Thus wrote Filmindia (and Mother India) - IIBaburao stopped publishing filmindia in 1964 and began publishing a magazine called Mother India instead, which was more political in nature although it still contained film reviews. He also entered politics and was elected to the Lok Sabha…
Patel…
Jugnu (1947)In short, Jugnu is a dirty, disgusting and vulgar picture that no decent exhibitor with any pride for his profession or any self respect should exhibit in his theatre.
Jeevan Yatra (1947)Jeevan Yatra is a crude and loud picture and the characters do not get any sympathy throughout. The very physical behaviour of the characters is absurd and disgusting.
Mirza Sahiban (1947)Noor Jehan as Sahiban is hardly convincing. One cannot imagine a love-bitten maiden to be so fat. It is high time Noor Jehan was transferred to the playback department as her voice is a definite asset.
Anokhi Ada (1948)Anokhi Ada is the usual Mehboob nonsense with the disgustingly familiar formula mainly intended for scoring box-office success without any regard to common sense, art or reason.
Mahal (1949)The theme of Mahal is fantastic nonsense - pure and unadultrated. When a Muslim writer starts toying with Hindu spiritual and philosophical themes dealing with rebirth and transmigration of souls, he makes a damn unholy mess of the whole affair and ends by exposing his rank ignorance of such subjects.
Parineeta (1953)Selecting a good story is winning half the battle and director Bimal Roy was half victorious even before he had taken his first shot. But more than what he gained in the story was lost when the bulky, rotund middle-aged Ashok Kumar foisted himself as the 25 year old hero of the story. This corporeal change in the story took away half of its interest, charm and plausibility. Because strain as one may one’s imagination, it is difficult to identify in this man of 60 inches girth and 180 lbs weight, the 25 year youthful hero of Sarat Babu.
Sassi (1954) - PakistanSassi is an ugly, rotten seventh rate picture which makes the spectator restless in his seat ten minutes after its start. There is not a trace of techncial skill, art or imagination in the entire length of this darkened celluloid. Extremely poorly photographed, more poorly directed and containing silly performances, shoddy sets and dreadfully dull music, the picture is a rarely ugly and crude sight and makes one limp with sheer boredum by the time it traverses its tiresome course to reach its long awaited end.
Sassi (1954) - PakistanSassi is an ugly, rotten seventh rate picture which makes the spectator restless in his seat ten minutes after its start. There is not a trace of techncial skill, art or imagination in the entire length of this darkened celluloid. Extremely poorly photographed, more poorly directed and containing silly performances, shoddy sets and dreadfully dull music, the picture is a rarely ugly and crude sight and makes one limp with sheer boredum by the time it traverses its tiresome course to reach its long awaited end.
Awara Shehzadi (1956)In short, Awara Shehzadi is one of the most rotten pictures of all time. Exhibitors booking this picture stand the risk of antagonising their patrons permanently.
Anpadh (1962)This wonderful story could have been told in a reel of 1000 feet. The producers, however, needed 14000 feet to do so. Which means that 13000 feet of film have been needlessly wasted.
Ek Musafir Ek Hasina (1962)The story travels through some stupid war sequences, some spineless romantic ones and an idiotic court scene till the numbskull falls down from a staircase and again gets one more shifting of grey matter which takes him back to the arms of his sweetheart.
Baat Ek Raat ki (1962)Baat Ek Raat ki fails to entertain and remains a crude confusion.The picture is a peanut wraped in silver paper.
And yes, some rare praise as well!
Kalpana (1948)Now Kalpana is on the screen and (Uday) Shankar has not only vindicated his reputation as a great showman and a great dancer, but through this picture, also thrown a challenge to the film industry. Leave aside dancing which is his own domain, let them come forward and produce something better in technique, in production value, in slick direction, in imaginative photography, in artistic compositions, in daring montage!
Patel’s writings strike that funny bone for all that spite and venom. In his days though he was a force to be reckoned with, almost deciding the future of films and those associated with it.His magazine enjoyed sole monopoly for a long period. His likes and dislikes were indeed personal, look out for what he says of V. Shantaram in some of his reviews. Criticism of the Kapoors fade in comparison.
He tended to use the word ‘stupid’ for films – repeatedly.He charmed the world with his words. There was no malice or meanness in his mental make-up. His hearty laughter was infectious. But he could also thunder like a lion when provoked. He could cross swords with the high and mighty but had caring and compassionate eyes for the underdogs. Rarely does one come across such gifted and generous personalities.Before taking to journalism he did direct and produce a few movies on his own. Perhaps that made him bitter at whole set up!He made films like Draupadi and Gwalan starring his wife Sushila Rani Patel in the 1940s,he was always showing praise on his last wife Sushila
According to Dev Anand, he could make or break careers with his reviews.Mr.Baburao reigned as the ultimate film critic in fifties, sixties and his was the final verdict. He could even make or break a movie with his acidic, witty, amusing, cerebral and also intellectual reviews.
Apparently, the Kapoors were not his favorites. He had a reputation for being extremely biased on a personal level, and for bashing up people he didn’t care for“Raj Kapoor … thrusts himself on the screen most of the time obviously presuming too much attraction in his antics” .when Filmindia was initially launched it was almost exclusively about film, although by the 1950s he wrote generally about politics and other subjects in addition (sex being a favorite as well)
He’s quoted on Shammi’s site as having said about Prithviraj that “There is no place in the films for uncouth brawny Pathans who think they can make it as actors.” Of course he was more than proved wrong on that score! Prithviraj’s response was “Baburao, do not provoke this Pathan. If there is no place for me in the Indian films I shall swim across the seven seas to Hollywood and make it there as an actor.” (http://www.junglee.org.in/pk.html)
.In one of my issues he writes a very funny article about Prohibition where he recommends that India become “An Egg-And-Beer Nation.” To wit:
Considering that 99.2% of Germans drink only beer round the clock (German Lager Beer contains only 3% alcohol) and on that they fought two world wars within 25 years and are still growling; considering that Germans are still on top of the world in scientific progress; considering that the average span of life in Germany is 65 years, we feel that in beer we have the final solution of our Prohibition problem which is fast making our country a continent of criminals. In a country with an average adult weight of 80 lbs and the span of life dangerously shuttling between 26 and 32 years, beer seems to be the only nectar that will save our race from being extinct.He adds: “It will easily add warmth, sincerity and character to our Congressmen’s speeches” and then writes a paragraph extolling the nutritional excellence of the egg.
(with Baburao Patel and his poisonous pen)some of his comments:-
*
Insaniyat (1955)
WC Fields once famously said: “Never act with children or animals.” Dilip Kumar and Dev Anand should have listened to him: they are completely overshadowed here by the charisma of a chimpanzee named Zippy. That’s not necessarily bad (or surprising) (I mean, it’s a chimp!), but I had hoped for a much better movie from these two screen legends in their only real outing together
This photo and caption from Baburao Patel and Filmindia:
Zippy is a loyal lover. On arrival at the Santa Cruz airport he kissed Mohana and stuck to her till he departed. That proves that Zippy believes in cushioned comforts. So do many but they are not as fortunate as Zippy. Meet Zippy and Mohana in “Insaniyat”, the greatest box-office hit of the year produced and directed by S.S. Vasan for Gemini.
. Baburao’s caption for the Helen photograph below:
He had nothing caustic to say about Mala in describing this lovely picture:
When they wait like that with desire in their eyes and design in their head, it is the man who meets his Waterloo. A woman’s greatest art is to make a man feel that he has won when he has actually lost. Mala Sinha brings new desire to the screen in “Detective”, a sensational thriller produced by Ranjit Kumar for Amita Chitra.
Baburao’s comment on Meena Kumari -her eyes of a dove: “Don’t shoot me—love me.”
Shubha Khote—how really beautiful is she???( and BABURAO'S comment)
He reviews a Shammi film and finds it (and apparently the population’s taste in general) lacking:
“Mujrim”, Another Music-coated Crime Pill
Routine Stuff Likely to Become Crowds’ Delight
Eagle Films’ “Mujrim” is another crime pill coated with song, dance and romance. In all likelihood it will be swallowed with pleasure by many picture-goers, but those who approach their entertainment with discrimination should find it sticking in their throats. In spite of all its popular ingredients the picture is too trite and tedious an affair to arouse and sustain audience interest.
The story, a heavy concoction rather crowded with coincidences, is too deficient in realism to begin with. And then matters are made worse by the screenplay and direction both of which appear to be more eager to stuff the picture with cliches than with commonsense. These and other things combine to turn out another routine picture which has precious little about it that is genuinely exciting…
From the players, Shammi Kapoor as Shankar is once again seen making awkward faces. Having acted in numerous pictures by now, he still seems to be in need of being coached in the alphabet of acting. Ragini as Uma is an eye-filler. But one wishes that she had a smaller nose, a better Hindi diction and that she did more of dancing and less of jumping. Shubha Khote as Shobha looks amateurish as usual. Kamal Kapoor as the police officer is acceptable in spite of the rather long hair on his head. From the rest, S. Banerji as the theatre producer and Johnny Walker as his assistant provide noise while attempting humour.
In short, “Mujrim”, as a routine entertainer, contains the usual quota of crime, comedy, music and romance and therefore mass appeal. As a motion picture, it is trite and tiresome.
Extracts From: Mother India – Edited by Baburao Patel – June 1972
EDITOR’S MAIL
(in good humour and without offence)
Vyjayntimala presented hubby Dr. Bali with a seven pound bonny boy ?
The Punjabis never fail. Let’s hope the little fellow becomes a doctor and not a
dancer.
Is China ready to fight Russia ?
Not yet ! But it will one day. China and Russia are traditional enemies.
Do Parsis believe in polygamy ?
All men believe in polygamy - if they have money and opportunity.
Dr. Baburao Patel likes some parts of communism. Will he become Red
one day ?
I like a lot of Communism except its violence and denial of God.
I want to look like a fool.
That you do. At the party “Girnar” the other day no one suspected you of
intelligence till you opened your mouth.
Why does Shantaram always use a cap ?
To hide his bald head. That man has go many things to hide. He uses his
tailor’s suit as a birth certificate.
Why does Nandini Satpathy pronounce ‘importance’ as impotence’
I don’t know why she does that. She has some children.
How many times a day do you pray ?
A man in work is a man in prayer. That is 18 hours of prayer.
My husband does not like to see Rajesh Khanna films ?
On the road he can see more handsome faces without paying for them.
When did you curse Indira last ?
I have not cursed her even once. Indira is the best in the bad lot we have and I
often pray for her long life.
Baburao Patel: A Tribute
July 13, 2008 by FSJ
Today, the print and electronic media have redefined our existence. Every morning, when we read the newspapers, and every night, when we sit in front of our TV sets, we watch how fact transforms into fiction, and how fiction reads/sounds like fact. In this rat race, where newspapers and television channels are fighting for extra circulation and TRPs and, in the process, compromising on principles, it is time to bring back memories of a doyen who lived life on his terms. A doyen revered and feared by the film fraternity because he had the power to make and break careers.
It is time to pay tribute to the man who is the Godfather of journalism, a man we have forgotten over the years.
If Baburao Patel, one of Indian film industry’s pioneering film journalists, were alive today, he would be 100 years old. He dared to unmask the dream merchants, a trend gradually picked up by the future film glossies.
Baburao launched India’s first film magazine, Film India, in 1935. It was the most popular film magazine of its time, widely appreciated for its bold stand on current issues and a scintillating style of writing. Filmmakers dreaded his acid reviews of their films, for, his comments invariably proved right at the box-office. Not surprising that he was the most hated and also the most sought-after journalist in show business.
If Baburao Patel, one of Indian film industry’s pioneering film journalists, were alive today, he would be 100 years old. He dared to unmask the dream merchants, a trend gradually picked up by the future film glossies.
Baburao launched India’s first film magazine, Film India, in 1935. It was the most popular film magazine of its time, widely appreciated for its bold stand on current issues and a scintillating style of writing. Filmmakers dreaded his acid reviews of their films, for, his comments invariably proved right at the box-office. Not surprising that he was the most hated and also the most sought-after journalist in show business.
Patel was the son of an illustrious advocate of the Bombay High Court but, due to circumstances, could not complete his schooling. That did not deter his confidence as he spent most of his time browsing in his father’s library at home. He had big dreams for himself and he was not afraid to pursue them. It is said that he rejected his original surname, Patil, because he found it too restrictive. He, instead, went with the surname Patel, little knowing that it would go on to become the most famous byline of that era.
He was the first film scribe to foray into film production (followed by Vaju Kotak of Chitralekha Publishers). He wrote, produced and directed Kismet (1932), Mahananda, Bala Joban, Maharani and Chand Ka Tukda), Draupadi and Gwalan. He was the first critic to be invited as a delegate to read a paper on Cinema and Culture, also the first to voice a protest against anti-Indian productions in Europe, UK and USA. For someone deprived of formal education, he depicted great mastery over language and was a great orator. His writing did not restrict only to cinema. Baburao dabbled in various subjects and authored six books, prominent amongst which are Grey Dust and Burning Words.
He had a special interest in politics and launched a national
magazine, Mother India, in 1960. This coincided with the closure of his film publication, Film India. The readers sorely missed their regular dose of juicy details on the film fraternity. Even old guards, who had all along criticised Baburao’s scathing columns, felt complacent in the absence of a watchdog.
magazine, Mother India, in 1960. This coincided with the closure of his film publication, Film India. The readers sorely missed their regular dose of juicy details on the film fraternity. Even old guards, who had all along criticised Baburao’s scathing columns, felt complacent in the absence of a watchdog.
As Mother India grew from strength to strength, he became the first mainstream journalist in 1967, much before Arun Shourie and others, to be elected as a Member of Parliament. Counted amongst the prolific writers on cinema, he is said to have written more than 8 million words in his 30-year career.
As a tribute to the thespian, Baburao Patel’s actress-singer wife, Sushila Rani, holds cultural concerts to promote new artistes and to felicitate distinguished personalities every year, in April and July, the months in which fall his birth and death anniversaries respectively. Every year, a prominent gharana singer is flown from his/her hometown for the event.
As a tribute to the thespian, Baburao Patel’s actress-singer wife, Sushila Rani, holds cultural concerts to promote new artistes and to felicitate distinguished personalities every year, in April and July, the months in which fall his birth and death anniversaries respectively. Every year, a prominent gharana singer is flown from his/her hometown for the event.
Year after year, Sushila Rani’s disciples welcome guests with the traditional haldi-kumkum. When the concert ends, the 80-plus hostess personally attends to every guest. Failing in health, but her spirit intact, the fragile lady drags her feet, making sure that nobody leaves her abode without a meal or a token of her husband’s memory. As a film critic, I have attended so many glamorous events in my career, but somehow, this one remains a special date and everytime, I have always come back home thinking how Baburao Patel would have reacted to the changing media were he alive today.
Issue dated July 13-19, 2008
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