The origins of “Panorama of Calcutta (1899)” are shrouded in uncertainty, adding intrigue to its status as India’s oldest surviving film. Initially attributed to John “Mad Jack” Benett-Stanford, a colorful character known for his cinematic exploits in Africa, doubts arise about his involvement. Instead, speculation points to Hiralal Sen, an early Indian filmmaker with ties to the Warwick Trading Company, the film’s distributor.
Sen’s pioneering contributions to Indian cinema, including the first Indian feature film, lend credence to his potential authorship. However, the film’s mislabeling further complicates matters—it was actually shot in Varanasi, not Calcutta. The city’s spiritual significance and historical richness make it a fitting backdrop for this cinematic relic.
The film itself offers a mesmerizing journey through Varanasi’s bustling ghats, capturing a tapestry of life along the Ganges River. Its dynamic visuals, constantly in motion, evoke a sense of fleeting moments and vibrant activity. The ornate architecture and ubiquitous umbrellas on the ghats add depth to the scene, while the camera’s unique maneuvers provide a glimpse into early cinematography techniques.
Beyond its technical aspects, the film serves as a window into colonial-era perceptions. For British audiences of the time, it offered an exotic glimpse into a distant land, contrasting with the familiarity of domestic scenes. Conversely, for modern viewers, it presents a captivating snapshot of 19th-century India, bridging the gap between past and present.
“Panorama of Calcutta (1899)” remains a testament to the power of cinema to transcend time and geography, inviting audiences on a journey through history and culture. Its mysteries continue to intrigue, sparking curiosity about the pioneers who shaped India’s cinematic landscape.