1918-24 JUL 2014 DR.SUSHEELA RANI BABURAO PATEL (TOMBAT)
Debashree Mukherjee
It is August 14, 1947, the eve of India’s Independence. The streets of South Bombay are relatively riot-free and a slightly delirious energy hangs in the humid monsoon air. Out of nowhere, a glamorous green Hudson careens down the street and you see three beautiful women leaning out of the car, ‘lustily singing Vande Mataram’.[i] They are gorgeous; you feel giddy just looking at them and you try to memorize this moment of being young, alive, safe, and in Bombay in August 1947. The three women are famous film actresses of the day: Begum Para, Protima Dasgupta, and Sushila Rani Patel.
Dr. Sushila Rani Patel died of a heart attack on Thursday, July 24th, 2014. She was 96 years old and still singing.
Sushila Rani was born in 1918 into a culturally-inclined Konkani family. Her father, Anand Rao Tombat was a criminal lawyer who also took a keen interest in art, cinema, theatre, literature and philosophy. Sushila Rani credited her father for her flair for writing. Her mother, Kamladevi Tombat, gave her the gift of music – a gift that grew in its riches with every passing year. At the age of seven, Sushila started her formal training in classical music and studied with such greats as Pandita Mogubai Kurdikar and Ustad Alladiya Khan Saheb. In an interview she proudly recalled that Mogubai Kurdikar used to ‘[call] me ek patti - which means one take. She recited one taan and I would repeat it correctly.’ [ii] Sushila Rani received a Sangeet Natak Akademi award in 2002 after decades of concerts, radio programmes, festivals, and recordings.
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| Sushila Rani plays the tanpura during riyaaz. Image courtesy Sushila Rani Patel. |
Naushad, the acclaimed music director, once said of Sushila Rani: ‘When I think of her, all I can think of is sheer worship, a person who has worshipped music. For her music is not a hobby and hence she left no strings untouched. Age did not mar her voice. The depth, the pathos, the free flow continues to grow. She is a standing example for our generation. A person who will not be satisfied with success, but only with perfection.' [iii] And yet, music was not the sum of Sushila Rani’s many accomplishments. She had post-graduate degrees in Science as well as Law and she became an Advocate of the Bombay High Court in her 60s. In this piece I want to briefly discuss her life and career in the 1940s, a period of great excitement for a burgeoning Bombay film industry, and a time when Sushila Rani was most closely affiliated with movies as a film journalist, heroine, and wife of Baburao Patel.
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| Portrait of Sushila Rani and Baburao Patel. Currently at Girnar. |
Baburao Patel was the self-taught, ambitious, and highly charismatic editor of the magazine filmindia. Launched in 1935, filmindia rapidly achieved an unprecedented cult status. By 1937, filmindia had become a force to reckon with, reportedly selling thousands of copies a month in India and abroad. The magazine created a sensation with its canny mix of rumor and review, observation and opinion. Baburao Patel’s knack for self-publicity and his irreverent writing style made the magazine a hit and turned him into a veritable star. The evergreen actor, Dev Anand, has said: ‘…when I first came to Bombay looking for a break in the movies, somewhere within me lurked a desire to meet the man and have a look at this magician who meant the Indian movie industry to me. [Baburao Patel] made and unmade stars. He established or destroyed a film with just a stroke of his pen. That much power he wielded then.’[iv] Baburao Patel was a celebrity, on par with the brightest stars on the silver screen, and young college students carried his magazine around as status symbols.
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| Cover of one of the first issues of filmindia in 1935. Image courtesy NFAI, Pune. |
Sushila Rani met Baburao Patel quite by chance, on January 15, 1942. She was visiting Bombay and had gone to the trendy Wayside Inn (Kalaghoda) for dinner with a friend. [v] They were both avid readers of filmindia and immediately recognized Baburao Patel sitting at a table near them. When Baburao Patel crossed their table on the way to the men’s room, he literally glared at Sushila Rani’s male dinner companion. That was when they were both certain that this was indeed Baburao Patel, film critic extraordinaire and flamboyant ladies man. Undeterred by the glare, Sushila Rani’s friend went up and invited Patel to their table. And that was that. Sushila Rani recalled in an interview that:‘ “He said yes I am Baburao Patel. I edit filmindia magazine,” and he congratulated me on my looks. He then asked “Would you like to meet me again.” I said yes.’ Baburao landed up at Sushila Rani’s house the very next morning and drove her to see the filmindia offices. While chatting over lunch, Sushila Rani mentioned that she was a trained classical vocalist. Baburao, a consummate charmer, expressed his surprise that so beautiful a girl had so many talents and requested that she sing a little bit for him. Sushila Rani selected the bhajan, ‘Ghunghat ke pat khol’, popularized by her contemporary Jyothika Roy. Baburao lost his heart. Sushila Rani was 24 years old. Baburao was 38, married, and father to three grown-up children.
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| Sushila Rani c. 1940s. Image courtesy Sushila Rani Patel. |
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| Cover of filmindia magazine showcasing Sushila Rani's debut film, Draupadi (1944). Image courtesy NFAI, Pune. |
On another August 14th, this time in the year 2008, I finally located Sushila Rani and Baburao Patel’s famous Pali Hill bungalow – Girnar. I had visited several such film pilgrimage sites before, only to turn back disappointed. Girnar too, looked deserted. It was an aging bungalow which might have looked desolate if my eyes weren’t tinted over with a romantic glaze. The main door was wide open but there was no sign or sound of life. Hesitant to simply barge in, I shouted into the darkness – ‘Excuse me! Koi hai?’. A middle-aged woman emerged from inside and I told her I was a student doing research on Bombay cinema. I handed her an official-looking visiting card that I had printed that very morning outside the Malad West station. She returned within minutes and said, ‘Madam is willing to meet you.’ As I took off my shoes and followed the secretary up a winding staircase lined with portraits of Baburao and Sushila Rani I felt a little disoriented, uncertain about my location within time and reality. It was as if I had walked right into a period film that I had been watching for the last two years.
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| The legendary Girnar Bungalow, 2008. |
I walked down a narrow partitioned corridor and entered a dining hall. Seated at the dining table was a fragile old woman in a flaming orange nightie. It was only 11.30am but her face was impeccably rouged and powdered, and her neck and arms decked out with gold jewelry. This was Sushila Rani. And she turned to look at me. I walked up to her and beamed stupidly for a second. Then I handed her a small bunch of roses I had picked up on the local train. She invited me to sit and asked two singularly absurd but touching questions: ‘Do you know me? Have you heard offilmindia?’ Later that afternoon, Sushila Rani sang ‘Ghunghat ke pat khol’ for me, the song that first stole Baburao’s heart. Her 89-year-old voice was as enchanting as ever.
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| Sushila Rani poses as the helpful 'assistant'. Image courtesy Sushila Rani Patel. |
In June 1942 Sushila Rani joined filmindia as a sub-editor and unofficial ‘Jane of all trades’. She continued to edit and write with Baburao till 1981, by which time filmindia (1935-1961) had morphed into the more political Mother India (1961-1981). During my own research, I had often wondered whether it was really possible that no women, apart from actresses, had worked in the early film industry or its satellite industries. The more I studied the celebrity male film critics who held forth on Hindustani cinema, the more I wondered what role, if any, women played in this discursive field. It was only upon meeting with Sushila Rani that I was able to ask these questions to someone who had lived through those days. She was very modest but after a few pointed questions I learnt that under pseudonyms such as ‘Judas’ and ‘Hyacinth,’ Sushila Rani herself had generated much of the content for the 50-page magazine. It was a two-person enterprise with occasional guest writers such as KA Abbas and RK Karanjia. Here are some excerpts from the 2008 interview:
SR: ‘…my salary was Rs. 200 per month! My parents were glad that I was working. My father had taken ill and it was good that I had a job. My father had once come for a holiday. He had met Baburao Patel and thought he was a godfather to me… he never imagined that he would become his son-in-law! The trap was laid and I didn’t realize it (laughs). So you be careful. With men, you have to be careful.
‘So I started working. But I didn’t want to marry him. I wanted to leave him because it was very difficult. He had a very bad temper and I realized that I might have made a mistake. But in our work we were very very complementary. We got along very well. I would do all the proofs of filmindia, write some sections.. He would write the selling section ‘The Editor’s Mail’; that was the selling section and letters would come from all corners of the world… from Fiji, from Africa, from America, and every village, in all handwritings. So many letters would come that it wasn’t possible to reply to each one so he used to tell me to read the letters and select the good questions. That was a big job.
DM: ‘And which were the sections that you wrote?
SR: ‘I wrote ‘Pictures in Making’, ‘At Home and Abroad’, ‘State of the Nation’, ‘Round the World in 30 Days’… then sometimes interviews, short stories… I was always a part of the writing as well, not merely proofing. I write very well…. There was a section called ‘You’ll hardly Believe’ [in ‘Bombay Calling’ by Judas], where I used to give the feedback. I had to read a lot of papers for gossip. But the gossip was not so awful as today… the writing was not in the fashion of today. People from the film industry would come to meet us and they would talk… So I used to collect this kind of information and then we would write it together as ‘You’ll hardly believe that…’.
DM: ‘Tell me a little more about your marriage and life with Baburao.
SR: ‘After I joined filmindia I started living in Bombay and then the affair became deeper, naturally. Finally I decided to marry him. Fifteen days prior to my marriage I said yes. There was another person who was interested. He’s no more so I don’t like to talk about him. And Baburao Patel wouldn’t let me… he saw to it that the person did not get my letters. So then this person thought that I was not interested in him. [vi] Then I married Baburao Patel, at the filmindia office. For the first year or two everything went off well, but then I realized that he was also… how do you say it?... very conscious of ladies. There were women even after me, and people used to wonder how he could be interested in them. They were not educated and they were not beautiful. But still he was interested. So married life was mixed up with all this. Then he brought his first wife here and I had to stay with the first wife under the same roof till she passed away. I didn’t expect all this. I was too young, too innocent, too naïve and he was a very seasoned person with lots of affairs. He knew the world. So that’s why I used the word “trap”… I didn’t realize what I was getting into.’
All too often, women’s contributions to the Bombay film industry get buried under the more visible work of their husbands and lovers. Sushila Rani’s work for filmindia has tremendous historical significance as the magazine and its contents are widely used as primary sources by Indian film historians today. Her active participation in the magazine also explains some very detailed and intimate interviews with actresses from the 1940s, only possible because the interviewer was a woman. [vii] Very few women worked as journalists in those days and these pioneers have been mostly forgotten. I must mention here the laudable efforts by Sabeena Gadihoke to document the career of India’s first woman photojournalist, Homai Vyarawalla.
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| Sushila Rani with her friends, well-wishers, and disciples at a Shiv Sangeetanjali festival at Girnar. |
By presenting Sushila Rani’s own account of her work and life with Baburao Patel I hope to have added another dimension to the way we understand the authorship of filmindia magazine. Despite the marital troubles she mentions above, theirs remained a solid partnership till the very end. After Baburao’s death, Sushila Rani set up the Sushila Rani Baburao Patel Trust which has supported many early-career musical talents, and she continued to celebrate Baburao’s birthday every year with great fanfare.
Ever since that first meeting in August 2008, I tried to maintain contact with Sushila Rani, fascinated by her life and dynamism. I felt particularly grateful to have one real human connection to ground my rather abstract relation to the pre-Independence decades. I spent several afternoons studying filmindia in the Girnar library. Often, Sushila Ma’am would invite me to have lunch with her upstairs and regale me with risqué film anecdotes. A friend and I even shot some documentary footage with her that summer. Sushila Rani remained a warm, open, generous person till the end. She was unfailingly delighted by new people and maintained a genuine curiosity about contemporary Bombay cinema. If you look at back issues of Filmfare you’ll be sure to find ‘Letters to the Editor’ by Sushila Rani Patel where she congratulates some new actor or director on their good work. Such an engagement with the people and events around her was typical of Sushila Rani. I often wonder how she did it, how she nurtured such an enviable joie de vivre.
The last time I met Sushila Rani was in 2013. She looked as beautiful as ever and still taught music lessons, though her hearing had really worsened. I urged her, as I often had before, to pen her memoirs. Her life had spanned some of the most iconic events in the history of the modern South Asian subcontinent. Significantly, she was witness to almost the entirety of the first hundred years of Indian cinema. What delightful and profound connections she would have made between the intersecting historical and cinematic events of the twentieth century! Even though Sushila Rani will never narrate that story anew, her voice continues to speak to generations of movie enthusiasts from the pages of filmindia and the multiple archives of Hindi film music.
[i] Begum Para interview. Outlook Magazine, May 28, 1997.
[ii] From the filmindia website. http://www.film-india.org/frm_HomePage.aspx. Accessed July 26, 2014.
[iii] April 4, 1990
[iv] Mother India, December 1979, p. 27
[v] The same Wayside Inn that Arun Kolatkar would frequent a few decades later. Someone should write a cultural history of Bombay through lived and iconic public spaces such as the Wayside Inn.
[vi] Some sources claim that Sushila Rani had an affair with Guru Dutt and he was so betrayed by her marriage to Baburao that he based Mala Sinha’s character in Pyaasa (1957) on Sushila Rani. However, in an interview I recorded in 2008, Sushila Rani mentions that her younger sister had been Guru Dutt’s colleague at Uday Shankar’s academy in Almora and it was that couple that had been in love. The sister died a premature death due to a congenital heart defect.
[vii] See ‘Hyacinth’s’ interviews with Neena, Naseem Banu, and Pramilla for example.
Filmindia: A glimpse into hindi cinema's early years
- Poonam Saxena, Hindustan Times |
- Updated: Jun 30, 2015 13:31 IST
“
CID
is not merely an unpleasant crime tale. It is a stupid crime tale…Dev Anand fails to look like a CID Inspector even for a single second…Waheeda Rehman doesn’t impress much either with her acting or her looks.”
These scathing words are from a review of the 1956 Raj Khosla-directed film, and were written by a man known for his acidic pen – the influential and powerful Baburao Patel, editor of
Filmindia
.
Patel, who launched the monthly in 1935, was a pioneer of the early years of film journalism in India. Along with his beautiful wife Sushila Rani
(on the left
), he ran a magazine that was grudgingly respected and feared in equal measure by the film industry, and that went on to complete 50 years, even though Patel died in 1982.
Over the years, however,
Filmindia
began featuring more and more writing on politics. Indeed, Baburao himself eventually entered the political fray, winning the 1967 election from a seat in Madhya Pradesh, with the support of the Jan Sangh.
In a welcome addition to the growing but still insufficient body of work on Hindi films, journalist and author Sidharth Bhatia has just brought out a lavishly-illustrated coffee table book,
The Patels of Filmindia
.
Spread over its 171 pages, the book has gorgeous, goosebump-inducing photographs – posters of films such as
Sazaa
(1951) and
Awara
(1951), advertisements for Lux soap and portraits of evergreen film stars, from Devika Rani to Dilip Kumar.
But along with the pictures, there is also a story – or rather three stories. The turbulent lives of the Patels and the golden years of the Hindi film industry unfold against the backdrop of momentous national events (the national movement, Independence, the Nehruvian era, and later, the coming of Indira Gandhi and the Emergency). Bhatia deftly weaves all three strands together to paint an engrossing picture of the life and times of the Patels.
Bhatia first came across the
Filmindia
archives, preserved in pristine condition by Sushila Rani, when he was researching his book on Navketan Films (
Cinema Modern: the Navketan Story
) some years ago.
“When I saw the issues of the ’30s and ’40s, I got very excited,” says Bhatia. “I thought, this is invaluable.” Sushila Rani herself was keen on a book around the magazine. But once Bhatia plunged into the project, he realised how daunting it was to just make a selection in the first place. “I didn’t know what to leave out and what to retain,” he says.
Patel’s fearless, slash-and-burn kind of writing is quite unthinkable in today’s heavily PR-controlled film industry. Manto described Baburao as a “peasant” who used cuss words in every sentence he spoke.
Mala Sinha had a “potato face,” Suraiya was an “ugly duckling” and Noor Jehan had an ageing face “having seen two World Wars." Rajendra Kumar was pilloried for “stupidly” trying to ape Dilip Kumar while Dev Anand’s charm in one film was dismissed as “spineless.”
A journalist of the time, Jamil Ansari, said of Patel: “If his pistol misses the target, he knocks you down with the butt end of it.” Neither did Patel shy away from providing “salacious” gossip. Says Bhatia, “He tried to hint about a lesbian affair that Begum Para was having with her partner, saying that the two of them would come to the races in trousers.”
There was some blowback occasionally. Bhatia recounts how the actress Shanta Apte, angry about something Patel had written about her, marched into his office with a stick and managed to land a few blows as well!
But what is also striking is how modern the Patels were in so many ways. The college-educated Sushila Rani worked briefly as a schoolteacher in Udaipur, far away from her home, which was in Chennai.
Later when she met Baburao in Bombay, the already-married editor set about wooing her assiduously. Eventually she married him, much against her father’s wishes, and even acted in a hit film he made,
Draupadi
. Her contribution to Filmindia was immense and she kept it going after his death.
But her life with Patel was not without tumult. “He was a possessive man and wouldn’t allow Sushila Rani, a trained classical singer, to sing in public,” says Bhatia.
Indeed, the full story of the Patels and their beloved Filmindia is a fascinating one. But for that, you will have to read the book!
Photos courtesy: Filmindia
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Connect with us on facebook.com/hindustantimesbrunch
filmindia was an English monthly film magazine covering Indian cinema.[1] Started by Baburao Patel in 1935,[2] filmindia was the first English film periodical to be published from Bombay. The magazine was reportedly run "single-handedly" by Patel, who wielded power through this medium to "make or destroy a film".[3] Its most popular column was "The Editor's Mail" answered by Patel. The magazine featured film news, editorials, studio round-ups, gossip, and reviews of different language films, mainly from Hindi and regional cinema and affiliated reviews from Hollywood. His articles included siding with the lesser known cinema workers like the technicians, extras and stuntmen.[4]
Patel met the painter S. M. Pandit around 1938, and asked him to design the covers for filmindia. One of Pandit's assistants, Raghubir Mulgaonkar, was also a designer in the same periodical. Both of them worked with Patel at filmindia through the 1930s and 1940s.[5]
The magazine "created a sensation" on its launch with its "canny mix of rumour and review, observation and opinion" and Patel became a "celebrity" equal to the film stars he wrote about. The magazine reading target was the "elite readership", including college going youth.[6] Termed a status symbol with college students, actor Dev Anand said of his Lahore college days, "boys in the campus used to carry copies of filmindia along with their textbooks. It was their Bible".[7] Ramachandran and Rukmini state that "filmindia was the only magazine that counted in those days".[8] It remained in publication from 1935 to 1961.[9]
History
The first film periodical "exclusively devoted to cinema" was established in India in 1924, with the Gujarati magazine Mouj Majah by J. K. Dwivedi.[10] Its success began a trend with the Bengali language Bioscope, published by Shailjananda Mukherjee in 1930, Filmland an English language weekly published from Bengal since 1930,[11]and the Hindi Chitrapat in 1934, by Hrishamcharan Jain from Delhi.[12]
In 1935, on his thirty-first birthday, Baburao Patel (1904–1982), started filmindia, with a small 'f' in the name, which was published initially by D. K. Parker and B. P. Samant and edited by Patel. "The very first issue of filmindia became a huge success and Patel gradually took over the monthly journal" making filmindia achieve "an unprecedented cult status".[6] [12] The magazine remained in publication till 1960, when Patel's interest in nationalism and politics made him launch "a national magazine" called Mother India. Patel found it difficult to run two periodicals simultaneously and he made the decision to shut down filmindia and focus on Mother India.[13]
The magazine focused not only on Indian cinema but also published critical commentary on politics.[14] It reviewed about 49 films annually on an average, out of which 31 were claimed to be poor, 13 indifferent and about 5 watchable films. It had monthly sales of about 32,000 copies. filmindia was one of the few Indian fan magazines sold in Western countries.[15]
Filmindia ended publication in 1961.[9] It had its Indian publication office in Bombay and had offices both in Calcutta and London.
Contributors
- Sushila Rani Patel (Patel's second wife) and Baburao Patel also wrote under the pseudonyms "Judas" and "Hyacinth", both producing almost entire content for the magazine.[6] As Judas they wrote the column called "Bombay Calling". And as Hyacinth, Sushila Rani conducted interviews with film personalities.
- K. A. Abbas was the chief film critic at one of the then popular newspapers, termed a "nationalist" daily, The Bombay Chronicle. Abbas wrote columns frequently for filmindia.
- Affiliated reviews: "Review From New York" by P. S. Harrison (editor: Harrison's Reports)
- Habib Tanvir described his meeting with Patel and how he was asked to meet him at his office, which led to him becoming an assistant editor of filmindia, "I was the first assistant editor of filmindia- of which I was quite proud- and the last".[16]
Influence
- Patel and Abbas were renowned as "important cinema commentators and experts" and considered themselves as "political activists". Their concern about cinema's influence on "nation and nationalism" made them launch a combined nationwide campaign against "anti-Indian" films in 1938. These included "empire films" like The Drum (1938) directed by Zoltan Korda, and Gunga Din (1939) directed by George Stevens, which according to them "reinforced imperialist stereotypes of the colonized as racially inferior, weak subjects". According to Mukherjee, "the matter was discussed in the central assembly..., Patel wrote telegrams to Indian ministers".[6] He became the first critic who was invited as a "delegate to read a paper on Cinema and Culture, the first to voice a protest against anti-Indian productions in Europe, UK and USA".[13] On 1 September 1938, "hundreds came out on the streets of Bombay to protest the release of The Drum at the Excelsior and New Empire Theatres. The film was withdrawn by its Bombay distributors on 14 September 1938".[6]
- Patel and Abbas set up the Film Journalists' Association (FJA) in 1939.
- Studios such as Bombay Talkies, New Theatres Ltd, and Rajkamal Kalamandirwere favourites with Abbas and Patel and featured on their "best films" lists, thereby generating academic attention even decades later. Whereas, several successful studios of that time like Ranjit Film Company, Saroj Movietone, Prakash Pictures, Saraswati Cinetone, and Huns Pictures "remain undocumented".[6]
- The first to refer to Madhubala as the "Venus of the Indian Screen".[17]
Columns
- Editorial
- Bombay Calling
- The Editor’s Mail
- Reviews
- News From Abroad
- Round The Town, which later became “Our Review”
- Studio Close-Ups
- Foreign Pictures of the Month
- Horoscope (discontinued later)
- Howlers of the Month (discontinued later)
Popularity
According to author, journalist Bhawna Somaya, "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. It was said that Baburao's column made and broke careers”. His "acid reviews" were dreaded by producers and directors".[13]
Dev Anand stated, "When I first came to Bombay looking for a break in the movies, somewhere within me lurked a desire to meet the man and have a look at this magician who meant the Indian movie industry to me. Baburao Patel made and unmade stars. He established or destroyed a film with just a stroke of his pen. That much power he wielded then".[7]
Quote
Baburao Patel was famous for his sharp wit, and according to Habib Tanveer he was discerning and wrote "absolutely frankly", "totally ruthlessly and funnily".[16] He was often criticised and in a self- authored chapter stated:[18]
"I took criticism as my main selling point. That was the best feature of filmindia. And the "Editor's Mail". Filmindia was the only paper that counted in those days. Distributors would not take delivery of the prints after reading my reviews. But it never affected the seeing public. The box-office was never affected".
See also
References
- Kajri Jain (6 April 2007). Gods in the Bazaar: The Economies of Indian Calendar Art. Duke University Press. p. 153. ISBN 0-8223-3926-9. Retrieved 22 August2015.
- Bichitrananda Panda; Narendra Tripathi (2015). "Current Scenario of Film Journalism" (PDF). International Journal of Applied Research 1 (9). Retrieved 27 September 2015.
- Cinema Vision India. S. Kak. 1980. p. 66. Retrieved 22 August 2015.
- B. K. Karanjia (1990). Blundering in Wonderland. Vikas Publishing House. p. 8.ISBN 978-0-7069-4961-2. Retrieved 23 August 2015.
- Raminder Kaur; Ajay J Sinha (13 July 2005). Bollyworld: Popular Indian Cinema Through A Transnational Lens. SAGE Publications. p. 43. ISBN 978-0-7619-3320-5.
- Debashree Mukherjee. "Creating Cinema's Reading Publics: The Emergence of Film Journalism in Bombay". academia.edu. Academia. Retrieved 23 August2015.
- Sharma, N. D. (December 1979). "‘Over 1200 Intellectual EliteLed by Chief Justice Give Baburao Patel a Standing Ovation!"". Mother India: 27.
- T. M. Ramachandran; S. Rukmini (1 January 1985). 70 Years of Indian Cinema, 1913-1983. CINEMA India-International. p. 314. ISBN 978-0-86132-090-5. Retrieved 22 August 2015.
- Asha Kasbekar (January 2006). Pop Culture India!: Media, Arts, and Lifestyle. ABC-CLIO. p. 118. ISBN 978-1-85109-636-7. Retrieved 22 August 2015.
- Ashish Rajadhyaksha; Paul Willemen (10 July 2014). Encyclopedia of Indian Cinema. Routledge. p. 279. ISBN 978-1-135-94318-9. Retrieved 23 August 2015.
- "Archive Samples-Filmland". medialabju.org. The Media Lab, Department of Film Studies, Jadavpur University. Retrieved 1 September 2015.
- Manju Jain (2009). Narratives of Indian Cinema. Primus Books. p. 30. ISBN 978-81-908918-4-4. Retrieved 22 August 2015.
- Bhawana Somaaya (1 January 2008). Fragmented Frames: Reflections of a Critic. Pustak Mahal. p. 20. ISBN 978-81-223-1016-0. Retrieved 23 August 2015.
- James Donald; Michael Renov (16 April 2008). The SAGE Handbook of Film Studies. SAGE Publications. p. 476. ISBN 978-1-4462-0682-9. Retrieved 23 August 2015.
- Panna Shah (1950). The Indian film. Greenwood Press. p. 146. Retrieved 23 August 2015.
- Anjum Katyal (9 October 2012). "2-The Bombay Years". Habib Tanvir: Towards an Inclusive Theatre. SAGE Publications. p. 15. ISBN 978-81-321-1111-5. Retrieved 23 August 2015.
- Ramesh Dawar (1 January 2006). Bollywood: Yesterday, Today, Tomorrow. Star Publications. p. 1. ISBN 978-1-905863-01-3. Retrieved 22 August 2015.
- Rani Burra; Indian Academy of Motion Picture Arts & Sciences (1981). Fifty years of Indian talkies, 1931-1981: a commemorative volume. Indian Academy of Motion Picture Arts & Sciences.
External links
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