| 1 | '''Niranjan Pal (1889-1959)''' |
| 2 | |
| 3 | |
| 4 | Director and scenarist born in Calcutta. Son of |
| 5 | nationalist leader Bipin Chandra Pal. |
| 6 | Participated marginally in early youth in |
| 7 | terrorist action around Calcutta (1908). Sent to |
| 8 | Marseilles and to London where he lived until |
| 9 | 1929. Met Veer Savarkar, leader of the extreme |
| 10 | right-wing Hindu Mahasabha, and was linked |
| 11 | with the assassination of William Hutt Curzon |
| 12 | Wyllie (achieved at the Imperial Institute in |
| 13 | London on 1 July 1909). In London, worked |
| 14 | with the Natural Color Kinematograph Co. |
| 15 | (1913); wrote short stories, plays and sold |
| 16 | several scripts such as Faith of a Child (F. |
| 17 | Martin Thornton, 1915) and A Gentleman of |
| 18 | Paris (Sinclair Hill, 1931), based on his own |
| 19 | novel His Honour the Judge. Started Indian |
| 20 | Players group and staged plays like Bluebottle |
| 21 | and The Goddess. Met Himansu Rai, an actor |
| 22 | in The Goddess, and discussed making Prem |
| 23 | Sanyas (1925). Pal claims in his unpublished |
| 24 | memoirs, Such is Life, that the film was his idea |
| 25 | as well as his script. Collaborated as scenarist |
| 26 | on all Himansu Rai’s silent productions |
| 27 | (Shiraz, 1928; Prapancha Pash, 1929). |
| 28 | Revived Indian Players and The Goddess on |
| 29 | stage in Calcutta with participation of |
| 30 | Premankur Atorthy, Modhu Bose and |
| 31 | Charu Roy. His play Zarina, staged by Bose’s |
| 32 | Calcutta Amateur Players, was later filmed by |
| 33 | Ezra Mir (1932). Made promotional films for a |
| 34 | French motor car company and Imperial |
| 35 | Tobacco, exhibited with Chaplin films in tent |
| 36 | shows around Calcutta (1930-3). Made |
| 37 | newsreels for Aurora called Aurora Screen |
| 38 | News (1938-42) and occasional features for |
| 39 | Aurora, including the children’s film |
| 40 | Hatekhari. Rejoined Rai at Bombay Talkies |
| 41 | (1934-7) as chief scenarist and wrote some of |
| 42 | the studio’s biggest hits (Jeevan Naiya and |
| 43 | Achhut Kanya, both 1936; Izzat and Savitri, |
| 44 | both 1937). Made documentaries for Punjab |
| 45 | government and worked in the Film Advisory |
| 46 | Board as chief scriptwriter (1942). Also wrote |
| 47 | the story of Modhu Bose’s Khyber Falcon |
| 48 | (1932) and Jayant Desai’s Qatil Katari (1931). |
| 49 | |
| 50 | |
| 51 | '''FILMOGRAPHY:''' 1930: Naseeb Ni Balihari; |
| 52 | 1931: Sui Ka Naka; Pardesia; Pujari; 1932: |
| 53 | Dardi (all St); 1939: Hatekhari; Amma; 1940: |
| 54 | Suktara; Ditiya Path; 1941: Rashpurnima; |
| 55 | Chitthi; Brahman Kanya; 1951: Bodhodaya. |
| 56 | |
| 57 | [[Director]] |
| 58 | |
| 59 | [[Writer]] |