FilmIndia (1940)

The Best Picture of 1939? Film Journalists1 Association of India Prepares For A Country-Wide Blind Ballot Producers anxious for the decision Who Will Win The Blue Riband of The Indian Film World? The vital question of the month is which picture will win the Film Journalists' Award as the hest picture of 1939. Over half-a-dozen producers are anxiously awaiting the all-important decision of tho Film Journalists' Association of India, as unlike the gold medals awarded by private institutions, the Journalists' Award is now recognized as the Blue Riband of the Indian film world. The position is all the more Intriguing because the decision will be arrived at by a blind ballot amongst the members who are scattered all over India and represent a larga number of film magazines and daily papers. A modest estimate of the numbei of readers represented by the total membership of the Association l.i over six millions who are provided regular guidance in their film fare by the criticisms of these writers. Last year, the award was given to "Adhikar" a New Theatres production, irrespective of the fact that the picture did not draw well at the boxoffices. In keeping with the motto of the Association, "Pen For Progressive Pictures", the box-office value of the pictures is not at all taken into consideration. The Award is given on the relative merits of the pictures with particular regard to the following considerations:— t. Correct reproduction and interpretation of Indian life and culture; 2. A healthy and progressive outlook on social problems; 3. Proper direction and technical excellence; 4. Histrionic performances of the chief artistes as seen in the piclures; 5. Story, Scenario and Dialogues. Only Hindustani pictures or films having Hindusthani versions are eligible for consideration of the Award. Nearly 78 pictures will be judged this year. Prominent among them are: Achhut, Admi, As You Please, Cari Didi, Dushman, Kahan Hal Manzil Teri, Pukar, Sant Tulsidas, Kangan, Mother India, The Only Way and Sadhona. Some of these pictures have been huge box-office successes of the Two reasons to see "India Today" a Ranjlt picture. year, but that will not be a criterion of their merit for the Award. The voting is expected to be very keen and close as journalists always revel in maintaining their own indi vidualism, and would refuse to be influenced even by the opinions of their own comrades. It will be impossible to guess which picture will win the Award at this stage. Communalists Keep Out ! ( Con. from Page 32) gives an unnecessarily fanatical touch to the life of a great humanitarian; while the other sharpens the edge of present day communal conflict by unearthing the old conflict between the Marathas and ths Moghuls. The drama, in either case, is played on a highly fanatical— almost hysterical — plane. There's a lot of talk about Muslim blood in the one and Maratha blood in the other — as if, when you come down to a clinical examination, either of them would be superior to other bloods! In the present tense situation in our country when the least spark is enough to kindle the fire of communalism, such pictures are dangerous. The cinema is a doubleedged weapon. While on the one hand it can be used to spread the ideals of peace and harmony, it can also sow the seeds of discord, hatred and communal bitterness. PRODUCERS' RESPONSIBILITY It is possible that, in their anxiety to produce a 'popular' subject in a 'popular' manner with the sole intention of making money, the producers do not realize the dangers inherent in such pictures. But thosy who wield such a mighty instrument for moulding public opinion cannot escape censure. Do they realize that, perhaps unwittingly, their pictures are strengthening the foundations of communalism in India? In picture themes or in studio personnel, among artistes, technicians, directors or extras, let us resolve that we shall not allow the poisonous influence of communalism to creep in. If once it does get a foothold in our studios they would be turned into miniature Muslim Leagues, Hindu Sabhas and Parsi panchayats. Then good-bye to all our dreams of "progressive pictures" and of developing the Cinema as a means for securing national advancement and social justice. 33