FilmIndia (1940)

FILMINDI A November, 1940 vent a return of that traditional glory. Whether it is mutual hate or intolerance or the designs of a third party, we would fain destroy them all for the cherished aim. This feeling is but a sample of so many others that animate the country today. And shrewd producers have sensed and capitalised upon it. Witness the success of "Pukar." The glory of ancient India, with all her traditions of Moghul justice. A beneficent Emperor professing the Islamic faith, yet born of a Hindu mother, protecting under his robe of justice the Hindu and Muslim alike. It warmed the blood — it gave to Ramlal and Rehman that hidden pleasure denied to them in life — they got their escape and revelled in it. There is one more ' point that needs elucidating. We will once more refer to Ramlal. When he sees a picture ask him if he is engrossed by it why he has liked it. Does he say — "Why, that could have been my story — or it is so true to life — " or if he does not like it does he say to you how improbable the story is or that such and such a story could never have happened — "because," and he is expressive here, "our mothers and daughters have not yet acquired that degree of modern freedom? What exactly does this Ramlal say? His answer will at once tell you all you want to learn. The entertainment then, that we seek to offer must have the greatest amount of appeal to the majority of our audience, and it must contain only those problems that are likely to interest them. We have seen that the material for such problems is really not difficult to obtain^ if we keep in sufficient touch with the trend of events — not necessarily all of a political nature. There have been waves of anticapitalism — of industrialism, and of the glorification of the farmer. All of which must furnish the appropriate themes at appropriate moments in the cycle that governs the entire affairs of men. We have seen the almost phenomenal success of "Woman." Not a perfect picture by any means, and yet the rural atmosphere and the mother-love motif carried it through to amazing success. On the other hand the problem of "Pagal" is another instructive instance but for quite a different reason. Its problem is definitely sordid in character and yet it is the problem (supposed or otherwise) of nearly 90% of our post — college students and their older sympathisers. It attained a measure of success with them but failed to please the greater masses, who labelled it (a little unjustly, perhaps) as a most indecent picture. Here is a case in which the 'mean' formula could also have been applied but in a slightly different manner. It is true the problem was unsympathetic to the general masses, but it could have been tackled from their own viewpoint instead of from the view point of the supposedly aggrieved husband. In fairness to the Director one has to admit that there are indications that this other view point was attempted but it was probably not with any definite intention or may be merely accidental. Whatever it was it was not enough to satisfy this greater public of which Ramlal and Rehman are just two typical examples. However even such pictures with definitely unpopular problems but with a 'proper approach' have certainly a future in this country where so many of our ancient customs need so much a change for the better. But whatever type of pictures we have to make if the box-office is to be satisfied (which evidently it must be, otherwise the very purpose of pictures is lost) we must endeavour to give the majority of our audience the maximum for it to achieve that all-important ESCAPE which it desires and for which it contributes, with its individual four annas pieces, the stupendous amounts that go into the production of motion pictures to-day. That is all what Ramlal and Rehman demand. Let us give it to them and we shall not be sorry. Yakub seems to be having a hot time In "Thief of Tar tar" a Mohan picture. Printed by Comer Saleh at the New Jack Printing Work*, 73, Apollo Street, Fort, and published by him tor "fUmlndlft" Publication! Ltd., from 104, Apollo Street, Fort, Bombay.