Icons and Legends of Maharashtra

Marathi culture has left an indelible mark. Whether in literature, music, art, social causes, or cinema, Maharashtra boasts several notable cultural pioneers whose work has shaped the identity of the state and its people. These icons have helped Maharashtra gain national and even global recognition. In this article, we pay tribute to six such legends and icons across literature, cinema, and music who helped define the Marathi cultural landscape.

Marathi Literature

Acharya Atre 

Acharya Pralhad Keshav Atre played many roles other than a writer. A teacher by profession, a playwright by passion, and a political commentator, Atre used the Marathi language as a powerful tool to bring forth reform and revival in the Marathi literature landscape. He played a critical role in the Samyukta Maharashtra Movement, fighting for a united Maharashtra with Mumbai as its capital. His speeches during the campaign were fierce and moved the masses. His writings in the newspaper 'Maratha' rallied people into action. The fierce editorials written by him held a powerful message for miscreants accountable for their actions and gave voice to the common man. 

In literature and theatre, his play 'To Mi Navhech' became a milestone in modern Marathi drama. He was known to blend humour with reality and presented in a way that would appeal to the masses. One can rightly say, he was responsible for making literature accessible and relevant to the masses. Through plays, journalism, short stories, and political activism, Atre helped redefine Marathi literature.

Shanta Shelke 

Shanta Janardan Shelke was a prominent Indian poet and writer known for her work in Marathi Literature. Her style of writing was often regarded as gentle, rhythmic, and deeply emotional. Her work was a mirror to the inner world of women, nature, and society. Other than being a well-established journalist, she drew inspiration for her poetry from the natural beauty of Maharashtra, the monsoons, the changing seasons, and the everyday lifestyle of rural and urban life. This made her poetry instantly relatable to the widespread Marathi speakers. 

Shelke also made a massive contribution to Marathi cinema and music. As a lyricist, she penned hundreds of film songs and bhavgeet (emotion-driven songs), many of which became classics. Many believe she bridged the gap between literature and music, making poetry a part of popular culture. She translated literary works into Marathi, including classics from other Indian languages and foreign literature, expanding Marathi readers’ exposure to the world. Her work in children’s literature also deserves a mention.

Marathi Music

Kishori Amonkar 

Kishori Amonkar, an Indian classical vocalist, was born in Mumbai and trained in the rigid Jaipur-Atrauli gharana. She is considered to be one of the foremost classical singers in the country. Kishori Amonkar was known to master the art of balancing classical music with emotional freedom. Her deep connection with raag-based music helped elevate the status of Hindustani classical music in Maharashtra. She is truly an icon and a legend who helped shape the Marathi music industry. 

In a state where Lavani and folk had a stronghold, Amonkar was known for her contribution to khayal and bhakti sangeet. She performed extensively across Maharashtra, from grand concert halls to smaller cultural festivals in towns and villages. Her music is an example of classical music alive and thriving, even in the 22nd century. She also mentored several students and gave lectures across the state. Kishori Amonkar’s influence shaped how Maharashtrians and people from other communities engaged with classical music. 

Sudhir Phadke

It won’t be fair to talk about the Marathi Music Industry and not mention Sudhir Phadke. He was an Indian singer-composer and regarded as an icon of the Marathi film industry and Marathi Sagam Sangeet with a legacy spanning five decades. Apart from Marathi, Phadke sang and composed songs in several Hindi films as well.

Sudhir Phadke, lovingly called Babuji, composed for both Hindi and Marathi films. His most influential work, Geet Ramayan, wasn't just a musical series; it became a spiritual and cultural ritual for Marathi families. Every Sunday in the 1950s, every other household across Maharashtra would tune in to the radio to listen to the next chapter of the Ramayan, set to Phadke’s music and sung in his melodious voice.

The project not only revived interest in classical literature but also proved how regional language and music could be used to narrate universal stories and shed light on regional culture. Beyond Geet Ramayan, Sudhir Phadke is a timeless reflection of the Marathi music landscape and worked with top poets like G.D. Madgulkar, creating a golden era of soulful music.

Marathi Film Industry

V. Shantaram

Shantaram Rajaram Vankudre, also known as V. Shantaram or Shantaram Bapu, was an Indian film director, producer, screenwriter, and actor known for his brilliant work in Hindi and Marathi cinema. V. Shantaram brought discipline, drama, and a visionary approach to Indian cinema. But his roots remained deeply embedded in Marathi culture and themes. Shantaram’s early work with Prabhat Film Company helped define Marathi cinema in its formative years. His film Ayodhyecha Raja (1932) was one of the first Marathi talkies and set a high standard for storytelling, sound, and music.

He consistently used cinema to question norms, whether it was Duniya Na Mane (1937), which challenged child marriage and gender inequality, or Shejari (1941), which dealt with caste discrimination. These films sparked dialogue and debate across Maharashtra’s towns and beyond borders, too. Shantaram’s visual storytelling and use of traditional Maharashtrian music and dance helped preserve regional art forms. He was among the first to bring Lavani and folk rhythms into mainstream cinema in a stylised form. V Shantaram changed the way people perceived cinema and introduced Marathi cinema through a progressive lens.

Jabbar Patel

Jabbar Patel is a former paediatrician and a Marathi-language theatre and film director of India. His production of Vijay Tendulkar's play Ghashiram Kotwal, in 1973, is considered a classic in Modern Indian Theatre. His cinematic and theatrical work stands are proof of cinematic excellence. He was popularly known to represent the early cinematic vision, and Patel brought realism and social depth. Considered a central figure in the Parallel Cinema Movement in Maharashtra, which tackled real issues faced by society.

With Samna (1974) and Sinhasan (1979), Patel aimed at portraying an image of rural power struggles and political issues and also the class system, which strongly and quickly appealed to the audience. One of his most socially and culturally praised projects was Umbartha (1982), based on a woman’s journey from personal struggles to social reform. It was one of the earliest feminist Marathi films that sparked widespread discussion. Jabbar Patel’s cinematic vision helped shape the path for Marathi Cinema in the future and addressed important issues that would often be neglected.