the gambler
by Douglas Messerli
Niranjan
Pal (story), W. A. Burton (scenario), Max Jungk (German scenario), Franz Osten
(director) Prapancha Pash (A Throw of Dice) / 1929
Osten also turned to be an intelligent director, proving himself in
early films such as Prem Sanyas (The Light of Asia) of 1925 and Shiraz of 1928, before he worked on A Throw of Dice. With the advent of
talkies, Rai and Pal founded the Bombay Talkies, which helped create the
Bollywood sensation of today, truly popularizing film in India. Osten continued
to work with them after the silent era, but in 1939 he was arrested as a member
of the Nazi Party, and was held until the end World War II.
The film itself, as critics have noted, is a spectacular somewhat in the
manner of Cecil DeMille films, employing 10,000 extras, 1,000 horses, and
numerous elephants and tigers. Yet for all of its grand Aida-like scenes, the
story itself is an intimate one, wherein two wealthy cousins King Sohat
(Himansu Rai) and King Ranjit (Charu Roy), on a hunting party, both meet and
fall in love with Ranjit's former teacher's daughter, Sunita (Seeta Devi). Her
father had left the court because he wanted to keep his daughter safe from the
evils of that world, in particular the handsome young Ranjit's addiction to
gambling. But like all movie hermits, the world comes to them.
Jealous
of Ranjit and seeking his fortune, Sohat tries to murder Ranjit in the jungle,
portraying it as a hunting accident. But Ranjit, surviving the arrow, is nursed
to health in Sunita's house, bringing the two closer than they might otherwise
have been, leading to a deep love. Although her father forbids their marriage,
Sunita determines to run away with Ranjit, while Sohat plots to kill the father
with Ranjit's dagger, making it look as if his cousin had committed the evil
act.
Sohat's men arrest her flight, bringing her to his palace; but despite
her belief that Ranjit is guilty, she will not give in to Sohat's lavish gifts
and pleas for her hand. Ranjit, disguised as a juggler, attends Sohat's dinner
in order to convince Sunita of his innocence, ultimately winning her over once
again. They plan for a lavish wedding, but Sohat, presenting his cousin with a
gift of gambling board and dice, tempts Ranjit into a game where he eventually
wins Ranjit's kingdom and makes him his slave.
A slave cannot marry, and Sunita,
observing Ranjit's beatings, gives in to Sohat's demands.
One of Ranjit's men, however, discovers through his young son, that
Sohat has used trick dice in the game, and, revealing this to Ranjit, allows
him to lead his forces against Sohat, who commits suicide. The loving couple is
reunited once more.
Although it is no more complex than a simple US Western, the film's
locale in Rajasthan, with its scenes of royal life, beautifully lit by Osten, seem
so realistic that the viewer does feel finally he has entered an exotic world
out of the past. Particularly in the palace scenes, where the characters are
dressed in lovely costumes, their faces decorated for the marriage, Osten's
film projects a rich texture that is superior to most silent films of the day.
And Charu Roy—a groom more handsome than his wife is beautiful—enchants the
eyes.
Los
Angeles, March 9, 2012
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