All posts filed under: Melodrama

SIR (Dir. Rohena Gera, 2018, India-France)

Set in contemporary Mumbai Sir is a sharply crafted romantic melodrama, full of warmth, about a benign architect, Ashwin (Vivek Gomber) and a migrant servant, Ratna (Tillotama Shome). The script is sharply written and brings to life the complexities of Ratna and Ashwin who are are bound by class and caste. Although they are two people from opposite ends of the social spectrum, the emotional connection that is forged becomes a tentative bond and gradually emerges as a painful longing that reaches a memorable conclusion. The narrative unfolds from the perspective of Ratna and for much of the film remains with her character, which is significant because a romantic melodrama of this type could easily have capitulated to a male point of view. The script is wonderfully underplayed and Tillotama Shome in superb form brings to life the nuances of Ratna, a widow who works in the city to support her family back home and has aspirations of becoming a tailor. Writer and director Rohena Gera treats Sir as an urban fairytale and thankfully channels …

JAGO HUA SAVERA / THE DAY SHALL DAWN (India/Pakistan/Bangladesh, 1959, Dir. A. J. Kardar) – The Cosmopolitan Intersections of South Asian Neorealism

“This is the path of the spirit paved with thorns and stones. This is man’s shadow. This is night. But morning will come…” – Khalil Gibran Gibran’s poetic words point to a cycle of endurance, a battle to survive. This quote from Gibran is juxtaposed over the image of fishing boats at night, navigating the dark waters so to eek out a living, to sustain a village in which fishing is the lifeblood. The recently unearthed Jago Hua Savera (The Day Shall Dawn, 1959) seems to be yet another reason why South Asian cinema’s intersections with neorealism remain somewhat irresolute. Most conversations regarding Indian neorealism tend to centre on two films – Bimal Roy’s Do Bigha Zamin (1953) and Ray’s Pather Panchali (1955). Both of these films, directed by Bengali filmmakers, show a debt to Italian neorealism and De Sica’s Bicycle Thieves (1948). Although Ghatak’s work could be tentatively argued in terms of a neorealist aesthetic, his style was more eclectic, hybridised and fragmented. Arguably, Nagarik (1952) is possibly the film with the most salient …

MANOOS/ADMI aka Life is for the Living (Dir. V. Shantaram, 1939, India)

Manoos (1939) opens with a deftly staged pre-Bressonian like shot of the camera tracking a pair of naked feet as it enters a brothel/gambling den, surveying the men illicitly playing cards on the floor. But this is a shot that pre-dates Bresson and also the opening shot to Hitchock’s Strangers on a Train, and points to the filaments of innovation that characterised classical studio filmmaking in India during the 1930s and beyond. Directed by Shantaram, one of the early pioneers of Indian cinema, Manoos is a striking example of the Hindi social melodrama and was made by the technically accomplished Prahbat Film Company. The film was shot largely on sets in a studio and Rupali Shukla (2014) writes that Shantaram visited red light districts in Mumbai to help with authentically recreating the milieu, which is starkly claustrophobic and Kammerspiel in its look. At the core of this melodrama is a love story between Ganpat (Shahu Modak), a straight-laced police officer, and Maina (Shanta Hublikar), a prostitute. The opening police raid on the brothel is cloaked …

MAMMO (Dir. Shyam Benegal, 1994, India)

When Khalid Mohamed, editor of Filmfare and journalist, wrote a piece on his great aunt in the Times of India he had no idea that Benegal would eventually convince Mohamed to write a screenplay based on the idea. This was made altogether unusual since Mohamed was not the greatest fan of Benegal’s cinema. Mammo (1994) would be the first of three films, all written by Khalid Mohamed, in which Benegal explored the fractured lives of three women from Muslim families. The story of Mammo revolves around the character of Mehmooda Begum (Farida Jalal) – a displaced Muslim woman who doesn’t quite know where she belongs anymore, a victim of partition and someone searching for an identity in an uncertain Bombay in which secularism has started to fade. Thrown out by her relatives in Pakistan, Mammo comes to Bombay, staying with her widowed sister Fayyazi (Surekha Sikri) and her 13yr old nephew Riyaz (Amit Phalke) from whose point of the view the story is narrated. There was no plan for a trilogy but along with Sardari …