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FI LMINDI A
July, 1946
They all become brides in motion pictures and Shobha didn't escape in "Safar" a picture of Filmistan.
about 3000 different children all over America and in regard to over 813,000 items of information, they found that children retain about 70% of what an intelligent adult would carry away from a motion picture/'.
That is not all. This visually attained knowledge had in case of children a curious expansive quality, to quote Author Forman. so that in many cases, after a lapse of months, the children actually remembered more than they remembered directly after seeing the picture. "If children received", writes Forman, "whatever they had gleaned from the screen with the pliability of wax, they were found to be retaining it, as the phrase goes, with the durability of marble".
Strangely enough the very man, Raja Nene, who has directed "Bachchon-Ka-Khel" had directed another picture, "Ten O'clock", produced by the Prabhat Film Company, and in this picture a little girl of eight, sister of the hero, gives an unblushing performance of vulgar precocity in a song in which the child is permitted to anticipate procreation as an inevitable result <>f love and mating. This vulgar precocity from a girl of 8 .is, to say the least, most revolting to the mind. But the censors never understood it.
The man common to both these outrageous pictures is Raja Nene. Is the man by any chance a mental pervert? If so the common law of the land
must keep him away from a dangerous medium like " the motion picture film.
The American investigators say: "The seeing of || " a motion picture is for young children a powerful emotional experience that affects their young brains j and nerves with almost the force of an electrical charge". ,:
If the impact of a motion picture is so terrific on the child mind how disastrous must be the subsequent reaction if the child sees a filthy and suggestive picture like "Bachchon-Ka-Khel"?
Speaking to the members of the Producers' Association the other day, Minister Morarji Desai of the Government of Bombay said, "In these days when the film has become the most popular medium of entertainment it has an important role in moulding the juvenile and uneducated mind. The film has a lasting effect on public morals. I feel that there is too much of frivolity in the present day Indian films which has to be avoided if the film industry has to justify its claim as a medium of entertainment and education."
These are words of wisdom but they become pious platitudes when we see the censor inspectors, working under the direct control of Minister Morarji Desai, permitting pictures like "Bachchon-Ka Khel" to be shown to the general public.
We would like to know whether Minister Morar j ji's censor inspectors know enough of the Hindustani
The Rana is angry with the ascetic Mira and this incident is vividly brought to the screen by Neena in Shalimar's "Meerabai".
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