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January, 1946
F'LM INDIA
As regards the yarn about "providing facilities far
training Indian students and technicians" in Hollywood studios, the Americans are just waiting to embrace the first batch of students sent by Hirlekar's unfortunate country.
When will this fellow stop talking nonsense? Isn't it enough that we are slaves without being called idiots in addition : This man. Hirlekar, is giving our people a bad
iiooo FEET LONG INJUSTICE!
On the 15th of December, the licensing muddle, which controlled film production in the country, came to an end. And owing to the better supply position of raw films, the Government have further removed the restriction on the production and the exhibition of trailors not exceeding 300 feet.
Which means that for the Indian film industry the war is at last coming to an end. What, however, surprises us is Government's obstinacy in still maintaining the iiooo foot restriction. We would like to know what the Government have to do directly with our film industry. During the war when the raw film supply position became precarious, the Government stepped in with the obvious intention of helping the Indian film industry. This altruistic intention was soon debauched by the executives who turned their opportunity into an occasion for mismanagement and muddling with the net result that the Indian film industry is today worse off than ever before.
The raw film control was so rudely exercised thai every one in the industry felt like running out rather than remaining in the industry. The raw film stocks were so generously misappropriated by the several illegitimate production units of the government that little or nothing was left to meet the legitimate aspirations of the indigenous film industry.
Add to this muddle the killing imposition of the war propaganda films which producers, whether they liked it or not, had to turn out regularly like so many sausages. Government's control and supervision of the subjects of such films will go down as a standing insult to the intelligence of those producers who were stricken with the legal necessity ot producing propaganda pictures.
All these official antics have bled the industry white and today our producers are hardly prepared to meet the foreign competition that is in the offing.
The cancellation of the licensing system, therefore, is a well-deserved mercy to an industry which has been harassed beyond tolerance. But why are the government still so much interested in maintaining the uooo-feet restriction seeing that the supply position of the raw films is now easier than ever before?
The obvious reasons seem to be:
a) The Information Films of India have to maintain a huge stable of stowaways at the taxpayer's expense. And unless I. F. I. films are shown, through compulsion of course, there won't be even any transparent justification for maintaining this money-squandering racket. And these I. F. I. products need space in the showman's programme, which space has to be cut out of the trade product of the Indian film industry.
Featuring .— NASEEM KAMAL DAMAYANTI BALRAJ RAJKUMARI AGHA JAN
David
and K. C DE.
.«,7,„.j,.._B!PRODAS TAGORE. Dialogues:— SAJjAN. Photography :— BIDYAPATI GHOSE.
Music Direction :— K. C. DE. Produced Directed By:— PHANI MAJUMDAR.
for Terr/for/a/ fifyAf/ :— KIRTI PICTURE! 17°
Podar Building/, /andhur/t rd BOMBRV 4