FilmIndia (1940)

FILMINDIA June 1440 patronizing attitude which manifests itself in long speeches on povertydelivered by well-fed stars in glamorous clothes! In atmosphere, dress and general appearance as well as in sentiment, he depicts the life of the average Indian in a realistic manner. SYMBOLISM PLUS REALISM Even scenes of exquisite symbolism are invested by Shantaram with realism and the economic background is not lost sight of at any time. "Zindagi" ends with a candle by the bed-side of Jamuna being blown out by a gust of wind. A beautiful and touching symbolism. In "Life Is For Living", Shantaram has already used the symbolism of the candle. While Kesar is waiting for Moti in her room, a gradually diminishing stub of candle symbolizes her waning hopes. Alongside the candle lies a pile of coins which, too, becomes smaller with the candle so that there are only three coins left as the little flame breathes its last. In the background of this shot we see, successively, first a tiffin carrier, then a paper packet of 'chivda' and, finally, a 'lutya' of water to symbolize the growing financial stringency of Kesar. Thus the emotional crisis is explained in terms of economic want and a personal tragedy assumes the larger significance of a social problem — the economic dependence of women. Similarly in both the pictures there are scenes laid in a poor locality restaurant. In "Zindagi"", it is used to 'put over' that joke about the counterfeit two-anna coin while Shantaram uses it to expose the exploitation of the hotel boys. Between Nitin Bose and Shantaram it is difficult to say who uses the camera with greater skill. Both of them are masters of their craft, carefully using each shot to build the desired effect like an expert mason putting brick upon brick. Compare Nitin Bose's crazy-angle montage in "President'' with the montage in "Life Is For Living" to depict Kesar's feeling that she was out-of-place in such a pious and godly household. Both are examples of clever camera work and effectlva cutting. j\ 56 THAT "UNEXPECTED" CLOCK In two respects, however, Shantaram's technique differs from Nitin Bose's. While Nitin uses a shot or series of shots with the sole purpose of heightening the effect of a certain sequence, Shantaram would not bring in anything unless it could be worked into the very pattern of the story. Contrast the clock in "Unexpected" and the "President". In the latter it is used to give a unity to the opening and the closing sequences, while in Shantaram's picture it becomes a character by itself— a portentious reminder of his age to the old bridegroom. Not for a moment are you allowed to forget the presence of the clock and its tick-tick-tick has a more ominous ring than the threats of a villain. The more important difference, however, is that while Nitin Bose would bring in extraneous, artificial scenes like motor car chases or amateur theatricals to build a climax or lend a fast tempo, Shantaram achieves the same results by such simple, homely devices as a flowing river, broken chappals, a child teasing her uncle, a mother performing puja, a police band or a row of Di wali lights. Did you notice how he used brief cuts of the fast flowing river to create terrific suspense and to indicate Moti's intention to commit suicide and then depicted his calming down by reversing the shots as well as the sound. By the way, those who think Indian directors can never give anything better than foreigners will be interested to learn that Shantaram's scene in "Unexpected" where the old man shatters the mirror and finds a mocking reflection of his in each broken piece has been used after 3 years in a first rate Hollywood film, "Elizabeth And Essex". This seems to be the proper note of optimism on which to close this article. My purpose has not been to make insidious comparisons but to analyse the work of our three leading directors. We need them all — Barua for his poetic imagination, Nitin Bose for his technical competence, Shantaram for his idealism and realism. Each of them has given us good pictures and now we demand that among them, they give us at least three — more good directors. Beautiful village scenes make "Woman" a distinctive picture. Sardar Akhtar and Vatsala Kumptekar checking up notes of their respective homes.