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OLTR REVIEW
"Geet Govind" Turns Out A Boring
Confusion !
Poet Jaideo Becomes Miracle Monger !
It would indeed be a mercy and a national service if Indian producers kept themselves away from our classics like "Geet Govind", "Meghdoot", "Kadambari", "Shakuntala" etc. None of them have either the learning or the inspiration to interpret on the screen these cultural heirlooms in their original lofty spirit and beauty.
A crowd of uneducated and halfeducated film folks often handle such subjects with the same ignorant enthusiasm which the late Rustom Modi has shown in producing "Gulbakavli" after probably buying a two-anna story book from the pavements.
"Geet Govind" is another mess, with, of course, all the best intentions in the world, of the life of a poet who sublimated sex-relationship and gave the emotion of love a spiritual meaning in words which, though apparently shock
ing, did succeed in confusing the people, if not convincing them, about his peculiar spiritual philosophy of love, primarily due to the lyrical beauty of the words.
The present producers could not bring the original Jayadeo to the screen for fear of making the picture obscene and invoking the wrath of our seemingly ultra-moral Congress ministers. They have, therefore, washed down his poems with Pandit Indra's usual soapand-water words and made him a miracle-monger. The screen Jayadeo has thus become an absurd combination of ignorance and commerce prevalent in our film industry.
CURVES WITHOUT CLASSICS
The screen Jayadeo at times looks like Ranjit's "Tansen", often like Jayant Desai's "Bhaktaraj" and sometimes like Acharya At-'
GEET GOVIND Producers: Kanu Desai Productions
Language: Hindi Screenplay: Ramchandra Thakur
Dialogue: Sarangpani Lyrics: Pt. Indra and Balam Music: Gyan Dutt
Audiography: Indravadan
Desai
Photography: Naval Bhatt Art Direction: Kanu Desai Cast: Sulochana Chatter jee, Prem Adib, Leela Desai. David etc. Released at: Majestic, Bombay
Date of Release: 3rd January
1948
Directed By: RAMCHANDRA THAKUR
re's Charudatta while he gives glimpses of Tulsidas, Devdas and all the other 'dases' that punctuate the Hindu religious folklore.
The pattern of the Jayadee story is also a matter of mixed inspiration and in the situations, the songs and the dialogue you actually see glimpses of old devotional pictures and hear echoes of their songs and words.
Even the "Navras" dance which Radha gives seems to be a direct inspiration from Atre's "Vasantsena" with the only difference that Vanmala executed the dance better and expressed more than does Sulochana Chatterjee who seems to specialize only in curves without classics.
POET OR SAINT?
The story begins with an "Amrapali" touch which insists on Padma, the adopted daughter of a temple Pujari becoming a "Devdasi" to be dedicated to the service of the gods inside the temple and incidentally be the cynosure of sinful eyes outside the temple.
Now Ranjit's "Pujari" steps in in the shape of Poet Jayadeo who takes shelter from a storm and in doing so brings a storm of love into the temple. He seduces Padma by gestures of lyrical and tempestuous love.