Filmindia (1941)

f I L M I N J) I A one illustration amplifies how throughout sheer technique puts over the story in this picture. ONE OF THE GREATEST Nagiah as Venu gives a truly memorable performance. Labouring heavily under the handicap of a role that has little individuality, he yel manages to put it across so vividly that ho dominates the picture. He speaks l)ut few lines; in fact, the dialogues in this film are kept to a remarkable minimum. But his face registers moods and even thoughts with the crystal clarity of a mirror. He is beyond doubt, one of the greatest actors we have in our country. Kumari, too, has rather a pattern role as Lakshmi — but she too rises to a high level of acting. She is even better than she was in "Sumangali". But one fails to see how her role entitles her to be regarded as "Devata". While the hero and heroine are mere types, in Vimala and Sukumar we have sharply-etched miniature portraits and Bezwada Rajai-atnam and Narayana Rao do exceedingly well in these roles. All the supporting characters discharge themselves with great competence, as is usual in Vauhini pictures. Suryakumari must be mentioned for her portrayal of Seetha, Venu's sister. Director B. N. Reddy has done finely but he would have done better had he been a little less generous with the music director and cut down the number of songs. They are too many, and while all of them are good and enchanting, they still pull down the fast tempo to some extent. To praise Ramnoth's photography. Sekhar's audiography, or Acharya'.'! dialogues, is to paint the lily. The three are at their peak of brilliance Forgetting the defects of characterisation and psychology, which are anyway put over effectively and which become apparent only to very critical minds, it would be an injustice not to recognise in Vauhini's "Devata" a picture of great merit It has the finish, the kinematic content, the artistic excellence blended with box-office, the imaginative direction ? id that elusive "it" which we find m all great pictures, whether made in India or imported from Hollywood. And seeing that it is made in India and that too from that part of the country which has notoriously low level of filmic progress, "Devata" certainly adds to the greater glory of the Vauhini trio, and saves the South from being utterly forgotten. (Con. from page 43) spoilt by the shoes. Anyway I asked him about his l-kes and dislikes "vhere clothes are concerned. He said •'I don't bother much about clothes as long as they are clean. I believe a man's best friend is his dhobi.' He was quite serious about this and I agree with him. But he forgot the barber. August 1941 Apart from his Shoes the only other real fault I have to find with Motilal is with his handwriting. I', is such an untidy scrawl that it reminds me of my first writing lesson in the kindergarten. When I told him how ghastly I thought it was. he said "I'm mortally wounded. I've always thought my handwriting was superior to J. B. Taylor's, and now you've disillusioned me." He swears this bit of wit is entirely original and home made and who would doubt a gentleman's word? Because Motilal is a gentleman. He stands up and sits down when he should, shaves nearly every day. and never uses strong language in front of ladies. What more could you ask of a gentleman, I ask you? We must rescue Sitara from this primitive Sheikh Mukhtar. They go this way in "Roti", Mchboob's new production with Chandramohan starring 64