Josef Wirsching - Revision history

Pdewan: /* ...in India */

2024-02-04T18:04:24Z

‎...in India

Pdewan: /* ...in India */

2024-02-04T18:02:59Z

‎...in India

Pdewan: /* His films... */

2024-02-04T17:49:29Z

‎His films...

Pdewan at 17:48, 4 February 2024

2024-02-04T17:48:21Z

Pdewan at 17:18, 4 February 2024

2024-02-04T17:18:02Z

Pdewan: /* The Kashmir connection */

2024-02-04T17:12:14Z

‎The Kashmir connection

Pdewan: /* Filmography */

2024-02-04T15:56:32Z

‎Filmography

Pdewan: /* Personal detail */

2018-05-10T00:32:34Z

‎Personal detail

Pdewan: /* Contributions */

2018-05-10T00:31:30Z

‎Contributions

Jyoti: Created page with "{| Class="wikitable" |- |colspan="0"|
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|} [[Category:Ind..."

2017-12-17T14:48:51Z

Created page with "{| Class="wikitable" |- |colspan="0"|<div style="font-size:100%"> This is a collection of articles archived for the excellence of their content.<br/> </div> |} [[Category:Ind..."

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[[Category:India |W ]]
[[Category:Cinema-TV-Pop |W ]]
[[Category:Photography |W ]]
[[Category:Germany |W ]]

=Contributions=
==In films in India==
[http://epaper.timesgroup.com/Olive/ODN/TimesOfIndia/shared/ShowArticle.aspx?doc=TOIDEL%2F2017%2F12%2F14&entity=Ar02102&sk=D0628432&mode=text Sonam Joshi, How a German came to shoot Hindi classics, December 14, 2017: ''The Times of India'']

[[File: From left, Kamal Amrohi, Wirsching and Meena Kumari filming in Kashmir in 1958.jpg|From left, Kamal Amrohi, Wirsching and Meena Kumari filming in Kashmir in 1958 <br/> From: [http://epaper.timesgroup.com/Olive/ODN/TimesOfIndia/shared/ShowArticle.aspx?doc=TOIDEL%2F2017%2F12%2F14&entity=Ar02102&sk=D0628432&mode=text Sonam Joshi, How a German came to shoot Hindi classics, December 14, 2017: ''The Times of India'']|frame|500px]]

[[File: Devika Rani and Najmul Hasan in the 1935 movie, Jawani ki Hawa.jpg|Devika Rani and Najmul Hasan in the 1935 movie, Jawani ki Hawa <br/> From: [http://epaper.timesgroup.com/Olive/ODN/TimesOfIndia/shared/ShowArticle.aspx?doc=TOIDEL%2F2017%2F12%2F14&entity=Ar02102&sk=D0628432&mode=text Sonam Joshi, How a German came to shoot Hindi classics, December 14, 2017: ''The Times of India'']|frame|500px]]

''A photo exhibition of Josef Wirsching’s work sheds light on the cosmopolitan world of early Indian cinema''

A candid black-and-white picture from 1937 shows the era’s top film star Devika Rani smoking during a shoot. In another, Rani, her filmmakerhusband Himansu Rai and a young Ashok Kumar share a meal under a thatched hut, while a third photo features actor Raaj Kumar in the middle of a scene in Pakeezah, surrounded by a swarm of cameras and crew.

The common thread linking all these rare images is Josef Wirsching, a German cinematographer who was behind the camera for many iconic films until the 1960s. They form part of a new exhibition of 158-odd photographs sourced from Wirsching’s archive.

Wirsching’s tryst with India began in 1925, when he, along with three other Germans — film director Franz Osten and two technicians — set sail from Italy to work in Bombay on an ambitious silent film on the life of Gautama Buddha. Called The Light of Asia or Prem Sanyas, the Indo-German production was the brainchild of Rai, a lawyer-turned-actor who had travelled to Germany to collaborate with the film studio Emelka.

The film’s success led to two more Indo-German films, the recently restored Shiraz and Prapancha Pash. In 1935, when Rai and Devika Rani set up Bombay Talkies, they invited Wirsching and Osten to join them and provide technical expertise, helping train Indians in film production. Wirsching became the studio’s director of photography, and went on to shoot classics such as Achhut Kanya, Jawani Ki Hawa, Mahal, Sangram and Pakeezah. He also took photographs.

Now, 50 years after his death in 1967, Wirsching’s photographs are being exhibited for the first time as part of the Serendipity Arts Festival in Goa. Titled ‘A Cinematic Imagination’, the exhibition includes film and production stills and behind-the-scene photos from 1925to1967, spanning Wirsching’s years with Bombay Talkies and later with Kamal Amrohi.

The German joined Bombay Talkies at a crucial juncture in the mid-1930s, when Indian cinema was making the transition from silent films to the talkies. Film scholar Debashree Mukherjee, who has co-curated the exhibition with Rahaab Allana of the Alkazi Foundation, says, “The cosmopolitan crew at BombayTalkies brought together multiple influences ranging from German Expressionist theatre and cinema to modern Bengali reformist novels and Hindustani classical music. It played a foundational role in defining India’s commercial film form, producing some of the most iconic musical films of the era which foregrounded urgent issues of social reform.” Allana adds that this was a wider trend, with other European filmmakers and photographers also working in India at the time.

Wirsching’s career was interrupted by World War II. As a German living in a British colony, he was arrested and sent to an internment camp from 1939 to 1947. “My grandfather always believed he would go backtoGermany after he retired from working in India,” says Georg, who archived the material. “He would send back negatives, photographs, curios and even furniture to his parents in Munich. However, WWII happened and all of that was destroyed along with Josef’s hope of ever going back to his old family home.” Instead, he decided to resume work in Bombay. After the closure of Bombay Talkies, Wirsching joined Kamal Amrohi’s Mahal Films. His last film was the Meena Kumari-starrer Pakeezah, released five years after his death.

Yet, his influence extended beyond his own work and can be seen in films such as Guru Dutt’s Pyaasa. “Wirsching’s key contribution to Indian cinema lies in his use of light and composition. He brings an artistic imagination that infused Bombay cinema with the psychological depth and stylistic ethos of German Expressionism, which used sets, costumes and lighting to exteriorize inner emotions,” Mukherjee says. The project has been self-funded so far, but the Wirschings plan to raise more money to take the exhibition to other cities and compile the photographs into a book.

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-[[File:  Josef Wirsching2 Pakeezah.png| Josef Wirsching’s ''' Pakeezah ''' (1972) <br/> At the top left corner there is a hint of the branches of a tree. Some of these branches got trimmed off in the transition from celluloid CinemaScope to home video. Such minutiae were among Wirsching’s hallmarks. He would ensure that there were little details in the corners as well. <Br/> And then there is the overall composition of this frame in which the minarets of a mosque or shrine are bracketed by scraggy old trees. <Br/> Incidentally, in the right half of the frame some tiny human figures can be seen. Left to right, these are the actor Meena Kumari (in a black burqa), followed by Raaj Kumar (in white) and then a group of people including clerics who have just emerged from the shrine in the background. |frame|500px]]
+[[File:  Josef Wirsching2 Pakeezah.png| Josef Wirsching’s ''' Pakeezah ''' (1972) <br/> At the top left corner there is a hint of the leaves of a tree. Some of these branches got trimmed off in the transition from celluloid CinemaScope to home video. <Br/> Minutiae such as those leaves were among Wirsching’s hallmarks. He would ensure that there were little details in the corners as well. <Br/> And then there is the overall composition of this frame in which the minarets of a mosque or shrine are bracketed by scraggy old trees. <Br/> Incidentally, in the right half of the frame some tiny human figures can be seen. Left to right, these are the actor Meena Kumari (in a black burqa), followed by Raaj Kumar (in white) and then a group of people including clerics who have just emerged from the shrine in the background. |frame|500px]]
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 Yet, his influence extended beyond his own work and can be seen in films such as Guru Dutt’s Pyaasa. “Wirsching’s key contribution to Indian cinema lies in his use of light and composition. He brings an artistic imagination that infused Bombay cinema with the psychological depth and stylistic ethos of German Expressionism, which used sets, costumes and lighting to exteriorize inner emotions,” Mukherjee says. The project has been self-funded so far, but the Wirschings plan to raise more money to take the exhibition to other cities and compile the photographs into a book.
 [[Category:Cinema-TV-Pop|W JOSEF WIRSCHINGJOSEF WIRSCHINGJOSEF WIRSCHING

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-[[File:  Josef Wirsching2 Pakeezah.png| Josef Wirsching’s ''' Pakeezah ''' (1972) <br/> At the top left corner there is a hint of the branches of a tree. Some of these branches were trimmed off in the transition from celluloid CinemaScope to home video. Such minutiae were among Wirsching’s hallmarks. He would ensure that there were little details in the corners as well. <Br/> And then there is the overall composition of this frame in which the minarets of a mosque or shrine are bracketed by scraggy old trees. <Br/> Incidentally, in the right half of the frame some tiny human figures can be seen. Left to right, these are the actor Meena Kumari (in a black burqa), followed by Raaj Kumar (in white) and then a group of people including clerics who have just emerged from the shrine in the background. |frame|500px]]
+[[File:  Josef Wirsching2 Pakeezah.png| Josef Wirsching’s ''' Pakeezah ''' (1972) <br/> At the top left corner there is a hint of the branches of a tree. Some of these branches got trimmed off in the transition from celluloid CinemaScope to home video. Such minutiae were among Wirsching’s hallmarks. He would ensure that there were little details in the corners as well. <Br/> And then there is the overall composition of this frame in which the minarets of a mosque or shrine are bracketed by scraggy old trees. <Br/> Incidentally, in the right half of the frame some tiny human figures can be seen. Left to right, these are the actor Meena Kumari (in a black burqa), followed by Raaj Kumar (in white) and then a group of people including clerics who have just emerged from the shrine in the background. |frame|500px]]
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 Yet, his influence extended beyond his own work and can be seen in films such as Guru Dutt’s Pyaasa. “Wirsching’s key contribution to Indian cinema lies in his use of light and composition. He brings an artistic imagination that infused Bombay cinema with the psychological depth and stylistic ethos of German Expressionism, which used sets, costumes and lighting to exteriorize inner emotions,” Mukherjee says. The project has been self-funded so far, but the Wirschings plan to raise more money to take the exhibition to other cities and compile the photographs into a book.
 [[Category:Cinema-TV-Pop|W JOSEF WIRSCHINGJOSEF WIRSCHINGJOSEF WIRSCHING

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 =His films...=
 ==...in India==
 [[File:  Josef Wirsching2 Pakeezah.png| Josef Wirsching’s ''' Pakeezah ''' (1972) <br/> At the top left corner there is a hint of the branches of a tree. Some of these branches were trimmed off in the transition from celluloid CinemaScope to home video. Such minutiae were among Wirsching’s hallmarks. He would ensure that there were little details in the corners as well. <Br/> And then there is the overall composition of this frame in which the minarets of a mosque or shrine are bracketed by scraggy old trees. <Br/> Incidentally, in the right half of the frame some tiny human figures can be seen. Left to right, these are the actor Meena Kumari (in a black burqa), followed by Raaj Kumar (in white) and then a group of people including clerics who have just emerged from the shrine in the background. |frame|500px]]
-For another detail-rich composition from '''Pakeezah ''' that was at least two decades ahead of its time in India, see [[Binaca Geet Mala 1972: greatest hits]]
 [http://epaper.timesgroup.com/Olive/ODN/TimesOfIndia/shared/ShowArticle.aspx?doc=TOIDEL%2F2017%2F12%2F14&entity=Ar02102&sk=D0628432&mode=text  Sonam Joshi, How a German came to shoot Hindi classics, December 14, 2017: ''The Times of India'']
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 Yet, his influence extended beyond his own work and can be seen in films such as Guru Dutt’s Pyaasa. “Wirsching’s key contribution to Indian cinema lies in his use of light and composition. He brings an artistic imagination that infused Bombay cinema with the psychological depth and stylistic ethos of German Expressionism, which used sets, costumes and lighting to exteriorize inner emotions,” Mukherjee says. The project has been self-funded so far, but the Wirschings plan to raise more money to take the exhibition to other cities and compile the photographs into a book.
 =The Kashmir connection=

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-[[File:  Josef Wirsching.jpg| The frames composed by Josef Wirsching for ''' Pakeezah ''' (1972) were decades ahead of their time in India. <BR/> For instance, in this frame there is a hint of a chandelier above and a very large candle below.|frame|500px]]
+[[File:  Josef Wirsching.png| The frames composed by Josef Wirsching for ''' Pakeezah ''' (1972) were decades ahead of their time in India. <BR/> For instance, in this frame there is a hint of a chandelier above and a very large candle below.|frame|500px]]
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 =His films...=
 ==...in India==
 [http://epaper.timesgroup.com/Olive/ODN/TimesOfIndia/shared/ShowArticle.aspx?doc=TOIDEL%2F2017%2F12%2F14&entity=Ar02102&sk=D0628432&mode=text  Sonam Joshi, How a German came to shoot Hindi classics, December 14, 2017: ''The Times of India'']
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 JOSEF WIRSCHING]]
 [[Category:Photography|W JOSEF WIRSCHING
 JOSEF WIRSCHING]]

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-{| Class="wikitable"
+[[File:  Josef Wirsching.jpg| The frames composed by Josef Wirsching for ''' Pakeezah ''' (1972) were decades ahead of their time in India. <BR/> For instance, in this frame there is a hint of a chandelier above and a very large candle below.|frame|500px]]
 |-
 |colspan="0"|<div style="font-size:100%">
 This is a collection of articles archived for the excellence of their content.<br/>
 </div>
 |}
 =Personal details=
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 JOSEF WIRSCHING]]
 [[Category:Photography|W
 JOSEF WIRSCHING]]

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 When Himanshu Rai started BOMBAY TALKIES , Wirsching was inducted as cinematographer . Soon he became a much sought after  person   in films.He worked with many well known producers and was known as an expert for  outdoor locations. After a visit to kashmir , Wirsching  fell in love with its   scenic beauty. He would suggest Kashmir as location to many producers .To the  younger generation of  cinematographers , he would guide as to how they should  capture  colours and seasons of Kashmir apart from its hills , lakes , poplars and  streams .
- At Wirsching’s insistence S.A. Baqar ( producer ) shot some    sequences  for his movie DIL  APNA AUR PREET PARAAYI in Kashmir . And Wirsching played his cinematographic magic for this movie as well.The film proved   instant hit.
+At Wirsching’s insistence S.A. Baqar ( producer ) shot some    sequences  for his movie DIL  APNA AUR PREET PARAAYI in Kashmir . And Wirsching played his cinematographic magic for this movie as well.The film proved   instant hit.
 I believe that  the story of camera techniques in India is a story of Josef
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 Wirsching was a great friend of Kamal Amrohi . Kamal Amrohi had engaged him as cinematographer for  his blockbuster ' MAHAL' .It may not be out of place to mention that Wirsching also  played his  magic  for kamal Amrohi’s magnum opus PAKEEZAH even though he did not live to finish the shoot and died   on June 11, 1967, a fortnight after he lost his wife to cancer..He was a strict family man who  loved to travel and explore India after completing his assignments .Wirsching's home in Germany was completely destroyed during bombings of  World war II and he lost his entire precious photographic equipments and archival records.
 =Filmography=

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 [[Category:Germany |W ]]
-=Personal detail=
+=Personal details=
 Born: March 22, 1903 in Munich (Germany)
 Died: June 11, 1967 in Bombay
 =His films...=
 ==...in India==

Josef Wirsching - Revision history

Pdewan: /* ...in India */

Pdewan: /* ...in India */

Pdewan: /* His films... */

Pdewan at 17:48, 4 February 2024

Pdewan at 17:18, 4 February 2024

Pdewan: /* The Kashmir connection */

Pdewan: /* Filmography */

Pdewan: /* Personal detail */

Pdewan: /* Contributions */

Jyoti: Created page with "{| Class="wikitable" |- |colspan="0"| This is a collection of articles archived for the excellence of their content. |} [[Category:Ind..."

Jyoti: Created page with "{| Class="wikitable" |- |colspan="0"|
This is a collection of articles archived for the excellence of their content.

|} [[Category:Ind..."