International photographer (Jan-Dec 1935)

March, 1935 The INTERNATIONAL PHOTOGRAPH E R Twenty-nine A Voice From India By Girl D. Lal, S.M.P.E. Sound Engineer (R.C.J. Inst., N. Y.J. Residence, Bombay, India. Written for International Photographer. HE motion picture industry in India has made good progress during the past four years. It certainly is good and creditable from the point of view that our technicians had to grope in the dark and had learned by the trial and error method. In the absence of good technical schools and colleges and a lack of contact with the latest scientific, electrical and mechanical developments of the West, especially of America, they have struggled hard to get results from the equipment they imported. Naturally we were and are so far backward in the art of pictures and showmanship and the high import duties, which run up to thirty per cent, besides the local taxes, have retarded our progress. Under these conditions there were three courses open to us to build our industry: (a) To employ foreign technicians; (b) To send our boys out to study the various phases of the industry ; (c) To obtain information through the suppliers of the various equipments, etc. As soon as the first Indian talking pictures appeared in the theatre business the silent pictures and the other entertainment came to a standstill. The trade conditions all around were very poor, and so, finding money in the talkies, every Tom, Dick and Harry rushed to produce talking pictures. Without knowing anything of the complications of the sound, they ordered any odd makes of recording outfits and started making "talkies." Naturally, for a new venture like this, the price was the main question. They therefore bought the cheapest outfits. Even now, on account of lack of sufficient funds and the lack of response from the major manufacturers in the United States, India is full of "boot-leg" equipments, the majority of which is unsuitable to our local conditions. Furthermore, due to the absence of any central organizing body or unions, there crept up a "cut throat" competition and "star gambling." Naturally, the services of a foreign qualified technician was, and still is, much beyond the bank account of any individual producer, and moreover, the people in the United States and on the Continent have a very poor conception of the actual living conditions. Living in India is cheap, on the whole. The value of a rupee in India is almost the same as that of a dollar in America. Vet we have to pay roughly three rupees for the same dollar. Thus it will be clear that to expect the people of India to pay salaries equivalent to American salaries is prohibitive. Quite a number of boys from India came out to America and the other countries to study this industry and a majority of them got into the clutches of bogus institutions; furthermore, it is much too difficult for any pri vate school to impart any practical and useful knowledge or training on a vast subject like the motion picture. However, they all obtained their diplomas from their respective institutions. Quite a few of the boys tried to get into some studios, but they found the doors shut, hence they had to go back home, a little wiser, but useless as far as taking a responsible part in building the industry was concerned. Since most of the outfits are "boot-leg" stuff, the poor fellows acquired more of a "salesman" talk than any practical technical hints and information. The major companies have evidently not yet realized the possibilities of the Indian market and as such their valuable advice is not available. Most of the would-be customers are simply frightened out of their wits at their quotations. Though there are some standard outfits in actual use in India, the results obtained are far from satisfactory, not because of the faults of the equipment, but because of the incompetent men handling them. Their various books of instruction are all right for those who know the fundamentals perfectly. To my mind, a certain amount of pride and vanity on the part of our technicians prevents them from asking for more detailed information and tips from those manufacturers who are in a position to offer some valuable advice. To date there are about eighty-five producers in India, and honestly speaking, there are hardly half a dozen men who could be called technically minded technicians, and the actors and directors belong to the old school of theatrical art. Most of the silent day directors are still in the field and doing whatever they can with the trial and error method. The cutters are having a tough job with the sound track, synchronizing, etc. The atmosphere around the studios, until recently, bad not been such as to be attractive to the educated and refined men and women who might come out into the field. It is needless to say that with all these conditions and environments the majority of our productions fell far short of the expectations of the intelligent and respectable people. Of course, from the American standard, they were just "lousy." However, within the last few months some new companies have been floated and things look brighter, but even these will find it difficult to make a really good picture in the absence of fully qualified technicians. I am sure that with a little more co-operation between America and India we will not only rapidly improve our industry, but there will be bigger and better social relations and business. The manufacturers, etc., will have more sales; the producers here will find it cheaper to get some background shots, etc., made for them by our producers in India, and thus get real authentic pictures. I hope the day is not far off when the two great countries will find a more harmonious relation to their mutual advantage and the world peace. Motion PioTure/^quipmemTQ. |Td. 64 5 NORTH MARTEL AVE CABLE ADDHESS ARTREEVES HOLLYWOOD, CALIFORNIA, US A Please mention The International Photographer when corresponding with advertisers.