Director: Master Vinayak; Writer: C.V. Joshi, V.S. Khandekar; Producer: Master Vinayak; Cinematographer: Vasudev Karnataki; Cast: Damuanna Malvankar, Vishnupant Jog, Nandu Khote, Saroj Borkar, Vatsala Kumthekar, Shakuntala Bhome, Javdekar, Bal Datar, Shanta, Baby Leela Marathe, Gopinath Savkar, Anantrao Joshi, Powar, Tamhankar, Bargir, Lele, Athane, Baby Achrekar
Summary: Vinayak claimed this, his best-known of the Gundyabhau-Chimanrao films and the first one without Atre, to be his only truly political film. His earlier satires (Brahmachari, 1938; Brandichi Batli/Brandy Ki Botal, 1939) primarily reflected Atre’s literary and political attitudes. This film spoofs the still-influential feudal nobility in pre-WW2 Maharashtra. Kautai (Bhome), recently married to Chimanrao (Malvankar) (cf.
Lagna Pahave Karun, 1940), claims to be a distant relative of the king of a small state and takes her husband and his bachelor-cousin Gundyabhau (Jog) for a family visit to the ‘palace’. The fancy Ford sent to collect them from the railway station is pulled by two oxen (the origin of the classic joke about the ‘Ox- Ford’). They find their lodgings have no electricity and the servants are less than honest. Gundyabhau, the convinced misogynist, experiences a crisis when faced by a seductive dancer (Kumthekar). Like its prequel, Lagna Pahave Karun, the film has an episodic narrative, deploys dialogues with a strong period flavour and has extended comic set pieces like the musical contest between Gundyabhau and the dancer.
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