FilmIndia (Feb-Dec 1949)

)UR REVIEW "Paroo", Untouchable Trash On | Untouchability ! Picture Provides Killing Boredom! This is one more addition to the rash on untouchability which our progressive" writers and "purposeul" producers have been presenting n the screen ad nauseam. Actually, be picture has nothing new or origial, progressive or purposeful to ffer. INSULTING THE DEAD Inspired probably by the idea of nerely showing a Harijan ("neech") irl marrying the ("oonch") son of Zamindar, the author has somehow struggled at this none-too-novel 'onclusion mainly relying upon equences which are at best boring nd disjointed. [ It would have been progressive mough to advocate such a marriage >etween the two extreme ends of soiety on the screen fifteen years ago vhen untouchability was rampant hut now with Harijans backed by *tate legislation it is hardly fashionable even to flirt with the idea or attach any new discoveries to it. But then the author of "Paroo" lad to give us his own version towards the solution of the great "prodem" and whether the same is desined to merit a special certificate rom Dr. Ambedkar or not, the fact •emains that we have one more mo:ion picture — riding on a dead horse — dedicated to the memory of Mahatma Gandhi, the Father of the Nation, who must, in his ashes, be araying: "God, save me from my movie followers". At least the censors should have 'ealised the utter mockery of such in amateurish and insignificant piece of mediocrity in the name of "Harijan uplift" being dedicated to the Mahatma. In fact they ought to have deleted the dedication unless they are willing to allow every isecond new release with one of the I many Gandhian ideals tagged to it, to be dedicated to the Mahatma for .reasons not far to seek. Why insult the great dead ! PAROO Producers: Peerless Pictures Language: Hindustani Story & Dialogue : Vasant P. Sathe & Abdul Baqui Songs: Nakshab Jarchavi & Santokh Nadrem Music: Rasbid Atra Photography: A. D. Dev Audiography: B. Chavan Cast: Ceeta Nizami, Dar Kashmiri, Randheer. Saroj Borkar etc. Released At: New West End, Bombay Date of Release: 18th December. 1948 Directed By: SHOREY DAULTALVI "OONCH-NEECH" AFFAIR! The story opens with Mangloo the sweeper, his coughing wife and their little daughter Paroo. The little girl betrays a craving for school which belonged to the ""oonch" and debarred the "neech" from entering its portals. Her father, however, doesn't like the idea. Though Paroo somehow manages to stand outside the portals of the school and pick up a few crumbs of primary education her enterprise soon comes tD an end with the Zamindar pulling up the teachers. In any case the writer uses this small opportunity to plant the early seeds of romance in the hearts of Paroo and Devendra. the little son of the zamindar. That badly recorded cough soon takes away Paroo s mother to the other regions from where filmgoers can"t be bored and Paroo soon grows into a Harijan hoyden who throws herself at Devendra when he returns after his education in England. That sets the romance rolling and we are soon taken through the usual punctuations of a screen affair. But the producer had to use the dancing Mr. A. N. Narayana Rao, Overseer, Govt. Branch Press, Mysore, is a chronic prize winner in 'filmindia'. This is the fifth time he has won the first prize. talent of Geeta Nizami. and the writer obliges by making the Harijan girl a professional dancer with the "progressive purpose" of bringing relief and uplift to the Harijans through her rhythm on the wooden stage. Devendra sticks to Paroo through thick and thin. He must, to maintain "progressive" principles and after a theft, a murder and the usual grab-and-run sequences it all ends with Devendra doing Harijan "uplift" by lifting Paroo to his longwooed bed of romance. The audience gets disgusted with the crude, insipid and utterly amateurish yarn which fails to appeal due to its outdated theme, hackneyed plot and mediocre treatment. Shorey Daulatalvis direction has nothing to commend itself and fails to save the show from becoming an idiotic hotch-potch. The performances of the artistes are in keeping with the general idiotic tone of the story. It was a treat to hear the "progressive" manner in which Paroo the Harijan girl, called her father '"Papa" — or was it "Puppa"? Vie wonder how many Harijan girls call their fathers in this English style. There is nothing in the picture to see and enjoy. It is one long boredom and exhibitors are advised to avoid this picture completely. 55