Filmindia (1941)

OUR REVIEW Rsok-Kumar Becomes Box-Off ice Hit Kannamba and Oagiah Shine In Tamilnad, any picture starring Thiagaraja Bhagavatar is an automatic box-office hit, for Bhagavatar is a great singer and fine songs are nine points of appeal in the films of the South. With the added novelty appeal of two Telugu stars of equal magnitude like Kannamba and Nagiah given major roles in a Tamil film, the box-office of "Asok-Kumar" stands heightened. A story of historical origin and background, comic relief by Krishnan and Madhuram and didactic dialogues by "Ilangovan" join to place this picture on the year's box-office peak. HISTORICAL LEGEND The . story of "Asok-Kumar" has nothing whatever to do with the 'non-violent' Bombay Talkies' star. It is based on one of the legends of history and resembles closely the mythological story of Sarangathara. The story is well-known and was produced as a silent picture by Director Raja Sandow under the title of "Veer Kunal." According to this dubiously historical story, Emperor Asoka loses his wife and marries a second time. The second wife, Thishyarakshita, amorous, ruthless and scheming, casts covetous eyes at the personable and valorous Kunal, Asoka's grown up son by the first wife. Prince Kunal sternly spurns the passionate proposals of his step-mother that he should become her lover; thereupon, with the proverbial fury of a woman scorned, she turns the tables on Kunal and makes Asoka believe that his son had made improper advances to the queen. Innocent Kunal is banished from the state, but the thwarted Thishya pursues him into his exile by getting his eyes put out through a faked order of Asoka. Through the intervention of a Buddhist monk, Asoka finally realises the truth. Thishya commits suicide and Lord Buddha restores Kunal's eyes. Emperor Asoka embraces tluddhism. TELEGUS SCORE IN TAMIL Kannamba and Nagiah are astonishingly successful in their portrayal. Astonishing because, dialogues dominate the picture and these two stars, totally unaccustomed to the tricky Tamil language, yet render their lines with fine accent and superb finish! As far as acting is concerned, Kannamba comes an easy first with Nagiah a close second. Kannamba's vamping and graceful dance are unforgettable. Bhagavatar serves up rich musical ASOK-KUMAR Producers; Murugan Talkie Films Language: Tamil Dialogues: "ILANGOVAN" Cast: Thiagaraja Bhagavathar, Nagiah, Kannamba, Krishnan, Madhuram, etc. Released At: Paragon, Madras Date of Release: 17th Sept. '41 Direction : RAJA CHANDRASEKAR fare and his action only suffers by contrast. Kumudini, who acts as his wife in the picture, is a mere flopping doll. Krishnan and Mathuram work in their laugh-filled gags with more than their wonted aplomb and carry audiences along. The picture would have been great, instead of mere-box-office, if either the photo playwright or the director had cared in the least to make it so. As it is, the entire picture looks as if it is just a stage performance photographed. The whole picture is more or less a series of single shots, mostly just dialogue shots. CONSPICUOUS BY ABSENCE While intelligent direction as such is conspicuous by its absence, the dialogues stand out for their vigour and dramatic content. Didactic, sentimental and theatrical, they go big with audiences, and proxad^ dialogue-writer 'Ilangovan' yet another triumph. The settings and costumes make an attempt to provide historical verisimilitude and just fail. Photography is unenterprising and average while the recording is uniformly good. It is a heartening sight, in these days of diminishing film returns, to behold thousands of picture-goers flocking and fighting to see a picture. 76