition and award.
Mr Kulkarni also specialised in Medical shoots and did several films on open heart surgery, cancer operations, ENT operative practices for noted doctors. It was challenging to shoot these films in those days as the blood has to be seen in the correct shade of red or it would be seen as pink when over exposed and brown when under exposed. Filming in the operation theatre for long hours of operation in silence was a test in itself. Mr Kulkarni also did several documentaries for pharma companies.
Mr Kulkarni’s brother R N Kulkarni was the erstwhile Mayor of Mumbai. Manohar Kulkarni was married to Smt Mangala Kulkarni and had 3 children; Deepak, Geeta and Neeta. Unfortunately, Mr Kulkarni has lost both his wife and his son now. The loss of his son took all his interest away and he reduced his involvement in cinematography. Today, he reminiscences the good old days and fondly remembers the best director of them all, V Shantaram. His work was finally acknowledged when the National committee for awards decided to reward him for his lifetime dedication to cinematography and awarded him the ‘Dadasaheb Phalke lifetime achievement award’ in 2008. He received the award at the hands of thespian Dilip Kumar.
It was a pleasure to meet Mr Kulkarni in Auckland at their daughter Neeta Vale’s residence. Rarely, do we get to meet such personalities who are responsible for making such visual treats and make the hero’s look so macho and heroine’s so beautiful on the celluloid. Though Manohar Kulkarni has retired now from his craft, his work will remind us of his contribution to the film fraternity. As they say – a picture can speak thousand words and remain in memory forever!
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