FilmIndia (Jan-Nov 1942)

OUR REVIEW "Rai Saheb" Draws Well Bt bamington Kaushalya's Promising Performance Here is a drama in hypothesis which argues about the fate of the child widows in Hindu society. The plot of the story is strung together with a number of coincidences, the major one — the meeting between the hero and the heroine — stretching the imagination a bit too much. Fcrgetting for a while this ersatz material on wrnch the entire plot is built, the picture story becomes quite entertaining throughout, packed as it is by numerous true-tolife incidents. As a picture for entertainment with instruction cleverly camouflaged, "Rai Saheb" becomes quite a worthy maiden contribution to the Indian screen. Manorama, a young married girl of the villages, gets news of her husband's death in the city. Somehow, she refuses to believe the news and bolts from her family towards the city with the faith that she will meet her husband some day. The hero, Prakash and later known as Ramesh, is adopted by Rai Saheb, a rich city millionaire. In his home town the parents of Prakash give up the search thinking the boy to be dead. On the other hand, the parents of Manorama think that she has committed suicide at the news of her husband's death. Manorama now becomes Shobha, a stage actress and plays in a City theatre. There, through sheer co R A I SAHEB Producers: Janak Pictures Language: Hindusthani Story: S. M. Yusooj Dialogues & Songs: Wahid Qureshi Photography: Ahmedullah Recording: Behram Bharucha Producer: Chhotubhai Desai Cast: Jagdish, Kaushalya, Triloke, Ratan Bai etc. Released At: Lamington Talkies Date of Release: 16th May 1942 Director: S. M. YUSOOF incidence, she meets Ramesh— previously Prakash, ' her husband — without knowing who he is. Ramesh is equally in the dark. Shobha and Ramesh meet each ether several times and they fall Ulhas and Mumtaz Shanti inake a new romantic team if 'Basant", th: next social picture of Bombay Talkies. in love with each other. This love is put to the usual acid tests and many a time the heart of the audience goes out in sympathy to the heroine whose blind faith in men and their virtue is pathetically portrayed. Ultimately the plot works itself out to a satisfactory solution in a wedding ceremony which becomes superfluous as the hero and the heroine are already married. GOOD PRODUCTION VALUES Considering that this is the very first production of a new producer, the picture has admirable production values. The photography is tolerably good, but the sound called for a little more care. The songs, however, are very well recorded and do attract attention when Ratan Bai puts them over. The best part of the picture is its excellent dialogues by Wahid Qureshi. From situation to situation, he has kept audience interest alive by suitable and sparkling dialogue which comes as a refreshing novelty after a long time on the Indian screen. We have been so much bored by tiresome, stereotyped sentences and words joined together by hack-writers that we welcome the smart stuff of Wahid Qureishi in the hope that he will do better in future. Among the players. Jagdish Sethi and Ratan Bai easily lead the rest of the crowd of amateurs. As Rai Saheb, the rich, whimsical and pathetic millionaire, Jagdish cculd be said to have done well. But at places one wishes Jagdish would not use his affected lisp and stammer so often. Ratan Bai sings a couple of songs well and gives a popular performance in a sympathetic role. She is too good and seasoned an artiste to let down the fans. Kaushalya, still trembling at that uncertain age, acquits herself creditably in a role which would have made more experienced stars think twice. As the picture has the traditional good wife theme with a slightly bold deviation, it is likely to be popular both with the masses and the intelligentsia. As an entertainment, the picture is definitely worth seeing. 53