Authority control databases
| International | |
|---|---|
| National | |
| People | |
Josef Wirsching | |
|---|---|
| Born | 22 March 1903 |
| Died | 11 June 1967 (aged 64) Bombay, India |
| Nationality | German |
| Occupation(s) | cinematographer, film director |
| Known for | Mahal (1949), Pakeezah (1972) |
Josef Wirsching (22 March 1903 – 11 June 1967) sometimes credited as Joseph Wirsching, was a German cinematographer, who became a pioneer in cinematography in India and who contributed to the heritage of Cinema of India and still photography in its improvement into a scientific art of expression. His association with Indian cinema started in 1925, when he worked with another German, Franz Osten, in the Indo-European collaboration, The Light of Asia. Thereafter he settled in India, went on to work in over 20 films with Bombay Talkies and subsequently with Kamal Amrohi in Mahal (1949),[1] Dil Apna Aur Preet Parayi (1960) and his masterpiece Pakeezah (1972), though he died while it was still under production.[2][3][4]
Born in Munich, Germany, where he also did his schooling. After his schooling he joined ‘Blau Weiβ Films’ in Munich as an apprentice photographer; he studied photography theory in the state run ‘Gewerbeschule’ in Munich.
He married Charlotte Mϋllberger in Germany on 28 January 1929.[citation needed] Their only son, Wolfgang Peter Wirsching was born in Bombay, India in 1939.[citation needed]
He died in Bombay on 11 June 1967, after a massive cardiac arrest. His photographic collection is now maintained by grandson Georg Wirsching.[2]
In 1923, he joined ‘Emelka Film Studios’ (present day ‘Bavaria Films’) as an assistant cameraman cum laboratory assistant and was later promoted to Film Cameraman in a short span of time and was involved as an assistant/cameraman for the following films:
After Emelka he joined Bombay Talkies in Bombay, India, as a director of Photography in 1935.
As he was a German national living in the British India, In 1939 he was interned for the period of World War II in an internment camp for foreign nationals, firstly in Ahmednagar, then Dehradun and finally Satara. He was ultimately released from internment in 1947 after which he returned to ‘Bombay Talkies’ which by now had changed ownership.[2]
Before ‘Bombay Talkies’ closed down in 1954; he joined ‘AMA Limited’ in their documentary & ad-film division in 1954, where he photographed, co-photographed and partially directed a few of their productions in both color and black n white:
After his stint in Bombay Talkies he joined Kamal Amrohi's Mahal Pictures as director of Photography in 1959 and did two films namely Dil Apna Aur Preet Parai (1960) and Pakeezah (1972), his only colour film. This film was completed in part after his demise in 1967 and was released in 1972. The remaining scenes which were shot after his demise are clearly noticeable. The famous Paan gali scene is credited to him. He even shows up on screen as a large bearded man in the crowd in the film.
