برصغیر کی پہلی بولتی فلم “عالم آرا” سے بانی پاکستان محمد علی جناح کا بھی ایک دلچسپ تعلق ہے
….دراصل ہوا یوں کہ اردشیر ایرانی اوئل میں اپنے ایک نوجوان گجراتی اسسٹنٹ محبوب خان کو فلم کا ہیرو بنانا چاہ رہے تھے مگر بعد ازاں ان کے کاروباری دماغ نے یہ فیصلہ بدل دیا , وہ ایک نئے چہرے کو پہلی بولتی فلم میں مرکزی کردار دینے سے ہچکچانے لگے اس لیے انہوں نے خاموش فلموں کے معروف اداکار “ماسٹر وٹھل” کو ہیرو ،اداکارہ “زبیدہ” کو ہیروئن اور تھیٹر کے مشہور اداکار “پرتھوی راج کپور” کو کریکٹر رول دیا….محبوب خان اس فیصلے سے اس قدر ناخوش ہوئے کہ انہوں نے اداکاری کرنے کے تمام خواب جلا کر ہدایت کاری کا راستہ چنا اور اس راستے نے انہیں ہندی فلموں کا لیجنڈ ہدایت کار بنا دیا ۔
اردشیر ایرانی نے یہ فلم کے منصوبے کو خفیہ رکھتے ہوئے تمام بنیادی صدابندی کا سامان امریکہ سے منگوایا۔
اردشیر ایرانی نے یہ فلم کے منصوبے کو خفیہ رکھتے ہوئے تمام بنیادی صدابندی کا سامان امریکہ سے منگوایا۔
ماسٹر وٹھل شرادا فلم کمپنی سے وابستہ تھے اور شرادا کمپنی کے مطابق وہ کسی اور کمپنی کی فلم میں کام نہیں کرسکتے تھے اس لیے جب ماسٹر وٹھل نے عالم آرا کی آفر قبول کی تو شرادا کمپنی نے ان پر قرارداد شکنی کا مقدمہ دائر کردیا…ماسٹر وٹھل نے اس زمانے کے ممتاز قانون دان محمد علی جناح کو اپنا وکیل نامزد کیا , جناح نے نہ صرف ان کا بھرپور دفاع کیا بلکہ وہ یہ کیس بھی جیت گئے۔ یوں ماسٹر وٹھل اور عالم آرا کے درمیان حائل قانونی رکاوٹ دور ہوگئی- یوں برصغیر کی
پہلی بولتی فلم کو اس کا ہیرو مل گیا-
It was somewhere around 1930 when the idea of Alam Ara took root. Imperial Movietone boss Mr. Ardershir Irani began harbouring thoughts of making India’s first talking and singing picture.
As there was no precedent in India of making a talkie, the odds Irani faced were huge. There were no soundproof stages nor technical know-how to make a film that had sound. Nevertheless, Irani decided to take the challenge head on. He decided to make a screen version of a popular stage play written by the doyen of Bombay dramatists, Joseph David, who agreed to adapt the play for the silver screen. The resulting film was Alam Ara.
Irani kept his project a secret. He picked up the basics of sound recording from an American expert.
Since Alam Ara was a talkie, the casting was of utmost importance.
For the hero, Irani had all but fixed on Mehboob Khan, the future director of classics like Aurat(1940), Anmol Ghadi (1946), Aan (1952) and Mother India (1957), but then decided to go for a more commercially viable name. As Alam Ara was a tale that also involved stunts and fight sequences, Irani thought of casting the biggest stunt star of silent cinema, Master Vithal, who was called the Douglas Fairbanks of India.
He had since joined Sharada Studio and graduated to becoming a dashing action hero. In his eagerness to play the lead role in India’s first talkie, he broke his contract with Sharada and signed on with Irani. Sharada, however, refused to take this lying down and filed a case against Vithal for breach of contract.
Coming to Vithal’s legal aid was Bombay’s leading legal expert at the time Mr. Muhammad Ali Jinnah (Qaid-e-Azam).
Jinnah made a very effective defence of Vithal’s right to star in Alam Ara and ensured that Irani got the hero he wanted for his landmark film. That Jinnah had an affinity for the performing arts was well known.
Ironically, after all the effort it took to win Vithal his dream role, it was discovered after filming began that the action hero’s Hindi diction was poor and he was unable to deliver his lines in Alam Ara convincingly.
پہلی بولتی فلم کو اس کا ہیرو مل گیا-
It was somewhere around 1930 when the idea of Alam Ara took root. Imperial Movietone boss Mr. Ardershir Irani began harbouring thoughts of making India’s first talking and singing picture.
As there was no precedent in India of making a talkie, the odds Irani faced were huge. There were no soundproof stages nor technical know-how to make a film that had sound. Nevertheless, Irani decided to take the challenge head on. He decided to make a screen version of a popular stage play written by the doyen of Bombay dramatists, Joseph David, who agreed to adapt the play for the silver screen. The resulting film was Alam Ara.
Irani kept his project a secret. He picked up the basics of sound recording from an American expert.
Since Alam Ara was a talkie, the casting was of utmost importance.
For the hero, Irani had all but fixed on Mehboob Khan, the future director of classics like Aurat(1940), Anmol Ghadi (1946), Aan (1952) and Mother India (1957), but then decided to go for a more commercially viable name. As Alam Ara was a tale that also involved stunts and fight sequences, Irani thought of casting the biggest stunt star of silent cinema, Master Vithal, who was called the Douglas Fairbanks of India.
He had since joined Sharada Studio and graduated to becoming a dashing action hero. In his eagerness to play the lead role in India’s first talkie, he broke his contract with Sharada and signed on with Irani. Sharada, however, refused to take this lying down and filed a case against Vithal for breach of contract.
Coming to Vithal’s legal aid was Bombay’s leading legal expert at the time Mr. Muhammad Ali Jinnah (Qaid-e-Azam).
Jinnah made a very effective defence of Vithal’s right to star in Alam Ara and ensured that Irani got the hero he wanted for his landmark film. That Jinnah had an affinity for the performing arts was well known.
Ironically, after all the effort it took to win Vithal his dream role, it was discovered after filming began that the action hero’s Hindi diction was poor and he was unable to deliver his lines in Alam Ara convincingly.
