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Some Absurdities In Our Pictures
(By RAM KRISHNA-Andamans).
Although the Talkies in India are not very old, yet it is a matter for congratulation that in an extremely short period they have taken amazing strides towards progress in nearly all directions. While the credit for sane and really progressive production can be shared by a few noted companies, absurdity at its height is indulged in with impunity by a number of foolish producers. Taking into account the large number of money that is spent in the production of each film the price paid for absurdity can well be imagined with pain.
I am certain, none of the producers can afford to forget that we are all now living in the twentieth century. The absurdities indulged in, to mention only a few stray and glaring ones, consist of some such exhibitions as: someone drawing his sword and meeting a horde of his (supposed) enemies single handed; jumping skywards against all known laws of gravitation and landing on a wall some twenty or thirty feet high head downwards; making every one flutter and dance with the tune of a flute; making a woman scuffle I and lay out sturdy men someI times a dozen of them at one and I the same time; swimming in the air unaided; entering into darknesses, infested with toads and what not, and emerge out of all these scrapes unhurt! If the theme of a picture is a mythical one and the producer wants to tell us of something that happen
ed some hundreds or thousands of years ago, let him by all means indulge in all sorts of absurdities including all these and some more of a novel nature that his brain can conceive. In these cases it does not hurt the audience in the least because they had gone to see absurdity, they had paid for it and they come out having seen some.
Then again, there are, of course, certain companies, which are recognized institutions specialising in stunts and impossibilities to amuse the vulgar, the half-witted and the children. These producers' magical names in bills and posters and the title
of the picture itself, at the outset, suggest that the producers are out .c achieve something supernatural and unnatural. Therefore when we go to see these pictures, well, we are prepared to see something nonsensical and illogical and let them go ahead with a vengeance for we had made up our minds to see it, inspite oJ all the nonsense.
But we certainly have a grouse when a producer in a modern full fledged twentieth century picture, and social at that, starts depicting suddenly a sprinkling of these and a few more of novel absurdities. They challenge the very word "Progress". If the
Shobhanadevi Samarth in "Pati-Patni" a General
Films picture" )
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