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JR REVIEW
t Last A Clean Picture From
Ranjit
f Piya Ghar Aja" Is An Unpretentious Little Production
Lt is seldom that a Horse-brand jture from Ranjit is free from Ices of cheapness and vulgarity. Iiya Ghar Aja" is one such rare [ture and, since the general Lduction policy of the studio liains the same, the credit must Ito writer-director PrahJad Dutt, •e an ace special effect* expert s special effects in "Dnyaneshr" were acclaimed even in Amei), then the director of Panchocostly abortion, 'Shirin Farhad', i, since that set-back, on the njit payroll as director of all-budget pictures. Being an icated and enterprising technin, Prahlad has tried to get out the usual Ranjit rut and largesucceeded. But while he has de a clean and wholesome pice, somewhat in the Bombay Ikies style, he has made it her tame and inconsequential, thing much happens in "Piya ar Aja" — neither in the line
of comedy gags though a few feeble ones are attempted, nor in the line of emotional melodrama which also has been tried. The theme of jealousy (the original title "Jalan"' was more appropriate1) aleo has not been developed to its full dramatic possibilities.
A PROMISING YOUNG ARTISTE
The story concerns the usual boy-meet-girl situations between a medical student (Karan Dewanl and a lawyers niece (Meena Kumari) who get married without the consent (but also without the opposition) of their families, and the complications as a consequence of the intensely jealous nature of the hero's sister-in-law who wanted him to marry her own sister. But everything is in a minor key and nothing very exciting or purposeful emerges.
Among the artistes, Karan De
"PIYA GHAR AJA" Producers: Shree Ranjit
Movietone Co. Language: Hindustani Story, Scenario and
Dialogue: Prahlad Dutt Songs: Pandit Indra. I. C.
Kapoor and A. D. Ashk Music: Bulo C Rani
Photography: D. C. Mehta Audiography: G. K. Mehta Cast: Meena Kumari,
Karan Dewan, Aga Jan, S N. Tripathi, etc.
Released At: Central Cinema, Bombay
Date of Release: 23rd April,
1948
Directed by: PRAHLAD DUTT
wan looks pleasant as usual — and that's about all. Agha Jan is boisterous as a clownish medico but somehow his comedy misfires this time. Meena Kumari. a newcomer (this is her second picture, we believe) , however, impresses one as a promising artiste. She has youth, a naive expression, average good looks and much verve and vivacity. In time to come she may turn out to be a real good artiste. But. meanwhile, she seems to have been taught by someone that '"acting" consists of perpetually blinking her eyes, over-working her eye-brows all the time. It is apparent in the picture that she is working hard to "act'', to register the appropriate expression, but the tendency to depend on this frantic "eye work" needs to be discouraged if she has to blossom into a real artiste.
Prahlad Dutt reveals quiet competence as a director and gives occasional flashes of his "special effects" (the animated photograph of Agha Jan really tickled us) but he has to be far more careful in the selection of story and preparation of script if he is to make a name as a director of some importance.
Iinawar Sultana and Muradkhan are having an unpleasant domestic i nicn l in "Meri kahani," Super Team Federal Productions' maiden social directed by Cameraman Keki Mistry.
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