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FILMINDIA
April 1942
between them and the devotee, the greater is the scope for human aspiration.
"I am not against bringing them to the screen if their virtues are so depicted as to be within the reach of our serious endeavour. They must inspire us with the confidence that we can resemble them and reach their moral and spiritual height. What is the use of making them fly in an aeroplane, as Tukaram does or to move a stonewall which Dnyaneshwar not only moves but sends into thin air?
These pictures may be popular, because our people are emotionally superstitious, but I cannot personally stand them and I believe film-producers must carefully guard against excessively pandering to popular taste by producing such abnormalities. An emotional people need realistic pictures as a corrective of a national bias. Films must take up
their share to root out superstition, explode miracles and help to promote a rational outlook on life's affairs."
Dr. Jayakar spoke in glowing terms about "Edison", "Emile Zola", "Good-bye Mr. Chips," "Mr. Smith Goes to Washington" and "The Mortal Storm" and said those were the films he liked most. He would like Indian producers to have these films as illustrations to copy. He liked exceedingly "All This and Heaven Too", which was made by Warner Brothers and in which Charles Boyer and Bette Davies were at their best. He felt certain that in India's history, both modern and mediaeval, there were incidents and personalities about whom such beautiful films could be made. After thirty years of its career in India, the film industry must rise to its responsibility and if film producers don't do it, public conscience must be aroused to compel them to do it.
FILMS AS A CAREER
Dr. Jayakar was entirely in favour of Indian educated young men and women taking up films as a career in whichever department there was a great opportunity. He brushed aside the argument of lack of morals in the filmland as exaggerated and asserted that morals were one's own affair, so long as they did not vitiate public taste or decency. "There was no department of life that was safe for people who were immorally inclined and no man or woman of character, idealism and resolution had reason to fear a mere atmosphere. If you practise an art which sometimes partakes of the Bohemian, you must take the attendant risks. I remember, years ago, when I took to the study of music, surreptitiously drawing on my hours at college for the necessary time, my morals were said to be in great jeopardy. But nothing happened. Art never corrupts. It is the blandish
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