FilmIndia (Jan-Nov 1942)

August 1942 PlLMINDlA Pandit Indra writers all over the country, we have been receiving letters asking us to write about the economic possibilities of persons taking up the work of writing screen stories as a profession. The pointed question has been: "Does it pay to write for the screen?" The best way to answer this question will be to quote a living example of a close acquaintance. In 1933, the now well-known Pandit Indra, was working as a solicitor's clerk on Rs. 125/ a month. For the last 5 years, he has been earning over Rs. 1500/per month as story, dialogue and song writer for the screen. It was due to Baburao Patel's mistake that Pandit Indra got his first dialogue-writing assignment for Baburao's picture, "Sati Mahananda". Since then both of them have been friends and Baburao Patel has tried a million methods of getting himself rid of Pandit Indra. But the learned Panditji refuses to oblige. In all these years, Pandit Indra has written for over 24 producing companies including companies like: Ranjit, Bombay Talkies, Prakash, Amar, Sagar, Navyug, Wadia, Huns and Kardar Productions. He has written dialogues and songs for over 65 pictures and umpteen popular songs for the gramophone recordings of the H.M.V. Over forty leading film stars have either spoken his words or sung his songs at different times. Nearly six of his own stories have been or are now under production. Add to this formidable labour six stage plays and writers will be able to know how much work is needed to establish an average earning of Rs. 1500/ per month. There are times when from a dozen different theatres in the city come echoing the words of Pandit Indra on the wings of music. And even in the distant theatres of America Pandit Indra's songs will fall on strange ears through the medium of "The Court Dancer", India's first talkie in English. Pandit Indra is not a very pleasant man to meet nor a very delightful companion to talk to. But he has talent that sells. And in this industrial age, what sells is the only thing that matters. Therefore, Pandit Indra is a good example of what i screen writer, devoted to his profession, can earn if ne has honesty of purpose. SHALL NOT GO UNSUNG! "He has talent that deserves every encouragement" —in these words the Government-of-India Producer Shantaram has praised the work of the young amateur artist Chandrasekhar. Primarily, Chandrasekhar is a brush and paper artist. But he had that ache in his soul which craved for an expression on the celluloid. Poor as the proverbial church-mouse, vainly did he try to knock at the doors of our producers begging for an opportunity. No one gave that opportunity. His dogged bad luck was just beginning to shake his selfconfidence when he decided to borrow money from friends and produce c two-reel story. He had thought that our blind producers, who lacked the vision to recognise latent talent in people, would at least condescend to see his two-reeler. Poor Chandrashekhar! He did not know our producers as well as we do. They did not see that precious two-reeler in every fcot of which is the trembling shadow of the young producer's sighing ambition. That little picture is called "Pravasi" (The Traveller) and portrays the symbolic struggle of human beings for existence. Yes, it is a very well done little picture of a little man with friendly borrowings from little men like himself. Chandrasekhar These two girls— Mumtaz Shanti and Pramilla — prove a great attraction in "Basant". 9