This was a special screening arranged by Film Heritage Foundation, also to coincide with the book release on Bombay Talkies studios, playing at Regal Cinema.
A good film that finds its place in classic Indian cinema as an important historical document. The film is a love story between a rich boy and a poor girl, and the son's tax collecting father disapproving of their love. It's the type of story that would find commonplace in later Bollywood films.
You can trace the many elements that would be improved later on, but many of them seem to have started around here. The scenic energy is kept up by its two great lead actors, Ashok Kumar and Leela Chitnis. Their star crossed love story that takes on a Romeo and Juliet cat/mouse adventure through the end is flirtatious.
Franz Osten directs in a workmanlike process, with slower movements and simplified individualized shots of actors speaking dialog. There are some signs of life in the second half of the film where the craft improves together with narrative interest, one particular scene taking many German Expressionist cues with hard shadows. This was completed by the Indian crew after Franz had to get back to Germany due to the breakout of World War II, so go figure.
The restored print was good.
The movie might feel out of date in places but its historical value is what makes it a viewing to seek out.
A good film that finds its place in classic Indian cinema as an important historical document. The film is a love story between a rich boy and a poor girl, and the son's tax collecting father disapproving of their love. It's the type of story that would find commonplace in later Bollywood films.
You can trace the many elements that would be improved later on, but many of them seem to have started around here. The scenic energy is kept up by its two great lead actors, Ashok Kumar and Leela Chitnis. Their star crossed love story that takes on a Romeo and Juliet cat/mouse adventure through the end is flirtatious.
Franz Osten directs in a workmanlike process, with slower movements and simplified individualized shots of actors speaking dialog. There are some signs of life in the second half of the film where the craft improves together with narrative interest, one particular scene taking many German Expressionist cues with hard shadows. This was completed by the Indian crew after Franz had to get back to Germany due to the breakout of World War II, so go figure.
The restored print was good.
The movie might feel out of date in places but its historical value is what makes it a viewing to seek out.