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Zalim Jawani (B.P. Mishra) 1932
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Zalim Jawani
Alternative Titles: The Youth; Chandraprabha
Year: 1932; Language: Hindi; Color: Black and White
Writer: B.P. Mishra; Cinematographer: Adi M. Irani
IMDb ID: 0241593
Mishra, who died in 1932, followed his Draupadi (1931) with this historical fantasy establishing thestudio's trademark genre. The story is drawn from the Rajput war sagas and features the despotic Jaisingh (Poonawala) who usurps the throne of Achalgarh. The court intrigues involve the good Pratap (Vithal), lover of Princess Chandmprabha (Ermeline), hidden testaments from the dead King Udaybhanu, fortune tellers and a swayamvar (a public contest) to claim the princess as a bride. The film's treatment of sexuality receives an unusual twist when the misogynist Sher Singh (Hadi), a friend of Pratap, is forced to impersonate a woman to protect Chandraprabha from the villain Ranamal Uamshedji). The main highlights are Master Vithal's swordplay.
B.P. Mishra (Director, Writer) - Show Filmography
Bhagwati Prasad Mishra (1896-1932) Hindi director, actor and producer born and educated in Benares. Achieved some renown as photographer and painter; apprenticed to painter Hussain Bux (1916-21). Worked in theatre group Vyakul Bharat Natak Mandali in Meerut. Joined Star Film as poster designer (1921). Directorial début: Razia Begum, causing communal controversy in Hyderabad (see Dhiren Ganguly). Worked with Ardeshir Irani’s Star, Majestic, Royal and Imperial Studios as actor-director, making some of the latter’s big-budget sequels to Alam Ara (1931). Promoted independent companies Indian Pic. Corp. and Zarina Pics. Then worked in Sharda and Sagar Studios until his death. His films, with those of colleague R.S. Choudhury, are often cited among the first silent productions to stress the visual rather than the plot. Did several covers and illustrations for press books, including the striking designs for Naharsinh Daku.
Master Vithal (Cast) - Show Filmography
(?-1969) Best-known Marathi and Hindi stunt star. Stage début as a child at the Rajapurkar Natak Mandali. Worked as editor at Maharashtra Film, a studio with a reputation for stunts in their mythologicals, e.g. by legendary actors Zunzharrao Pawar (1891-1982) or Ganpat Bakre (1901-1983). Vithal started playing a dancing-girl in Kalyan Khajina. Played minor roles in Bhalji Pendharkar silents before breaking through at the Sharda Studio. First lead appearance in Ratan Manjari. He was its top star for several years, usually playing Douglas Fairbanks-type roles grafted on to indigenous Rajput and Maratha legends. Bhogilal Dave’s special effects accompanied his work, along with the rapid editing of directors like A.P. Kapur, Nanubhai Desai, Harshadrai Mehta, Luhar, etc. The style Vithal helped shape had a tremendous impact, making the Sharda Studio synonymous with lowbudget stunt films in the silent era. Wadia Movietone later tried to redefine the stunt genre with direct reference to the Niblo/Fairbanks figure of Zorro to distance the genre from Vithal. Moved to Sagar in 1930 (and in a celebrated lawsuit that followed with Sharda, he was defended by M.A. Jinnah). Later starred in India’s first talkie, Alam Ara, and in Saraswati Studio productions, ending his career in the 60s playing minor parts in Marathi films.
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