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FILM INDIA
September 1940
is no one who has not liked "Admi" — the majority for its all-round excellence, and the minority for the dance and the many-language song of Shanta Hublikar. One college girl even went to the extent of giving a mimicry performance, and it was not in vain that she had seen the picture half a dozen times.
A student of literature who has a passion for epigrams, went to see "Adhikar" with us. She sat through it to the end. When asked her opinion she held her head high and in an affected voice said "I enjoyed two things — the Interval and the Chocolate". "Brilliant", whispered another, ',but where did she get the latter?"
BETWEEN BARUA AND SHANTARAM .
Barua pictures are as popular as those of Shantaram's. Shantaram is more universal in his appeal, and Barua more deep. I am afraid girls of lower classes fail to understand him, but Barua always guards himself against it by putting in some singing idol like Kannan or Saigal. "Zindagi" was in the beginning dismissed as a "glorious irrelevance," but it took three pilgrimages to the picture-house to call it "a beautiful child of the fatalistic Barua."
There are a considerable number of girls — all from the lower middle
Sardar Akhtar, Sitara and Jyoti give a drama atonce young and old in "Pooja" an Abdul Rashid Kardar
production of National Studios.
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Durga Khote in "Narsi Bhagat" a Prakash picture.
class — who are steeped in the philophy of life of the Victorian era. They read Wordsworth and Browning all day, and talk of "messages". They cannot bear to see any weakness in a hero or a heroine, even though the very weakness is a point of strength. Men are either Gods or Devils. They are never human beings — erring and repenting. After seeing "We Three" one such girl.
flushing with indignant horror, remarked of the heroine who happen ed to beget a child without marriage "she is a prostitute." But many less morally indignant girls liked the heroine for the strength of her character.
POOR ASHOK KUMAR
"Bhabi" and "Kangan", the two good ones of Bombay Talkies, were exceedingly popular. Renuka and Leela Chitnis exacted unqualified praise. When, after seeing "Kangan" we came out of the theatre, a girl remarked "who was the hero"? I saw two heroines, "Kamal" (acted by Ashok Kumar) and "Radha". "How naughty of her, yet how true!" wondered another.
"Vidyapati" was simply adored. It was a poem, a lovely lyric with the mellifluous music of a lyric. It elated, it intoxicated. After seeing the picture one felt like having read an exquisite lyric of Shelley or of Tagore — sheer poetry, melodious music that lingers in the memory and mysticism that defies — analysis and is beautiful because of that.
Pictures like "Bramhachari" and "Ardhangi" are a craze. Will our producers take note of this? If this kind of satirical comedies are produced they will keenly compete with the artistic triumphs of Shantaram and Barua.