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tflar jkttb Our iSomes
Though 5000 miles away, the war is in our homes to-day. It is not a war of Britain or of India. It is humanity's war against inhuman forces. This will perhaps be our last war. And therefore we must win it.
One way of helping to win it is to do our bit — however small. Here is one opportunity Mrs. Camilla Walter has offered us.
Buy a "Defend India' flag. It costs Rs. 10/ and the mvney goes for the defence of our homes. This blue flag with the yellow bomber-decoration must sell in thousands to buy one real bomber to police the skies over our homes.
The flag which can be fitted to any car bonnet or mudguard while adding to the dignity of your car, becomes the symbol of your sincere desire to win the war.
Remit your money to Mrs. Walter c/o Warner Bros.. Eros, Bombay and do your bit in this war.
Annual subscription inland Rs. 5/Foreign Rs. 8/ or Sh. 12. 3 dollars in U.S.A.
Proprietors: Filmindia Publications Ltd., 104, Apollo Street, Fort, Bombay Editor: BABURAO PATEL
Vol. 6
SEPTEMBER 1940
No. 9
Giue Our Writers H Square Deal
There was a time when "the writer" in a film studio meant a shabby-looking Munshi, who would chew pan and spit out what passed for stories in those days. In a six-pice exercise book the literary inspirations of the Munshi would be recorded with the stub of a pencil and handed over to the director who would immediately start shooting, only skipping through "the story" to make sure that there was in it a role each for Sulochana, Billimoria and Gulam Mohamed.
No wonder the epics of those forgotten days made no pretence of art beyond placing a porcelain vase wherever the heroine stood and no pretence of drama beyond a sword fight on a staircase between the hero and the villain. Now and then, of course, youthful enthusiasts like Naval Gandhi would get hold of a story by a real writer like Tagore and make a film of sorts, like "Sacrifice". But these were exceptions that only proved the rule. In the studio, the Munshi still reigned supreme.
Then came along Devaki Bose with his bundle of scenarios, the first real screen writer in India. Few persons know today that the great D. K. began his career as a writer and only later on became a director. Since then Bengal studios have increasingly made use of authentic writers both for acquiring original stories and for getting the actual shooting scripts written.
The success of New Theatres pictures (upto 1938) was largely due to the original and thought-provoking stories of writers like Sarat Chandra Chatterjee being transferred to the screen by a band of efficient scenarists.
In this part of the country V. S. Khandekar's "Chhaya" made people sit up and take notice of the
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