FilmIndia (Jan-Nov 1942)

April 1942 FILM INDIA THE NEW PRIMA-DONNA Shyam Krishin's theatre goes from bad to worse. He retires to his room and to his music and hands over the theatre to his manager, Mirza. Mirza manages a surprise and puts up Sarojini a new primadonna on the stage. On the opening night, Shyam is dragged to the theatre and there he is surprised to discover that Sarojini is no one else but Saroj. Now Saroj becomes a terrific success. Shyam falls in love with her and she reciprocates. All this time Tiwari, the stage pest, keeps annoying her with his suit. But the love of Shyam and Saroj speedily travels towards matrimony. On the wedding day, however, Saroj is kidnapped by Tiwari and held a prisoner of his lust. Shyam is heartbroken. Tiwari wants to force his attentions on Saroj but Saroj jumps but of the window and becomes a permanent invalid. Saroj's agony of mind and body melts Tiwari and makes him a better man. Through some more emotional drama, the story travels to end charmingly for all. PRODUCTION VALUES The story has many dramatic situations which, with a more imaginative script would have become a masterly emotional drama. However, the director has made the best of a bad job and with his slick direction has saved several situations from failing utterly. The photography of the picture is uniformly good and at places brilliant. The moonlight sequences between Ratan Bai and Mubarak were presented in very natural shadows and thus lent class and thought to the photographer. The moon, however, insisted on changing his place from spot to spot in some other sequences. Well, that is the moon's fault. He went mooning. The sound recording left a lot to be desired. Ratan Bai probably suf fers the most in this direction. Her songs were almost ruined by bad recording. The dances of Ratan and Naseem are good while Baby Vinod Kumari takes applause for a sweet little dance which she presents with complete coquetry. The theatre sequences are rather long drawn out and become boring in places. Cutting some footage here will come as a welcome relief. Songs are well tuned but poorly written. Khan Mastana sings a song with all honest intentions of putting it over emotionally. But his effort ends in a farce and his song becomes flat. BEAUTIFUL NASEEM Coming to the performances, Prithviraj tops everyone. This versatile artiste travels from one triumph to another with an ease which suggests that acting is all easy. There are moments in this picture where Prithviraj completely becomes Shyam Krishin the idealist, the musician and the supreme artiste. In sheer sincerity, Prithviraj remains almost unbeatable. Naseem, more beautiful and charming than ever graces the screen with a very sincere portrayal as "Saroj". Incidently, this is the first time that I have seen Naseem striving to make an impression. And she does make a tremendous impression with her tears, songs and dances, all superbly executed. Ratan Bai returns to the screen with a charming vengeance, looking younger, thinner and certainly more charming. She gives a polished performance in all emotional sequences. Her coquetry, in lighter situations, however, leaves one unimpressed. Mirza Musharaff blunders through the story rather well. Mubarak as "Tiwari" does pretty well in the latter half. His heart, however didn't seem to be on the job and at best his effort looks superficial. Well, "Ujala" is certainly an enjoyable picture if you are not very keen on some technical flaws, which sometimes a producer cannot avoid. Anjani and Manohar in "Kunwara Bap", the first social picture of Acharya Art Productions.