FilmIndia (1946)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

1 1tumbnalL JQwiew* NAI MA This social picture, produced by Prakash Pictures, is a boring story seeking to prove, in a spineless and unimaginative manner, a hypothetical theme that step-mothers are not necessarily bad as traditionally understood. The production values are very poor and so are the performances by Ranjana, Jeewan and others. The direction of the picture is just so much waste of time. * * * AMEEREE This is another Barua flop released with a lot of tom-tom, pulling in innocent political leaders like Pandit Jawaharlal Nehru and Sarat Chandra to endorse its invisible greatness. The theme is suspected of a social conscience and is intended to help the slum residents by shaking up the rich. As the story painfully unfolds on the screen it turns out to be a romance between Jamuna and Barua with the poor as onlookers. Jamuna is too despotic for a slum girl and Barua too emaciated as the rich man. Between the two the story becomes so boring that we have neither anger against the rich nor sympathy for the poor at the end of it. The production is the maiden effort of Associated Pictures of Calcutta. * * * SOHNI MAHTWAL This picture of Jayant Desai Productions is a rehash of "Leila Majnu" with the names changed. It has the traditional romance which has bored us through ages. Tshwarlal acts 'Mahiwal', the romantic hero, and in doing so gives a terrific frost bite to our heart. Para gives an improved performance as 'Sohni.' The best performance is given by Dixit in the continuously humorous role of the potter. The dialogue is familiar and the lyric composition is cheap. The music is cheap and imitative. As a maiden effort of Ishwarlal and his rompanion, the direction of the familiar sequences is not at all bad. The picture entertains in parts and drags at other times. * * * GHULAMT This is a propaganda story about the bad Japanese who are now in the hands of virtuous Yankees. Produced by Shalimar Pictures of Poona, the picture has come on the screen after the war went off the world canvas. The subject has therefore no topical appeal. Technically, the story is well presented but the story has become a familiar hotch-potch. The shadowplay interludes are beautifully taken. The patriotic fervour of the hero (Masud Parvez) and the heroine (Renuka Devi) looks very detachecj and lukewarm. The heroine present: a dehydrated appearance and look: far from presentable while the hen has a face of bones with skin drawr drum-wise across every bone. BotJ don't act. The direction is pretty poor anc fails to make full use of the stor) material. "Ghulami" entertains ir parts without offending. DHARTR LAL MM/ THE VOICE OF INDIA'S DUMB MILLIONS IS HEARD IN INDIAN PEOPLE'S THEATRE'S DHARTI KE LAL [CHILDREN OF THE EARTH) For Territorial Rights Apply to : PEERLESS PICTURES, 116, Charni Road, Bombay. For Bengal: CALCUTTA PICTURES CORPORATION. 62