FilmIndia (1940)

FILMINDIA is an unchallengeable verdict of Eisenstein. Eisenstein has been pace-setter in the world and very particularly in the Soviet cinema. Eisenstein's ideal of cinema has been the synthesis of the documentary, the abstract and the dramatic. His concept of montage is richer than that of any of his contemporaries. He observes: "The film makers of old considered montage as means of bringing something before the spectators, in describing this something by sticking separate shots on to others like building blocks. The movement in each shot and the consequent length of the pieces is then to be considered as rhythm. A conception entirely false." According to Eisenstein, however, montage is not an idea recounted by pieces following each other, but an idea that arises in the collision of the pieces independent of one another. His alertness and persistence have enabled him to grasp the true significance of an event and reproduce it suggestively. He sees the world on a big plan. Eisenstein had planned to complete his Mexican film in four parts — namely (1) Mexico before the conquest of Spain; (2) The effects of the conquest and the introduction of Christianity upon the Red Indians; (3) Although Mexico was free from Spain, the social and economic system introduced by the Spanish Conquest still persisted; (4) Modern Mexico in which the most ancient customs were blended with the modern world and a growing industrialism. Eisenstein had shot approximately 200,000 feet of film for this Mexican film, which he was prevented from editing because of the difference of opinion with the people who had advanced the money, to produce this film. In Eisenstein's latest film "Alexander Nevskey" (1939) he has superbly demonstrated the correctness of his sound-film theories. He has cast the whole film in heroic mould. Almost the whole film is shot from low angles against the sky. There are long stretches of silence and equally long gaps in the dialogue are bridged with music. DIRECTOR'S DIRECTOR Eisenstein is undoubtedly the greatest living master of cinema construction. He is an engineer May, 1940. who sees each film as an individual problem to solve. The intense dynamic vitality that is the key note of Eisenstein's personality is the dominating feature of his cinematic expression. His films are unparalleled examples of ruthless, throbbing vigorous direction. There are no isolated characters, no individual mannerisms or personal developments in his films. He works with bread vision, with the central theme of revolt as his one dominating purpose. Though he is today the greatest film theoretician, he is essentially impulsive, spontaneous and dramatic in his methods. He does not work from detailed manuscripts. He studies his subject thoroughly in all its aspects. "We went through Mexico — stopping where we listed, letting people and the subject grow upon us out of the very flow of life." (Eisenstein) . "To be possessed by our subjects .... without it every enterprise remains a pale shadow hanging over the silver canvas of the screen" — is the key of Eisenstein's cinematic work. That is why Eisenstein is truly the director's director. KRISHIN Announces lone following pictures 3or 1940 HinDusTHMi HnmnRR Featuring : Jamuna (Devdas) Padma (Zamana) Nandrekar (Baghban) Hari Shivdasani (Bharat -ki-Beti) Deva Shanker (Sangdil Samaj) Ram Dulari (Dil-Hi-to-Hai) and the wellknown comedian Gope Story : K. S. Daryani Director : Ram Daryani Dialogues : D. N. Madhok Sacrifice Adapted from Tagore's story Direction : P. C. Barua moonlit Right Story: K. S. Daryani Direction : Ram Daryani Life & Death (Life Story of the great Asoka) Direction: P. C. Barua office. FILM CORPORATION OF INDIA STUDIO, cESjtEl 98