 Born Rajaram Vankudre Shantaram in Kolhapur, he hardly had any education. He worked in the railways as a teenager and started his career in the theatre as a curtain puller with the Gandharva Natak Mandali. He joined Baburao Painter`s Maharashtra Film Company and learnt the intricacies of film-making from Painter including acting (he played the young farmer who finally revolts in Painter`s Savkari Pash (1925)) eventually directing his first film in 1927, Netaji Palkar.
In 1929 along with four other partners V.G. Damle, K.R. Dhaiber, S. Fatelal, S.B. Kulkarni he formed the Prabhat Film Company in Kolhapur. All were professionals and lacked a strong financial background, but their sound knowledge base and willingness to learn ensured the success of their studio. After which they made films like Gopal Krishna, Khooni Khanjar, Rani Saheba and Udaykal, where all of them were directed by V.Shantaram.
Then in the year 193, he directed Chandrasena and Zulum. Here, the era of the talkies had begun but Shantaram chose to study the films being made before commencing production.
 In 1932, he made Ayodhya Ka Raja. This film of Raja Harishchandra`s life was intended as a mark of respect to Dadasaheb Phalke whose first film had been on the same subject. While Shantaram`s film had many flaws, the visual beauty and the powerful narrative more than compensated. Here, Durga Khote made her debut as Rani Taramati.
In 1933, for the movie Sairandhri, Shantaram took his film to the Agfa laboratories in Germany for colour processing - but the pictures were far too pale. Otherwise, this could well have been India`s first colour film (the honour went to Ardeshir Irani`s Kisan Kanya).
Then, he remained in Germany for a while, much impressed by the German work ethics. Later, in the same year, Prabhat Studios was shifted to Pune.
1934 - Amrit Manthan.This film depicted beautifully the tension between Buddhism and established religious creeds. The close-ups and long views were particularly effective.
1935 - Dharamatma. The film was on the life of the Marathi saint Eknath who preached against untouchability. The original title Mahatma had to be changed and certain scenes cut because of the similarity to Gandhiji`s `name` and his teachings. Shantaram refused to oblige the censors. The film was finally released by its distributors who brought about the required changes. Bal Gandharva, a theatre legend, was cast as the saint Eknath.
1936 - Sant Tukaram. The film stood apart because of its simplicity. It was awarded at the Venice Film Festival in 1937 - the first Indian film to be honoured at that time. One of the most revered saint-poets of Maharashtra, Tukaram was played by Vishnupant Pagnis. The saint`s wife, Jijai, was played by Gauri who had joined the studio as an ordinary worker. A perfect casting since Tukaram, as also the other saint-poets, hailed from an ordinary background and transcended all social divisions because of his vision and charisma.
 Then 1936 came Amar Jyoti, which was an interesting feminist film about a woman who rebels against injustice by becoming a Pirate Queen. It was a rare Prabhat film with stunts and action. In1937he directed Duniya Na Mane. Another film on women`s issues, the film was immensely appreciated by all.
1939 - Aadmi was regarded as one of Shantaram`s best films, this too dwelt on women`s lives. Again in 1941 - Padosi.The story revolved round the theme of communal tension and the cause - profit seekers. However, after this movie Shantaram and his partners parted ways and 1942 he founded the Rajkamal Kalamandir established in Bombay. After, which he directed movies like:
1943 - Shakuntala, which was a super success, the film ran for 104 weeks. Shantaram symbolized national aspirations in Shakuntala and Dushyanta`s new-born son, Bharat.
1946 - Dr. Kotnis Ki Amar Kahani. A remarkable film, unabashedly patriotic and, strangely enough, satisfying to the colonialist government in India, the Communists and the Congress party. The film was based on K.A. Abbas` real-life story of Dr. Dwarkanath Kotnis - his work as part of a medical team in China during World War II. He was later taken prisoner by the Japanese, and died while working on the cure for an epidemic.
1946 - Jeevan Yatra.
1947 - Lokshahir Ramjoshi. This set the trend for the Marathi Tamasha mould and proved very successful. Films like Jhanak Jhanak Payal Baje (1955), Navrang (1959), Sehra (1963), and Jal Bin Machchli Nritya Bin Bijli (1971) were dance extravaganzas, closely connected to the classical forms. The actress-dancer Sandhya was the star in this films - an accomplished dancer, she brought the most complicated dances to the audience in an effortless manner.
 In 1957, he directed and acted in his own film Do Aankhen Barah Haath, which was again a brilliant film that depicted the true human being within. The story, performances, camerawork et al were all definitely above par. In 1958, the film was exhibited at the San Francisco Film estival. A policeman (Shantaram) sets up a farm with six murderers - the venture is successful and the murderers prove themselves to be essentially simple people. Residents of a nearby village resent their success and act out their hate. Sandhya as the toy-seller was, in Godard`s words, `charming`.
Apart from being an actor, director and producer Shantaram also served as Chairperson of the Children`s Film Society in the late 1970s. However, his last film Jhanjaar (1986) was a misfire and flopped badly at the box-office.
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