The narrative begins in 1911, introducing Dhundiraj Govind Phalke, who is more widely known as Dadasaheb Phalke. At this time, he is working as both a printer and photographer in Bombay, living with his devoted wife, Saraswati Bai, and their children. Phalke's journey hits a snag when disagreements with his business partners lead him to leave the printing industry behind.
His fascination with cinema ignites after he attends a screening of a foreign silent film that showcases scenes from the life of Jesus Christ. This piques his interest in creating films in India, and soon he is experimenting with filmmaking right from the comfort of his home. His family responds with a mix of curiosity and concern, particularly his wife, who despite the financial strain it brings, supports his newfound enthusiasm. Phalke diligently studies available cinematic resources and practices with his camera and film equipment. When he decides he needs formal training, he shares his intentions with Saraswati Bai, who unwaveringly backs him.
His journey takes him to London, where he meets notable filmmaker Cecil Hepworth. During this time, he learns the intricacies of filmmaking, gathering knowledge about cameras and film techniques. When he returns to India, equipped with a motion-picture camera, Phalke sets out to create his first Indian film.
Back in Bombay, he begins extensive experimentation, including a fascinating project involving time-lapse photography to capture the growth of a plant over several days. As he assembles a team of enthusiastic assistants, he also embarks on the search for actors, finding it particularly challenging to recruit women, due to the prevailing social norms that deem acting unacceptable for them. After arduous efforts, he manages to cast Anna Salunke (played by Mayur Khandge), a cook, in the role of Taramati for his envisioned film titled Raja Harishchandra, which is inspired by the legendary story of King Harishchandra from Hindu mythology.
With preparations underway, Saraswati Bai emerges as a vital member of the production team, handling the sewing of costumes, managing makeup, and assisting with all the practical tasks necessary for filming. The entire family becomes integrated into the filmmaking process, with Phalke's children also engaging in various aspects of production. However, the road to completion is fraught with challenges; actors and crew members often lack experience with the medium, leading to moments where Phalke must carefully demonstrate how scenes should be performed on camera. Despite continuous interruptions stemming from both technical complications and financial pressures, Saraswati Bai remains a bastion of support for Phalke during these difficult times.
As he struggles to provide for his expanding crew amidst the relentless demands of the production, Phalke's relentless drive keeps him pushing forward. After a long and arduous shooting period, he finally concludes filming and moves on to process and assemble Raja Harishchandra. The film's first public screening occurs at the Coronation Cinema in Bombay on May 3, 1913, drawing a sizeable audience and ultimately marking Phalke's place in history as the creator of India's very first full-length feature film.
The film wraps up on a celebratory note, with Phalke and his family rejoicing in their achievement, which not only solidifies his legacy but also lays down the essential groundwork for the burgeoning industry of Indian cinema.
