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Burma Rani
From Wikipedia - Reading time: 7 min
| Burma Rani | |
|---|---|
 Theatrical release poster | |
| Directed by | T. R. Sundaram |
| Produced by | T. R. Sundaram |
| Starring | K. L. V. Vasantha T. R. Sundaram C. Honnappa Bhagavathar Serugulathur Sama T. S. Balaiah |
| Cinematography | W. R. Subba Rao |
| Edited by | D. Dorairaj |
| Music by | T. A. Kalyanam |
Production company | |
| Distributed by | Modern Theatres |
Release date |
|
| Country | India |
| Language | Tamil |
Burma Rani (Tamil pronunciation: ['bəɾ.mɑː 'ɾaːɳɪ]; transl. Queen of Burma) is a 1945 Indian Tamil-language war-spy film set against the backdrop of the Second World War.[1] Directed by T. R. Sundaram,[2] it starred K. L. V. Vasantha and Sundaram, himself. The film was believed to be lost until 2006, when it was rediscovered and made available on DVD.[3]
Plot
[edit]The main plot revolves around a spy ring in Japanese-occupied Burma. It is led by a Tamil woman named Mangalam.[2][4] She monitors General Bakjina, who is planning an attack on India. General Bakjina, the Japanese army commander, is modeled after Adolf Hitler.[5][6]
The story intensifies when three Indian pilots crash-land in Japanese-occupied Rangoon. They hide in the house of Rani, an Indian dancer. The secondary plot is a love story between Ranjit Kumar, one of the pilots, and Rani. The pilots are captured and taken prisoner, and Ranjit is eventually killed. The story of the escape of the other two pilots forms the plot of the movie.
Cast
[edit]
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Reception
[edit]Burma Rani was one among four war-effort films released in Madras in 1945.[7] Upon its initial release, Burma Rani was appreciated by the British.[7][8] The local war propaganda officer, G. T. B. Harvey, presided over the premiere of the film.[7][9] However, Harvey later grew suspicious of the film’s portrayal of Japanese characters and withheld its commercial release, reflecting the ideological complexity of a war film set against the backdrop of India, Britain, and Japan.[7] While the Japanese characters were negatively stereotyped, the Indian spies and military officers were portrayed with a nuanced patriotism that could be interpreted as anti-colonial.[7][8]
It was eventually banned by the Madras censor board in post-independence India.[citation needed]
References
[edit]- ^ Velayutham, Selvaraj (3 April 2008). Tamil Cinema: The Cultural Politics of India's Other Film Industry. Routledge. ISBN 978-1-134-15446-3.
- ^ a b Nathan, Archana (27 May 2017). "Rangoon has never been too far away from Madras – ask Kollywood". Scroll.in. Retrieved 30 June 2024.
- ^ "War relic". Frontline. 5 October 2006. Retrieved 30 June 2024.
- ^ "As The Temple Bells Beckon". Outlook India. 5 February 2022. Retrieved 30 June 2024.
- ^ Balasubramanian, Roshne (22 November 2017). "Untold war tales of Madras". The New Indian Express. Retrieved 30 June 2024.
- ^ migrator (29 September 2019). "The textile engineer who took Tamil film industry to new heights". www.dtnext.in. Retrieved 30 June 2024.
- ^ a b c d e Mukherjee, Debashree (13 September 2023). "Media wars: Remaking the logics of propaganda in India's wartime cine-ecologies". Modern Asian Studies. 57 (5): 1585–1614. doi:10.1017/S0026749X22000427. ISSN 0026-749X.
- ^ a b Alonso, Isabel Huacuja; Amstutz, Andrew (13 September 2023). "Rethinking the Second World War in South Asia: Between theatres and beyond battles". Modern Asian Studies. 57 (5): 1449–1458. doi:10.1017/S0026749X2300015X. ISSN 0026-749X.
- ^ Baskaran, S. Theodore (1981). The Message Bearers: The Nationalist Politics and the Entertainment Media in South India, 1880-1945. Cre-A.
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