Sohrab Modi

The lion on the logo of his banner, Minerva Movietone, could well symbolize Sohrab Modi’s own personality. The Minerva lion’s stentorian roar was respectfully heeded for more than two decades.

Actor-filmmaker Sohrab Modi, made history even as he reinterpreted it for a modern audience. In his midas-touch trilogy of historical spectaculars — Pukar (’39), Sikander (’41) and Prithvi Vallabh (’43), Modi made the most of his gift for grandiloquence, and gave inspiring facsimile recreations of palaces and courts to encapsule all that is grand about the Indian historical heritage.

Strangely, Modi grew up with an acute dislike for history. The son of a Parsi civil servant, Modi spent his childhood in Rampur, UP, where he developed a flair for Hindi and Urdu. After making a name in theatre, he started his own banner, Minerva Movietone, in 1936.

Modi took the industry by storm with his superhit quasi historical —Pukar(’39). Set in the Moghul king Jehangir’s court and studded with Kamaal Amrohi’s poetic dialogue, Pukar explored the ethical ramifications of the supposedly immutable laws of justice. In a moving denouement, Jehangir (Chandramohan) asks the washerwoman (Sardar Akhtar) to take his own life in reparation for that of her husband, who had been inadvertently killed by his queen (Naseem). As the loyal Rajput Sangram Singh, who is willing to sacrifice his son in the name of justice, Modi gave free rein to that rich voice which captivated the audience with its power and pathos.

Later, in the role of the proud Indian king Puru, he drew applause for bandying crackling lines with his conqueror, Alexander, in Sikander (’41). It was said, that even the blind came to Modi’s films to hear his incredible dialogue delivery.

Besides historicals, he also made throbbing dramas of illicit passion, albeit with less spectacular success. Modi’s Bharosa (’40), tackled incest for the first time (Sardar Akhtar’s daughter is fathered not by her husband, Mazhar Khan, but by her lover, Chandramohan. Unfortunately, the daughter chooses to fall in love with Chandramohan’s son!). In Jailor; the tyrannical hero Sohrab, locks up his young wife after she is caught eloping with her lover. In his Prithvi Vallabh (’43), an ageing queen (Durga Khote), falls helplessly in love with King Prithvi (Sohrab Modi) after sadistically torturing him.

His relationship with the famed beauty, Naseem, having come to naught, in 1946 Modi married actress Mehtaab at the late age of 48. Mehtaab was 20 years younger than him but she was still too old to play the title role in Modi’s most ambitious historical, Jhansi Ki Rani (’53). Made in expensive technicolour at a tremendous cost, JhansiKi Rani flopped miserably. Though Modi returned the very next year with Mirza Ghalib, which went on to win the coveted President’s Gold Medal, the subsequent decline proved irreversible.

When he was 86, Modi surprised all by launching a film, Guru Dakshina. But it remained incomplete when cancer intervened. In his last days, even Modi’s signature boom was muffled, but the spirit remained indomitable till the end.

Prithvi Raj Kapoor in Sikandar (1941)

The historical film is one of the oldest genres of Indian cinema, often closely linked with themes of nationalism and the freedom struggle. Favourite periods include the Mughal era (the most popular film being Mughal-e Azam) and, less often, classical India, often used to evoke the glory that was India or highlight how the Indian nation and its unity are rooted in the mists of time. The historical’s popularity waned from the early 1960s but several have succeeded in the 2000s (including Lagaan and Gadar), experimenting with new periods (partition and even the 1960s).

Sohrab Modi, a Shakespearean actor, and his production company, Minerva Movietone, were always associated with this genre. His major historicals include Pukar (1939), which almost ousted Sikandar for its performances by Chandramohan and Naseem Bano, with able support from Sohrab Modi and others, its lavish sets and high drama; Prithvivallabh (1941), based on the novel by K. M. Munshi; Jhansi ki Rani (1953), documenting the fight by Queen Laxmibai against the East Indian Company; and the life of the great Urdu poet, Mirza Ghalib (1954), if only for Suraiya’s songs. However, Sikandar is held to be his greatest film.

326 BCE. Sikandar (the Indian name for Alexander the Great) (Prithviraj Kapoor) has reached the Jhelum and is set to conquer India but has to defeat the Indian King Porus (Sohrab Modi). Sikandar’s Persian lover Rukhsana (known in the west as Roxanna) (Vanamala), though shunned by Sikandar’s tutor Aristotle (Shakir), pleads with Porus to spare Sikandar but Porus’ only son (Zahur Raja) is killed in battle, and Porus is captured. However, the two heroes recognize kindred spirits and become friends. Sikandar releases Porus and begins his journey back home.

The film was epic in all senses. Its sets and battle scenes were lavish and no expense seemed to have been spared in creating the grandeur of ancient India. However, it must have been a great risk to make a film in 1941 (at the height of the freedom struggle) in which leaders debate nationalism and defeat. Nevertheless, apparently it managed to evade censor cuts, although it was not shown in cantonment towns (towns where the army was based).

The film is also remembered for the performances of these two imposing Shakespearean actors. Modi had worked in the Parsi theatre, specializing in Shakespeare, and Prithviraj Kapoor had also acted in Shakespearean touring companies. Both men began their careers in silent cinema. Prithviraj remained only an actor, starring in the first talkie, Alam ara (1931), and worked in New Theatres before returning to Bombay to appear in films such as Phool. From a generation who preferred theatre to cinema, he discovered that the latter paid the bills. His sons Raj (whose films include Awaara, Shree 420 and Bobby) and Shammi (Junglee, Teesri manzil, among others) worked almost entirely in cinema, while a third, Shashi (Waqt, Jab jab phool khile, Deewaar, Kabhi kabhie and Silsila), despite a good film career, subsequently devoted his energies to the theatre.

Cast and Production Credits

Year – 1941, Genre – Historical, Country – India, Language – Hindi, Producer – Mohan Pictures, Director – Sohrab Modi, Music Director – Mir Sahib, Cast - Prithviraj Kapoor , Sheela, Sadiq Ali, K. N. Singh, Meena, Shakir, Yakub, Jilloo Maa, Vanmala, Sohrab Modi, Zahur Raja, Abu Baker