FilmIndia (1948)

PUR REV7FW "Andhon-Ki-Duniya'', A Picture For The Blind ! Picture Presents Unimaginable Idiotic Mess ! "Andhon-Ki-Duniya" is perhaps he greatest laughter-provoking jelodrama ever presented on the reen. It is, of course, intended > be a serious affair and we axe k-pected to see it seriously, but sooner you see its main actor, lanmohan Krishna, you begin ughing and don't, stop doing so 11 the end. If you are a good rtist you can hide the natural sgust in your laughter but few ally succeed in doing this. "Andhon-Ki-Duniya" is, inci?ntally, one more step towards ajkamal Kalamandir's gradual licide as producers. In this picture we see Manohar, young, stunted, pigeon-chested, nny looking man with rambling ■es, dancing with glee because s very oldishlooking wife gives rth to a daughter. The expres sion of this man seems to scream at us the question: "How could he do it?" The way Manohar dance&^about all over the town with^Ebe eighth wonder in his eyes, he emphasizes our doubts about his probable relationship with the new-born. Manohar is so glad about the screaming result of his bouncing manhood that he decides to try his skilFpncc again and starts a clandestineaffair with his kitchen maid that very night. The producers, of course, show the kitchen maid as a br,d, aggressive woman and Manohar r.s an innocent, puzzled man but it takes two to commit a sexual crime and one wonders how our extra moral censors permitted a highly demora'izing scene like this in a picture — a scene in which the master of a ANDHON-KI-DUNIYA Producers: Rajkamal Kalamandir. Language: Hindustani Story: s. V. Vartak Songs: Dewan Sharar Music: Vasant Desai Photography: Anant Kadam Audiography: A. K. Parmar Cast: Leela Chitnis, Munnawar Sultana, Manmohan Krishna, Mahipal etc. Released At: Lamington, Bombay. Date of Release: 10th January 1948 Directed By KESHAVRAO DATE dance ballet led by Latika in Liberty Art Productions' forthcoming picture "Zanjeer". house has illicit relations with the kitchen maid with his wife in confinement in the sa,me house, and on the very night of the birth of his first child. Or was this scene considered as a progressive contribution to our social morality by the "great producer of progressive pictures", V. Shantaram? The wife, Sushila,, soon finds out her husband's relationship with her maid and getting unbearably offended, she walks out of the house with her little infant through rain and storm to lend a dramatic touch to the scene. The husband follows them and nurses both the mother and the child through a very serious illness and r,s a reward succeeds in bringing home his wife and child to live under the same roof. THE "DEEWAR" TOUCH But the wife seems to have seen Prithvi Theatres' "Deewar" and liked the idea of erecting a brick wr,'l to divide a home. So she gets a brick wall constructed right in the midst of her bedroom and separates the two beds to emphasize her future life of selfdenial. There was probably no other room in the house where the husband could sleep. Confronted with the wall, Manohar jumps through the window and goes to his kitchen maid whom he is now keeping as his mistress outside the house. 49 I