Adhikar

Plot

Adhikar (1939) tells the story of Nikhilesh (P.C. Barua), a man deeply in love with the wealthy heiress Indira (Jamuna Barua). Their peaceful romance is disrupted when Radha (Menaka Devi), a poor orphan girl, arrives claiming to be Indira's stepsister and therefore entitled to a share of the family inheritance. Despite the shock, the generous Indira agrees to share her inheritance, but complications arise when Radha begins to pursue Nikhilesh romantically, creating a complex love triangle. The dramatic revelation comes when it's discovered that Radha is actually the legitimate and sole heir to the entire estate, turning the social dynamics completely upside down. In the end, love proves stronger than material possessions as Indira and Nikhilesh marry despite their changed financial circumstances, while Radha finds happiness with Ratan, a man from her impoverished past. The film delivers a powerful social message about the rigid class structure of Indian society, suggesting that people should remain within their social stations and that true happiness comes from accepting one's place in the social hierarchy.

Historical Background

Adhikar was produced in 1939, a pivotal year in world history that saw the beginning of World War II. In India, this period was marked by the final phase of the Indian independence movement, with growing tensions between Indian nationalists and the British colonial government. The film industry in India was still in its formative years, with Calcutta (Kolkata) and Bombay (Mumbai) emerging as the two major centers of film production. New Theatres, the studio behind Adhikar, was at the height of its influence during this period, producing films that were not only commercially successful but also artistically significant. The film's themes of social hierarchy and class boundaries reflected the deeply stratified nature of Indian society under British rule, where traditional caste systems intersected with colonial class structures. The message that people should remain within their social stations can be seen as both conservative and potentially subversive, depending on interpretation, during a time when India was questioning its relationship with colonial authority. The film emerged during the transition from the early talkie period to more sophisticated sound cinema, with Indian filmmakers developing their own unique cinematic language that blended traditional Indian storytelling with modern film techniques.

Making Of

The production of Adhikar took place during what many consider the golden age of New Theatres, when the Calcutta-based studio was producing some of India's most technically and artistically sophisticated films. P.C. Barua, who had already established himself as a major director with his earlier version of Devdas, brought his signature style of melodramatic storytelling to this project. The casting of his real-life wife Jamuna Barua opposite him as the romantic lead was not unusual for the era, when studio heads often cast family members in important roles. The film's production would have utilized the relatively advanced facilities at New Theatres, which was known for its sound recording equipment and lighting setups that were among the best in India at the time. The social themes explored in the film were handled with the subtlety and sophistication that characterized New Theatres' productions, avoiding overt moralizing while still delivering a clear message about social hierarchy. The film's emphasis on class boundaries reflected both the traditional Indian social structure and the British colonial influence on Indian society during the 1930s.

Visual Style

The cinematography of Adhikar would have reflected the technical capabilities and artistic sensibilities of Indian cinema in 1939. As a New Theatres production, the film likely benefited from the studio's relatively advanced equipment and experienced technical crew. The visual style would have been characterized by the static camera positions typical of early sound cinema, with careful composition of frames to convey emotional and narrative information. The lighting would have been designed to create dramatic contrasts appropriate to the melodramatic tone of the film, with particular attention to lighting the faces of the principal actors during emotional scenes. The film's visual approach would have emphasized clarity and legibility over stylization, ensuring that audiences could follow the complex narrative of inheritance and relationships. The cinematography would have been influenced by both Indian artistic traditions and international film styles, particularly the dramatic lighting of German expressionism and the narrative clarity of Hollywood cinema of the 1930s. The visual treatment of different social classes would have been an important consideration, with visual cues helping to establish and reinforce the film's themes of social hierarchy.

Innovations

As a 1939 New Theatres production, Adhikar would have showcased several technical achievements for its era in Indian cinema. The film would have utilized the studio's advanced sound recording equipment, which was among the best available in India at the time, allowing for clearer dialogue and music reproduction than many contemporary productions. The lighting setup would have been sophisticated for the period, using multiple light sources to create depth and dimension in the images rather than the flat lighting common in earlier Indian films. The camera work, while still relatively static compared to modern cinema, would have employed careful composition and movement within the constraints of early sound recording technology. The editing would have been more refined than in earlier Indian films, with better pacing and rhythm in the narrative development. The film's production values, including sets, costumes, and makeup, would have reflected New Theatres' commitment to quality and professionalism. The integration of music and narrative would have been more seamless than in earlier Indian sound films, showing the growing sophistication of Indian cinema's approach to the musical format.

Music

The soundtrack of Adhikar would have been typical of early Indian sound cinema, featuring a mix of dialogue, background music, and likely several songs. As a New Theatres production, the film would have benefited from the studio's reputation for high-quality sound recording and musical scores. The background music would have been composed to enhance the emotional impact of key scenes, using Western orchestral arrangements combined with Indian musical elements. The film likely included several songs, as musical numbers were already becoming an integral part of Indian cinema by 1939. The songs would have been designed to advance the narrative or express the emotional states of the characters, following the emerging conventions of Indian film music. The sound recording technology of the era would have presented challenges, including limited dynamic range and the need for actors to project their voices clearly for the microphones. The dialogue delivery would have been theatrical and deliberate, reflecting both the influence of stage acting and the technical requirements of early sound recording. The overall soundtrack would have been designed to create an immersive emotional experience that supported the film's melodramatic narrative.

Memorable Scenes

• The dramatic arrival of Radha claiming to be Indira's stepsister, which sets the central conflict in motion
• The revelation scene where Radha is discovered to be the true heir, completely changing the power dynamics
• The emotional climax where the characters must choose between love and social position
• The final resolution showing each character finding happiness within their proper social sphere

What Critics Said

While specific contemporary reviews of Adhikar from 1939 are scarce, the film was likely received positively by audiences and critics as part of New Theatres' prestigious output during this period. P.C. Barua was already an established and respected filmmaker by 1939, having directed the acclaimed Devdas, so his new film would have been anticipated with interest. The film's melodramatic narrative and social themes were consistent with the critical preferences of the era, which valued films that addressed social issues within an entertaining framework. New Theatres productions were generally praised for their technical sophistication and artistic merit, and Adhikar would have benefited from this association. The performances of P.C. Barua and Jamuna Barua, who were established stars, would have been noted by contemporary critics. Modern film historians and critics have recognized Adhikar as an important example of early Indian cinema's approach to social themes and melodramatic storytelling, though it is often overshadowed in historical accounts by Barua's more famous work on Devdas.

What Audiences Thought

Adhikar was likely well-received by contemporary audiences in 1939, as it combined popular elements of Indian cinema including family drama, romance, and social commentary. The film's themes of inheritance and family disputes would have resonated with Indian audiences familiar with such real-life conflicts. The presence of established stars like P.C. Barua and Jamuna Barua would have attracted audiences to theaters. The film's message about social class staying within boundaries, while conservative by modern standards, reflected the prevailing social attitudes of the time and would not have been controversial among mainstream audiences. The emotional melodrama and romantic elements provided entertainment value while the social themes gave the film a sense of seriousness and relevance. As a New Theatres production, the film would have benefited from the studio's reputation for quality and sophistication, attracting educated, middle-class audiences who were the primary patrons of cinema in urban centers like Calcutta. The film's resolution, with each character finding happiness within their proper social sphere, would have provided the satisfying emotional closure that audiences of the era expected from melodramas.

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