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Not just foreign films, but foreign film-makers came to India, shooting mostly documentary footage, which was then shown globally. McKernan picks out the British film director Charles Urban ("both a colonialist film-maker and one who saw beyond colonialism"), whose equipment was often used by native film-makers, and who sent cameramen to the region throughout the early film period. Some of the films he shot were lavish Kinemacolor numbers – notably With Our King and Queen Through India, a record of the royal visit to the 1911 Delhi durbar (celebrating King George V's coronation), which became an international box-office hit.
We know that all this film-making and film-watching was going on in the 1900s and 1910s, but if the movies are lost, what's the relevance? "It would be hard to explain how the Mumbai industry took off so fast in the 1920s without taking into account the 'cinema habit' of the previous two decades," says Kaushik Bhaumik, deputy director of the Cinefan film festival in Osian. "The imported films seen during this period provided Indians with a lot of experience of cinema that was crucial to the film production that followed." In fact, it was at a screening of an imported film that stage magician and photographer Dadasaheb Phalke had the Indian film industry's Eureka moment. Phalke was watching a lavish film based on the Christian bible: "While the life of Christ was rolling before my eyes I was mentally visualising the gods Shri Krishnu, Shri Ramchandra, their Gokul and Ayodhya," the "father of Indian cinema" later wrote. "Could we, the sons of India, ever be able to see Indian images on the screen?"
Raja Harishchandra, Phalke's 1913 film, is the result – and it's this that the centenary celebrates as the first Indian film. But in order to produce a story of Hindu gods with the same production values as a foreign movie, Phalke had to go far from home. First he travelled to London, to learn more (from both the English film director Cecil Hepworth and the editor of trade magazine the Bioscope) and buy equipment. On his return, he set up a studio in a borrowed bungalow and assembled a cast and crew. His first movie was less than epic in scale, a time-lapse movie of a pea-plant growing, but it was a useful experiment. Inspired by the films of the French conjuror-turned-director George Méliès, Phalke used camera trickery to animate his mythological feature debut: the stop-motion work he learned on the pea-plant film, in-camera editing and multiple exposures.Raja Harishchandra premiered on 9 May 1913, and notwithstanding Dadsaheb Torne's stagebound 40-minutes Shree Pundalik from 1912, and the reels and reels shot by Sen, Bhatavdekar and peers, it was marketed as: "First film of Indian manufacture. Specially prepared at enormous cost … Sure to appeal to our Hindu patrons." The boisterous Marathi Phalke biopic Harishchandrachi Factory (2009) has the film-maker admonished by a relative: "We're under British rule, and he's playing with their toys" – but despite the foreign help and foreign influence, Raja Harishchandra was presented and largely accepted as home-made, Indian "swadeshi" fare – Phalke even perforated and printed the film himself. A century later, it is still regarded as the foundation of the national film industry. It's the "celebration of an idea, and of a certainty", according to McKernan, "like saying The Birth of a Nation was the first American film."We know Raja Harishchandra wasn't the breakthrough moment it is claimed to be, but we may never know for certain who the true trailblazers of Indian cinema were, as records and newspaper reports are hard to come by: "The Anglo press of the colonial period could not have bothered recording the deeds of Indian film-makers tramping the countryside," says Bhaumik.

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