Here is some old wine in a new bottle. But the flavouring is so novel that one almost forgets to recognize it as an old favourite.
Bhal G. Pendharkar, who has always specialized in mythological phantasies and historical yarns, has once again brought to screen an ever-popular subject treated this time with his usual masterly technique. "It is certainly better than his Gopichand (1933)," said the critics when they saw a special press show. And Gopichand was itself a great success.
With those familiar words Alakh Niranjan embedded in a thrilling song, the picture opens with Gorakh in the streets on his usual rounds for alms. Very soon we are introduced to the mysticism of Guru Macchindra whose philosophy of toning the walls of the soul to ward off temptation in life is soon put to test.
In refreshing contrast to the long-accepted yarn of Gorakh coming to an Amazon Kingdom and hurling himself in the midst of a crowd of seductive girls, the author-director has taken a more philosophic and sober view of realistic life and created a new portrayal in the character of Mangala who while burning within her the eternal flame of love, is still unable to quench the human thirst which this glow creates.
A Subtle Blend
Sequences after sequences now overlap one another, in which philosophy, life, mysticism and instruction are subtly blended by the author with the supreme artistry of a very good film director.
The picture has in consequence, become a very fine entertaining film with excellent photography and beautiful performances.
Leela Chandragiri, with her distinctly sweet voice, sings a couple of popular tunes and in addition, gives a performance which adds to her already big reputation as a good artiste. The dialogues are pretty and appropriate.
It is a picture, which a creator has created with a superb screen vision and is certainly worth seeing.
This review was originally published in Film India (1940 issue). The image used was not part of the original article and is taken from Film India