FilmIndia (1939)

FILMIND I A March 1939 describe as the tea-cup episode in '•Adhikar". Let me quote his exact words: "I also know enough to say that when a man says to a girl that he loves her, her reply in a picture is never, 'but send first at least for a cup of tea'." Now I maintain that (whatever the reason may be) Mr. Karaka completely misunderstood the significance of this scene. In the first place in this scene, the man (Sudhiri never said to the girl (Radha) that he loved her. In fact, the girl herself, in her own crude, unsophisticated way, had almost blurted out that she loved him. The words implied a beautifully subtle but obvious declaration of love. To which Sudhir who does not love the girl calls for a further elucidation of her words. By this time the girl had obviously lost her nerve and finding no response from the other side, decided to let the matter drop. She changes the topic by suggesting a cup of tea. It was one of the most beautifullywritten and competently directed scenes. If only Mr. Karaka had realized that the girl who had called for a cup of tea to hide her embarrassment was an Indian girl! IRRATIONAL PREJUDICE As I said before, Mr. Karaka's views on "Adhikar" are representative of the attitude of most of our Europe-returned young men towards Indian films. Only a hidebound obscurantist would accuse them of being unpatriotic. In politics, at least, many of them have been making conscious efforts of coming nearer to the ideals and aspirations of the mass of Indians. Some of them have even taken to khaddar. But as regards Indian films they continue to entertain a prejudice which is as irrational as the orthodoxy's disgust of everything rev/ or Western. I don't hem for not liking Indian Jo one can quarrel with individual fas'e, ard no one knows better than I do that many of our films are Jacking !n technical and artistic elegance. But I do accuse them of mafrng cc effort whatsoevei to undewtasa tie peculiar problem*, cf tto fiir. industry In 40 India a id to discover any really good Indian film. Mr. Karaka gets a paper all the way from England to read Lejeune's criticism of Western films. Our general standard of film criticism may not have yet reached that standard but has he made the same effort to get proper guidance to Indian films? The first picture Mr. Karaka saw was "The Vamp" and disillusioned by it he did not see another for 6 or 7 years. It would be instructive to know who recommended "The Vamp" to him. It was no fault of the Indian film industry that Mr. Karaka should go and see a third rate film like this "somewhere on the Girgaum Road". Almost at the same time were released some really good pictures — to mention only two — "Seeta" directed by Devaki Bose, one of the finest films ever made in India or abroad, which won recognition in the International Film Exhibition at Venice: and "Puran Bhakt." another beautiful hundred per cent Indian film. It is natural that Mr. Karaka did not like "The Vamp"— nor did I!— but it is unfair to pass judgment on Indian films from that experience. What would we think of a critic who saw a film like "Mr. Cindrella" and for that reason refused to see any other Western film including "Good Earth" and "The Life of Emile Zola"? FOR EVERY TASTE Mr. Karaka does not like "Adhikar", because according to him, it is "against all the environment, upbringing, culture and the life of the Indian people." Probably he likes realism (though there Is never any realism in the films of his favourites, Garbo and Marx Brothers!). Then he should see "Savkari Pash", a realistic picture if ever there was one. Ts it the import of Western "sets" and atmosphere in "Adhikar" that he objects to? Let him see "Vidyapati" or "Amrit Manthan" or the great masterpiece "Tukaram"? He Is im patient with "this conglomeration of disjointed ideas and morals." He would perhaps like a straightforward, candid attack on existing society. What about "Unexpected" and "My Son", with as vital a sociological content as "Dead End" and "Mountain Justice". Does he want to see first rate technique? I recommend a Bombay Talkies picture. Does he like music? Why not see "Chandidas", "Devdas" and "Street Singer"? These are pictures for every taste. I have written criticising the defects in our films for the last five years. But I have never forgotten the social and economic background of the Indian film industry. Moreover I try not to be overawed by everything that comes out of Hollywood. I acknowledge their technical superiority. They have limitless resources, they have far greater experience. In America films are sixty years old. In India we are only celebrating the Silver, Jubilee. Nevertheless I refuse to believe that from "The Vamp" to "Adhikar" we have made no pro-, gress. We definitely have. COME BACK, KARAKA! What we need is greater effort \ to maintain this progress. The industry needs Mr. Karaka and his] generation of highly educated | youths — as playwrights, scenarists, j technicians, directors, even as critics. But they have to acquire an| understanding of the Indian "thought and opinion" as well asj of the peculiar problems and limitations of the Indian film industry. Those who have "gone West' must try to come back. India needs! them. India calls them.