FilmIndia (1939)

FILMINDIA Ram Marathe who. as Mannu, turns out a memorable performance and comes very near to stealing the show. Production: All ambitious Directors, Cameramen and film editors ought to see "Admi" over and over again. They will learn a let. The technique particularly in photography, editing and montage is years ahead of the average Indian pictures. Excitingly original results have also been obtained by simple manipulations of the soundtrack e.g. by eliminating the sound altogether from certain scenes! Kesar's song m the Jungle with the villager's chorus in the background provides an interesting idea in montage of the sound. Points of Appeal: There is plenty of entertainment in the picture even for those who cannot stomach a 'serious' picture. The songs, particularly the sensational multi-lingual one, are a rare musical treat while certain brilliant satirical pieces will throw any audience into fits of laughter. Add to this the name of Shantaram and the reputation of Prabhat and you have a picture that will satisfy the most fastidious cine-goer and gladden the heart of the gloomiest exhibitor. THIRUNEELAKANTAR (Whenever possible we shall endeavour to publish reviews of important South Indian pictures. The following review is contributed by Mr. K. A. Chidambaram, a wellknown Art Critic and News Editor of "The Bombay Chronicle." — Editor, Filmindia). "Thiruneelakantar" a Tamil mythological picture produced by the Thyagaraj Films Ltd., Trichinopoly, had a week's run at Plaza, Bombay, in the second week of September before packed houses of South Indians. Mr. K. Subramaniam's experiment of giving a week's run for a Tamil picture in Bombay was followed in this case with remarkable box office success. The Story is a devotional theme and centres on the rustic surroundings of a potter and pot ter's wife, who as living exponents of the 'Bakhti-marga' cult come cut successful through the ordeals set up by Lord Shiva and are acclaimed as the God's chosen ones. The story, in spite of its ascetic ideology, has romantic and love episodes which are equally gripping. Mr. M. K. Thyagaraj a Bhagavatar who plays the title role as the Saint has struck form and excels his own roles in "Chintamani" and "Ambikapati" which made him the idol of cine fans. He is ably supported by Papa Lakshmikantham as Neela the potter's wife, S. S. Rajamani as the danseuse who infatuates him, and Sirukalathur Sama who plays the 'divine villain' of the piece. Mr. Bhagavathar regales us with plethora of songs of a high order, though they lack the 'Chintamani Kick' about them. The procession of deities, elephants, drummers, cymbalists, Nadaswaram players, temple bells and belles, dancers, danseuse and Devadasis bring before our mind's eye the glory that was Ind. The producers deserve praise for the success they have achieved, but they have missed a grand opportunity of producing what would have been the 'greatest documentary' of South India. More than 'Nandanar', 'Thiruneelakantar' October 19: should reveal the glory of Chidan baram, the centre of light ar learning and the birth place Shiva's Nadana, Nardana and Tai dav dances. Mr. Bimalendu Bos a keen student and exponent Indian dancing once told the wr ter that he would exchange tl whole world for the Eastern Towi of Chidambaram which is a repi sitcry of the dance wealth of Ii dia. It is a pity that the prodi cers have not freely drawn fro: •these sources to give us some the sculptured poses of "Bhara natya", art and technique, would have fitted in well with tl temple dance scene, and at tl same time would have given tl film an international appeal. Ch dambaram is not merely a cit but a City State of the old Gret type with its peculiar temple pol ty called "Sabha rule". The pr< ducers should have sought the a operation of the temple author ties for at least one shot of tl "Deekshatha Sabha" for the cou scene. Now that South Indian prodi cers have taken in hand big histc' rical films like "Chandragupt and "Sankaracharya", a new mf thod of approach and a new sen: of value of the documentary ar artistic are all the more necessar Take it easy Charlie — Sitara is not the dame to come into your clutches so soon! A scene from Sardar Chandulal Shah's 'Achhut'. I