SOUTH INDIAN CINEMATOGRAPHY – II

 SOUTH INDIAN CINEMATOGRAPHY – II

In continuation of what I had mentioned earlier, we try to recall the meritorious contribution from some exceptionally brilliant cinematographers of later 1950s --1970s. Of the few chosen wizards, I have to make a sequence based on some criterion on which the narration has to proceed. The plausible option to begin and proceed would be according to the age of the person. It appears both sensible and free of any personal priority thereof.

MARCUS BARTLEY - [22-04-1917  --- 14-03 -1993]

M. Bartley was born in Yercaud, in an Anglo-Indian from a family of doctors. His passion for photography as a school boy was a serious setback to his studies. But, he was too good in choice of angles and   interpreting the ‘mood’ of the picture by the most appropriate lighting. [Later it proved a hurdle in his professional career]  He joined Times of India, Bombay in their news reporting section. He had a burning desire to ‘understand’ varied lenses, cameras and ‘correcting any defect in their working’. So to say he became a camera mechanic and revealed very good skill in correcting lens disorders. Also, he was moving to different places with so many interests relating to ‘picture’. He came to Chennai and was in search of some assignment. Vijaya- Vauhini studios were being established then. The owner Reddy appointed Mr. Bartley for organizing their film laboratory and to standardize the work in film processing. Soon, Bartley became their lead Cinematographer. For several years Bartley held that position in VV studios.

He also revealed his class in camera tricks. His work in ‘PAATHAALA BAIRAVI, MAYA BAZAAR and a host of other Telugu movies were widely enjoyed by audience. Abrupt change of dimensions of some characters in Maya bazaar, automatic flow of laddus into the mouth of SV Ranga rao, auto rolling of the magic mat and its flight in sky were sensations among cine goers then. The song sequence ”AAha inba nilaavinile” [ MAYA BAZAAR] was shot in sets, though it looks to have been shot in lake/ river  He had shot some footage in Ennoor back waters in broad day light [11.30 am or so.] He judiciously merged the outdoor frames with the studio shots to ‘simulate’ outdoor effect.

Mr. Bartley was an acclaimed expert in handling ‘MITCHELL’ CAMERA popular then in movie dom. He was a strict disciplinarian at the work spot; would not permit any chatting, while he was planning for ‘lighting the sets’. Once Bartley simply said, ‘shut up’ to a producer when the latter was speaking in a loud tone. Such instances of outburst by Bartley irritated the bosses and he lost his job. He then joined Gemini studios. He was a free lance worker and had worked for many projects.

Knowing his ability, Mr. Ramu Kariat assigned cinematography of ‘CHEMMEEN’ –a noted Malayalam movie to him.  He had made an indelible mark in cinematography of CHEMMEEN in Eastman Colour; his towering independence made him abruptly leave from remaining works for CHEMMEEN. Bartley wanted the movie makers to wait for Kerala monsoon to capture those giant waves to highlight the fisher men’s plight through rough weather on seas. Producers felt such artistry on screen may distract audience from the absorbing story line and refused to wait. Instead of obliging them, Bartley quit the project. The remaining footages for CHEMMEEN were done by U Rajagopal – another noted cinematographer of those days. Expectations were wide and rife that Bartley would snatch the National award for his work in CHEMMEEN -that year; but the jury refused to consider Bartley’s name on the ground that -Awards  cannot be announced when 2 persons have completed a project.

After all, talent cannot be denied its pride for long. His camera work in “Shanthi Nilayam” –a Tamil movie was pleasing to the viewers of all varieties.  Later, Mr. Bartley won the coveted National award [1970] for his work in SHANTHI NILAYAM in 1969 [EASTMAN COLOUR BY Gemini studio laboratory].  That has been the broad history of Shri. Marcus Bartley - who rose to the top by a stint of hard work and meticulous perfection in whatever he did..

Prof. K. Raman