FilmIndia (May-Dec 1938)

The Indian and British Film Industries An Anglo-Indian motion picture monthly magazine, whose sole excuse for subsistence is to shamelessly boost rotten British pictures, has, in its latest issue, graciously been pleased to offer 'a word to Indian Producers,' in as much dignified a tone as Anglo-India can be capable of borrowing. It points out the lack of continuity and detail in Indian pictures, the poor quality of stories and other shortcomings. Instead of preaching to Indian producers, if only Anglo-India had turned towards its own 'home' and pointed out these and many other defects to British producers, it might at least have had the satisfaction of having attempted to save the 'home' industry from ruin. In this connection, it would be interesting and also enlightening to compare the Indian and British film industries, taking into consideration the various elements peculiar to each. The development of the Indian Cinema provides a romance worthy of a film subject for an imaginative director. Perhaps no other industry has had to tface such hardships and public antipathy as the motion picture industry. The first and foremost requirement — finance — has always been poor, since almost all the enterprises have been sponsored privately; hence producers had to work (especially in the beginning) with poor equipment. Moreover, technical knowledge in the various branches was self-taught, technicians learn52 A COMPARISON (BY A. BHASKER RAO.) ing by the trial and error method. Despite these and many other obstacles, the producers, through perseverance and hard work, tided over many a crisis until to-day the industry, having steadily developed, is one of the major industries with a national importance. Though the press has not been of any active service to the industry (it is too commercial to offer independent ser Mr. A. Bhasker Rao vice, and even an art-critic can be bought for a dinner), it has at least not pampered it — as In the case of the British film industry — which in itself is a help. The public too has begun to take an increasing and intelligent inter-, est in films and often offers constructive suggestions to the producers. As a result of all this, the quality of the pictures has remarkably improved. Every story, whether social, historical or mythological, has a problem, a motive, a purpose; and directors have developed a method of presenta tion specially suited to our life and culture. In fact they have given a soul to Indian pictures. Technically, some of the indigenous productions stand favourably in comparison with American pictures, and the average Indian pictures is infinitely better than the average British picture. It is only a matter of equipment, for, in some cases where this is lacking, talent and effort can easily be perceived. But the fundamental reuson why Indian pictures have steadily improved, is that almost all directors possess — and some have developed— that most essential requirement — picture sense; otherwise our pictures would have degenerated into either stagy productions or cheap imitations of American style and presentation. Altogether the future of the Indian film industry is bright and rosy. British Film Industry Turning to the British film industry, it is highly pleasing to note that it has met with an exceptionally well-deserved fate: the industry has collapsed. This is quite natural, as a hollow industry, propped up by artificial publicity, was bound to crash; and in a large measure this is due to the British Press (not to mention the bastard press in India) for glorifying and boosting the home product, out of a false sense of patriotism. But the main rea-, son, however, is due to a woe*, ful lack of imagination — the soul.' of cine-art — of the British, a nation of shopkeepers. Absence of