अयोध्या का राजा

Prabhat's first talkie, on truth-bound King Harishchandra (bilingual with the Marathi Ayodhyecha Raja) — Shantaram directing, Tembe composing, and Durga Khote's era-changing debut. Shot bilingually with the Marathi Ayodhyecha Raja, it announced Prabhat's house values — devotional gravity, pictorial craft, and music woven into moral narrative.

Govindrao Tembe's Marathi natya-sangeet sensibility flowed into Hindi: raag-rooted stage melody, sung on set by Tembe and Khote themselves.

Prabhat shot the two language versions back to back in Kolhapur; Khote, a Bombay university wife, faced down social scandal to act — and ended it by succeeding.

Two revolutions at once: Prabhat's entry into sound, and a respected, educated woman — Durga Khote — taking the lead, washing the stigma off the actress's profession.

The bilingual blueprint and the respectable-heroine precedent both date from here; Prabhat's devotional-craft house style begins.