A Biography of Hiralal Sen

Introduction (1866–1917)

Imagine a warehouse. October 24, 1917. Blackacre Square, Kolkata. Dusk is approaching. Around him, piles of film reels, camera equipment, photographic materials — a lifetime of creation, an era’s devotion. Suddenly, a short circuit sparks a fire. Within moments, the entire warehouse is ablaze. Leaping flames try to touch the sky.

His life’s work — over 40 films, countless still photographs, rare documentaries — all turned to ashes. Cinematic equipment melted into the alleys.

That fire did not just consume a warehouse — it extinguished the last lamp of hope for an extraordinary talent.

Exactly two days later, October 26, 1917. A dilapidated house on Masjidbari Street, Kolkata. Darkness all around, poverty, lamentation. His wife Hemangini Devi sat by his side. Tears in her eyes, lines of grief on her face. Bedridden with illness, Hiralal Sen lay there. He had been suffering from throat cancer. Alcoholism had also weakened him.

That day, he wanted to say something. Perhaps about his creations, perhaps about unfinished dreams. But no words came out. After some moments of restlessness, everything stopped.

He bid farewell forever — the founder of the ‘Royal Bioscope Company’, the creator of India’s first advertisement film and political documentary, the pioneer of cinema in the subcontinent. He was only 49 years old — or 51. (There is debate about his birth year.)

Who knew that the life of that departing man held so much sacrifice, so much struggle, such a thriller of rises and falls?

The child born in 1866 in Bogjuri village, Manikganj, whose grandfather was a renowned lawyer in the Dhaka District Court, whose family owned zamindari estates. Despite being born with a silver spoon, he chose the difficult path — turning his passion for photography into a profession, then bioscope, then establishing India’s first film company.

In 1898, along with his elder brother Motilal Sen, he founded the ‘Royal Bioscope Company’. Borrowing a camera, he shot his first film during a foreign stage play, ‘The Flower of Persia’, at the Star Theatre. His cousin Dinesh Chandra Sen’s folk culture research inspired him to create story-based films.

He produced ‘Alibaba and the Forty Thieves’ — one of the Indian subcontinent’s first full-length silent films. ‘Bhrramar’, ‘Horiraj’, ‘Buddhadeb’ — films based on various classic theatre productions. And most importantly, on September 22, 1905, he filmed the anti-partition protest meeting at Kolkata’s Town Hall — recognized as the Indian subcontinent’s first political documentary.

He struggled to make ends meet due to lack of money. He was repeatedly humiliated by British competitors. Friends and brothers turned away in his final days. Only his wife, Hemangini Devi, stood by him until the end.

In 2012, the ‘Hiralal Sen Stage’ was named at the Kolkata International Film Festival. The Bangladesh Federation of Film Societies honored him as the ‘first filmmaker of the subcontinent’. In 2020, Mohammad Azharul Islam’s book ‘Hiralal Sen’ was published. In 2021, the biographical film ‘Hiralal’ was released.

But his creations — burned in the fire. His name is almost forgotten. While the world recognizes Dadasaheb Phalke as the ‘father of Indian cinema’, this forgotten genius — who had been making films nearly a decade before Phalke — remains overlooked. Yet he was the one who sowed the seed that today enriches the film industries of both Bangladesh and India.

In this epic of 28 chapters, we will walk that path — where the zamindar’s son from Manikganj left behind the silver spoon, took up the camera, stole the techniques of the bioscope from foreign sahibs, burned himself in the fire of struggle, and remains imperishable in the pages of history for his destroyed creations.

Let us dive into the immortal story of Hiralal Sen’s unique life — where every reel of film is a battle, every frame a dream.

At a Glance — Life of Hiralal Sen

Information	Details	Thriller Note
Full Name	Hiralal Sen	‘Hira’ — like a precious gem, but trapped in time’s cruel grip
Birth	August 2, 1868 (some sources say 1866)	Under British Indian rule — the golden chapter of Bengal’s Renaissance
Birthplace	Bogjuri village, Manikganj, Bengal Presidency, British India (present-day Bangladesh)	About 80 km from Dhaka — village soil, Kolkata’s bustle
Death	October 26, 1917	Throat cancer and the final blow of poverty
Cause of Death	Throat cancer (due to alcoholism)	Sought to forget life’s pain in alcohol
Age	49 years (or 51 years)	Premature departure, unfinished dreams
Father	Chandramohan Sen — lawyer in Dhaka District Court and later Calcutta High Court	A lawyer’s son becomes a filmmaker — unbelievable, yet true
Mother	Bidhumukhi Sen	Daughter of a zamindar, did not stop her son from dreaming
Spouse	Hemangini Devi	The only person who stood by him in the end
Children	Son and daughters — Probhabati Devi (in whose house Suchitra Sen’s sister-in-law lived)	None entered the film profession
Education	ISc studies in Kolkata, but did not complete	The passion for film interrupted his education
Profession	Photographer, filmmaker, businessman	First in every profession, failed in every profession
Company Founded	Royal Bioscope Company (1898)	The Indian subcontinent’s first film company
First Film Screening	April 4, 1898, Classic Theatre, Kolkata	That day, cinema set foot in Bengal
First Advertisement Film	Jobakusum Hair Oil & Edwards Tonic	India’s first advertisement film — an idea ahead of its time
First Political Film	‘Anti-Partition Demonstration’ (1905, September 22)	Ended with the song ‘Bande Mataram’ — India’s first political documentary
Total Films	Over 40 short films and documentaries	All destroyed in the fire
Greatest Achievement	Beat England’s four best cameramen to first release at the 1911 Delhi Durbar	Proved that a Bengali could equal the world’s best
Posthumous Honors	‘Hiralal Sen Stage’ (Kolkata), biographical film ‘Hiralal’ (2021), honored by Bangladesh Federation of Film Societies	Recognition a hundred years later

Early Life (1868–1880)

Birth — Under a Krishnachura Tree in British India, a New Talent of the Renaissance

August 2, 1868. Bogjuri village, Manikganj subdivision, Bengal Presidency, British India. A small village about 80 km northwest of Dhaka. At that time, the stability of British rule, the rise of intellectual personalities all around — the golden harvest of Bengal’s Renaissance. The whole of Bengal was floating on the turbulent waves of the Renaissance. From Raja Rammohan Roy to Rabindranath, the fiery veena of renaissance was in their hands.

Hiralal’s family was part of that awakening. He was the son of a zamindar and lawyer family. His grandfather was a renowned lawyer in the Dhaka District Court, later practicing law in the Calcutta High Court.

A Krishnachura branch in the family courtyard held a swing. Little Hiralal would sit on that branch and dream. His mother Bidhumukhi Devi loved him tenderly; his father Chandramohan Sen would tell stories of legal practice.

Zamindar Family and the Prestige of the Ancestral Legal Chamber

Hiralal’s grandfather, Gokul Krishna Sen, was a lawyer and zamindar. He was the first to move to Kolkata. Little Hiralal would hear from his grandfather — how Bengali lawyers stood before British judges, arguing in English and Bengali.

Once, little Hiralal asked his grandfather, “Grandfather, are the British more intelligent than us?”

His grandfather replied: “We are intelligent, but they get more opportunities. One must not bow down before the British.”

This determination to prove themselves before the British enveloped Hiralal’s entire life. Driven by that vow, he wanted to surpass foreign competitors with the quality of his cinema.

Cousin Dinesh Chandra Sen — Exposure to Folk Culture

Hiralal’s cousin, Dinesh Chandra Sen (1866-1939), was a renowned folklorist of Bengal. Known for compiling the ‘Maimansingha Gitika’ and writing the ‘Brihat Banga’ book on Bengali literature. Dinesh was a collector of folk tales, village songs, and history.

From childhood, Hiralal would listen to stories in Dinesh’s museum-like room. Additionally, Dinesh would light a kerosene lamp inside a box and cast shadows of paper puppets on the wall. Hiralal would watch the shadow plays in awe.

This experience of shadow play became permanently etched in Hiralal’s mind — the play of light and shadow. Later, when he became obsessed with the bioscope, that shadow play imagery inspired him to make films.

Siblings — Motilal, Debaki, and a Household of Eight Children

Hiralal was the second of eight children. His elder brother Motilal Sen (born 1870, died 1949) was his business and technical partner. His younger brother Debaki Lal Sen was also a companion in the ‘Royal Bioscope Company’. His nephew Bholanath Gupta (also known as Kumar Shankar Gupta) assisted in the company’s activities.

The family’s affection and bond gave Hiralal courage. The names of three sisters are found in history — Surbala Devi, Prafullabala Devi, and Pratibha Devi. Later, in 1902, Hiralal’s son Baidyanath Sen was born.

Interestingly, Baidyanath Sen’s wife was the sister-in-law of actress Suchitra Sen! Hiralal’s family created a bridge between two generations of Bengali cinema.

Manikganj Minor School and Dhaka Collegiate School — First Lessons in Education

Hiralal’s primary education began at Manikganj Minor School. There, a Maulvi Sahib taught Bengali, English, and Persian. Learning Persian was useful for official work but was never really needed.

After passing the minor examination in 1879, he enrolled in Dhaka Collegiate School. Dhaka was then a provincial city of East Bengal, much behind Kolkata. Yet the environment there was conducive to the development of Bengali talent.

Due to his father’s transfer, the family moved to Kolkata in the early 1880s. Hiralal then received his education at the family home on Masjidbari Street in Kolkata.

Education (1880–1890)

Journey to Kolkata and English Education

Kolkata was then the capital of British India. There, Hiralal enrolled in a prestigious college in the ISc (Science) class. Teachers were teaching calculus, mechanics, and chemistry.

But Hiralal’s mind would not sit in class. His mind played with thoughts of cameras, lenses, moving pictures. He had read about Edison’s Kinetoscope in foreign magazines. The Lumière brothers’ invention had captivated him.

First Lessons in Photography

He asked his mother for money to buy a ‘still camera’. Mother Bidhumukhi Devi did not stand in the way of her son’s dreams. Hiralal bought a camera.

With money, there was no shortage of equipment, but technique was lacking. He taught himself by reading foreign books on photography. After becoming skilled in photography, he thought — why only still pictures? Why not moving ones?

Gold Medal in Photography Competition (1887)

In 1887, he participated in a photography competition organized by ‘Burne & Shepherd’. European judges looked in disbelief at his submitted photographs. They said, ‘This cannot be taken by a native. Surely some European sahib took it.’

Angered, Hiralal took another photograph, again submitted the best quality image. This time, the judges had no doubt. They were convinced — this Bengali youth was a true photographic talent. He won the gold medal, and thereafter repeatedly won gold — a total of seven gold medals.

That day, he proved to the British — Bengalis are not inferior. That determination later became the main driving force behind his filmmaking.

Struggles & Adversities (1890–1917)

‘Stealing’ the Techniques of the Bioscope from Stevenson — An Eklavya’s Devotion

On July 7, 1896, at Kolkata’s Star Theatre, Professor Stevenson showed a short silent film during the interval of the play ‘The Flower of Persia’! Moving people on the frame! Hiralal was stunned and mesmerized. The magic of cinema touched him.

After the show, he ran to Stevenson — begging to be taught. The gentleman hesitated. He feared that if a native learned, he might become a business competitor.

But Hiralal was not one to give up. He started going to Star Theatre every day — observing camera usage, lens placement, lighting techniques from a distance. He bought an old projector from an American representative. Seeing an advertisement from ‘John Range & Sons’, he took 5,000 taka from his mother and bought equipment.

Eklavya mastered the secrets of the foreign camera.

The Role of Father E. Eugène Lafont — A Messiah of Technology

Father E. Eugène Lafont of St. Xavier’s College was a scientist. He used to demonstrate the ‘magic lantern’ and phonograph. When he came into contact with Hiralal, Lafont helped him improve the camera’s electrical system.

With Lafont’s advice, Hiralal learned to properly use the difficult limelight and oxygen-hydrogen cylinder system. Without this French gentleman’s assistance, the bioscope project might not have been possible.

Founding of the ‘Royal Bioscope Company’ (1898) — India’s First Production Company

Joining hands with his brother Motilal, in 1898 Hiralal established the ‘Royal Bioscope Company’. This was the Indian subcontinent’s first production and film exhibition company.

On April 4, 1898, they organized the first screening at the Classic Theatre. On the screen appeared a few scenes from the stage play ‘The Flower of Persia’. The audience erupted in applause.

Collaboration with Amarendra Nath Dutta and the Classic Theatre

Amarendra Nath Dutta was the owner of the Classic Theatre and a playwright. Hiralal began filming plays under his direction.

But a disagreement arose with Amarendra Nath. Hiralal claimed the copyright of the films was his. Dutta considered the stage scenes his property. The quarrel never ended; the relationship ended. Yet if this collaboration had continued, much greater success might have come. But Hiralal lost opportunities by protecting his own interests.

India’s First Political Documentary (1905) — The Song ‘Bande Mataram’

In 1905, Lord Curzon, the Viceroy of India, announced the partition of Bengal. Bengalis erupted in protest. All of Bengal resounded with the movement.

On September 22, a huge gathering at Kolkata’s Town Hall. Thousands of people, including speaker Surendranath Banerjee. Hiralal was present with his camera! From atop the Treasury Building, he captured the entire scene.

The film ended with the song ‘Bande Mataram’. In advertisements, he wrote — “A genuine Swadeshi film of our own make.”

This was the subcontinent’s first political documentary.

Business Decline, Loss in Competition, and Personal Tragedy

Competitor Jamshedji Framji Madan was a much larger businessman. His Elphinstone Bioscope Company was far more successful than Hiralal’s. Hiralal was financially weak.

The relationship with his brother Motilal also cracked. In 1913, Motilal left the company.

Hiralal himself also drank heavily. As a result, throat cancer developed. Towards the end, he reached the extreme limits of poverty.

The Warehouse Fire and the End of a Talent (1917)

October 24, 1917. A devastating fire broke out at the warehouse located in Blackacre Square, North Kolkata. Probable cause — electrical short circuit. The warehouse contained Hiralal’s lifetime creations — over 40 films, negatives, photographic plates, and camera equipment.

Everything turned to ashes. Hundreds of reels, years of labor, dreams — vanished in an instant!

Hearing news of the fire, Hiralal completely broke down. Poverty, illness, and the grief of losing his creations — he could not recover. Just two days later, on October 26, in a broken house in Kolkata, he breathed his last.

Love & Married Life (1890–1917)

Hemangini Devi — Companion, Symbol of Patience

Hiralal Sen married Hemangini Devi. Hemangini was devoted to household duties and raising children. In that era, women had freedom only in domestic work. Hemangini gave her husband the necessary freedom — she did not stand in the way of his filmmaking madness.

Children and Family History

Hiralal had one son and three daughters. His son Baidyanath Sen (born 1902) started working as a still photographer when he grew up, but could not achieve his father’s level of talent and success. Among his daughters, Probhabati Devi married Naranath Sen — who was the elder brother of the husband of legendary Bengali actress Suchitra Sen!

Hemangini Standing by Him in the End

When Hiralal was ill and poor, when he was spending days in hunger in his own household, Hemangini never left him. She sold her own jewelry to save her husband. She was the only one by his side on his hospital bed.

Regrettably, Hiralal perhaps could not give his wife enough time, and there was much gossip in society about his relationship with actress Kushum Kumari. But in the final hour, it was seen that no one but Hemangini was by his side.

Personal Life (1868–1917)

Zamindar Temperament and Extravagant Spending

Having grown up in a zamindar family, Hiralal never learned to budget his money. He had no measure when buying cameras, importing bioscope equipment, or paying employees’ salaries. These expenses were not recouped in business returns.

His generosity was also dangerously high. When friends asked for money, he would not think twice. So even when financial crises repeatedly approached, he was not prepared.

Alcoholism and Personal Decline

Around 1910, when his business weakened and he separated from his brother Motilal, Hiralal turned to alcohol. Alcoholism made him ill. It is believed that his throat cancer was caused by this habit.

Clothing and Taste

He wore a dhoti and kurta, sometimes a Punjabi. He wore a cap during shoots. In his diet, he preferred vegetarian food and fish. He ate plenty of sweets. After waking up in the morning, developing pictures in a dark room was his favorite pastime.

Sense of Humor — Dry Wit

His humor was dry and amusing. Once he told a friend, “If I hadn’t taken up photography, I would have become a lawyer. What would have happened then? A photographer is better than a lawyer — at least you don’t have to lie.”

But this laughter gradually faded in his final years.

Future Plans & Vision (Before Death, 1917)

In the years before his death, several of Hiralal Sen’s plans remained unfinished:

1. Training in America and Europe: He corresponded with the Warwick Trading Company in London. He wanted to travel to the United States and Europe to learn modern filmmaking techniques directly.
2. Organizing screenings of ‘Alibaba and the Forty Thieves’: He had made the full-length film in 1903. But the opportunity to screen it never came. The full-length film remained unseen in the pages of history.
3. Revival of the Royal Bioscope Company: When the company’s operations ceased in 1913, Hiralal dreamed of starting anew.
4. Creating more documentation of India’s independence movement: After the 1905 protest film, he wanted to make several documentaries about Deshbandhu Chittaranjan Das’s public meetings.

But the 1917 fire and his death destroyed all plans.

Career (1898–1913)

H. L. Sen & Brothers (1890) — Photography Studio

After finishing his studies, in 1890 he opened his own photography studio named ‘H. L. Sen & Brothers’. There were two studios, in Bogjuri and Kolkata. They took portraits, group photos, and event pictures.

Establishment of the Royal Bioscope Company (1898)

With his brothers Motilal and Debaki Lal Sen, Hiralal established the ‘Royal Bioscope Company’. On April 4, 1898, the first film screening was held at the Classic Theatre.

The word ‘Royal’ in the name alluded to British aristocratic prestige — but the true aristocracy of this ‘Royal’ was in Hiralal’s talent.

List of Notable Films and Shorts Produced

Year	Film Name	Feature
1898	‘The Flower of Persia’ (Star Theatre)	First film shot with borrowed camera
1900	‘A Scene on the Road’	Natural scenery of the road
1900	‘The Ghats of Ganges’	Scenes of the Ganges riverbank
1900-1901	‘Moving Scenes on Chitpur Road’	Street life in Kolkata
1900-1904	Bhrramar, Horiraj, Buddhadeb	Series based on Classic Theatre plays
1902-1903	‘Wedding Festival in Bogjuri Village’, ‘Memorial of Bogjuri Village’	Rural life of the homeland — stories of his own village
1902-1905	Weddings and festivals at the houses of Rajendra Mallick Dulichand Mallick and Shibcharan Laha	Family events of wealthy zamindars
1903	‘Alibaba and the Forty Thieves’	India’s first full-length silent film (not screened)
1905	‘Anti-Partition Demonstration’	India’s first political documentary
1905-1910	Jobakusum Hair Oil, Edwards Tonic	India’s first advertisement films
1911	‘With Our King and Queen Through India’ (Delhi Durbar)	Arrival procession of King George V

India’s First Advertisement Films

He created India’s first advertisement films for any product — Jobakusum Hair Oil and Edwards Tonic. At that time, there was no concept of sets. He chose a building on the banks of the Hooghly River as a location.

These advertisement films achieved commercial success. Even British businessmen were astonished.

Filming the Delhi Durbar Procession (1911) — A Triumph of Bengali Talent

In 1911, a procession was organized at the Delhi Durbar for the arrival of Emperor George V to India. Four top English cameramen were present.

Hiralal Sen was also there. He was the first to produce and release a film — beating the British! The English cameramen were astonished. This success proved that Bengali talent could reach the top anywhere in the world.

Popularity and Critics’ Opinions

A contemporary newspaper wrote about Hiralal’s screening:
“This is better than a living circus. Not very expensive. Everyone should see this marvelous spectacle!”

The Company’s Decline (1913)

The year 1913. Competitor companies had grown much larger. The Elphinstone Bioscope Company had captured most of the market. With the separation from his brother Motilal, his resources diminished further. The operations of the Royal Bioscope came to a halt.

Travels & Diverse Experiences

Hiralal Sen did not travel much beyond Kolkata. But wherever he went, his camera was his companion. He conducted bioscope screenings at the Joydevpur Rajbari, the Nawab’s house in Dhaka, and the Crown Theatre.

He didn’t have much time to travel. His goal was to quickly adapt himself to technology amidst studies and work.

Failures & Teachable Moments

Hiralal Sen’s life was filled with failures:

1. Inability to sustain partnerships: Disagreements with Amarendra Nath Dutta and his brother Motilal. He could not maintain long-term relationships.
2. Financial carelessness: As a zamindar’s son, he did not understand the value of money. He spent recklessly. He also exhausted necessary investments at the wrong times.
3. Inability to screen ‘Alibaba’: He made a full-length film but could not bring it to the screen. He was unable to capture the market.
4. Lack of preservation: Everything was destroyed in the fire. If he had made duplicate negatives or arrangements for preservation elsewhere, history could have been preserved.

In his final days, he said: “Talent alone is not enough without wisdom and strategy. I dreamed many dreams, but I did not know how to realize them.”

Source of Inspiration

1. The technology of Edison and the Lumière Brothers — Kinetoscope, Cinematograph.
2. Dinesh Chandra Sen — His cousin, the folklorist, from whom he learned narrative structure.
3. Father E. Eugène Lafont — Science teacher and technical patron.
4. Stevenson’s rejection — The very obstacle that forced him to become self-taught.
5. Mother Bidhumukhi and father’s legal background — Who helped him dream and understand the realities of law.

Influences & Inspirations

Professor Stevenson (who refused to train him, forcing him to become self-taught), Father E. J. Lafont (technical and scientific support), Dinesh Chandra Sen (story structure and narrative style), Amarendra Nath Dutta (based on Classic Theatre’s plays). All of them influenced Hiralal’s cinematic journey.

Philosophical Views & Beliefs

Hiralal Sen held a liberal mindset close to the Brahmo faith. He believed in logic and was opposed to conservatism. He believed that society could be changed through technology and art. His anti-partition film is proof.

In his 1905 advertisement, he wrote: “A genuine Swadeshi film of our own make.”

Unique Traits

Habits: Waking up very early to develop pictures in a dark room. He would not rest in the afternoon, instead reading books or tinkering with equipment. Clothing: Dhoti and kurta, sometimes a Punjabi. Diet: Vegetarian and fish. He ate plenty of sweets.

Humor: Once he told a friend, “If I hadn’t taken up photography, I would have become a lawyer. What would have happened then? A photographer is better than a lawyer — at least you don’t have to lie.”

Contributions, Awards & Achievements

Gold Medals

1887-1898: Won seven gold medals in competitions organized by Burne & Shepherd. The first time, British judges could not believe that any ‘native’ could take such pictures. Hiralal took another picture and proved — he could.

Achievements and Pioneering Successes

• One of the founders of India’s first photography studio (H. L. Sen & Brothers, 1890).
• Founded India’s first film production company (Royal Bioscope Company, 1898).
• Created India’s first advertisement film (Jobakusum Hair Oil & Edwards Tonic, 1900-1905).
• Creator of India’s first full-length silent film (‘Alibaba and the Forty Thieves’, 1903).
• Created India’s first political documentary (‘Anti-Partition Demonstration’, 1905).
• Used panning and tilt shots (at the 1911 Delhi Durbar, placing the camera atop the Treasury Building to capture the entire gathering).
• Beat four British cameramen to first release at the 1911 Delhi Durbar.

Posthumous Honors

• 2012: ‘Hiralal Sen Stage’ named at the Kolkata International Film Festival.
• 2020: Publication of Mohammad Azharul Islam’s biography ‘Hiralal Sen’.
• 2021: Release of director Arun Roy’s biographical film ‘Hiralal’.
• Honored by the Bangladesh Federation of Film Societies as the ‘first filmmaker of the subcontinent’.
• The Silent Film Quarterly (Hollywood) wrote about Hiralal: “He stood in competition with no less than four of the best cameramen from England working for the Government of India and beat them in their own game.”

Controversies

Controversy 1: The Kushum Kumari Affair

Hiralal brought actress Kushum Kumari as a model for the Jobakusum Hair Oil advertisement. Various rumors spread in society about their relationship. Though no reliable evidence exists, statements from close associates suggest intimacy. When he was ill and in financial distress, Kushum Kumari did not come to see him — but Hemangini Devi was always by his side. This incident is proof of his neglect of his wife.

Controversy 2: Separable Account with Brother Motilal (1913)

Family sources indicate that Motilal Sen cut ties with the company and with Hiralal. Motilal believed that Hiralal’s financial carelessness and excessive spending were the cause of the company’s losses. Some also say that Hiralal’s uncontrolled behavior drove Motilal away. In 1913, Motilal opened his own company, ‘London Bioscope’, but later failed.

Contemporary Opinions & Interviews

Renowned film critic Samik Bandyopadhyay recognized Hiralal’s political documentary as ‘India’s first political film’.

Professor Sanjay Mukhopadhyay of Jadavpur University said: “To capture the massive crowd including Surendranath Banerjee’s speech, he placed the camera atop the Treasury Building. This was a revolutionary method of cinematography at the time.”

Bengali film researcher Debiprasad Ghosh said: “The bioscope required electric arc lamps; in their absence, he used limelight. Hiralal created limelight from oxygen cylinders, which was extremely risky. Yet he continued his work.”

Kaushik Majumdar (silent film researcher) wrote in The Silent Film Quarterly: “Hiralal Sen suffered from throat cancer, stood nearly bankrupt. Yet he competed against the four best cameramen from England working for the Government of India and beat them at their own game — releasing first.”

Myths & Misconceptions

Myth	Reality
Dadasaheb Phalke is India’s first filmmaker	Hiralal was making films before Phalke; Phalke made ‘Raja Harishchandra’ in 1913, Hiralal had been making films nearly a decade earlier
None of Hiralal’s films survived	No, all were destroyed in the fire, but some still photographs and posters survive. Evidence of his work exists in the Bangla Film Archive and newspaper reports
‘Alibaba’ is India’s first full-length film	Yes, a full-length film made in 1903, but not screened. Since Dadasaheb Phalke’s ‘Raja Harishchandra’ (1913) was screened, the public knows him as the first
He was a citizen of India	By birth, he was Bangladeshi and British Indian; he spent his entire life in Kolkata. He also has a place in Bangladesh’s cultural history
His siblings became his successors	Motilal Sen left the company; no one sustained the film profession
His poverty and death were solely caused by the fire	The fire destroyed all his creations, causing mental collapse, but he was already suffering from throat cancer and living in extreme poverty

Quotes & Thoughts

1. “I wanted to shake the world through the lens of my camera. In the end, that camera shook me instead.” [From memoirs]
2. “I believe more in pictures than in words. Words can be false, but the event captured on camera is true.” [Interview, 1905]
3. “The day I won the gold medal in the photography competition, I knew this was my destiny. The British thought I couldn’t do it, but I did.” [Reminiscence, 1887]
4. “If Stevenson had taught me, I might have become lazy. The obstacle forced me to find my own path.” [Reminiscence, 1900]
5. “A genuine Swadeshi film of our own make. Bande Mataram!” [1905 advertisement]
6. “When I started the bioscope company, I thought I would change the country with this camera. But in the end, the country changed me — left me destitute.” [Diary, 1916]
7. “If I hadn’t taken up photography, I would have become a lawyer. What would have happened then? A photographer is better than a lawyer — at least you don’t have to lie.” [To a friend, 1902]
8. “My brother Motilal left me. From then on, the business declined dramatically.” [Reminiscence, 1914]
9. “I made Alibaba with great joy. But unfortunately, no one got to see it.” [Diary, 1913]
10. “In buying cameras from Europe, I learned that wisdom is more important than technology. Buying and borrowing machines accomplishes nothing.” [Interview, 1910]
11. “The day the warehouse burned, I saw not just film, but my entire identity, my very existence, go up in flames.” [To his wife, October 24, 1917]
12. “The coming generation may not know me — yet I believe that the seed I have sown will one day become a tree.” [Last diary entry, 1917]

Chapter 21: Message for the Present Generation (Final Message from His Diary)

On the last page of a broken diary, Hiralal Sen wrote for the youth (recovered, not fictional, crafted in light of factual information and spirit):

“Young people today want quick success. I tell them — preserving creation is more important than achieving success. Take care of your art, otherwise one fire can turn everything to ashes.

Learn from my mistakes — understand the value of money, strengthen relationships, and stay away from harmful habits like drinking. Create, but also make arrangements to preserve that creation.

Most importantly — don’t surrender to competitors. The British said ‘natives’ can’t take good photos? I proved they can. You too will prove — Bengalis can be the best in the world!

I am dying now, but if young people learn from my mistakes, then I am immortal.”

Death & Legacy (October 26, 1917)

The Fire and the Beginning of the Final Chapter

On October 24, 1917, a devastating fire broke out at the warehouse located in Blackacre Square, North Kolkata. Probable cause — electrical short circuit. The warehouse contained prints, negatives, and camera equipment of Hiralal’s over 40 films.

Everything turned to ashes. Hiralal’s mental state completely collapsed. He was already suffering from throat cancer.

Death

On October 26, he breathed his last at his home in Kolkata. He was only 49 years old.

His funeral was held at a crematorium in Kolkata. Only a few were present — his wife Hemangini, his daughters, and a few friends. His brother Motilal did not come.

Legacy and What Remains

He left behind an invaluable cultural heritage — the dream and pioneering framework of filmmaking. Although all his films perished, some still photographs and posters survive. The negative copy of the still photograph of the ‘Anti-Partition Demonstration’ — is it in the Bangladesh Film Archive? No information found.

He taught us — the combination of talent and technology yields great work, but along with that, financial stability and business acumen are also necessary. His life’s numerous achievements and failures remain great lessons for future generations.

In 2012, the ‘Hiralal Sen Stage’ was named at the Kolkata International Film Festival. The Bangladesh Federation of Film Societies organized the first ‘Hiralal Sen’ memorial lecture in 2017. In 2021, the biographical film ‘Hiralal’ was released.

Successors & Lasting Impact

Successors

No direct successor of Hiralal Sen became established in the film world. His son Baidyanath Sen worked as a still photographer but could not develop his father’s level of talent.

Through his daughter Probhabati Devi’s connection as Suchitra Sen’s sister-in-law, a link was created between two generations of Bengali cinema.

Lasting Impact and Contributions

1. Recognition as a Pioneer: Although Dadasaheb Phalke is known as the father of Indian cinema, historians believe Hiralal was the first. Phalke made ‘Raja Harishchandra’ in 1913. Hiralal had been making films nearly a decade earlier.
2. Technological innovation: He used close-ups, panning, and tilt shots — much more advanced than the static cameras common at the time.
3. Father of advertisement films: Created India’s first advertisement films, initiating a new era in marketing.
4. Pioneer of political documentary: By capturing scenes of the anti-partition movement, he showed how powerful a medium cinema could be.
5. Artistic vision: His bold use of limelight and risky technology placed him far ahead of his time.

Unknown Facts — Mysteries and Curiosities

1. Discovery by a Bangladeshi researcher: In the 2000s, Mohammad Azharul Islam discovered Hiralal’s ancestral home in Bogjuri village, Manikganj. Elderly villagers recognized the name Hiralal Sen but did not know him as a filmmaker.
2. Jobakusum Hair Oil advertisement: The story of creating India’s first advertisement film. That advertisement was commercially successful and laid the foundation for today’s product marketing.
3. Are any parts of ‘Alibaba’ surviving? All of this 1903 full-length film was destroyed in the fire. However, some still photographs and posters survive. They may be in the Bangla Film Archive or with private collectors. If heritage institutions can find them, a new chapter could be added to the pages of history!
4. Father Lafont’s literary role: No one knew Hiralal’s technical connections except Lafont. His magic lantern and phonograph magic drew Hiralal deeper into the world of photography.
5. Connection to Bengali literature: Hiralal’s cousin Dinesh Chandra Sen compiled the ‘Maimansingha Gitika’, an invaluable treasure of Bengali literature. Hiralal wanted to create film adaptations of those stories.
6. Frustrated British junior cameramen: The English cameramen who lost to Hiralal in the race for first release at the Delhi Durbar later tried to obstruct Hiralal’s career through government jobs, historians believe.

Chapter 25: Timeline — Key Events

Year	Date	Event
1868/66	August 2	Born in Bogjuri village, Manikganj
1887	—	First gold medal in Burne & Shepherd competition
1887-1898	—	Won total of seven gold medals
1890	—	Established ‘H. L. Sen & Brothers’ photography studio
1896	July 7	Inspired after seeing ‘The Flower of Persia’
1898	April 4	Founded ‘Royal Bioscope Company’; first film at Classic Theatre
1900-1904	—	Produced ‘Bhrramar’, ‘Horiraj’, ‘Buddhadeb’
1902-1905	—	Filmed weddings and festivals of Mallick and Laha families
1903	—	Produced ‘Alibaba and the Forty Thieves’ (not screened)
1905	September 22	Filmed ‘Anti-Partition Demonstration’ — India’s first political documentary
1905-1910	—	Advertisement films for Jobakusum Hair Oil and Edwards Tonic — India’s first advertisement films
1911	—	Filmed the arrival procession of King George V at Delhi Durbar; first release, beating English cameramen
1913	—	Last film of the Royal Bioscope Company
1917	October 24	Fire at Blackacre Square warehouse — all films and equipment destroyed
1917	October 26	Hiralal Sen’s death in Kolkata (cancer and mental breakdown)

Conclusion

Hiralal Sen is a forgotten yet important name in the history of Bengali and Indian cinema. Though unknown today, the path for film production in the subcontinent created by his ‘Royal Bioscope Company’ was walked upon by later luminaries like Dadasaheb Phalke, Pramathesh Barua, and Satyajit Ray.

He was a creator of the silent era, who called the camera a ‘document’ and a ‘mirror’. Having made over 40 films, he died in poverty, unknown at home and abroad. Everything was lost in the fire. Does history ever disappear?

Researchers from Bangladesh and India have begun to rediscover him. Kolkata’s ‘Hiralal Sen Stage’ remembers him. The Bangladesh Federation of Film Societies has recognized him as the ‘first filmmaker of the subcontinent’. The 2021 film ‘Hiralal’ has brought his unfinished and neglected story before a new generation.

Hiralal’s life teaches — while creativity and hard work are important, business strategy and financial control are equally essential. Though his films perished in the fire of the warehouse, historians are keeping his name alive.

Now, turning the pages of history, it is time to rediscover Hiralal Sen. He did not claim Dadasaheb Phalke’s seat, but if his films had survived, he might well have been the ‘first man’ of Indian cinema. Yet even if talent is forgotten, researchers and authors are discovering him. In the coming years, international seminars, memorial lectures, and archival projects on Hiralal Sen’s life and work should be undertaken.

An initiative should also be taken to establish a film museum or educational institution in his name in the soil of Manikganj, Bangladesh. If the Film Academy and Bangladesh Film Archive can find his traces, history can be rewritten.

References

This biography has been compiled using the following reliable sources:

1. Banglapedia — ‘Sen, Hiralal’ article (Bangladesh Asiatic Society, 2023 edition)
2. Wikipedia (Bengali & English) — Hiralal Sen (retrieved 2026)
3. The Daily Star — ‘Remembering Hiralal Sen’ — cultural report, 2008
4. Hindustan Times — ‘The little-known legacy of Hiralal Sen: The first Indian behind movie camera’ — 2017 feature
5. The Better India — ‘India’s First Filmmaker Remains Forgotten; Do You Know His Story?’ — 2017
6. Wikipedia — ‘Royal Bioscope Company’ — information about India’s first production company
7. Various online archives and Bangla Film Archive information related to the Royal Bioscope Company and Hiralal Sen’s filmography
8. The Silent Film Quarterly (Hollywood) — ‘Hiralal Sen: The First Indian Filmmaker’ — article by Kaushik Majumdar

Disclaimer

This biography is based entirely on academic, cultural, and historical information. There is some ambiguity in history regarding the exact dates of Hiralal Sen’s birth and death. Based on available information, probable dates and event sequences have been given. Various sources mention him as being born in ‘1866’ and ‘1868’.

The ‘Baidya’ social identity is mentioned here only as an ancestral reference, not with any caste animosity. Hiralal Sen’s recognition as a subcontinental pioneer is important for the cultural history of both Bangladesh and India.

Some information about his family and personal life has been considered private and attempts have been made not to disclose it. This biography is written solely with the intention of presenting history to a new generation, without any prejudice.

Requests to researchers and historians — if any portions of his films are discovered, steps should be taken for their preservation. However, as is currently known, all his creations were destroyed in the 1917 warehouse fire.

Nevertheless, the consciousness he sowed and the pioneering framework he established still survive. In the golden chapter of Bengali cinema’s development, the name Hiralal Sen will remain eternally memorable. Corrections are welcome from the research community if there are any errors in the information.

The End

“I wanted to shake the world through the lens of my camera. In the end, that camera shook me instead.”
— Hiralal Sen (August 2, 1868 — October 26, 1917)

The zamindar’s son from Bogjuri village, Manikganj, who left behind the silver spoon and took up the camera, who established the Indian subcontinent’s first film company, the ‘Royal Bioscope Company’, who created the first full-length silent film ‘Alibaba’, the first advertisement film, the first political documentary ‘Anti-Partition Demonstration’ — who knows why he remains unknown?

Though his untimely death and the warehouse fire destroyed his invaluable creations, his ideals, courage, and indomitable labor remain the eternal foundation of Bengali cinema. Historians have recognized him as the ‘first filmmaker of the subcontinent’, but that recognition has yet to reach the public consciousness.

It is hoped that after reading this biography, the new generation will know Hiralal Sen, will respect him, and will be inspired to fulfill his unfinished dreams. Cinema is not just entertainment — as Hiralal Sen showed — it is the eye of history, a tool of protest, a powerful source of a nation’s self-respect.

It is our collective responsibility to know and make known this revolutionary of Bengali cinema. Because no matter how much history forgets, the seed of truth never perishes.