Raja Harishchandra- The First Indian Full Length Feature Film 
This 1913 silent Indian film by Dadasaheb Phalke holds the distinction of being India’s first full length feature film. Based on the legend of Harishchandra, recounted in Ramayana and Mahabharata, this film gave birth to an industry which was to become the largest of its kind in the world. The germ of this film was born four years before the release of the film itself. After viewing “The Life of Jesus Christ” in Bombay (Mumbai) Phalke said to himself -"Like the Life of Christ we shall make pictures on Rama and Krishna…. Armed with a Williamson camera, a perforating machine, developing and printing equipment and some raw stock Phalke set out for a hitherto untaken road. Very soon he launched what was to be a landmark in the history of Indian Cinema, Raja Harishchandra. This film was based on the mythological tale about an honest king who prioritizes his principles above everything and sacrifices his kingdom and family for it. The gods impressed with his honesty restore him to his former glory. Dadasaheb was greatly influenced by the style of painter Raja Ravi Verma in the making of this film. >
This film was based on a story written by Vinayak Prasad Talib. It’s the story of King Harishchandra (D.D. Dabke) and his family. In the first few tableaus like reels of the movie, Harishchandra is shown with his wife, Taramati (Anna Salunke). He is showing his young son the finer points of archery.
This scene establishes him as not only an able king but also a family man. During one of his hunting expeditions, the king and his party accidentally wander onto the sanctuary of a holy man named Vishwamitra who is deep into meditation. This party interrupts Vishwamitra’s trance like meditation, and Harishchandra is quick to realize his blunder. To atone for his blunder, Harishchandra thinks of going to the extent of renouncing his crown and his family.
Raja Harishchandra like Dadasaheb Phalke’s future films was rooted in Indian sensibilities. It also shows a fine pictorial sense and remarkable technical resourcefulness. The magician in Phalke ensured that that this film was a special effects marvel. He explored a mind-boggling variety of techniques including animation, tinting and toning.
He also used scenic backdrops for a number of sequences, including the hunting expedition scene. However Raja Harishchandra is seen today as a progression of the Parsi Theatre Culture in terms of themes and execution. The stagey acting, larger than life sequences and elaborate costumes are typical of Parsi Theatre.
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