FilmIndia (1940)

FILMINDIA October 1940 dissolution. While the majority of people who attend the cinemas in millions and applaud the performances of the stars) somehow arrive at the conclusion that every female film star is a prostitute and every male star a gigolo, and that every film studio is a dug-out of corruption and sin. Let us face facts in their stark grimness with all the proverbial cards on the table. Let me probe for you some of the secrets of our society and bring out the skeletons that are being so jealously hidden. AS NECESSARY AS VEGETABLE OIL FOR SOAP Were I to say no film star is a prostitute, I could be equally guilty of stating that every society-woman is an angel of purity— No, I will not be a hypocrite to say that every person connected with the screen is clean and pure. There are blacksheep in every sphere of life and the film industry has its quota in full. So, too, has business, medicine, sport and every other profession. Why is it then that we still look down upon the film people with so much contempt? Let me answer this question for you: The film industry's very existence depends on glamour and beautiful women. Beautiful women are as necessary for the success of the business of film making as pure vegetable oil is vital to the making good soap. The pageantry of colour, of song, dance and frolic to portray modern life and activities is a part and parcel of this trade. And because of this dazzling equipment which alone makes this industry so attractive and glamorous, those, who sire not intimate with its vicissitudes, acquire an over-developed jaundiced vision and insist on believing that the people in the show-world are nothing more nor less than what they portray in the show itsell. Beautiful saris have to be worn because the scene demands them Women have to be painted to rounter-act the burning glare of huge lights and cover the facial defects. Languorous curves have to be brought out for the sake of art and beauty, as much as the perfume and shape of a soap cake have to be emphasised for sale purposes. To the producer "sex-appeal" is iust a commodity and an important one but it should be remembered that we — the people who flock to the -shows in millions day in and day out gave birth to the demand. Wnen I say that sex-appeal is a commodity, I mean that sex appeal is as important to the screen as the coloured wrappers around soap and it must not be misunderstood that the studio is a factory for the manufacture of sex appeal alone — sex appeal is the glamorous and illusive wrapping that came to be, because we, yes you and I demanded it. When a girl smashes through tradition she does not come to the screen to parade whatever sex appeal she has. The wages of sex appeal is more sex appeal and ever more. She must maintain the glamour and add more and mora to her illusion to her personality. Every actress fears the penalty she must pay if she becomes the victim of her sex appeal instead of making it the handmaid of her success in life. If she debauches her opportunity the penalty is purgatory— a reputation that stinks, an exchange of body for talent, then obscurity. And which girl would like to jeopardise her career and character both at the same time? Why then ostracise a film actress merely because sne uses sex appeal as an opportunity to aid her on in her career? WHAT ABOUT THE OTHER ANGELS But what about those girls who use sex appeal for nefarious ends, and who ultimately themselves become poor victims of their own game? Take that delightfully chic and smart sales-girl of ours! Look at her neat and tight fit which accentuates the seductive curves turning the uncovered portion into a strip-tease show for thirsty eyes. Why? Two seem to make a sad company. Sardar Akhtar and Sitara build a bridge of sighs in "Pooja" a Kardar production of National Studios. 52