The current trend to produce films on the life and times of film
personalities is welcome. But, are these films true to the life and
times of these artists? When you portray on the screen the life of
an artist who has contributed to Indian cinema with their lives, you
have to be very careful in picturising their life through “Celluloid”.
The latest in Malayalam in this genre is a movie released on 15th February, 2013,
a film on the life of “The Father of Malayalam Cinema" J C Daniel
who left this selfish and cruel world in 1975. It was J C Daniel who
produced the first Malayalam cinema, “Vigathakumaran” (a silent movie) in 1928.
(There is an unsolved controversy over the year of release – 1928 or 1930)
Neither the world of Celluloid nor the cultural Kerala cared about
this great artist when he was alive !! The Kerala State Award for
lifetime achievements and contributions to Malayalam cinema instituted
in 1992 is given in the name of “the Father of Malayalam Cinema", as
“J C Daniel Award”. Let us relax ourselves that 17 years after the
demise of the great artist we have honoured him by instituting this
award in his memory and 37 years after his sad demise in penury we are
paying tribute to him by bringing out his life on celluloid through
the film “Celluloid”. Before having an appraisal on the film, it is
necessary that we quickly look back into some of the films made in
this genre “biographical films on film personalities” made in the
past. This will help us to appreciate “Celluloid” and evaluate that
film in its right perspective. And also to decide whether this ‘late’
tribute is justifiable – story-wise, period of occurrence–wise etc.
In Malayalam, the controversial film “Lekhayude Maranam Oru Flashback”
(1983), because of its alleged exploitation of the well publicized
suicide of the Malayalam/Tamil actress Shobha (1961- 1980), is the
first in this genre in the language. Directed by K G George, the film
depended heavily on the real life events and characters to whom it
alluded, while continuing the director’s fascination with the thriller
format that he adopted in “Yavanika”(1982).
Bharath Gopi, Nalini - A Scene From KG George's Lekhayude Maranam Oru Flashblack
The film was not a huge
hit at the box office, just an average film. Nalini acted in the
character corresponding to Shobha in the film. As in the case of
“Celluloid” advertised as the biographical on J C Daniel, the 1983
film by K G George was not exposed directly pointing finger towards
the actress’s life.
“Ezhuthatha Katha” (1970) directed by A B Raj was a story
simultaneously exposing venality in the Press and corruption among
stage stars and politicians. The story pivots around a stage
actress whose moral side was not fair. Although the central
character was presented as a former stage star, her story also evoked
the shady past of some film stars. The story was imagination of the
writer, though had some indication towards the life of film stars.
In the strict sense this was not a ‘biographical', though it had
indications on the lives of some film/stage stars.
“The Dirty Picture" (2011), the Hindi film directed by Milan Luthria
was inspired by the life of the glamour star “Silk” Smitha. The film
bagged three National awards including the best actress award to Vidya
Balan who performed the role of “Silk” in the purported biographical.
Malayalam film producers and directors are not satisfied with the
Hindi movie on the life of their beloved “Silk”. Now comes the
Malayalam film “Climax”, the story of which is by Antony Eastman who
introduced “Silk" Smitha to cinema. Silk Smitha bid goodbye to the
tinsel in 1996. On September 23rd 1996, she was found dead in her
apartments in Chennai. Many scandals, gossips were in the tinsel
during her lifetime and even after her death in mysterious
circumstances. How far the Hindi movie was true to her life, and how
far the Malayalam movie is going to be true, a matter of much probe
into the matter. Have the Malayalam film “Climax” team worked enough
on the matter to bring out the ‘real life’ of their beloved “Silk”??
Looking back to a bit earlier period – “Amar Saigal” or “Immortal
Singer” (1955), a biographical film in Hindi portraying the
celluloid the life story and contributions of the immortal, legendary
singing star of early Hindi cinema, Kundanlal Saigal (1904-1946)
was probably the first Indian feature film produced on the life of a
film personality. Directed by Nitin Bose who had directed some
notable films of Saigal, like “Chandidas” (1934), “Dhoop Chaon”
(1935), “President” (1937), “Dhartimata”(1938) etc, the film was a
box office hit (Censor certificate No12613, 131 minutes duration).
An amateur artist whose looks resembled Saigal was cast in the role of
the” Immortal Singer “ Kundanlal Saigal. More than the personal life,
the film focused on his contributions to Hindi cinema and music. The
film was inter cut with song sequences from notable films of K L
Saigal like “Chandidas”, “Devdas”., “Zindagi” etc. Well directed and
scripted, the film ends with the special news bulletin over All
India Radio announcing the sad demise of the immortal singer and
paying tribute to him by playing the immortal Saigal number “Babul
Mora…..” from the Hindi film “Street Singer” (1938). The film remains
an authentic document on the life and contributions of the singer. A
real tribute to the “Immortal Singer”
In 1976, the noted director Shyam Benegal came up with an authentic
biographical on the life of the famous Marathi/Hindi singing star
Hansa Wadkar (1923 – 1972). The film titled “Bhumika” was based on her
autobiography in Marathi – “Santye Aika” published in 1970. The
script of the film written jointly by Shyam Benegal and Girish Karnard
closely followed the events narrated in the autobiography.
It was
the talented actress Smita Patil who performed the role of the central
character Usha, representing the singing star Hansa Wadkar in the
film. The film was a “true” biographical on the life of the singing
star who was a sensation in her times. Here the script writers had to
focus more on adapting the political, cultural environments of the
period in which she lived, rather than on the events in her life,
because the autobiography written by her is said to be true to her
life without any lackings or exaggerations. The story of the film
roams through some pre World War 2 genres. The legendary banner
“Bombay Talkies “ was evoked through an actress who was made up to
look like Devika Rani, the owner of the Bombay Talkies. Quotes from
the landmark movie “Kismet” (1943) were included in the film. The
sound track used radio broadcasts about Pearl Harbor and other events
to provide historical markers. Indeed, a model for biographical films.
In 1979, the legendary producer and director Sohrab Modi who was noted
for his historical films like “Pukar”, “Sikander”, “Jhansi Ki Rani”,
“Mirza Galib” etc came up with a biographical “Meenakumari Ki Amar
Kahani” (Censor certificate No 91927 -15 Reels/3622 metres) based on
the life of the “Tragedy Queen” Meenakumari, the real tragedy queen in
her personal life and successful actress on the screen in performing
tragic roles. An actress named Dolly who resembled Meenakumari was
cast in the role of the Tragedy Queen. As in the case of “Amar
Saigal” the film was inter cut with song sequences from her popular
films like “Sharda”, “Gazal”, “Pakeeza”, “Azad” etc. The film was
an authentic document on the life and contributions of Meenakumari.
Credit: MoviePosterDB.com
In Tamil, no biographical film is made so far as per details available. The Tamil film “Minmini” released in 1953, strictly
speaking, was not a biographical. But a main focus of the film was the
much talked about and controversial “Lakshmikantan murder case”. The
first super star of South India, M K Thyagaraja Bhagavatar was
arrested and jailed in 1945 for two years for the infamous murder case
in which the film gossip columnist Lakshmikantan was killed. The film
flopped at the box office.
An entirely different “autobiographical”, the first Cinemascope film
of Indian cinema, “Kagaz Ke Phool” (1959) is compared with the life
of its producer, hero and director of the movie, Guru Dutt. The
baroque, quasi autobiographical fantasy tells in flashback the story
of a director. Gurudutt’s premature death by suicide was foreshadowed
in the film. The film was released during the life of the versatile
actor, director and producer Guru Dutt. We can see the glimpses of
the legend’s real life in the film, which might not be accidental, but
really meant for it by the legendary actor, director and producer
Gurudutt.
Now coming back to “Celluloid”, the film that is publicized to be the
biographical of J C Daniel. At the outset, it is felt that not much
research - creative and result oriented search, was made in producing the film. This view is confined to the limited knowledge about the
life of J C Daniel that is available in books on Malayalam cinema.
And about the music of “Celluloid”, it is doubtful whether the songs
used in the film can be co-related to the period of occurrence of the
story of “Celluloid”. The film “Vigathakumaran”, the focus of “Celluloid” is a silent film. The song, “Kaatte Kaatte….” (Sree Ram,
Vijaya Lakshmi) echoes reminding us 1950s Films songs sonic structure.
The song is written and tuned to create nostalgic feelings of the
bygone era of the “silent era” in Cinema and at the same time to catch
the attention of the present generation by the melody blended in it !!
(As per the media reports). More about the music and the film
“Celluloid” to continue in the next write up in this column.
A request to the visitors of MSI – Those who have seen the film
Celluloid, your comments, views on the authenticity of the
“biographical” are most welcome.
Tailpiece: A superhit of the bygone era, a Hindi film song –
“Dheere Dheere Aaare Baadal……… “ (Ameerbai Karnataki, Arun Kumar.
Film – “ Kismet” 1943 Music – Anil Biswas) Have you ever heard this
song? If not, please try to give your ears to this melody. And after hearing this oldie, just refresh your thoughts, whether you find
any resemblance of the Anupallavi or Charanam of this song with the
super hit song composed in old style and is in the air now, and also
in the You Tube. I am not to name the song, you just find it.
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