FilmIndia (1946)

April. 194G FILM INDIA I transformation is so sudden that the breath of the audience is taken away with it. Between these two characters, the I entire story is written and for a long time the writers seem worried about making up their minds whether to give Aika more importance or whether Rudrasen should be the top-dog. Ultimately Bipin Gupta who plays Rudrasen being more loyal and po'.ite to the producers wins the race of favouritism at the expense of Khurshid on whom the whole story should have been built. This is an injustice done to Khurshid, the main artiste of the story and whatever personal satisfaction the producers get out of this it must be recorded here that 'Prabhu i Ka-Ghar' has failed as a motion picture because of this stupid decision. Had I he producers developed the rok' of Aika giving it a logical beginning and ending it in a logical manner making the character of Rudrasen only incidental to the story, ihe pic ture would have looked more like "Song of Bernadette" and as such would have appealed to the audiences more than it does now. With these two main characters run ning in and out of the screen erratically, "Prabhu-Ka-Ghar" has become a hotch-potch between a village gin and a dacoit. Rudrasen steals the ornaments from the temple in the presence of Aika and accepts the challenge of Arvind, the Commander of the army to capture him. Before his capture, however, Rudrasen becomes a devotee of God seeking penitence from the Almighty. Now there is some interlude of the villainous element in the town in the character of Kanchan Seth. This fe:low is a rich Bania who extorts money from the poor and lives on it. After the usual unconvincing incidents, a tame fire is shown in which Kanchan Seth's daughter dies and her dead body is recovered trom the flames by Rudrasen, now a devotee. That gives Aika a chance to perform her second miracle in which the child is brought back to life. All this time Rudrasen is a silent spectator of the spiritual heights of A'ka. He patiently waits for his own turn to perform miracles which Ranjit writers, in their usual obliging manner, provide towards the end ot the story Did we forget to tell you about the frustrative romance between Arvind and Aika? These two are evidently in love but they can not make up their mind what to do about each other till the end. So both keep pulling each other throughout the story with the usual romantic nonsense uttered in the usual sentimental strain. The climax is soon reached when Arvind discovers the fact that in the bearded devotee is not only the person of Rudrasen, the dacoit but also of his father After some silly talk all are rushed to the presence of the WE OFFER YOU THE UNDERMENTIONED BOX OFFICE BONANZAS SUITED FOR ALL THEATRES r FOR ALL INDIA RIQHTS ) ALEXANDER KORDA'S PRODUCTIONS 1. ELEPHANT BOY : — A Jungle story comes to life with enchanting little urchin FAMOUS SABU. 2. DARK JOURNEY : The most exciting SPY DRAMA. CONRAD VEIDT teamed with lovely VIVIEN LEIGH plays a doubly dangerous game Q-Boat's fight! ROBERT T. KANE PRODUCTIONS. 3. UNDER THE RED ROBE : CONRAD VEIDT as duellist & adventurer co-scarring with ANNA3ELLA gives a brilliant performance with thrilling fight. 4. DINNER AT THE RITZ : Lovely ANNABELLA with DAVID NIVEN plays her role most brilliantly in this DETECTIVE STORY Revolver fight, murder, detection ending in peace and happiness. DAVID O. SELZNICK PRODUCTION : 5. GARDEN OF ALLAH :_( In technicolor) starring MARLENE DIETRICH & CHARLES BOYER The most thrilling and awakening romance ever screened. For BOOKINGS & TERRITORIAL RIGHTS urite to .- THE MYSORE CINE CORPORATION, 290, Lamington ROAD, Gram: "MYSORECINE " BOMBAY 7. Phone: 41754. 65