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FILMINDIA
September, 1
of doing things! Moreover, though calling ourselves Orientals, we know little about our fellow-Oriental brothers beyond what we learn from similar distorted films. Thus the Arabs imagine Indians to be the prototypes of Gungadin, while Indians think all Arabs are like Baghdad Ka Chor. Indeed, the irony of it is that in depicting Arab characters in some Indian films, our directors also present the Hollywoodian conception of Arabs.
KORDA SAHIB HINDUSTANI BOLTE HAI!
The dubbing of Hindustani dialogue in "Baghdad Ka Chor" is far from satisfactory. The writer has used a pseudo-literary jargon regardless of the spoken idiom. It looks like the work of some Munshi who is used to coaching British officers for the Army examination in Roman Urdu ! The dialogue, as spoken, is even worse — one has seldom heard such stilted, unnatural, affected accent. Sounds like Anglo-Indians trying hard, and very conscientiously, to speak Hindustani! Who was the dialogue director? Sir Alexander Korda himself?
As for acting, there is nothing much to write home about. Sabu, as the thief, looks as ugly as ever — it could not be an accident that the only Indian actor tolerated in Western films should be a dark-skinned South Indian stable boy, — but acts with a certain amount of boyish vivacity. The actor who plays the young Caliph, is handsome but is most unconvincing for the part he plays. And Rex Ingram, the Negro actor, makes of the Genie of the bottle a very human and pleasant monster — even though this creation of Korda's imagination is made to wear a sacred tuft of the orthodox Hindu!
The special effects in this film — e.g. the flying horse and the flying carpet — are quite impressive. But in this connection it would be interesting to recall that the American CinemaioL'rapher regarded the special ell (e.g. the flying wall) in Pral.li "Dnvaneshwar" as superior to
'. ' of Baghdad" which had won tin Academy Award for special ellet
The te< 1 »ur, of course, is something of a special attraction for
6f
a film with Hindustani dialogue. And there is enough glamour and excitement in the film to appeal to children and unsophisticated cinegoers. But the wisdom of allowing the foreign producers to thus invade the Hindustani language market, too, is ques
tionable— particularly in view of fact that even the best Indian fi do not get a commercial release England and America. Bew "Baghdad Ka Chor" is here to us! And rob us of millions w we can ill-afford.
X7TIME
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