The Tool Desk
Outbyte PC Repair FREERepair Windows errors before they cause bigger problemsFix Now →Outbyte Driver Updater FREEFix the driver behind crashes, sound loss and screen glitchesFind Drivers →Virchand Dharamsey made Indian silent cinema easier to study by assembling a detailed record of films that were often lost, inaccessible, or poorly documented. His filmography, published in Light of Asia: Indian Silent Cinema, 1912–1934, was built from archival traces and historical judgment—not from watching every film it lists.
Who was Virchand Dharamsey?
Dharamsey was an independent, self-taught researcher and film historian whose interests extended beyond cinema to archaeology, theatre, and cultural history. He worked as an interpreter, translator, and research assistant for visiting historians, anthropologists, and archaeologists, and became known as a researcher in his own right. His connection with film societies and screenings helped draw him toward silent cinema.
He died in April 2023. His collection included photographs, posters, stills, songbooks, trade magazines, and the original script of the 1924 silent film Gul-e-Bakavali.
What is his Indian silent-film filmography?
Dharamsey’s filmography is a section of Light of Asia: Indian Silent Cinema, 1912–1934, edited by Suresh Chabria and Paolo Cherchi Usai. The book was published in connection with a 1994 Indian silent-film retrospective at the Le Giornate del Cinema Muto festival in Pordenone. Dharamsey authored the filmography, not the entire edited volume. A revised and expanded edition appeared in 2013.
#1 Best Overall
- SUPER 8MM
- SILENT
The work covers films from 1912 through 1934. Its starting point, Pundalik (1912), is described in the 2019 account as the first Indian narrative movie. That does not mean it was the first film made by an Indian: the same account notes Harishchandra S. Bhatvadekar’s 1901 wrestling film as an earlier example.
Scroll.in reported in 2019 that the revised filmography listed 1,338 films: 48 short features and 1,290 full-length films. This is the scope of Dharamsey’s listing as reported then, not a count of prints surviving today.
Rank #2
- 16MM
- SILENT
How did he reconstruct films that could not be seen?
Many films were unavailable to view, so Dharamsey worked from what remained: textual and visual references, archival material, magazines, interviews, and his own research. He kept notebooks and manually copied information when he could not borrow magazines for photocopying. He also sought out former studio employees, although some inquiries came too late to yield answers.
He described the limits and judgment involved: “The films existed only as descriptions, and I had to use my own judgement about them.” He also explained, “I was trying to recreate with data, just like an archaeologist or a historian. I was seeing the context in which they were made, the subjects they explored.” Both quotations were attributed to him in Scroll.in’s 2019 profile.
Do these 3 things before closing this tab:
1Clear out junk files and repair common Windows errors2Scan for outdated or missing drivers - takes under a minute3Repair Windows errors before they cause bigger problemsRank #3
- Circa 1975 - 1978
- SUPER 8 & 8MM Compatible
- Silent Projector (no sound)
This approach matters when reading the listings: the filmography is a reconstruction from surviving evidence, not a claim that Dharamsey personally watched every film. It also made gaps and mistaken assumptions in the record easier to identify.
What changed in the 2013 revision?
The expanded edition incorporated research accumulated after 1994. It added or clarified credits, actors and other personalities, alternate titles, censorship information, literary sources, and production-history remarks. Several corrections changed how particular films were understood:
Rank #4
- ⭐HOLOGRAM TECHNOLOGY - The transparent holographic projection film has a unique transparency that allows the viewer to see the scene through the projection film while maintaining a clear image. The picture quality is vert clear and bright. This magical effect, thanks to the practical application of (hologram) technology
- ⭐HIGH DEFINITION - The holographic projection film has unique high-definition and transparent imaging characteristics. At the first time, it captures the curiosity and attention of the audience, and the high-quality transmission of visual information will not obstruct the display of field exhibits. Moreover, it is not subject to the limitation of the site and design, or suspended half empty, or full of walls
- ⭐SELF ADHESIVE - This self adhesive rear projection film is of glue design, the adhesive strength is not strong, so please do not worry to leave residue after removing. And it is very sticky as long as it is sprinkled with water on the glue side and surface. There is no chemical release, very easy to install, just make sure the surface is completely clean and absolutely free of any blemishes
- ⭐WIDE APPLICATION - Rear Projection Film can be sed to any smooth surface, such as glass, acrylic, window display. Suitable for Dynamic image display. Mainly applicable to the event promotion display, Conference presentation, glass window advertising, Wedding Banquet Event Display, Teaching video playback, shopping malls advertising carriers, airport, subway, railway station advertising carriers, etc
- ⭐This holographic projection film is a new generation of display equipment with high definition, high light resistance, ultra-thin and anti-aging advantages. Molecular-grade nano-optical components: holographic color filter crystals (HCFC) as the core material, fusion nanotechnology, materials science, optics, polymers and other multidisciplinary results and preparation processing technology, with organic materials, inorganic nano-powders and Fine metal powder is produced from raw materials
- Raja Harishchandra: The surviving reels attributed to D. G. Phalke’s film were identified as belonging to his 1917 remake, not the 1913 original.
- Maya Bazar: Baburao Painter’s film, previously dated 1925, was identified as a retitled re-release of Surekha Haran, made in 1921.
- Chronology: Nataraja Mudaliar’s Gopal Krishna was placed in 1915 and Keechak Vadham in 1916, rather than 1917.
These examples show why filmography is more than a list of titles: dates, credits, and alternate names can determine which work a surviving fragment actually represents.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How many Indian silent films have survived?
Survival figures must be tied to a date. A Scroll.in report published August 4, 2019, said the National Film Archive had 28 Indian silent-film prints through 2016, only five of them complete. The same report described Bilwamangal as a 29th print, returned from France around 2016. These are historical figures reported at the time, not a current inventory of the archive.
Best Value
- Super 8MM
- Projector
The contrast between the large filmography and the small number of prints in that dated account helps explain the value of Dharamsey’s work. A record assembled from documentation can preserve information about films even when their images are no longer available.
Where can readers find the filmography?
Look for Light of Asia: Indian Silent Cinema, 1912–1934, edited by Suresh Chabria and Paolo Cherchi Usai. The 1994 volume contains Dharamsey’s original filmography; the 2013 revised and expanded edition incorporates later research and additional contextual details. Availability can vary, so check the edition information when locating a copy.
Quick Recap
Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on Amazon at the time of purchase will apply.
