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Big-budget movie with over 69 songs. 'The Hindi Devmala [Hindi Pantheon] with the Islamic Ravaiyat' are crystallized into a plot structure revolving around a benevolent king whose moral fibre is tested by celestial powers as they cause an apsara (a fairy) to appear before him as a fallen woman begging for mercy.- Written by Sujit R. Varma
Director:
J.J. MadanWriter:
Sayed Aga Hasan Amanat (play)Cast
| Cast overview: | |||
 |
Nissar | ... |
(as Master Nissar)
|
| |
Jehanara Kajjan | ||
| |
Abdul Rehman Kabuli | ... |
(as A.R. Kabuli)
|
| |
Mukhtar Begum | ||
Directed By: V Shantaram
Details
Music director Nagar Das Naik
Country:
IndiaLanguage:
HindiCompany Credits
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Runtime:
Sound Mix:
MonoColor:
Black and White
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Trivia
This film includes 71 songs. See more »
==================================================
Madan Theatres gretest musical release starring Jahan Ara Kajjan and Master Nissar . What once used to be a Nautanki played on stage was brought on to the screen with similar dialogues , a mixture of urdu and hindi and folk lore songs and dances . The story originally was penned by the famous poet of Lucknow Agha Hassab Amanat in the mid nineteenth century .
Both Nissar and Kajjan had a good background of performing on the stage . They had no difficulty in playing the roles for the screen to which they were accustomed to .
This was the only movie till today to have the highest number of songs that is 71 .
The movie became a huge success in the entire country and also in Hyderabad and Secunderabad .
Some of the most notable songs of the movie –
[1]Toone to mora man har leeno morey baanke sawariya
Miss Kajjan
[2]Challa hamara yaad rakhna Miss Kajjan
[3]Kati raat mazey men saari , baith merey pehlu men pyari
Vilayat Husain
[4]Chaman ko yun mere saaqi ne maikhana bana diya
Miss Kajjan
[5]Kab se khadi hun terey dwar , bula le mohe baalam rey - - do - -
[6]Dil de diya hai unko dekhen wo kya karenge
- - chorus
[7]Shaadiye jalwaye gulfaam Mubarak howey
- - chorus
Maaduri –
This movie was credited with lovely classical songs composed by Pransukh Nayak .
Four songs in the voice of Prof Vinayak Rao Patwardhan have been recorded .
He also acted in the movie []. As music from the movies appeared on discs they were available with most collectors . Prof. Patwardhan himself was a notable classicalist .
[8]Kaise jaaun madhuri jiya maanat naahi - -
[9]sarita sugandh shobe vasant - -
[10]parmukh bani tu kamala mohe kaahe sharmaye -
[11]ahankaar karke –
The following songs which were very popular with music lovers were not recorded .
[12]Hari bin koyi kaam na aaya - Prof Patwardhan
[13]Aarzoo ye hai ki - - - Chanda Bai
[14]Lagat kalejwa men chot - - - Chanda Bai
1932- Movies & Music
kamalp.blogspot.co.uk/…/01/1932-movies-music.html#!
Some movies like Ayodhya ka Raja and Indra Sabha, ... The following two songs were popular for sometime during 1932 . ... The movie had 18 songs of which Ashraf
Indrasabha - songsMadan Theatres gretest musical release starring Jahan Ara Kajjan and Master Nissar . What once used to be a Nautanki played on stage was brought on to the screen with similar dialogues , a mixture of urdu and hindi and folk lore songs and dances . The story originally was penned by the famous poet of Lucknow Agha Hassab Amanat in the mid nineteenth century .
Both Nissar and Kajjan had a good background of performing on the stage . They had no difficulty in playing the roles for the screen to which they were accustomed to .
This was the only movie till today to have the highest number of songs that is 71 .
The movie became a huge success in the entire country and also in Hyderabad and Secunderabad .
Some of the most notable songs of the movie –
[1]Toone to mora man har leeno morey baanke sawariya
Miss Kajjan
[2]Challa hamara yaad rakhna Miss Kajjan
[3]Kati raat mazey men saari , baith merey pehlu men pyari
Vilayat Husain
[4]Chaman ko yun mere saaqi ne maikhana bana diya
Miss Kajjan
[5]Kab se khadi hun terey dwar , bula le mohe baalam rey - - do - -
[6]Dil de diya hai unko dekhen wo kya karenge
- - chorus
[7]Shaadiye jalwaye gulfaam Mubarak howey
- - chorus
Maaduri –
This movie was credited with lovely classical songs composed by Pransukh Nayak .
Four songs in the voice of Prof Vinayak Rao Patwardhan have been recorded .
He also acted in the movie []. As music from the movies appeared on discs they were available with most collectors . Prof. Patwardhan himself was a notable classicalist .
[8]Kaise jaaun madhuri jiya maanat naahi - -
[9]sarita sugandh shobe vasant - -
[10]parmukh bani tu kamala mohe kaahe sharmaye -
[11]ahankaar karke –
The following songs which were very popular with music lovers were not recorded .
[12]Hari bin koyi kaam na aaya - Prof Patwardhan
[13]Aarzoo ye hai ki - - - Chanda Bai
[14]Lagat kalejwa men chot - - - Chanda Bai
Indra Sabha (1932)-Bollywood Movie Reviews, Trailers, Wallpapers ...
Genre: Mythological
www.nthwall.com/hi/movie/Indra-Sabha-1932/9543207305
Indra Sabha (1932) - Latest Information about Indra Sabha (1932) review, Indra ... comedy clips, songs, story, movie synopsis, Indra Sabha (1932) release date, ...Plot :
The story is based on the famous Phantasy of Indar Sabha It deals
with the romance fo Sabzpari, the famous fairy of Indardev and her
trials and triulations. . Indar is so much pleased with Sabzparis
dancing and singing that he rewards her with Parimahal and a Signe
tring. Neelampari, Lalpari and Pukhrajpari are displeased and they play
upon the soft feelings of Laldev the right hand of Indar. Laldev is fond
of Sabzpari but she always avoids him and he therefore sides with the
other fairles and plans against Sabzpari. . Safeddev likes Sabzpari and
he helps her during several trials. . One day Sabzpari along with her
chief maid Bhairavi fies to the earth in the Urankharola they reach the
country of Gulfam Sabzapari is attracted towards Gulfam Inspite of
protestations of her maid she takes out her Signet ring and puts on the
finger of Gulfam and pledges her troth. . The Darbar of Indardev has
assembled but Subzpari is absent Indar frowns, and orders other fairies
to Sing and Dance, but their crude technique does not satisfy Indar. He
is very angry but at a crncial moment enters Sabzpari. Her classical
dnacing and singing wins applause from the Sabha. Indaris pleased with
her and rewards her. Somehow or other Laldev comes to khow that Sabzpari
has parted with the ring and he reports the matter to Indar. Indardev
calls Sabzpari and orders her to adorn herself with all the jewels
presented to her by him. Sobzpari is worried and she requests Safeddev
to get the ring from Gulfam. . Gulfams condition is very precarious. He
has seen Sabzpari in a dream and has fallen in love with her. Forgettin
his duties he raves like a madman he refuses to part with the ring and
Safeddev enrries him away along with his companion Bhairo to Paristan. .
Sabzpari gets the ring and Indar is highly Pleased. One day Sabzpari
brings Gulfam to the Sabha disguised as a Musician Laldev unfolds this
secret to Indardev, who beomes very angry and orders Sabzpari to be
exiled to the Earth and Gulfam is ordered to be imprisoned. . Sabzpari
wanders and wanders in search of Gulfam. Laldev again offers his love
but she resents the over turns of Laldev. Laldev creates troubles for
her. Safeddev helps her and releases Gulfam and the lovers are united
Laldev now approaches Zargam the cousin brother of Gulfam who has
usurped the throne of Gulfam. Laldev gives magic dice to Zargam and
tells him to invite Gulfam to a game of Dice. . Zargam receives Gulfam
very cordially and plays with him the game of Dice Gulfam loses
everthing in Dice and along with Sabapari goes in Exile Safeddev is also
punished by Indar for his help to Sabzpari.
: |
Big-budget adaptation of Sayed Aga Hasan Amanats Indrasabha written
in 1853 for the Lucknow court of Nawab Wajid Ali shah. The often staged
played had elaborated the Rahas Style, adapted from the Ras-Lila from
of Hindi folk theatre and brought specific music and dance conventions
into Urdu prose theatre. This new style gradually amalgamated, says
Somnath Gupta (1969), The Hindi Devmala [Hindi Pantheon] with Islami
Ravaiyat and crystallised into a plot structure revolving around a
benevolent king whose moral fibre is tested by celestial powers as they
cause an apsara (a fairy) to appear before him as a fallen woman begging
for mercy. The language assimilated the Urdu ghazal, Hindustani,
Brajbhasa and dialects usually spoken by women (zanani boli). As
performed in the Parsee Theatre, this performance style also absorbed
aspects of European opera, esp. its neo-classical visuals which already
contained a measure of baroque Orientalism. The 70 songs, familiar from
the stage productions, suggested an Indian equvalent of the Ziefield
Follies. Madan also drew on his Italina connections (Savitri, 1923) and
asked his Italian cinematographer to model the complex choral mise en
scene on the venerable Italian epics. The film repeated the popular
singing duo of Nissar and kajjan from Shririn Farhad (1931). Macroni
later shot and probably directed the Tamil feature Vimochanam (1939).
[Source: Encyclopeadia of Indian Cinema]
|
Indra Sabha (1925) - Movie Review, Story, Trailers, Videos, Photos ...
www.gomolo.com/indra-sabha-movie/19676
Check out the latest movie review, trailers, story, plot, music videos, songs, wallpapers, cast and crew details of Indra Sabha silent movie on Gomolo.com.Indra Sabha (1925 - Silent)
M. JoshiGenre:
FantasyBanner:
Kohinoor Film Co.Release:
Countries: India
Languages: Hindi
Runtimes: 211
Sound Mix: Mono
In movie played:
Abdul Rehman Kabuli (actor)
Jehanara Kajjan (actor)
Nissar (actor)
Mukhtar Begum (actress)
Sayed Aga Hasan Amanat (writer)
T. Marconi (cinematographer)
Nagardas Nayak (composer)
J.J. Madan (director)
Great Grandfather of actor Erick Avari
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Film with Most Number of Songs
Indra Sabha with 71 songs is the film with most number of songs. The film was made in 1932 by Madan Theatres and the director of the film was J.J. Madan. The plot of the film revolves around a benevolent king whose moral character is tested by celestial powers. They cause an apsara (a fairy) to appear before the king as a fallen woman begging for mercy.
Indra Sabha was based on a play written by Sayed Aga Hasan Amanat. The film had two singers Master Nissar and Jehanara Kajjan. The other cast of the film included Abdul Rehman Kabuli and Mukhtar Begum.-------------------------------------------------------------------------------------------------------------------------------
JAHAN ARA BEGUM AND MUKHTAR BEGUM
She was one of the earlier Indian film star, who was famous as Jahan Ara Kajjan, or Miss Kajjan.She was a regular dancer at Calcutta club and rose to fame as an actress/singer in films.She became famous as the 'Lark of Indian Cinema' because of her sweet voice.She was trained in classical music and rendered songs in many films.
She was well versed in Urdu,Hindi, and English and used to publish her Urdu poems in magazines.
Her debut film was 'Shirin Farhad' of Madan theatres in 1931.
She earned accolades,wide appreciation, name and fame for her performance and the songs she rendered for the film 'Indra Sabha' in 1932.
Film 'Indra Sabha' still holds the world record as 'Film with Most Number of Songs'.
The movie with a duration of three and a half hours(it was 211 minutes duration) which was made by Madan theatres had 71 songs.
Several of the songs were rendered by Jahan Ara Kajjan.
Jahan Ara Kajjan,Master Nissar,Mukhtar Begum etc rendered songs in it.
The cast included Abdul Rehman Kabuli,Mukhtar Begum,Master Nissar and Jahar Ara Kajjan.
The
film was based on a play written by Sayed Aga Hasan Amanat.It is about
the moral character of a King being tested by celestial powers with the
aid of a fairy(Apsara).'Gujru Zarina' was a fantasy film directed by J.J.Madan in 1932.Kajjan,Nissar,A.R.Kabuli,S.Kerawala etc were the cast.
Her films 'Swami Bhakti,Shakuntala,Alibaba aur 40 Chor,Laila Majnu,Jahan Ara' etc were also box office hits before 1940.
During 40-44 her memorable films are 'Ghar Sansar,Abla ki Shakti,Pritvi Vallabh, and Bharthari'.
Bharthari(1944) included her most
lovely classical songs which received much critical acclamation.The music of that film was handled by Khemchand Prakash.
Ghar Sansar was a hit film which dealt with a social theme and was directed by V.M.Vyas.
She passed away in 1945.
MUKHTAR BEGUM
She was music composer for two films in which she acted and rendered songs.
They are 'Prem Ki Aag'(1936) and Bhesham(1937)
In the film 'Alibaba aur 40 chor(1932) directed by J.J.Madan, she acted with Jahan Ara Kajjan,Nawab,Patience Cooper etc
In the film 'Chatra Bekawali(1932) she acted with Jahan Ara Kajjan
In the film 'Krishna Kant Ki Wasiyat(32) she acted with Jahan Ara Kajjan,Nissar,Abdul Rehman Kabuli.
Her film 'Indra Sabha' became a super hit and earned her much fame as an actress and singer.
The film 'Nala Damayanti' which was directed by Agha Hashar Kashmiri was also a super hit.
In the film 'Ramayan' (1934) and also in Seeta(34) she acted with Pritviraj Kapoor.
Some of her other memorable films were 'Shravan Kumar,Ankh ka Nasha,Aurat Ka Pyar,Muflis Ashiq' etc.
Indrasabha Lyrics
Hindi Lyrics > Indrasabha Indrasabha is a 1932 film directed by J. J. Madan. It starred Nissar, Abdul Rehman Kabuli, Jehanara Kajja, and Mukhtar Begum in lead roles. It shows a benevolent king with high moral and kind attitude towards his citizens offer him the status of god. This makes the celestial power envy of him, and they hatch a conspiracy of sending down an apsara to disrepute his image.This is the list of all the songs from movie Indrasabha we have lyrics for. Click on the links to see the lyrics.
Songs of Indrasabha
- Chaman Ko Yu Mere Sakee Ne Maikana Bana Dala
(By: Jehanara Kajjan)
Chaman Ko Yu Mere Sakee Ne Maikana Bana Dala Lyrics from Indrasabha
Chaman ko yu mere sakee ne maikana bana dala
Kalee ko shisha-e-may gul ko paimana bana dala
Girftar balaye ishk toh pehale hee tha lekin
Tumhare gesuo ne aur divana bana dala
Bhala kuchh bat thee bebat itana tul khincha hai
Savale vasl ko jalim ne afsana bana dala
Kuda ke ghar me kabja kar liya andher toh dekho
Buton ne dil me rehkar dil ko butkana bana dala
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The first ones who made the first movie in the world was Lumiere Brothers that inspired many filmmakers around the world and when their movie screened at that time in Bombay, it planted the seed of filmmaking in India too. There were many who made and contributed in creating the rich history of Indian Cinema and still is but they were some pioneers that really paved the way for it.
Here is the look on the rich history of Indian Cinema:
• The Wrestlers made by H.S Bhatavdekar in 1899 was the first film and also the first documentary film shot by an Indian.
• The first Indian film that released in India was ‘Shree Pundalik’. It was a silent film in Marathi shot by Dadasaheb Torne on 18 May 1912 but there was a doubt lingering whether it was first released Indian film or not.
• ‘Raja Harishchandra’ was the first full length motion picture India that was produced by Dadasaheb Phalke. He is the pioneer of India film industry. The movie was in Marathi. It was a commercial success too that paved the way for Indian Cinema.
• Raghupathi Venkaiah Naidu was known as the pioneer in the production of silent Indian films. He was the first person to build and own cinema halls in India.
• The first talking Indian film was ‘Alam Ara’ that was released on 14 March 1931 by Ardeshir Irani.
• Chittor V. Nagaiah was the first multilingual film actor, music composer, singer, director and producer in India.
• Durga Cinetone was the first film studio in India that was built by Nidamarthi Surayya in Rajahmundry in 1936 in AP.
• Indra Sabha and Devi Devyani are the first movies that included song and dance.
• Vishwa Mohini is the first Indian film that depicted the Indian movie world.
• Varkari Sant, spiritual poet was the first Indian film that was screened at an international film festival in 1937.
The history of Indian Cinema is so rich that cannot be described in a few points. It continues to be rich and great. In above mentioned points you find some incredible benchmarkings of Indian Cinema that made it great in the world.
---------------------------------------------------------------------------------------------------
The name Bollywood is a combination of Bombay (Mumbai’s old
name) and Hollywood and it is often used to summarize all movies
produced in India. While Bollywood is the center of the Hindi movie
industry, movies are made in other regions and local languages as well.
Bombay became the center of India’s Hindi cinema industry when the Lumiere brothers, who came there for the first time in 1896 to introduce their creation- the cinematograph.
Dadasaheb Phalke is considered the father of Indian cinema since he was the first one to make a full-length movie in 1913. In it, both male and female characters were played by men.
His movie inspired many people who soon started making films or working in movie production. By the 1930’s 200 movies per year were produced in India.
The first Indian film with sound was “Alam Ara”, which was premiered in 1931. Six years later, in 1937, Kisan Kanya became the first Indian color movie.
The first Indian movies were inspired by ancient texts. Many of the movies’ plots were taking stories from ancient Indian poems, the Parsi theatre or the traditional folk theatre of India.
Despite the difficulties that the country was facing in the 1950’s, that was the time when India’s most critically acclaimed movies were made. Also, India’s biggest movie stars were born in this period. The movies of those years represented all the problems and struggles that society was facing.
In the end of the 1950’s a new trend in Indian filmmaking was born. The new movies featured comedy, laughter and rock music, rather than dramatic scenes and sad songs. The movies were presenting new concepts- those of love, laughter and happiness.
By the 1970’s and until the 1990’s Indian cinema went back to its previous role of recreating the sad and difficult everyday life of society.
In the 1990’s the industry went back to the romantic movies and comedies of the late 60’s.
Bollywood movies are not just about the story, the directing and the acting. The music in a movie is just as significant. Composers in the Indian movie industry are as important as directors and producers.
The songs from movies have been influencing the music business and pop culture for decades.
An interesting fact about the songs in Indian movies is that they are played as a background sound, rather than part of the dialogue. They are sung by professionals and lip-synced by the actors. But since the lyrics and choreography are carefully synchronized, the viewers are left with the impression that the song is a part of the act, as it would be in a traditional theatre musical.
The style of Bollywood movies has made an impact even on Hollywood productions. Various internationally successful Hollywood movies, like “Moulin Rouge” and “Slumdog Millionaire” have been inspired by the style and structure or the stories in Indian movies.
---------------------------------------------------------------------------------------------------Bombay became the center of India’s Hindi cinema industry when the Lumiere brothers, who came there for the first time in 1896 to introduce their creation- the cinematograph.
Dadasaheb Phalke is considered the father of Indian cinema since he was the first one to make a full-length movie in 1913. In it, both male and female characters were played by men.
His movie inspired many people who soon started making films or working in movie production. By the 1930’s 200 movies per year were produced in India.
The first Indian film with sound was “Alam Ara”, which was premiered in 1931. Six years later, in 1937, Kisan Kanya became the first Indian color movie.
The first Indian movies were inspired by ancient texts. Many of the movies’ plots were taking stories from ancient Indian poems, the Parsi theatre or the traditional folk theatre of India.
Despite the difficulties that the country was facing in the 1950’s, that was the time when India’s most critically acclaimed movies were made. Also, India’s biggest movie stars were born in this period. The movies of those years represented all the problems and struggles that society was facing.
In the end of the 1950’s a new trend in Indian filmmaking was born. The new movies featured comedy, laughter and rock music, rather than dramatic scenes and sad songs. The movies were presenting new concepts- those of love, laughter and happiness.
By the 1970’s and until the 1990’s Indian cinema went back to its previous role of recreating the sad and difficult everyday life of society.
In the 1990’s the industry went back to the romantic movies and comedies of the late 60’s.
Music in Indian cinema
Music has been a part of Indian cinema since the first audio movie. “Alam Ara” included seven songs. The movie “Indra Sabha” from the 1932 included 69 songs. Today movies from India include between six and ten songs.Bollywood movies are not just about the story, the directing and the acting. The music in a movie is just as significant. Composers in the Indian movie industry are as important as directors and producers.
The songs from movies have been influencing the music business and pop culture for decades.
An interesting fact about the songs in Indian movies is that they are played as a background sound, rather than part of the dialogue. They are sung by professionals and lip-synced by the actors. But since the lyrics and choreography are carefully synchronized, the viewers are left with the impression that the song is a part of the act, as it would be in a traditional theatre musical.
The style of Bollywood movies has made an impact even on Hollywood productions. Various internationally successful Hollywood movies, like “Moulin Rouge” and “Slumdog Millionaire” have been inspired by the style and structure or the stories in Indian movies.
July 7 1896 - Indian Cinema Is Born
On
July 7th 1896, the Lumiere Brothers showcased six films at the Watson
Hotel in Mumbai (then Bombay) and this marked the birth of Indian cinema
as we know it today.
The Lumiere brothers were French Cinematographers
who arrived in India after having proved their cinematic excellence in
Paris. The screening of the films took place on July 7th 1896 at the
Watson Hotel in Mumbai and the ticket was priced at Re.1. The Times of
India referred to this event as the “miracle of the century”. The show
received an overwhelming response and motion pictures were soon
introduced to India, in Kolkata (Calcutta) and Chennai (Madras).
The six films screened that day were Entry of
Cinematographe, The Sea Bath, Arrival of a Train, A Demolition, Ladies
and Soldiers on Wheels and Leaving the Factory. The second film
screening by the Lumiere Brothers took place on July 14th at a new
venue, the Novelty Theatre, Bombay and twenty four films were screened
that day, including A Stormy Sea and The Thames at Waterloo Bridge.
Alternating between these two venues, the shows culminated on August
15th 1896.
Much before the introduction of film (silent or
talkies) three elements were vital in Indian culture natya (drama)
nritya (pantomime) and nrrita (pure dance). These three aspects were
eventually passed on to Indian cinema. Bollywood films today epitomize
Indian culture by their extravagant song and dance sequences and
flamboyant costumes and Bollywood has contributed immensely to Indian
music by composing some of the most melodious tunes in Indian music
history.
After the film screening in Mumbai by the Lumiere
brothers, films became a sensation in India and the following year a
Professor Stevenson staged a show at Calcutta’s (now Kolkata) Star
Theatre. Using Stevenson’s camera, Hiralal Sen, an Indian photographer,
made a motion picture of scenes from that show, namely The Flowers of
Persia (1898). The first film ever to be shot by an Indian was called
the The Wrestlers made in 1899 by H.S Bhatavdekar depicting a wrestling
match in Mumbai’s Hanging Gradens. This was also India’s first
documentary film. The first film released in India was Sree Pundalik a
silent Marathi film by Dadasaheb Torne on May 18th 1912.
India’s first full length film was made by
Dadasahed Phalke (also known as the father of Indian cinema), India’s
earliest film maker who blended together elements from Sanskrit epics to
make his first film Raja Harishchandra in 1913, which was a silent film
in Marathi. The roles of females were played by men and this film
remains a landmark moment in the history of Indian cinema. Raja
Harishchandra was a great commercial success and was an inspiration for
further such films.
India’s very first talkie (that is the first
talking film) was Alam Ara made by Ardeshir Irani which was released on
March 14th 1931. The first two south Indian films to have a theatrical
release were Prahalada (Telegu) and Kalidas (Tamil) and were released on
October 31st 1931. The first Bengali talkie to be released was Jumai
Shasthi. Talkies soon became very popular in India and actors in these
films were much in demand and made a decent amount of money by acting.
With the development of sound technology, the 1930s
saw the use of music in Indian films and Indra Sabha and Devi Deviyani
were one of the first song and dance films in India. Indian commercial
cinema (also known as masala films), which were a heady cocktail of
dance, music, drama, comedy and romance came up after the Second World
War. During the 1940s, south Indian films too had gained immense
prominence in Indian cinema.
The Partition of India in 1947 also greatly
affected Indian cinema and many films were made on this historic event
for many years to come. The Golden Age of Indian cinema came following
the independence of India in 1947 which saw the rise of a new genre of
Indian cinema called parallel cinema, which was predominantly led by
Bengali cinema. A few examples of films from this era were Nagarik by
Ritwik Ghatak (1952) and Do Biga Zameen by Bimal Roy (1953). By the mid
1950s, Satyajit Ray had made his entry into Indian Cinema and made
Pather Panchali in 1955 which was the first part of his famous Apu
trilogy.
Commercial cinema too was mushrooming and some of
the most popular commercial film in the 1950s and '60s were Awaara
(1951), Shree 420 (1955) Pyaasa (1957), Mother India (1957) Kaagaz Ke
Phool (1959) and Mughal-e-Azam (1960). Commercial cinema continued to
grow in the 1980s and 1990s and is today flourishing as one of the most
popular and loved genres in Indian cinema today. Like in the past,
Indian films still continue winning prominent awards at home and abroad.
The credit of establishment of cinema in India goes
to the Lumiere Brothers, who ignited the spark of making motion
pictures in various Indian filmmakers.
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FOR THE LOVE OF FILMS: Mohan Raman with the poster of
the 1903 play Indra Sabha,the oldest in his collection.The poster toured
Colombo,Myanmar and Malaysia and is a fine example of wooden block
printing.
click:-Times of India Publications
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2011
Master Nissar
Master Nissar
Profession – Actor (Hero / Supporting)
Most Active/Popular Decades – Early 1930s
Religion – Muslim
Ethnicity – N/A
Date of Birth – N/A
Date of Death – N/A
Debut Film – Reclamation (1929)
Last Film – Dharamputra (1961)
Significant others in the Film Industry – None
Miscellaneous Info - Master Nissar was the first superstar of the talkie era, as the term is understood today. A product of the Madan Theatres, Calcutta, Nissar took to films when the company built a film studio. Because of his ability to speak fluent Urdu and sing songs, he was an instant success. Nissar made a sought-after team with Jehan Ara Kajjan. Their biggest hits together were Shirin Farhad (1931) and Laila Majnoon (1931). People used to flock in large numbers to studios to catch a glimpse of him.
Nissar ruled the roost until a typewriter mechanic called Kundal Lal Saigal decided to don the greasepaint. After a disastrous start, Saigal hit big time with Chandidas (1934) and Devdas (1935), two of the biggest hits of the time. As an actor Nissar was highly theatrical. His decline was sudden in the wake of the Saigal wave of the mid-thirties. Nissar switched to character roles in the late 40s.
In later years, Master Nisar fell on hard times and was often seen begging near the Haji Ali Dargah, Mumbai. He died in penury in the sixties – Rauf Ahmed
Related Youtube Video – N/A
He worked in almost 50 plus movies. Some of the notable movies are mentioned below: Serial # Movie Year Cast Producer Director Music Director
- Reclamation 1929 V. Shantaram, Jadhav, Durgabai, Amboo, MasteR Nissar, Varne Aryan Films Company N. D. Sarpotdar Silent
- Laila Majnu 1931 Shahla, Kajjan, Master Nissar Madan Theatres J. J. Madan Vrijlal Varma
- Shirin Farhad 1931 Abdul Rehman, Kabuli, Kajjan, Nissar, Mohamed Hussain, Mohan, Sharifa Madan Theatres J. J. Madan Vrijlal Varma
- Bilwamangal 1932 Patience Cooper, Nissar, Nawab, Mohamed Ishaq, Sharifa, Kabuli, Kajjan Madan Theatres Fram Madan Vrijlal Varma
- Chatra Bakavali 1932 Shahla, Mukhtar Begum, Kabuli, Kajjan, Nissar, Patience Cooper, Valatoo Madan Theatres, Bharat Laxmi J. J. Madan Nagardas Nayak
- Gulru Zarina 1932 S. Kerawala, Kajjan, Kabuli, Nissar Madan Theatres J. J. Madan Vrijlal Varma
- Indrasabha 1932 Nissar, Mukhtar Begum, A. R. Kabul, Kajjan Madan Theatres J. J. Madan Nagardas Nayak
- Afzal 1933 Ameena, Shahani, A. R. Kabul, Nissar, Haseena, F. Shah, Bhudo Advani Ajanta Cinetone M. Bhavnani B. S. Hoogan
- Maya Jaal 1933 Nissar, Jairaj, Bhudo Advani, Shahzadi, Nayampally, W. M. Khan, Bibbo, Ameena, A. R. Kabul Ajanta Cinetone Shanti Dave B. S. Hoogan
- Rangila Rajput 1933 Bibbo, W. M. Khan, Kabuli, Nissar, Shahzadi, Muriyam, Ameena Ajanta Cinetone M. Bhavnani B. S. Hoogan
- Dukhtar-E-Hind 1934 W. M. Khan, Bibbo, Bhudo Advani, Tarabai, Nissar, Navin Ajanta Cinetone A. P. Kapoor Zande Khan
- Johar-E-Shamsheer 1934 Nissar, Zebunissa, Sardar Akhtar, Prabha Shankar, Jani Babu, Bibi Saroj M. J. P. Advani
- Sair-E-Paristan 1934 W. M. Khan, Nayampally, Bibbo, Nissar, Jairaj, Bhudo Advani, Aftab, Ameena, Parashar Ajanta Cinetone M. Bhavnani B. S. Hoogan
- Misar Ka Khazana 1935 Ali Shah, Nissar, Sardar Akhtar, Zebunissa, Ganpat Bakre, Jani Babu, Dulari, Prabha Shankar, Sadiq, Balabhai, Shivrani Saroj Rajhans
- Modern Girl 1935 Nissar, Zebunissa, Prabha Shankar, Bibi, Swaruprani, Balabhai Saroj Rajhans Master Sunderdas
- Shah Behram 1935 Master Nissar, Sardar Akhtar, Zebunissa, Bibi, Dulari, Jani Babu, Balabhai Saroj J. P. Advani
- Kimiagar 1936 Sayed Jaan, Nissar, Shakir, Jani Babu, Khurshid, Kitty William Saroj M. Nagendra Majumdar Mir Sahib
- Mastana Mashook 1936 Yashwant Dave, Ansuya, Samson, Bulbule, Kantilal, Himmatlal, Fazlu, Master Nissar, Ata Mohamed Vishnu Cine A. M. Khan D. Pandit
- Banke Sipahi 1937 M. Shahjahan, Bulbule, Manchi Thuthi, Baburao, Samson, Master Nissar Vaidya Productions R. N. Vaidya
- Kisan Kanya 1937 Jilloo Maa, Nissar, Padma Devi, Gulam Mohamed, Gani, Sayed Ahmed Imperial Film Company Moti Gidwani Ram Gopal Pandey
- Punjab Lancers 1937 Fatma, Laxmi, Urmila, Kanta, Master Nissar, Kapi, Ibrahim, Sayed Ahmed, Chemist, Asooji, Gulam Rasool Imperial Film Company N. G. Deware, Homi Master Madhavlal Master
- Veer Kesari 1938 M. Shahjahan, Baburao Pahelwan, Shamshad, Dhirajlal, Nazir Ahmed, Nissar, Sunder, Pushpa Rani Indira M. Dawood Chand
- Desh Bhakta 1940 Ashalata Kashmiri, Gope, Agha, Nissar, Shah Nawaz, Pir Mohamed, W. M. Khan, Harishchandra Rex Pictures A. H. Essa V. K. Naidu
- Matwali Meera 1940 Nissar, Fakir Mohammed, Ranjit Kumari, R. P. Kumari, R. P. Kapoor, Kamla, Fida Hussain, Kaul, Mukhtar Begum, Kabuli, Sultana Banu, Husn Banu Bharat Laxmi Pictures Prafulla Roy Brijlal Varma
- Kaushish 1943 Yakub, Trilok Kapoor, Sunetra, Mirza Musharaf, Kalyani, Husn Banu, Maste Nissar Din Pictures Rafiq Rizvi Bashir Dehlvi
- Jungli Ki Pukar 1946 Ameena, Shankar Vajre, Khatoon, Master Nissar, Mukhtar, Amit Roy, Ravikant, Usha, M. Hussain Allied Films Ramji Arya S. Banerji
- Romeo & Juliet 1947 Nazir Kashmiri, Sapru, Nargis, Anwar, Nissar, John Cawas, Sunalini Devi, Violet Cooper Nargis Art Concern Akhtar Hussein Husnlal Bhagatram
- Darogaji 1949 Misra, Jairaj, Nargis, Neelam Kothari, Nissar, Rajrani Nargis Art Akhtar Hussein Bhola Shreshtha
- Pyar Ki Baaten 1951 Nazir, Rashid, Trilok Kapoor, Nargis, Neelam Kothari, Maruti, Nissar, Khurshid, H. Prakash, Cuckoo Nargis Art Akhtar Hussein Bhola Shreshtha
- Ghar Sansar 1958 Krishnakant, Nargis, Balraj Sahni, Rajendra Kumar, Kumkum, Shammi, Devika, Naaz, Master Nissar, Ansari, Johnny Walker Pushpa Pictures V. M. Vyas Ravi Shanker
- Sadhna 1958 Sunil Dutt, Vaijayantimala, Leela Chitnis, Master Nissar, Ravikant, Kathana, Manmohan Krishna, Nandini, Radha Krishnan B. R. Chopra B. R. Chopra N. Dutta
- Kohinoor 1960 Azim, Leela Chitnis, Wasi Khan, Dilip Kumar, Meena Kumari, Jeevan, Kumkum, Mukri, Kumar, S. Nazir, Master Nissar, Tuntun, Rajen Kapoor Republic Film Corporation S. U. Sunny Naushad
- Masoom 1960 Sarosh Irani, Aziz, Honey Irani, Anuva Gupta, Manmohan Krishna, Mohan Choti, Chaman Puri, Bhagwan Sinha, Keshto Mukherjee, Master Nissar, Jeevankala, Gautam, Bir Sakuja, Ashok Kumar Bani Rupa Chitra Satyen Bose Robin Banerji
- Dharamputra 1961 Shashi Kapoor, Mala Sinha, Nirupa Roy, Manmohan Krishna, Indrani Mukherjee, Tabassum, Rohit, Jagdish Raaj, Balam, Narbada Shanker, Nazir Kashmiri, Master Nissar, Rehman, Devan, Babloo B. R. Films Yash Chopra N. Dutta
Nissar (I) More at IMDbPro »
- Patli Kamar Lambe Baal (2004) [production manager] (as Nishar)
- Bahu Begum (1967) [audiographer] (as Nisar)
- Char Dervesh (1964) [Actor]
- Leader (1964) [Actor] (as Master Nisar)
- Dharmputra (1961) [Actor] (as Master Nissar)
- Bahaana (1960) [Actor]
- Kohinoor (1960) [Actor] (as Master Nisar)
- Dhool Ka Phool (1959) [Actor] (as Master Nissar)
- Sadhna (1958) [Actor] (as Mast. Nissar)
- Boot Polish (1954) [Actor] (as Master Nisar)
- Pyar Ki Baaten (1951) [Actor]
- Darogaji (1949) [Actor]
- Koshish (1943) [Actor]
- Kisan Kanya (1937) [Actor .... Ram]
- Bahare Sulemani (1935) [Actor]
- Shah Behram (1935) [Actor]
- Johar-E-Shamsheer (1934) [Actor]
- Afzal (1933) [Actor]
- Maya Jaal (1933) [Actor]
- Rangila Rajput (1933) [Actor]
- Bilwamangal (1932) [Actor]
- Chatra Bakavali (1932) [Actor]
- Gulru Zarina (1932) [Actor]
- Indrasabha (1932) [Actor] (as Master Nissar)
- Laila Majnu (1931/I) [Actor]
- Shakuntala (1931/I) [Actor]
- Shirin Farhad (1931) [Actor] (as Master Nissar)
Jehanara Kajjan
Miss Kajjan. with elegant shoes. And as helpfully indicated, on a chair.
 I like that the bio claims she had “roaring” love affairs. From what little information there is, Miss Kajjan does seem to have been rather feisty. Jahan Ara Kajjan 'A Pictorial History of Indian Cinema' by Firoze Rangoonwalla (1979).
Jehanara Kajjan is an actor, known for Shirin Farhad (1931), Indrasabha (1932) and Zehari Saap (1933).
See full bio »
|
Bollywood’s silent era was dominated by Anglo-Indian and Parsi stars.
After the arrival of sound in 1931, the careers of majority of these
stars got eclipsed because of the language barrier. At this time,
Jahanara Kajjan who started her career on Urdu stage became an
instantaneous success because of her ability to speak Urdu and sing
songs. A product of the Madan Theatres, Calcutta, she made a popular
team with Master Nissar and acted in some of the biggest hits of early
talkie era – Shirin Farhad (1931) and Laila Majnoon (1931).
Kajjan’s acting style was highly theatrical and her decline was sudden in the mid-thirties when Saigal wave swept her and Master Nissar Away. After the closure of Madan Theatres in the late 30s, Kajjan resumed her career in the 40s working mainly for Sunrise Pictures and Minerva Movietone. On personal font she had roaring love affairs with many of her co-stars including Najam-ul-Hasan, major star of the 30s. Related Youtube Video – Jahanara Kajjan singing for herself in Prarthana (1943), music by Saraswati Devi. |
Filmography
Actor (21 credits)
1944
Bhartruhari
(as Kajjan)
1942
Ghar Sansar
(as Kajjan)
1940
Abla Ki Shakti
(as Kajjan)
1936
Nariraj
(as Kajjan)
1936
Shaitan Ka Pash
(as Kajjan)
1936
Struggle
(as Kajjan)
1933
Aankh Ka Nasha
1933
Dhruva
(as Kajjan)
1933
Prem Ka Nasha
(as Kajjan)
1933
Zehari Saap
(as Kajjan)
1932
Ankh Ka Tara
1932
Bilwamangal
1932
Chatra Bakavali
1932
Gulru Zarina
1932
Indrasabha
1932
Pati Bhakti
(as Kajjan)
1932/II
Shakuntala
1931/II
Laila Majnu
(as Kajan)
1931
Shirin Farhad
A R Kabuli Movies List - Funvills
www.funvills.com/…s/hindi/celebrity/a-r-kabuli.htmlSongs; Videos. Hindi Videos; Hollywood ... Indra Sabha: 1932: Nissar, Sajjan, ... a r kabuli movies, a r kabuli movie, movies of a r kabuli, movie of a r kabuli, a r ...
Abdul Rehman Kabuli
Abdul Rehman Kabuli
Abdul Rehman Kabuli - IMDb
Filmography
Actor (18 credits)
1938
Veer Bala
1936
Khooni Kaun
1936
Maa Ki Mamta
1935
Aah-E-Mazluman
1934
Sakhi Lutera
1933
Afzal
1933
Maya Jaal
1933
Prem Ka Nasha
1933
Zehari Saap
(as A.R. Kabuli)
1932
Bilwamangal
1932
Chatra Bakavali
1932
Gulru Zarina
1932
Indrasabha
(as A.R. Kabuli)
1932
Shravan Kumar
1931
Shirin Farhad
Show 
Director (3 credits)
Director (3 credits)
singing actress Mukhtar Begum,
| A beautiful singing actress of yore |  |
The
first quarter of the 20th century and the period ending with the decade
of 1930s witnessed the emergence of a number of luminaries on the
melodic firmament of the Sub-continent. The tawaifs (cultured singing
girls as distinct from prostitutes) of that period contributed much to
the melodic culture of South Asia. They enriched and refined different
gayakis (style) of thumri, dadra and thumri-accented ghazals.
Included among popular singers of that period was singing actress Mukhtar Begum, who was born in Amritsar in the year 1923 and groomed for a career in films and music in an environment that was traditionally congenial for the flowering of the arts of acting and vocalising. She received initial training in music from Mian Mehrban Khan; later, spent a long period of apprenticeship with Ustad Ashiq Ali Khan of Patiala gharana. Her grooming under the supervision of these mentors equipped her well to practise several genres of classical music, including thumri, dadra and ghazal. Soon, her name reached every nook and cranny of the Punjab, from where affluent members of society invited her for mujras (demonstrations of her melodic prowess) at their havelis and mansions. She also demonstrated her melodic skill in the darbars (courts) of Nawabs and Maharajas in different regions of undivided India.
(Fareeda Khanum's sister
The Best Of Farida Khanum Songs of 2012www.gaana.com/
Mukhtar Baigum wife of Agha Hashar Kashmiri, was a big name of 30's and 40's films as actress and singer. She acted in a lot of films Chitra bakaoli, Hateeli dulhan, Indar sabha, Hindustan, Krishna kant kee wassiayat, Muflis Ashiq, Sharoon kumar, Ankh ka nasha, Aourat ka piar, Ramain, Dil kee pias and Matwalee meera.
After migration to Paksitan she did not perform in any film but her sister Fareeda Khanum (Sailab-53) is a great Ghazal singer. Mukhtar begum was also guardian of Rani who at the beginning of her career, used name Mukhtar a part of her name like Rani Mukhtar.
Related links: » Rani
RANI KIRAN (Sister of Asha Posley)
She was not a big actress worked in Kamlee (India - 1946) and Mundri (Pakistan - 1949). But her sister Asha Posley heroine of first Pakistan film Tairi Yad but a famous vamp of Pakistan silver screen in 50's and 60's.
-
Mukhtar begum Sings Agha Hashar Kashmiri-Yaad Main Teri Jahan Ko
MUKHTAR BAIGUM (Fareeda Khanum's sister/Guardian of Rani) Mukhtar Baigum wife of Agha Hashar Kashmiri, was a big name ... -
Mukhtar Begum sings a ghazal of Agha Hashar "bey meher iltamas-e tamana pey hans paraDa"
Elder sister of the great Farida Khanum Mukhtar Begum was also trained by the great Ashiq Ali Khan of Patiala School. She was a ... -
Mukhtar Begum sings Dadra ~Ab lagi nahi chotey
Mukhtar Begum sings Pahari Dadra Lyrics ~Ab Lagi nahi chotey (Raga Pahari) marvelously sung by Mukhtar Begum A Syed ...
An Hour with Legendary Mukhtar Begum - Rare Gems - YouTube
--------------------------------------------------------------------------------------------
The bioscope was brought to Calcutta by one Dr. Stevenson, where he screened his film Flower of Persia
Director:J.J. Madan
1921-1930 :
Liberal Period
The First Movie Moghul
THE Madan Theatres Ltd., a joint stock venture, was launched in 1919, by
India's first movie moghul, Jamshetji Framji Madan.
Jamshedji Framji Madan - Wikipedia
Jamshedji Framjee MadanOffices of J F Madan & Co (Lenin Street)Lenin Street, (formerly Dharamtala Street), Head Office of Madan Theatre…
the above film hacked and removeds
The Warwick Trading Company's Joseph Rosenthal, with his Bioscope camera,
________________________________________
1902 J.F. Madan (1856-1926) launches his bioscope show in a tent at Calcutta Maidan.
below- the first ever Cinema Hall in India. Better known as Elphinstone Picture Palace, and later called Chaplin Cinema, this is the first ever Cinema Hall in India. Founded by Jamshedji Framji Madan
The Bioscope
The Warwick Trading Company’s Joseph Rosenthal, with his Bioscope camera,
Movie Projector - Bioscope, Model E, Warwick Trading Co, London, England, circa 1900
Reg. No: ST 016549
- Bioscope, Projecting Model E with lantern lens, four-arm revolving shutter and two spools. Made by Warwick Trading Co., London,
- Description:
- Movie projector with a wooden base, metal frame and copper alloy fittings.
- Acquisition Information:
- Donation from Mr James Searle, 1927
-
The Parsis of Madras – 2 (By Zarin Mistry)
| The Parsis of Madras – 2 |
| (By Zarin Mistry) |
Significant contributors to the City
Before
I set to talk of the individual contributions the Parsis had made to
Madras, a brief note on the Irani Zoroastrians whom I should have
referred to in the first part of this series.
The
Iranis, who are different from the Parsis, migrated to India about 200
years ago, mainly due to economic deprivation and political harassment.
The first Irani families came to Madras around 1900. They started the
famous ‘Irani’ cafes. Many of readers will, no doubt, recall National
Café on Mount Road and Café Zum Zum on Second Line Beach. These
restaurants served wholesome food at reasonable rates. One of the most
respected Iranis was Rustom F. Mazda, who set up what was probably the
city’s first ice factory and cold storage, at the end of Pantheon Road
where Albert Theatre now stands. The first Star Talkies at Round Tana
was started by an Irani family and, later, it built Casino Theatre.
Talking
of theatres, the old Elphinstone was built by the well-known ‘Theatre’
Madan family of Calcutta. The New Elphinstone was started by the famous
Sohrab Modi and was managed by Parsis till it closed down in 1968.
Wellington Talkies was an enterprise of the Dorabji family and all S.S.
Vasan’s films were screened there.
And so to the Parsis’ contribution to the economic, social and cultural fabric of the city...
Hormusji
Nowroji, President of the Parsi Anjuman for almost 45 years, designed
the Fire Temple in Royapuram. He must have been a well-known personality
in the city. Sadly, no records of his achievements exist and anyone who
can fill in the gaps may please write in to Madras Musings.
The
philanthropist-trader Phiroj M. Clubwala helped strengthen the
foundation of the community in Madras. When his 14-year-old son Jal
passed away, he donated the Fire Temple to the Anjuman, the first after a
hundred years of residence by the community. He also built a block in
the Anjuman Bagh and donated a large tract of land near his house
to St. Kevin’s Presentation Convent and School – the best school for
girls in North Madras, even today.
The
Parsis’ Ecclesiastical Head in Madras, Ervad Peshotan Daji, “Pesi” as
he was affectionately called, was associated with the Fire Temple for
over 60 years. He started as an assistant priest mobed in 1924 when he
was just 12. His grandfather (1913-38) and father (1938-68) managed the
Fire Temple. Peshotan then took on the mantle and continued to serve the
community till 1983. His devotion to the holy fire was put to test
when, during World War II, Royapuram was evacuated. Peshotan, as a young
priest, refused to close down the Fire Temple and stayed on alone to
keep the fire burning
Dhun Building on
Mount Road is a familiar landmark. One of the first high-rise
constructions in Madras, it was built by Jehanbux H. Tarapore in memory
of his wife, Dhun. A Civil Engineer from Guindy Engineering College, his
career, spanning over 60 years, began in 1926. He set up the firm
Tarapore & Co. in partnership with Loganatha Mudaliar. The
Company constructed mega structures vastly diverse in type, form and
utility. It was involved in the construction of dams such as the
Tungabhadra, Sharavati, Hirakud dam and Farakka. Numerous factory
complexes for steel, cement, copper, aluminium and textile industries
were also built by the firm throughout India. Jehanbux faced a major
tragedy when, in a car accident, five of his family members died. That
did not deter him from his commitment to build better. A charitable
Trust the “J.H. Tarapore Foundation”, set up in 1979, annually supports
various educational and health care institutions. Many physically and
economically challenged persons have also benefited from the Trust.
Another famous landmark, Abbotsbury owned by him, was donated to the Sathya Sri Sai Baba Trust. Jehanbux was appointed Sheriff of Madras in 1963.
Dorab B. Madan
Dorab
“Dolly” Burjor Madan was from the Calcutta Madan family mentioned
earlier. Leaving Calcutta for personal reasons, he started from scratch
in Madras, riding a lady’s bicycle to work. He began in 1945 as Tata’s
agent for distribution of mild steels and, years later, ended up as a
Director in one of the Tata companies. Within 20 years of beginning life
in Madras, he developed D.B. Madan & Co. into one of the
leading shipping agencies in Madras and amassed a fortune for DSR Lines
of East Germany and for his Russian principals, the Black Sea and Fesco
companies. For his services, the Government of the USSR awarded him its
highest civilian maritime honour for his 40-year association with its
shipping business.
Minoo
K. Belgamwala was a well-known figure in the world of motor sports and
horse racing. He came to Madras in 1939 as the Regional Manager of the
Asbestos Cement Limited and was later instrumental in starting their
factory in Coimbatore in 1951. Basically an audio and radio electronics
engineer, he was one of the founders of the Madras Motor Sports Club and
served as its President for 18 years (which, incidentally, is a
record). Minoo put the village of Sholavaram on the map of motor sports
racing in India.
A
keen rider, he was a race day official at the Madras Race Club for
nearly 50 years. He served as Chief Judge for the last 25 years of his
tenure. As Chairman of the Automobile Association of Southern India for
20 years, he represented India at various international conferences. He
was President of the Parsi Anjuman for 25 years.
Aspy
Litho Works was a familiar sight on General Patter’s Road. The founder,
Arjasp Taraporwala, was a graduate in Philosophy from Madras Christian
College. During the pre-Independence period, his father’s firm was
well-known as a dealer in luxury motor cars. However, when the firm’s
fortunes took a reversal during World War II, Arjasp took up military
contracts, then in 1948 founded the litho press (later progressing to
offset) to print cinema posters. Arjasp was a founder-member of the
Madras Printers’ and Lithographers’ Association and was its President
for some years. He was also Vice-Chairman and Patron of the Guild of
Service.
Cinema
in Tamil Nadu has always had a huge fan following and two Iranis
contributed their skills to the flourishing industry. The first was the
legendary Adi Merwan Irani who started his career with the Imperial Film
Company of Bombay and by 1929 he had many firsts to his credit – first
newsreel, aerial and underwater shots, trick photography and the
favourite “double role” technique. Adi was always fine-tuning his art
and filmed India’s first talkieAlam Ara. Adi moved to Madras in 1939 and worked on S.S. Vasan’s movies such asKamadhenu and Bala Nagamma. He then moved to Coimbatore to capture the mythological classic Haridas – which ran for a record three years!
From 1949 he worked for Vauhini Studios and Nagi Reddy Studios. He shot the famousMalleswari (which had the first crane shot in South India) and Prince & Pauper.
Many directors were made because of his instinct as a cinematographer
and he was held in great respect by stars like Gemini Ganesan, M.R.
Radha and N.T. Rama Rao. He passed on his art to his son Mehli Irani who
went on to become an award-winning cinematographer in the Malayalam
film industry. The early development of Indian cinema was embellished by
Adi’s sense of visual wonder and artistry.
A
rags to riches story of true grit and determination is that of Dinshaw
Tehrani, an unhappy young Zoroastrian in Iran who boarded a ship as a
stowaway and landed in Madras empty-handed. He was working as a porter
in Central Station when some Parsis working with the Connemara Hotel
spotted him and, deciding to help, got him work in a film studio for
doing odd jobs. It is a wonder how, speaking only his native Dari
language, Dinshaw managed to pick up the basics of sound engineering. He
became so proficient in his job that he was soon working for big
studios. He eventually started Newtone Studios in Kilpauk as a
partnership firm. Dinshaw produced Paal Kudam under his ‘Manijeh Cine Arts’ banner and recorded S.P. Balasubramaniam’s famous song Malligai Poo Vaanghi Vandhen. He also recorded Bhanumathi’s famous song O! Paavuramma in the film Swarga Seema with a huge metallic bell hung over the mike, to give the song its dreamy, silken tone!
Newtone Studios was famous for producing many Tamil, Telugu and Malayalam films. The interior shots of Meera,
the well-known M.S. Subbulakshmi film, were taken here. Dinshaw worked
on the audiography of this movie as well. It was directed by the famous
Ellis R. Dungan. At one time, Dinshaw was the top sound engineer of the
South. The Bharatiya Vidya Bhavan School on Kilpauk Garden Road is on
the site of this once-famous studio.
Dr. Meherji Maneckshaw Cooper
In
Madras Medical College campus is a heritage building the “Red Fort”. It
housed the Anatomy Department and one of its best-known professors was
Dr. Meherji M Cooper. He started his teaching career in 1946.
Simplifying this difficult subject for the thousands of students who
passed out during his tenure was his passion. With his ever-ready wit
and explicit diagrams, he made lecture sessions unforgettable. Meherji
taught not just second but even third generation students. When he
retired in 1979, he was Director, Institute of Anatomy, and
Vice-Principal of the College. Cooper was elected a Fellow of the Madras
Medical College. He was one of the founding members of the Anatomical
Association of Tamil Nadu. He was also appointed Professor Emeritus of
Stanley Medical College.
There
is one luminary of yesteryears who was outstanding in the field of
Social Service. More on her in the last part of this series.
Madan theatres at madras(now chennai)
Before
I set to talk of the individual contributions the Parsis had made to
Madras, a brief note on the Irani Zoroastrians whom I should have
referred to in the first part of this series.
The
Iranis, who are different from the Parsis, migrated to India about 200
years ago, mainly due to economic deprivation and political harassment.
The first Irani families came to Madras around 1900. They started the
famous ‘Irani’ cafes. Many of readers will, no doubt, recall National
Café on Mount Road and Café Zum Zum on Second Line Beach. These
restaurants served wholesome food at reasonable rates. One of the most
respected Iranis was Rustom F. Mazda, who set up what was probably the
city’s first ice factory and cold storage, at the end of Pantheon Road
where Albert Theatre now stands. The first Star Talkies at Round Tana
was started by an Irani family and, later, it built Casino Theatre.
Talking
of theatres, the old Elphinstone was built by the well-known ‘Theatre’
Madan family of Calcutta. The New Elphinstone was started by the famous
Sohrab Modi and was managed by Parsis till it closed down in 1968.
Wellington Talkies was an enterprise of the Dorabji family and all S.S.
Vasan’s films were screened there.
And so to the Parsis’ contribution to the economic, social and cultural fabric of the city...
Hormusji
Nowroji, President of the Parsi Anjuman for almost 45 years, designed
the Fire Temple in Royapuram. He must have been a well-known personality
in the city. Sadly, no records of his achievements exist and anyone who
can fill in the gaps may please write in to Madras Musings.
The
philanthropist-trader Phiroj M. Clubwala helped strengthen the
foundation of the community in Madras. When his 14-year-old son Jal
passed away, he donated the Fire Temple to the Anjuman, the first after a
hundred years of residence by the community. He also built a block in
the Anjuman Bagh and donated a large tract of land near his house
to St. Kevin’s Presentation Convent and School – the best school for
girls in North Madras, even today.
The
Parsis’ Ecclesiastical Head in Madras, Ervad Peshotan Daji, “Pesi” as
he was affectionately called, was associated with the Fire Temple for
over 60 years. He started as an assistant priest mobed in 1924 when he
was just 12. His grandfather (1913-38) and father (1938-68) managed the
Fire Temple. Peshotan then took on the mantle and continued to serve the
community till 1983. His devotion to the holy fire was put to test
when, during World War II, Royapuram was evacuated. Peshotan, as a young
priest, refused to close down the Fire Temple and stayed on alone to
keep the fire burning
Dhun Building on
Mount Road is a familiar landmark. One of the first high-rise
constructions in Madras, it was built by Jehanbux H. Tarapore in memory
of his wife, Dhun. A Civil Engineer from Guindy Engineering College, his
career, spanning over 60 years, began in 1926. He set up the firm
Tarapore & Co. in partnership with Loganatha Mudaliar. The
Company constructed mega structures vastly diverse in type, form and
utility. It was involved in the construction of dams such as the
Tungabhadra, Sharavati, Hirakud dam and Farakka. Numerous factory
complexes for steel, cement, copper, aluminium and textile industries
were also built by the firm throughout India. Jehanbux faced a major
tragedy when, in a car accident, five of his family members died. That
did not deter him from his commitment to build better. A charitable
Trust the “J.H. Tarapore Foundation”, set up in 1979, annually supports
various educational and health care institutions. Many physically and
economically challenged persons have also benefited from the Trust.
Another famous landmark, Abbotsbury owned by him, was donated to the Sathya Sri Sai Baba Trust. Jehanbux was appointed Sheriff of Madras in 1963.
Dorab
“Dolly” Burjor Madan was from the Calcutta Madan family mentioned
earlier. Leaving Calcutta for personal reasons, he started from scratch
in Madras, riding a lady’s bicycle to work. He began in 1945 as Tata’s
agent for distribution of mild steels and, years later, ended up as a
Director in one of the Tata companies. Within 20 years of beginning life
in Madras, he developed D.B. Madan & Co. into one of the
leading shipping agencies in Madras and amassed a fortune for DSR Lines
of East Germany and for his Russian principals, the Black Sea and Fesco
companies. For his services, the Government of the USSR awarded him its
highest civilian maritime honour for his 40-year association with its
shipping business.
Minoo
K. Belgamwala was a well-known figure in the world of motor sports and
horse racing. He came to Madras in 1939 as the Regional Manager of the
Asbestos Cement Limited and was later instrumental in starting their
factory in Coimbatore in 1951. Basically an audio and radio electronics
engineer, he was one of the founders of the Madras Motor Sports Club and
served as its President for 18 years (which, incidentally, is a
record). Minoo put the village of Sholavaram on the map of motor sports
racing in India.
A
keen rider, he was a race day official at the Madras Race Club for
nearly 50 years. He served as Chief Judge for the last 25 years of his
tenure. As Chairman of the Automobile Association of Southern India for
20 years, he represented India at various international conferences. He
was President of the Parsi Anjuman for 25 years.
Aspy
Litho Works was a familiar sight on General Patter’s Road. The founder,
Arjasp Taraporwala, was a graduate in Philosophy from Madras Christian
College. During the pre-Independence period, his father’s firm was
well-known as a dealer in luxury motor cars. However, when the firm’s
fortunes took a reversal during World War II, Arjasp took up military
contracts, then in 1948 founded the litho press (later progressing to
offset) to print cinema posters. Arjasp was a founder-member of the
Madras Printers’ and Lithographers’ Association and was its President
for some years. He was also Vice-Chairman and Patron of the Guild of
Service.
Cinema
in Tamil Nadu has always had a huge fan following and two Iranis
contributed their skills to the flourishing industry. The first was the
legendary Adi Merwan Irani who started his career with the Imperial Film
Company of Bombay and by 1929 he had many firsts to his credit – first
newsreel, aerial and underwater shots, trick photography and the
favourite “double role” technique. Adi was always fine-tuning his art
and filmed India’s first talkieAlam Ara. Adi moved to Madras in 1939 and worked on S.S. Vasan’s movies such asKamadhenu and Bala Nagamma. He then moved to Coimbatore to capture the mythological classic Haridas – which ran for a record three years!
From 1949 he worked for Vauhini Studios and Nagi Reddy Studios. He shot the famousMalleswari (which had the first crane shot in South India) and Prince & Pauper.
Many directors were made because of his instinct as a cinematographer
and he was held in great respect by stars like Gemini Ganesan, M.R.
Radha and N.T. Rama Rao. He passed on his art to his son Mehli Irani who
went on to become an award-winning cinematographer in the Malayalam
film industry. The early development of Indian cinema was embellished by
Adi’s sense of visual wonder and artistry.
A
rags to riches story of true grit and determination is that of Dinshaw
Tehrani, an unhappy young Zoroastrian in Iran who boarded a ship as a
stowaway and landed in Madras empty-handed. He was working as a porter
in Central Station when some Parsis working with the Connemara Hotel
spotted him and, deciding to help, got him work in a film studio for
doing odd jobs. It is a wonder how, speaking only his native Dari
language, Dinshaw managed to pick up the basics of sound engineering. He
became so proficient in his job that he was soon working for big
studios. He eventually started Newtone Studios in Kilpauk as a
partnership firm. Dinshaw produced Paal Kudam under his ‘Manijeh Cine Arts’ banner and recorded S.P. Balasubramaniam’s famous song Malligai Poo Vaanghi Vandhen. He also recorded Bhanumathi’s famous song O! Paavuramma in the film Swarga Seema with a huge metallic bell hung over the mike, to give the song its dreamy, silken tone!
Newtone Studios was famous for producing many Tamil, Telugu and Malayalam films. The interior shots of Meera,
the well-known M.S. Subbulakshmi film, were taken here. Dinshaw worked
on the audiography of this movie as well. It was directed by the famous
Ellis R. Dungan. At one time, Dinshaw was the top sound engineer of the
South. The Bharatiya Vidya Bhavan School on Kilpauk Garden Road is on
the site of this once-famous studio.
In
Madras Medical College campus is a heritage building the “Red Fort”. It
housed the Anatomy Department and one of its best-known professors was
Dr. Meherji M Cooper. He started his teaching career in 1946.
Simplifying this difficult subject for the thousands of students who
passed out during his tenure was his passion. With his ever-ready wit
and explicit diagrams, he made lecture sessions unforgettable. Meherji
taught not just second but even third generation students. When he
retired in 1979, he was Director, Institute of Anatomy, and
Vice-Principal of the College. Cooper was elected a Fellow of the Madras
Medical College. He was one of the founding members of the Anatomical
Association of Tamil Nadu. He was also appointed Professor Emeritus of
Stanley Medical College.
There
is one luminary of yesteryears who was outstanding in the field of
Social Service. More on her in the last part of this series.
|
photo removed by hackers
Madan St, Kolkata, West Bengal 700013
Madan Street CALCUTTA
Madan St, Kolkata, West Bengal 700013
Essentially a
showman, Madan thought in terms of spectacle and melodrama.
The company had under contract a number of European technicians and
directors. For their 1920 grand production, Nala and Damayanti, Framji
chose an Italian director, Eugenio De Liguoro.
When Nala and Damayanti opened in 1921 in Bombay, the Times Of India
said, "Nala and Damayanti...has all the finishes of a film produced in
Europe and America..."
Being the largest importer of American films in the country, producing
at least 8-10 films of their own each year, and maintaining a
well-equipped studio and a premium staff, Madan Theatres created an
unrivalled monopoly in the film industry.
After J.F. Madan's death in 1923, his son J.J. Madan[Jeejeebhoy Jamshedji (J.J.) Madan] began a trend with
his 'social' films which introduced such stereotypes as the wayward
husband, the virtuous wife and the exotic vamp. He produced hits like
Pati Bhakti (1922) and Patni Pratap (1923) on the same theme.
In 1924, Madan produced, with UG Italania, a mythological, Savitri, in
Rome. Italians played the two lead roles of Savitri and her husband,
Satyavan.
Trends
The Twenties were a rather liberal period by traditional moral
standards. Kissing was common on the Indian screen, especially
appreciated when the stars were Sulochana and Dinshaw Billimoria, the
most popular lead pair of the time. The male heart-throb brigade was led
by Billimoria, Raja Sandow and Master Vitthal. Most of the heroines
were Anglo-Indian girls.
Diary
1921 — Dhiren Ganguly's Bilet Ferat or 'England Returned' was the first
love story of modern times on the Indian screen, starting the long trail
of 'social' films depicting love and romance.
1921 — Kohinoor's Bhakta Vidur (with proprietor D. Sampat playing the
lead role) created India's first censorship controversy. The film had
heavy political overtones, with references to Gandhiji and his ideals.
1922-'23 — Entertainment Tax was introduced in the Bombay and Bengal Presidencies.
1923 — Noor Jehan or Light of the World, a Madan film starring Patience
Cooper, became the first historical film on the Moghul dynasty to catch
the interest of the audience.
1924 — Kohinoor's Kala Naag / Triumph of Justice / Kalyug Ki Sati,
created quite a stir. It was based on the life of a rapist-murderer,
Haridas Chapsi, who was undergoing trial during the release of the film!
1925 — Baburao Painter's groundbreaking Savkari Pash or Indian Shylock
focussed on the lives of countless, illiterate, impoverished farmers
cheated by moneylenders. This artistically acclaimed film flopped badly
at the box office.
1927 — Chandulal Shah's Bhaneli Bhamini or Educated Wife, with Goharbai,
in the lead, started a new genre of movies depicting the Indian woman
fighting for her rights.
(Content provided by Amrita Bharati)
1931-1940 : Movies to TalkiesThe Sound of Movies
IN the 1920's, Madan Theatres was already investigating the possibilities of synchronized sound and pictures. Having visited Hollywood at the time, J. J. Madan had started the construction of a sound proof studio in Tollygunge (Calcutta). By the end of the 30's, out of a total of 370 theatres in India, more than 30 had been wired for sound.
However, the thunder was stolen from under Madan's nose, by Ardeshir Irani.
On March 14, 1931, Irani's Imperial Film Company released India's first full-length talkie, Alam Ara (Light of the World).
The Indian audiences were thrilled by the song-and-dance routines in Alam Ara. Consequently filmmakers started using them indiscriminately, regardless of their relevance to the story or plot. Shirin Farhad had 42 songs and Madan's Indrasabha had as many as 59! Artistes like Mukhtar Begum, Gohar, Jaddanbai, Master Nissar and K.L Saigal, who had impressive voices, were much in demand.
Trends
Most of the early talkies were made in Hindustani (Hindi and Urdu). Eventually, film makers branched out into their vernaculars, making films in Hindi, Urdu, Gujrati, Marathi, Bengali, Tamil, Telugu, Malayalam, Kannada, Punjabi and Assamese.
Subjects and treatment were as diverse as their makers. For example, while P.C Barua's films were dripping with romance, self-pity and morbidity, V. Shantaram's films (Kunku, Aadmi, etc.) were provocative comments on the social millieu of the time, especially the subservient position of 'outclassed' women. In total contrast, Hunterwali was a landmark in itself, considering its phenomenal success in a patriarchal society.
Diary
1932 — New Theatres released its Bengali film, Chandidas, which shot its maker B. N Sircar and its talented director Debaki Bose into the limelight.
Prabhat's V. Shantaram made his first sound film Ayodhyecha Raja, in Hindi and Marathi. The aristocratic lead actress, Durga Khote, paved the way for women from respectable families to star in films.
Himanshu Rai released Karma, in Hindi and English. He and his wife-to-be, Devika Rani, played the main roles. The film was premiered in London and made its heroine the darling of the international press!
1935 — Prathamesh Chandra (P.C.) Barua released his Bengali film Devdas, based on the popular novel by Sarat Chandra Chatterjee, starring Barua himself in the lead role of the drunkard, Devdas. The film became one of the biggest commercial and critical successes of Indian cinema, forcing Barua to make a Hindi version in the same year starring Kundanlal Saigal (who became India's first major singer-star).
Hunterwali, starring 'Fearless Nadia' made its director Homi Wadia a household name, and popularized the stunt film genre.
1936 — Prabhat's Sant Tukaram became the first Indian film to win an international award. It was adjudged the third best film at the Venice Film Festival in 1937!
1937 — Ardeshir Irani released India's first colour film, Kisan Kanya.
1939 — Rai's Achhut Kannya was one of the first films to portray the plight of lower-caste women. It made Devika Rani and Ashok Kumar the most popular pair of the decade.
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Directed by V. Shantaram
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All INDIAN movies from the year 1932
Director:
Stars: Mukhtar Begum , Patience Cooper , Jehanara Kajjan , Keravala , Nawab
Director: J.J. Madan
Director: Jyotish Bannerjee
Stars: Chanda , Indubala , Jehanara Kajjan , Laxmi , Narmada Shankar
Director: Master Vithal
Stars: Shahu Modak , Vasant
Director: P.C. Barua
Stars: P.C. Barua , Prabhabati Barua , Phani Burma , Sailen Choudhury
Director: Anand Prasad Kapoor
Stars: Chandrarao , Ashraf Khan , Tara , Yakbal , Zebunissa
Director: Kanjibhai Rathod
Stars: Laxmi
Director: Jayant Desai
Stars: Keki Adajania , D. Bilimoria , Dixit , Ghori , Ishwarlal , Kamala , Shanta Kumari
Director:
Stars: Patience Cooper , Mohammad Isaq , Abdul Rehman Kabuli , Jehanara Kajjan , Nawab , Nissar , Sharifa
Director: Nanubhai Vakil
Stars: Khatun , J. Sushila
Director: Jayant Desai
Stars: Keki Adajania , D. Bilimoria , Dixit , Ghori , Ishwarlal , Kamala
Director: J.J. Madan
Stars: Mukhtar Begum , Patience Cooper , Abdul Rehman Kabuli , Jehanara Kajjan , Khurshid , Nissar
Director: Pesi Karani
Stars: Elizer , Hadi , Jamshedji , Prithviraj Kapoor , Mushtari , Zohra
Director: Jayant Desai
Stars: Dixit , Ghori , Shanta Kumari
Director:
Stars: Patience Cooper
Director: Anand Prasad Kapoor
Stars: Ashraf Khan , Zebunissa
Director: J.J. Madan
Stars: Abdul Rehman Kabuli , Jehanara Kajjan , Keravala , Nissar
Director: J.J. Madan
Stars: Abbas , Mukhtar Begum , Patience Cooper , Khurshid , Laxmi , Leela
Director: Abdul Rashid Kardar
Stars: Anwari , Walait Begum , Rafiq Ghaznavi , Gul Hamid , M. Ismael , M. Ismail , Fazal Shah , Lala Yaqoob
Director:
Stars: Mukhtar Begum , Rose , Narmada Shankar
Director: Homi Master
Director: Anand Prasad Kapoor
Stars: Sardar Akhtar
Big-budget movie with over 69 songs. 'The Hindi Devmala [Hindi Pantheon] with the Islamic Ravaiyat'...
Director: J.J. Madan
Stars: Nissar , Jehanara Kajjan , Abdul Rehman Kabuli , Mukhtar Begum
An adventure movie about a king (Bhosle) who is overthrown by the perfidy of his villainous Commander (Pendharkar)...
Director: Rajaram Vankudre Shantaram
Stars: Shankarrao Bhosle , Kamaladevi , Master Vinayak , Budasaheb , Nimbalkar , Leela , Baburao Pendharkar
Director:
Stars: Bhim , Gohar , Navinchandra
Director:
Stars: Bibijan , Master Mohammed
Director:
Stars: Shanta Kumari , Haider Shah
Adventure spectacular set in the 4th-C. Gupta period during the battles between the kingdoms of Ujjain and Kanauj...
Director: R.S. Choudhury
Stars: Ruby Mayer , Ghulam Mohammed , Vinayakrao Patwardhan , Jamshedji , Hadi , Chanda
Director:
Stars: Khatun , Baburao Pendharkar
This film based on the Tantric legend about the guru Machhindranath (Tembe) and his disciple Gorakh...
Director: Rajaram Vankudre Shantaram
Stars: Govindrao Tembe , Durga Khote , Master Vinayak , Leela , Rajarambapu Purohit , Bazarbattoo , Nimbalkar , Baburao Pendharkar , Tanibai , Hirabai , Mohini
Director: J.J. Madan
Stars: Mukhtar Begum , Khurshid
Director:
Stars: Hadi , Jamshedji , Ghulam Mohammed , Mushtari
Director: Moti B. Gidwani
Director:
Stars: Patience Cooper , Jehanara Kajjan , Mohan , Narmada Shankar , Surajram
Director: J.K. Nanda
This film tells of Radha (Gohar), a carefree rural belle who is supposed to marry childhood friend Gopal...
Director: Chandulal Shah
Stars: Gohar , M. Bhagwandas , Keki Adajania , Baburao Sansare , E. Bilimoria
Director: Anand Prasad Kapoor
Stars: Sunita Devi , Khurshid , Mohan , Radha
Director: Nagendra Majumdar
Director: G.R. Sethi
Stars: Ghaznavi , Haider Shah , Tara
Director: S.R. Apte
Director: Bhagwati Prasad Mishra
Stars: Hadi
This mythological film is based on the Mahabharata. It depicts the tale
of how Savitri (Gohar) saves her husband Satyavan (Bhagwandas) from the
cl..Director: Chandulal Shah
Stars: M. Bhagwandas , Ghori , Keki Adajania , Alladdin , Baburao Sansare , Gohar , Shanta , Kamal , Tara
Champraj, king of Bundi (Jamshedji), boasts in the court of the maharaja
Karansingh of his wife Sone's (Jilloo) purity and fidelity...
Director: Madanrai Vakil
Stars: Jamshedji , Boman Shah , Hadi , Jillo , Mushtari
Director:
Stars: Jehanara Kajjan , Kapoor , Ashraf Khan , Zebunissa
Director:
Stars: Shanta Kumari
Director:
Stars: Noor Jehan , J. Sushila
Director:
Stars: Keki Adajania , M. Bhagwandas , Gohar , Kamala
Director: Thorold Dickinson
Stars: Husn Banu , P. Jairaj , Jal Khambatta , Jagdish Sethi , Shahzadi
Director:
Stars: Mukhtar Begum , Abdul Rehman Kabuli , Panna Rani
Children's mythological drawn from the Vishnu Purana telling of the child Krishna (Modak). The film...
Director: Bhalji Pendharkar
Stars: Shahu Modak , Shanta Apte , Bandopant Sohoni , Baburao Ketkar , Raja Sandow P.K. , Bapurao Apte
Director: Mohan Dayaram Bhavnani
Stars: Ashraf Khan , Mehtab , Mubarak
Director: Harshadrai Sakerlal Mehta
Director: Jyotish Bannerjee
Stars: Ahindra Choudhury , Dhiren Das , Belarani Devi , Kanan Devi , Joy Narayan Mukherjee , Renubala , Shishubala , Umasashi
This historical fantasy's story is drawn from the Rajput war sagas and
features the despotic Jaisingh (Poonawala) who usurps the throne of
Achalga..Director: Bhagwati Prasad Mishra
Stars: Master Vithal , Ermeline , Jamshedji , Rustom Poonawala , Hadi , Saku
Director: Ezra Mir
Stars: Charlie , Jal , S.B. Nayampalli , Nazir , Yakub , Zubeida
=========================
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| Madan Theaters Laila Majnu - 1931;acting Master Nissar Miss Kajjan & Miss Shehla =========================
|
 Wednesday, Jun 25, 2003 |
| Metro Plus Chennai | Published on Mondays, Tuesdays, Wednesdays & Thursdays | ||
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The Film Industry (1921)
studios in the late 1950s
1939 FILM PRODUCTION
Silents to TALKIE;Studio' Golden Years-1920-1930
The Movie Cameramen's Derby, released 7 September 1922, which shows a race between British newsreel cameramen
The interior of Vitaphone Studios, circa the late 1920s, on Avenue M in Brooklyn, where early sound movies were shot
NestorStudios-Hollywood-1913-Silent movies era
Filming at Essanay Studios, 1908, Chicago. Notice that all sets were built outdoors to take advantage of natural light. This is one of the main reasons that the Essanay and Selig film companies eventually moved to California,
Cartoon
parodying the alarm over the L.C.C.’s first regulations for film
exhibition, from The Showman, 8 March 1901 (signed as being originally
from The Photographic Dealer, 1898)
