An online film journal for Indian Cinema
The Dacoit Western is a transnational film genre forged out of a synthesis between the Dacoit film and the Italian Western in the late 1960s and early 1970s. The dacoit in popular culture has undeniably been represented with ambivalence, chiefly as a romantic figure, existing outside mainstream society. Yet the rebellious nature of the dacoit, disregarding law and order has often made the dacoit an oppositional entity, a symbol of counter culture, dissent and even protest. Sonchiriya is a Dacoit Western but it seems so much more political given the age of Modi, with overtures to do with caste and gender that seem altogether absent from the genre in the past. Apart from the songs that are incorporated seamlessly into the narrative, this is very much an exquisitely mounted art film pitched as moderately mainstream. Since genres like horror, science fiction and the Western are perfect vehicles for ideological subversion, allowing filmmakers to smuggle in all kinds of social and political dissent, filmmaker Abhishek Chaubey and scriptwriter Sudip Sharma succeed in delivering a high end genre film, navigating the terrain and conventions of the Dacoit Western with a creative zeal.
Sonchiriya takes place in the valleys of Chambal in the 1970s when the notorious dacoit Man Singh and his band of rebels reigned supreme. A point of real curiosity for film buffs is that actor Manoj Bajpayee had previously played a dacoit in Shekar Kapur’s Bandit Queen who also goes by the name of Man Singh. I’m still not sure if he is playing the same character since the historical timeframes in the two films suggest otherwise. A folklore and mythology has emerged around the dacoits of Chambal in the 1970s and the film is careful not to strip away this mystique. In fact, the film enhances the haunted nature of the dacoit with metaphysical aspects that also connect with the desolate topography. A tactile work, conjuring a sharp sense of the milieu with the camera constantly pushed up against the face of the actors while also going as wide as it can when filming the rugged vistas of Chambal makes you almost taste the dirt and feel the sweat. For instance, the film opens with the sound of buzzing flies on the rotting cadaver of a snake. Such a wretched image of death recalls the cinema of Sam Peckinpah and Sergio Leone in the way in which Chaubey chooses to magnify this particular detail whereby it takes on a larger than life symbolism and acts as a foreboding precursor of things to come, much of it twisted and violent.
In the first major set piece, the gang’s entry into Brahmpuri village is juxtaposed to a radio announcement of Indira Gandhi’s declaration of the Emergency of 1975. The ambush by the police in Brahmpuri leads to a shootout and which the machinations of violent state repression unleashed by the Emergency are realised in the political impunity with which the police act towards the dacoits, massacring them. Later Man Singh’s dead body is paraded through the village, a grotesque spectacle of power and ugly expression of vengeance. It is also worth pointing out the gang see themselves as rebels whereas the police demonize them as dacoits. This is an important distinction since it is only later that we discover that Man Singh is not merely a rebel but has a conscience and lives by a stringent moral code. Thematically, redemption for the dacoit is woven through the episodic narrative structure anchored in the fortuitous device of trying to get a wounded Dalit girl who has been raped to a hospital. While the episodic structure works to mirror the nomadic and exilic state of the dacoit, suggesting how they are doomed to wander, the use of key flashbacks that narrates a past drenched in prodigious horrors and from which no one can really escape returns to Chaubey’s genre preoccupations expressly noir that he deftly mined in Ishqiya (2010).
Nearly all of the characters that populate the film aside from the women are loathsome scoundrels. But that is to be expected, after all this is a Dacoit Western. Lakhna (Sushant Singh Rajput), a mediating figure, often openly questioning their marauding nature, while Man Singh exudes a magnetism that is articulated brilliantly by Manoj Bajpayee, still one of Indian cinema’s most complete actors. The most startling performance comes from Ranvir Shorey as Vakil Singh, the most temperamental of the gang. Shorey has been busily working since the late 1990s but I feel he doesn’t gets the credit he deserves as an actor, especially someone who has nurtured a considerable range. The symbolism of the dacoit is interchangeable and situated on the margins it comes to stand in for many oppositional ideologies. However, I would reason the apolitical nature of the dacoit, erasing the concept of the social bandit in favour of something more mythical shows a reluctance to frame the dacoit as ideological. But the caste dimension does at time negate such apolitical reasoning. Nevertheless, Chaubey and Sharma show little in terms of taking sides in this immoral universe, choosing to enunciate a perverse social order that exists including hierarchal power struggles and an on-going contestation to do with bridari that reduces pretty much everyone to animals. And in the final shot, a twisted coda, it is vehemence and fatalism that prevails, the lifeblood of film noir.