| 4 | | Hindi director born in Surat, Gujarat. Entered films initially as Surat-based exhibitor, later scenarist for London Film, Rangoon, and for Krishna and Sharda Studios. Assisted Chandulal Shah (Rajputani, 1929). Turned director completing Nandlal Jaswantlal’s Pahadi Kanya (1930). Front-line Ranjit film- maker until 1943, then independent producer, owner of Jupiter Studio, Jayant Desai Prod. (1943) and Hemlata Pics. Also had exhibition interests with Hindmata Talkies and Star Theatres in Bombay and operated as a distributor in the 50s with his Jupiter Films. Directed K.L. Saigal’s last films. Desai’s devotionals (e.g. Har Har Mahadev) and historicals (Tansen) show how these genres were inflected towards neo-traditional melodrama (including his several Saint films and mythologicals) by a growing urban working-class audience and an economy determined by WW2. |
| | 4 | Hindi director born in Surat, Gujarat. Entered films initially as Surat-based exhibitor, later scenarist for London Film, Rangoon, and for [[Krishna]] and [[Sharda]] Studios. Assisted [[Chandulal Shah]] (Rajputani, 1929). Turned director completing [[Nandlal Jaswantlal]]’s Pahadi Kanya (1930). Front-line [[Ranjit]] film- maker until 1943, then independent producer, owner of Jupiter Studio, Jayant Desai Prod. (1943) and Hemlata Pics. Also had exhibition interests with Hindmata Talkies and Star Theatres in Bombay and operated as a distributor in the 50s with his Jupiter Films. Directed [[K.L. Saigal]]’s last films. Desai’s devotionals (e.g. [[Har Har Mahadev]]) and historicals ([[Tansen]]) show how these genres were inflected towards neo-traditional melodrama (including his several Saint films and mythologicals) by a growing urban working-class audience and an economy determined by WW2. |