FilmIndia (1948)

OUR REVIEW Sadiq Makes A Debut As Independent Producer Ratan Pictures' "Kajal" Is No "Ratan"! M Sadiq, the prize chela of A. R. Kardar, the wonder boy who hit the headlines with his first directorial venture, "Ratan", and who, ever since, has been cashing on that in one mediocre picture after another, has at last achieved the status of an independent producer. Backed by the money of Malika Pukhraj, he has started his own production company, Ratan Pictures. The name of the company, one presumes, is there to remind us that he who made one "Ratan" might also make another. Might! But he hasn't. "Kajal" is no box-office smasher, even though it is far from a flop. It would have been better if he had not invited comparisons with "Ratan". ECLIPSE OF MADHOK What prevents "Kajal" from | repeating the triumph of "Rattan"? Sadiq reveals a surer grip I of technique, a maturer directorial 'hand, in his handling of "Kajal". compared to which the direction of "Ratan •' was amateurish. Tho technique — photography, sound, editing — is definitely better. Suraiya lacks the poignance and depth of Swarnalata's performance but she is a good artiste in her own rights and has an appeal of her own. The songs are from the pen of the same Madhok, that magical melody-maker who is supposed to turn out song-hits on his matchbox-drum by the dozen every day. But, after seeing— or. rather, hearing — "Kajal" and other Madhok masterpieces (e.g. Gaon) . one has to come to the conclusion that, while he never rated any ;ind of literary position, Madhok las even lost the trick of turning 3Ut popular songs and tunes. Over confidence, pampered vanity and mass production have been the mdoing of the Madhok "genius". TWO STORIES IN ONE Not only are the songs of "Kaial" no patch on 'Ratan' (for which music director Ghulam Mohamed, that much-boosted assistant of Naushad, must share the blame), but the story itself is a mediocre, patched-up business. It lacks compactness, sustained emotion and plausible characterisation. Wasti, as the spoilt son of a judge, a drunkard and a wastrel, acts with his usual boyish frivolity which ill suits a man of his size and age. Any way, he carries it off by his rather engaging playfulness and cocksure mannerisms. He is supposed to be about • to marry a 'respectable' girl when he falls in love with a gypsy dancer, played by Suraiya, who dances with delightful vivacity, even ■ if without the most elementary rudiments of the terpischorean technique. The love develops to sublime heights within a night (Quick work, brother Wasti!) and, thanks to the old gypsy (played well by Gope), the lovers are united in holy wedlock. But the pair are driven out by the irate judge — who is none but our "KAJAL" Producers: Ratan Pictures Language: Hindustani Story and Screenplay: M. Sadiq Dialogue: Azm Bazidpuri Songs: Shakil Badayuni Music: Ghulam Mohamed Photography: R. L. Nagar Audiography: P. S. Misra Cast: Suraiya, Wasti, Gope, Jayant, etc. Released At: Roxy Cinema, Bombay Date of Release: 29th May, 1948 Directed By: M SADIQ old friend, Hari Shivdasani, and it is a rare treat to hear lectures against the 'demon of drink' from the lips of this great professor of alcoholics, heft high and dry, without a penny but with a pretty wife, Wasti is up to his tricks, he forges his father's signature on a series of cheques and, after having provided a tonga and pan shop to his gypsy friends and a mansion worth lakhs to his wife and pa-in-law, he resumes his researches in alcoholics. Drunkenness leads to murder, the old judge has a heart stroke, Wasti goes to prison for life, and Suraiya starts a new life in a far-away city, under the protection of papa Gope. Ashok Kumar and Rehana make a romantic pair of youthful, cheerful gipsies in Filmistan's picture "Sajan" now running at the Novelty. 45