FilmIndia (Jan-Nov 1942)

OUR REVIEW "Ujala" Becomes Excellent maiden Effort Naseem And Prithvizaj Make An Ideal Pair Ratan Bai's Triumphant Return This maiden production of Taj Mahal Pictures is different for many reasons. It is produced by a young man, Md. Ehsan, who was till yesterday in College. It is partly owned by Naseem, our beauty queen. In it are featured Naseem and Prithviraj, for the first time together, and they make an ideal romantic team. It gives caste to K. M. Multani as a director, for, he is directing boxoffice stars for the first time. M. A. Mughni, shows great promise as a story writer, for the theme of the story is not only pleasing but sufficiently provocative of thought. For the first time Naseem has tried to act beyond merely looking sweet. Yes, this picture of Taj Mahal ought to be a good box-office hit as it has all the dramatic elements more or less cleverly blended to appeal to all cinema-goers in the country. "Ujala" has an excellent story idea. It is almost a philosophic theme. Had the theme been better developed and more forcibly written than has been actually done by Kamal Amrohi, "Ujala" would have become a memorable picture. But somehow at every emotional climax, the writer's imagination seems to have gone bankrupt and sequences which could have become intensely emotional have become sketchy. If "Ujala" has not become a more thrilling document of human emotions, the entire blame must be put at the door of Kamal Amrohi. A STAGE STORY The story is simple enough. Shyam Krishin, idealist, musician and disciplinarian, owns a dramatic theatre. In Maya, the prima-donna, he has a star artiste. In Tiwari, a wealthy man-about-town, we are shown a typical stage pest which lures the stars to ruin by showering flattery and attention on them for personal pleasures. When Maya responds to Tiwari's temptations and keeps late hours, Shyam Krishin remonstrates and rubs in the theatre discipline. Remonstrations soon take the shape of a quarrel and Maya defies the theatre proprietor. One day Maya, egged on by Tiwari and believing his numerous promises, walks out on Shyam Krishin right in the midst of a show. And now begins a talent hunt for the idealistic owner of the theatre. UJALA Producers: Taj Mahal Pictures Story: M. A. Mughni Scenario and Dialogues By: Kamal Amrohi Music: Bashir Dehlavi Photography: Dronacharya Recording: Sam Popat Cast: Naseem, Prithviraj, Mubarak, Ratan Bai, Mirza Musharaff, Baby Vinod Kumari. Released At: Lamington Talkies. Date of Release: 21st Feb. 1942 Director: K. M. MULTANI Day after day he goes in search and returns disappointed. But one day, he hears the sweet rhythm of a dancer's steps and traces their owner but is refused even an audience. But later when playing his "sitar" over the air, the very girl, SaroJ, falls for the excellent musician and with her usual impetuosity faces Shyam Krishin at the radio station. Once again, they quarrel as Saroj refuses to work on the stage. They part, each more obstinate than before. Ratan Bai in "Radio Singer" a Ganesh picture. To break down her obstinacy Shyam Krishin takes the flat right below the one occupied by Saroj and one day he begins playing on his "sitar". It is a marathon performance, non-stop, passionate, vindictive. Saroj defies it for a while, but ultimately the urge of music in her submits to the call of a greater artiste and she starts dancing to the music of the relentless player. She dances and dances till she cannot dance any more. Saroj rushes to Shyam Krishin and implores him to stop. She admits defeat — and agrees to join the stage. But Shyam Krishin refuses to accept the obligation. 30