As we celebrate Women’s Day, let us pause and pay homage to the women who shaped the very soul of Indian cinema. They were not just pioneers; they were warriors, dreamers, and visionaries who dared to step into a world that was never meant to welcome them. Their struggles were relentless, their victories hard-won, and their contributions priceless. Without them, Indian cinema would never have found its true essence.
Fatma Begum – A name that should be etched in golden letters in the history of Indian cinema. At a time when women were barely allowed to step outside their homes, she dared to sit in the director’s chair. She wasn’t just India’s first female filmmaker; she was a revolution wrapped in courage. Her 1926 film Bulbul-e-Paristan wasn’t just a fairy tale—it was a loud, defiant statement that women belonged behind the camera, not just in front of it. With every frame she directed, she shattered glass ceilings and paved the way for women to create, command, and conquer.
Saraswatibai Phalke – The quiet yet unwavering force behind India’s first feature film. While history often remembers Dadasaheb Phalke as the father of Indian cinema, it was Saraswatibai who was the heartbeat of his vision. She didn’t just support her husband; she lived and breathed his dream. From preparing costumes and processing film reels to managing the household while he pursued his passion, she was the invisible foundation of Raja Harishchandra (1913). Without her relentless dedication, the very first steps of Indian cinema might have faltered.B. R. Vijayalakshmi – The first woman cinematographer in Asia. In a time when handling a camera was seen as a man’s domain, she dared to redefine perspectives—literally and figuratively. With every shot she framed, she proved that women could not only tell stories but also shape their visual language. The male-dominated world of cinematography was forced to make space for her brilliance, and because of her, countless women dared to dream of holding the camera and capturing the world through their own eyes.
These legends stood tall, but they were not alone. Devika Rani, the bold and brilliant actress who was also a fierce businesswoman, ruled Bombay Talkies with an iron will. Durga Khote, the woman who redefined acting in Indian cinema and fought to bring dignity to female performers, ensured that women were no longer just ornamental figures on screen. Shanta Apte, who fearlessly took on exploitation in the industry, demanded fair treatment for actresses at a time when their voices were rarely heard.
These women fought battles not just for their own survival but for every woman who would ever dream of stepping into cinema. They were more than artists; they were architects of an industry that would one day thrive on the voices and visions of women.
Gajra Kotary, an Indian screenwriter, shared, “From Savitri Bai Phalke, who not just played a supportive role to her legendary husband and then became a great film editor and technician, to Fatma Begum, who even groomed her 3 daughters to act in and direct movies, we women have a lot to thank these pioneers for. These women, for their times, were both beautiful and bold, for they broke the association of women in the movies originating from the tawaif background. Of course, even those from the tawaif background were proud and true artists who worked hard to weave their art and adapt to the new craft of cinema. But what stands out for me most prominently is the fact that these were women who were truly passionate about the craft and art of filmmaking, light years away from being drawn to its glamour at all.”
Today, as we celebrate the brilliance of modern cinema, let us remember that its foundation was laid by these fearless, formidable women. Their spirit lives on in every story that dares to break boundaries, in every female filmmaker who picks up a camera, in every actress who refuses to be just a decorative piece, and in every woman who dreams beyond limits.
This Women’s Day, we do not just remember them—we honor them, we celebrate them, and we promise never to let their legacy fade. Their light still shines, and it will continue to illuminate Indian cinema forever.
Amrit Gangar: Film Theorist, Curator, Author, Historian reflects, “What does the term ‘pioneer’ mean and connote? The pioneer is a pathfinder, or the one who has originated a new line of thought or activity or a new method of technical development. The Oxford dictionary defines it as a person who is the first to study and develop a particular area of knowledge, culture, etc. Your question is about the ‘pioneer’ women of Indian cinema. This is a very broad context, but if we stick to this definition of the term ‘pioneer,’ I would consider Begum Fatima, who was the first woman director-producer-actor in India. A century ago, she set up the company Fatima Film in 1926, which became Victoria-Fatima Film two years later. She had starred in Ardeshir Irani’s silent film Veer Abhimanyu in 1922. The first film she herself directed was Bulbul-e-Faristan, which is considered to be the first Indian film directed by a woman. It was also a big-budget fantasy film. Interestingly, she married the Nawab of Sachin (Gujarat) and was a Muslim. Hindu patriarchy didn’t let women work in films then, though we have stories of how Saraswatibai, wife of Dadasaheb Phalke, helped her husband wash the film at night, sprocketing, etc. Kamalabai Gokhale and her mother, Durgabai, also helped Saraswatibai in her work. Kamalabai and Durgabai had also acted in Phalke’s film Mohini Bhasmasur, released in Bombay in 1914. Going strictly by the term ‘pioneer,’ I would think of Gohar Kayoum Mamajiwala (1910-1985), popularly known as the Glorious Gohar. She, along with Chandulal Shah, formed Jagdish Film Company and then one of the most important Indian film companies, Ranjit. Glorious Gohar was also a major star at the Kohinoor Film Company. Kohinoor was India’s biggest and most influential film studio during the silent era. Ranjit also started during the silent era and became one of India’s long-running film studios. Unfortunately, we don’t get the dates of birth and death of Fatima Begum. Kamalabai Gokhale was a strong and independent-minded woman who would still inspire many men and women today. Reena Mohan, in her documentary film Kamalabai, has immortalized her. To my mind, the two great Muslim women, Fatima Begum and Gohar Kayoum Mamajiwala, need to be remembered on this Women’s Day. Yet another woman I would like to remember is a Parsee—Khursheed Manchersha Minocher Homji, known as Saraswati Devi (1912-1980). She is a major music composer mainly associated with Bombay Talkies, starting from its film Jawani ki Hawa in 1935. To her credit are several major Bombay Talkie films. Along with her, we should also remember Devika Rani, who founded the Bombay Talkies studio along with Himansu Rai in the early talkie era.”
