રાણક દેવી ગુજરાતી ફિલ્મ रानक देवी Ranak Devi Gujarati movie :(1946)

Ranakdevi

V.M. Vyas

Year: 1946; Language: Gujarati; Runtime: 123 min; Color: Black and White

Studio: Sunrise Pictures

Writer: V.M. Vyas, Mohanlal G. Dave, Karsandas Manek; Cinematographer: R.M. Rele; Composer: Chanalal Thakur; Lyricist: Manasvai Prantijwalla

Cast: Anjana, Motibai, Dulari, Nirupa Roy, Lilavati, Lila Jayawant, Mallika, Damayanti, Chandrabala, Amubai, Sumati, Daksha, Kavita, Bhagwandas, Pande, Chanalal Thakur, Natwarlal Chohan, Master Dhulia, Shyam, Gangaram, Gautam

IMupa Roy’s first film. The Solanki King Siddharaj Jaisinh (12th C.) wants to marry Ranak, a daughter of the Parmar king of Sind but raised by a potter. However, she marries King Ra’Khengar of Junagadh, triggering a war as Ranak, confined for 12 years, bears two children while refusing to succumb to Siddharaj. When he kills her husband, she commits sati (ritual suicide on her husband’s funeral pyre). Based on historical events, the story had become a folk legend. It was the only Gujarat film made that year, but launched a tradition of film adaptations of quasi-historical legends, many of them dealing with Rajput royalty (cf. Raskapur’s films Mulu Manek, 1955; Kadu Makrani, 1960).

V.M. Vyas (Director, Writer) - Show Filmography

Vishnukumar Maganlal Vyas (b. 1905) Hindi and Gujarati director born and educated in Ahmedabad, Gujarat. Credited with launching a Gujarati film industry with Ranakdevi, adapted by scenarist Mohanlal Dave from his own script initially filmed by Patankar at National (1923) and later by Vakil at Ranjit (1930). Throughout his long career consistently made midbudget melodramas scripted by Dave. Started as a tabla accompanyist for live musical scores at Kohinoor U.A. where he also became assistant cameraman; shot films for Homi Master and N.G. Devare when Kohinoor became Kohinoor United Artists. Continued as cinematographer in Bombay and Lahore until his directorial début at Kohinoor UA with Dukhiari. His melodramas and devotionals were derived from popular Gujarati fiction serials later popularised by journals like Navchetan, addressing a middle-class and often explicitly female audience. His Ranakdevi led to major shifts in the production priorities: e.g. Ranjit started a subsidiary, Ajit Pics, mainly for Gujarati films of this genre.

Mohanlal G. Dave (Writer) - Show Filmography

Top silent cinema scenarist; first scenarist to get his name above the title (see e.g. the publicity pamphlets of Kohinoor Film which often give no other credits). Started as an accountant; then publicist for Imperial Theatre in Bombay. Apparently honed his craft writing lively synopses in publicity hand-outs for Pathé’s imports. Entered films with S.N. Patankar and moved to National Studio (where he was already paid Rs 10,000 a year to write a minimum of 15 stories) and Kohinoor, where he made his reputation and wrote about one screenplay a week. Thereafter worked at Jayant Pics. and at Imperial with the coming of sound, where he often teamed up with director Jaswantlal. As a professional, he handled all genres, but his narrative style is related to the then emerging popular Gujarati fiction as introduced to the cinema by ex-novelists like Naranji Vassanji Thakkar, Gopalji Delwadekar, Shaida etc. His scripts are said to have included detailed camera movements, fades etc., as in Rathod’s complicated Gul-e-Bakavali (1924), written in 92 scenes. Major early scripts: the politically controversial Bhakta Vidur (1921), the Rathod hit Kala Naag (1924), Chandulal Shah’s début film Panchdanda (1925) and Homi Master’s Fankdo Fituri (1925). His sound films were often rewrites of his own silent hits with dialogue. His major successes were with V.M. Vyas, including the Gujarati film Ranakdevi (1946). Remained a popular writer until the 60s.