Filmindia (1941)

September 1941 FILMINDIA BEITER SHOUimRNSHIP order, is symbolised the monster of the dowry blackmail which extends even after the marriage ceremony is gone through. The City worker who has married Kahan's sister Lajwanti coming under the sway of his mercenary father, cuts himself away from his virgin wife and flirts with the idea of a second wife for a time. But soon the athletic uncle of Kahan takes the affair into his own hands and uses his formidable lathi for disastrous moral effect. Lajwanti's husband is tamed and he soon comes to like his young wife so much that he defies his enraged father with pleasant results for all. GOOD PRODUCTION VALUES Though built on a humorous base, the story throws out many a spark of a poignant tragedy which act as a realistic relief to the comedy element. The village atmosphere in the story is very vividly portrayed and at places provides some beautiful locations to the director who has taken the maximum out of them. The folklore music, timed to snappy tunes, becomes another attraction of the picture. The dialogues are again more witty and humorous than in the original play. One, however, misses the cockeyed Damuanna Malwankar whose blundering methods become so dear to the audience. Wasti who acts the this role, of Kahan, has done very well though he lacks the natural make-up of Damuanna which carried the original picture through. Jagdish as the athletic uncle, is a perfect cast and performs with his usual brilliance. Radha Rani as "Piloo" and Shanti as "Lajwanti" are suitable types and give quite natural performances. Gulab is also good as the old mother. The photography, though not brilliant, is still quite good. The sound is satisfactory. And once again, we declare that Director J. K. Nanda's direction is excellent. All Punjab must see this picture as its very sophistication wedded to the rustic simplicity of the theme becomes an irresistible attraction. It is not an unusual sight to see the audience weeping even when the showman is showing perhaps the most brilliant comedy ever produced. This phenomenon is so frequent in our small towns where showmanship is still a privileged business without any serious competition through rival entertainment. And yet few showmen stop to think and look out for the reason. The reason, however, is very simple and within the gift of the showman if he has a desire to provide better amenities to his patrons. In seventy five per cent of our present day picture houses in India the light beam that is thrown out from the projection room is so feeble and diffused that watching a picture becomes a painful experience. And yet with a more intense distinct but soothing light not only will the production values of a picture stand out. but the audience will moreover get a better appreciation of the entertainment presented on the screen. This is exactly what the Brenkert Enarc Lamps guarantee to the showman. In a recent test taken by the Electrical Research Company of America, the Brenkert Enarc Lamps beat every other competitive manufacture in its capacity to produce more light on the screen per ampere of current at the arc than any other make of lamp. Otherwise known as the "Simplified High Intensity Lamp", the Brenkert Enarc Lamp is perhaps the nearest thing to daylight and this stronger snow white light enables the audience to see all pictures in more accurate hues. Already used with the leading projection equipments in the country, the Brenkert Enarc is certainly a good investment to the conscientious showman who wants to please his patrons and stabilize his business.