FilmIndia (Jan-Nov 1942)

June, 1942 FILMINDIA father's crime and has therefore nursed a grievance against his own father for deserting the family thus. Assisted by a Hindu friend, Amjad had left his home town so that the shadow of his father's crime may not darken his own life. Amjad is thus leading a quiet, peaceful life, in the knowledge that his father Akbar has been dead since long. As the story proceeds, we see Akbar, now an old tired man, coming out of jail and going to his only friend Babu Ram Saran. Babu Ram Saran knows about Amjad, but when Akbar expresses a desire to meet his son, Babu Ram Saran advises against the idea, telling him that the son thinks the father to be dead. TOYS OF FATE But inspired by fate, Babu Ramsaran takes Akbar to Amjad's house and there without the father know ing the son, Akbar is employed as a gardener in Amjad's household. And now begins an emotional drama with terrific pathos. Amjad's son, Anwar, is betrothed to Zeenat a cousin of his. They are in addition in love with each other. At this stage, Anwar meets Nargis a stage actress, who, under payment of Iqbal, a rival of Anwar for Zeenat's hand, lures Anwar sufficiently to imagine himself in love with Nargis. Anwar's late nights, drinking bouts and strange behaviour make Zeenat miserable and cause considerable pain to Akbar who is seeing the drama of his own life being re-enacted He is afraid of the tragedy repeating. Unable to see it any longer, he informs Amjad and Amjad like a wise father tries to persuade Anwar. But to no avail. Amjad also tries to buy off Nargis, but she quotes too nigh a price. However, through accident, Anwar finds out the game of Nargis and in fury goes out to kill her and her paramour. Just then, Akbar comes on the scene with the very revolver, with which he had once committed two murders, and shoots Nargis, the stage actress. Having delivered Anwar to Zeenat, Akbar shoots himself. Lying on the lap of Amjad, both father and son recognise each other and Akbar dies with tears of joy in his fast closing eyes. The last three reels of the story are intensely emotional and the audience is moved to tears as the drama takes one pathetic turn after another. This picture is a story writer's triumph. The story writer keeps the spectators so busy throughout with thrilling human incidents that one misses to notice the technical defects of the picture. After all, the purpose of the screen is to tell the story well and effectively and in "Khan Daan", that purpose has been fulfilled admirably. IBRAHIM'S STERLING PERFORMANCE The general technical work of the picture is a decided improvement on "Khazanchi", though it falls short of the high standard attained in other Indian films. Music is quite good, though not as popular as that of "Khazanchi". Ibrahim's performance provides the highlight of the drama. In the role of Akbar, the old father of Amjad, Ibrahim lives his role with feeling and pathos. That superb actor Gulam Mahomed is not far behind and acquits himself admirably as "Amjad". Nur Jehan had a very sympathetic role to play as Zeenat the girl in a cloister. She makes a tardy beginning but ends as a favourite. Manorama shows experience in the vamping role of Nargis, which seems to suit her too well. Well, "Khan Daan" presents sensible entertainment with a drama that leaves a lesson behind without actual preaching and therefore it is a picture worth seeing by all.