Premier B. G. Kher is probably the most polite gentleman we have in the country today but even Mr. Kher is reported to have walked out half-way through this picture when invited to see it. He would have probably gone away even earlier but being an old man he seemed to have waited for the interval to light up his foot steps to avoid an accident. And Premier Kher had come with his wife to see “Vidya”. To inflict on his wife his own decision to walk out in this manner in these days of equality of the sexes, “Vidya” must have proved an unbearably boring picture to our hard-worked Prime Minister.
We sympathize with Premier Kher. But as professional critics we had no other alternative but to sit through what looked like a never-ending mess of celluloid.
Like “Paroo” produced by Navyug Chitrapat, “Vidya” is also another attempt to propagate education with the help of some helpless untouchables. The only difference between the two pictures is that in “Paroo” -the heroine is an untouchable while in “Vidya” the hero wears this mantle.
Chandu, a cobbler’s son, goes through the usual difficulties and at last becomes a graduate. During this long process he, however, falls in love with Vidya his college pal and daughter of a rich Zamindar.
Their romance creates the usual social difficulties punctuated by the debauchery of Vidya’s father who seems to be living all along in a prostitute’s house. This Zamindar’s life gives us quite a few glimpses of “Aage Badho”, a picture of Prabhat.
In the usual circuitous manner, characteristic of Indian films, the final climax is reached in the lap of debauchery when the Zamindar is faced with his own daughter. Vidya, as the prospective victim of his lust.
It all ends well, however, with the cobbler’s son getting the Zamindar’s daughter and every one else becoming wise enough at the end of it all.
DEV ANAND IMPROVES!
With the exception of photography which is excellent in parts, the entire picture is poor and amateurish. Even Suraiya’s music is very poorly tuned.
Suraiya looks too crude as a college girl and fails miserably in her primarily sympathetic role. Dev Anand, however, shows a lot of improvement in his portrayal as the cobbler’s educated son. The boy is improving fast and deserves encouragement. The rest make a pretty poor show.
In short, the picture is very boring and amateurish; though the main design behind it is purposeful (Original FilmIndia Review).
Year – 1948
Language – Hindi
Country – India
Producer – Jeet Productions
Director – G. Trivedi
Music Director – S. D. Burman
Box-Office Status –
Cast – Suraiya, Maya Banerji, Ghulam Mohammad, Madan Puri, Amibai Karnataki, Cuckoo, Munshi Khanjar, Dev Anand
Miscellaneous Information – Not Available.
|Bahe Na Kabhi Nayan Se Neer||1948||Mukesh||S. D. Burman||Yashodanandan Joshi|
|Bahen na kabhi nain se neer||1948||Mukesh||S.D. Burman|
|Bhagwan Tere Sansar Ke Hain Khel Nirale||1948||Amirbai Karnataki||S. D. Burman||Anjum Pilibhati|
|Jeevan Jyot Bujhti Jaye||1948||Amirbai Karnataki||S. D. Burman||Yashodanandan Joshi|
|Jhoom rahi jhoom rahi khushiyonki nav aaj||1948||Suraiya||S.D. Burman|
|Jhoom Rahi-3 Khushiyon Ki Nao||1948||Suraiyya||S. D. Burman||Yashodanandan Joshi|
|Kinare kinare chale jayein gey||1948||Suraiya||S.D. Burman|
|Kinare Kinare Chale Jayenge||1948||Suraiyya||S. D. Burman||Yashodanandan Joshi|
|Kise Maloom Tha||1948||Suraiyya||S. D. Burman||Madhukar Rajasthani|
|Kise maloon tha||1948||Suraiya||S.D. Burman|
|Lai khushi ki duniya||1948||Suraiya, Mukesh||S.D. Burman|
|Lai khusi ki duniya hansti||1948||Mukesh||S.D. Burman|
|Layi Khushi Ki Duniya||1948||Suraiyya-Mukesh||S. D. Burman||Anjum Pilibhati|
|Meri Muniya Ki Aankhiyan Mein||1948||Amirbai Karnataki||S. D. Burman||Yashodanandan Joshi|
|O Krishna Kanhai-4 Ashaon Ki Duniya||1948||Suraiyya||S. D. Burman||Anjum Pilibhati|
|O Krishna kanhayi …ashaonki duniya mein||1948||Suraiya||S.D. Burman|
|O, Pyar Ban Ke-2 Mukh Pe Koi Chha Gaya||1948||Lalita Deulkar||S. D. Burman||Raja Mehdi Ali Khan|