AAKROSH / Cry of the Wounded [Dir. Govind Nihalani, 1980, India] – ‘I burn from within…’

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In the dialogue-less opening to Aakrosh, Bhiku (Om Puri), the Adivasi labourer looks on in chains as the body of his dead wife (Smita Patil in a cameo) is cremated before he is led away by the police to jail. The pot marked face, protruding eyes, leathery skin of Bhiku amount to an image of the lower caste worker as a subjugated, exhausted figure which typified the alternative representations of the subaltern that became associated with Parallel Cinema in the 1970s and 1980s. Bhiku’s interminable silence, arguably contradicting the attempts to articulate the subaltern as more authentic and visible, is used as a broader political metaphor anchored in the opening lyrics: ‘I am unable to endure the pain anymore…I burn from within’. Bhiku is charged with strangling his wife to death and defended by Bhaskar, an idealistic lawyer played deftly by Naseeruddin Shah. Bhaskar soon discovers that Bhiku’s case is more complex than he imagines, concealing a caste led conspiracy in which four upper caste men have raped and murdered Bhiku’s wife. Although director Govind Nihalani weaves together an effective thriller, grasping the nuances of genre, the tone of political outrage, much of which is exemplified in Bhaskar’s anger and paranoia, transforms the work into a somewhat didactic yet measured study of caste, middle class hypocrisy (a theme Nihalani returned to with great satirical accomplishment in Party) and power.

The caste politics are complicated by public prosecutor Dushane (Amrish Puri in fine form), a lower caste lawyer who is resigned to masking over his caste identity so to protect the very totalizing system into which he has been readily assimilated. Dushane is a self-hating figure, labelling Bhiku a savage tribesman who drinks alcohol and creates mayhem. However, Dushane is troubled by hostile late night phone calls that remind him of his lower caste status, tearing down the illusion of social mobility. At one point Dushane mocks Bhaskar for his apprehension, arguing the only reason Bhaskar doesn’t want to defend Bhiku is because a Brahmin sending an Adivasi tribesman to his death doesn’t look very good in today’s changing society. Having broken through the system, Dushane refuses to take up a revolutionary position, showing disdain for his fellow caste oppressed brothers like Bhiku, and choosing to endorse a corrupt, discriminatory system that continues to deny him a true sense of belonging. Dushane serves the law, nothing more. Whereas Bhaskar argues a wider ethical responsibility should take equal precedent. The machinations of a system aligned to protect the few, the privileged and upper caste is another aspect of society that writer Vijay Tendulkar delineates, conveying the ways in which the intricate cogs of an unjust system mesh together and are manifested in acts of state sanctioned violence.

If Dushane compels Bhiku to conform and serve nothing but the law, the activist and social worker working with the Adivasi in the village, is an obvious political metonym for Naxalism. The activist wants to help Bhaskar who is frustrated by his concerted attempts, all of them in vain, to gain the consensual support of Bhiku’s father and sister. In perhaps one of the most overtly didactic moments in the film, the activist, speaking like a true Naxal, tells Bhaskar the Adivasi do not need his sympathy nor pity; for anything to change there needs to be a complete uprooting of the system, the annihilation of the present, a revolutionary ideal which the middle class have kept at bay through their faux sympathies. But as we witness, any challenges or opposition to the system are swiftly snuffed out with a resounding legitimacy and contravention of the law. The attack on Bhaskar by goons working for the ruling elite is the logical conclusion of a lawlessness that permeates a claustrophobic milieu in which the Adivasi remain mute in fear of reprisals and sanctions, be it economic or social.

Where Aakrosh falters is in the abrupt ending. Having tried unsuccessfully to defend Bhiku, Bhaskar and Dushane have a final confrontation. In some respects, when Bhiku takes the life of his sister, hacking her to death at the funeral of his father, that is when the film should have finished; a bleak ending but one deserving of a such a cruel system. Instead, the exchange between Bhaskar and Dushane strives to privilege the worth of Brahmin intervention, thereby undermining the caste agenda, reducing subaltern agency to something insubstantial and underdeveloped. Dushane wants to protect the position of power he has carved out but it comes at the expense of closing the door behind him, leaving a lower caste status in the past as though it never existed. The ending implies the Brahminical saviour seems to be the only one who is incorruptible while it could be argued that Bikhu’s silence ultimately rings hollow, suppressing the momentum of political angst.

OM PURI (1950 – 2017) The Cosmopolitan-Parallel Cinema Actor

Actor Om Puri in film ARDH SATYA. Express archive photo

The film career of Om Puri is worth more than East is East. But since East is East is the film that first introduced a new generation of film audiences in the West to Om Puri as an actor, it also becomes a blockage to his rich and varied accomplishments. Film critic and writer Aseem Chhabra has been one of the few who has noted that Om Puri did not get the recognition that he deserved for the many great performances he gave over his career. And later in his career was all but forgotten by the Indian film industry in terms of the types of roles that should have come his way.

Before Om Puri branched out as a cosmopolitan Indian film actor, it was the earlier phase of his career, from the late 1970s to the early 1990s, where we find him at his most productive, creative and accomplished. It was his formative associations with Indian Parallel Cinema, particularly in the second phase when the NFDC came to fruition, which saw Om Puri emerge as a notably gifted and versatile actor. Since he understood theatre, his grasp of acting was extenuated through his command of language and capacity to bring elegance to the grimmest of roles. Om Puri also cultivated elegance to his delivery of dialogue, his reasoned, impassioned voice becoming a major feature of his performances. If we are to appreciate the genuine talent of Om Puri then his contributions to the development of Indian Parallel Cinema also need to be celebrated, revered and viewed in the same light as East is East and other American and British films that he starred in.

One only needs to return to the first ten years of Om Puri’s acting career to realise his brilliance as an actor. It was with the 1986 police crime thriller Ardh Satya in which he was the main lead that brought critical acclaim. The collaboration he formed with Govind Nihalani beginning with Aakrosh in 1980 and culminating in the seminal TV series Tamas in 1986 is a formidable actor-director partnership that often gets overlooked in the history of Indian cinema. Om Puri never really emerged as a leading man, perhaps stemming from a refusal to adopt the persona of a film star. Instead, he excelled as both a remarkably adroit character actor who was never afraid of embracing supporting roles.

Om Puri was also part of a troupe of Parallel Cinema actors who all emerged around the same time, the late 1970s, including Shabana Azmi, Naseeruddin Shah and Smita Patil. This formidable ensemble including Om Puri nurtured an exceptional political sensibility that was reflected in their choice of films as Parallel Cinema often pointed to a leftist socio-political mode of enquiry. But being political for Om Puri was not merely a temporary state of being nor a singular reaction to the socio-political turmoil of the 1970s and 1980s in India. Om Puri remained political throughout his career, speaking out against the establishment, most recently rubbished by the mainstream Indian media for his outmoded liberalism.

As Parallel Cinema started to dwindle in the late 1980s, Om Puri, like many of the Parallel Cinema ensemble, realised (or were sort of compelled to) they had to alternate between art cinema and the mainstream to sustain their acting careers. Om Puri’s associations with British cinema stretch back to the mid 1980s when he had a supporting role in the British TV series The Jewel in the Crown. Prior to this he had also starred in the lacklustre Gandhi by Richard Attenborough. The 1994 film In Custody, starring Shashi Kapoor and directed by Ismail Merchant, seemed to point to Om Puri crossing over into potentially British and American cinema.

And it was the two films Om Puri made with director Udayan Prasad in the 1990s – Brothers in Trouble (1995) and My Son the Fanatic (1997) that finally saw him transcend his status as an Indian film actor, cultivating a broader cosmopolitan identity that put him in good standing with global cinema. Both of these brilliant films, never really talked about today, offer rare insights into the South Asian diaspora experience, exploring anxieties to do with identity, belonging and British Asian culture often glanced over in British cinema or completely marginalized. It was with East is East (overrated in my opinion) in 1999 that Om Puri achieved international recognition, a film that has unfortunately eclipsed the substantial Parallel Cinema output and also his abundant contributions to popular Hindi cinema that went before. My Son the Fanatic is the film that needs reclaiming in Om Puri’s British cinema output, as this is the performance that defined his revival in the late 1990s. Nonetheless, East is East showcased Om Puri’s brilliant comic timing, yet another dimension to his acting skills, which had been witnessed in earlier films such as Jaane Bhi Do Yaaron (1983).

I have gathered together some writings on the films of Om Puri which in my opinion offers a glance at his Parallel Cinema output, arguably his most creative and substantial:

Ardh Satya / Half-Truth (Dir. Govind Nihalani, 1983, India) http://wp.me/p59VSU-18k 

Mirch Masala / A Touch of Spice (Dir. Ketan Mehta, 1987, India) http://wp.me/p59VSU-13J 

Ghashiram Kotwal (Dir. K. Hariharan, Mani Kaul, Kamal Swaroop, Saeed Mirza, 1976, India) http://wp.me/p59VSU-UY 

Dharavi / Quicksand (Dir. Sudhir Mishra, 1992, India) http://wp.me/p59VSU-4K 

Party (Dir. Govind Nihalani, 1984, India) http://wp.me/p59VSU-3n

Sadgati / Deliverance (Dir. Satyajit Ray, 1981, India) http://wp.me/p59VSU-3n

Aghaat / Anguish (Dir. Govind Nihalani, 1985, India) http://wp.me/p59VSU-ns 

ARDH SATYA / HALF TRUTH (Dir. Govind Nihalani, 1983, India)

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Govind Nihalani’s directorial debut in 1980 with the award winning Aakrosh (Cry of the Wounded) was inevitable. As an ace cinematographer, Nihalani collaborated closely with Shyam Benegal on many formative semi-realist critiques including Ankur, Nishant, Junoon and Bhumika. Benegal’s scepticism of social institutions and his sensitive representations of women, often victims of patriarchal oppression, would determine the equivalently leftist ideological machinations of Nihalani’s films as a director in the 1980s. Benegal tended to work with the same cast and crew for many of his early films including Shabana Azmi, Naseerudin Shah, Smita Patil, Om Puri and Amrish Puri, many of whom would be shared across with Nihalani in his own films.

Ardh Satya was only Nihalani’s third feature as a director and probably the one that he is best remembered for. It is also another key film from the second wave of Parallel Cinema. In some respects the use of melodrama which Benegal and Nihalani both relied on as a means of narrative storytelling raises the continuing question of the relatively undecided status of films like Ardh Satya; were they Middle Cinema or Parallel Cinema, or were they in fact both. Or was Middle Cinema a completely separate mode of categorisation and approach to filmmaking. Furthermore, the police/crime thriller moniker only adds to the complicated genre status of Ardh Satya. Because of this, Ardh Satya occupies a dubious status as an example of Parallel Cinema since the film has been claimed as critical to the development of the Bombay police/crime thriller. Though Ardh Satya marked a change in location for Nihalani with much of the film shot on location in and around the slums of Bombay (now Mumbai), thematically, the focus on the police as both a public institution and the officers who struggle to retain a sense of moral integrity in the face of corruption was a continuation of Aakrosh and would also signal a preoccupation with the police; Drohkaal and Dev would act as further evidence of Nihalani’s claim as an auteur of some considerable distinction.

The story of Ardh Satya, which means ‘Half Truth’, follows a young police officer, Anant Velankar (Om Puri in one of his most memorable roles), in the Bombay police department. Perceived as someone who is both upright and fair in his approach, Velankar discovers there are those who exist outside the law and have the political reach to manipulate the police for their own ends. One such person that Velankar tries but fails to arrest is Rama Shetty (Sadashiv Amrapurkar), a notorious local crime lord who reigns with a terrifying impunity while continuing to rule over the slum dwellers. Shetty uses his electoral support with the Bombay police and the slums to run for city council in the local elections. Velankar becomes increasingly disillusioned with the police as a potent institution for justice and his relationship with Jyotsna Gokhale (Smita Patil), a lecturer, offers respite from his doomed trajectory. Flashbacks recall Velankar growing up in a rural village in which his harsh, orthodox father, (Amrish Puri), also a police officer, humiliates his beleaguered mother. At the same time, Velankar is prevented from pursuing an ambition to become a professor, reasoning why he finds an emotional connection with Jyotsna’s intellectualism. Any attempts at Velankar confronting the lawlessness of Rama Shetty are undermined by the inherent corruption of his superiors, apathetic to the concerns of the ordinary slum dweller and more responsive to the demands of the middle class elite. Nihalani’s representation of a corrupt and complacent Bombay police acts as a wider condemnation of Indira Gandhi’s leadership and government.

Another significant element to the nightmarish tone is the substantial ideological contribution of Marathi playwright turned Indian art house scriptwriter, Vijay Tendulkar. Tendulkar was a regular collaborator with Shyam Benagal, having written the screenplays for Nishant and Manthan. The contempt for feudalism Tendulkar brought to the screenplay of Nishant is mirrored in the angry temperament of Ardh Satya. In the generational divide that opens up between the traditional values of the father (Amrish Puri) and the secular politics of the son (Om Puri), Velenkar’s rejection of his father’s marriage proposal extenuates his criticism of the way in which rural village life and its traditions simply perpetuate a status quo that aids those in positions of power, namely the ruling elite. Velankar finds it problematic to escape the shadow of his domineering father. But by taking the law into his own hands Velankar inadvertently shatters the social order, censuring his father for failing to question his own frailties as both an inadequate father and a benign police officer.

While the second wave of Parallel Cinema under the auspice of the NFDC was somewhat less angry, political and iconoclastic then the foundational years, many of the later films continued to adopt endings with a striking degree of disillusionment and fatalism, an idea of non-closure that was unconventional for Indian Cinema. Indeed what remains germane about Ardh Satya today is the urban topography of Bombay, an aesthetic motif that would leave its imprint on the Indian crime genre including Parinda, Satya and Black Friday.

Ardh Satya will be screening on Zee Classic: Sat 20 Aug 10pm

MIRCH MASALA / A TOUCH OF SPICE (1987, Dir. Ketan Mehta, India) – Tales of Resistance

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Mirch Masala, the third feature of director Ketan Mehta, opens with the choral refrain of doubt, the lyrics booming over a rustic, desolate and geometrical landscape of scorched brown, orangey earth; a Kiarostami image that possibly preludes the work of the Iranian master:

O Earth, man became your heart
Hence the world became bright
A spicy flavour added colour to the darkness

The tone of isolation segues into the opening titles unfolding against the glowing crimson red of a mirchi (red chilli), a benign symbol of colonialism brought to India by the Portuguese. The red chilli is also inherently indigenous and rural, accentuating Mehta’s repeated explorations of Indian folk culture and their associated rituals and customs, which Mehta first broached with his erudite 1980 debut film Bhavni Bhavai (A Folk Tale).

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Mirch Masala is an impressive ensemble piece with a cast of familiar Parallel Cinema faces including Naseeruddin Shah, Smita Patil, Deepti Naval and Om Puri. Ensemble cinema in India was perhaps first prompted by director Shyam Benegal as a trend in Parallel Cinema, later a defining characteristic of Parallel Cinema and the open collaboration between the director and a pool of actors. It is important to note many of these actors were not specific to Parallel Cinema and worked across theatre, art cinema and popular Hindi cinema. And they had to be in order to making a living. Mehta’s use of colour in Mirch Masala is often overlooked, and it has a palpable register. In some respects, the experimentation with colour was a notable trait of Parallel Cinema filmmakers. One only has to study the work of Kumar Shahani to be able to see how colour can be deployed both expressionistically and psychologically to delineate themes and characters. And it is the colour red in Mirch Masala, a unifying aesthetic principle, which is admittedly ritualised to take on more than just a symbolic function.

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The first introduction to Sonbai (Smita Patil) and Subedar (Naseeruddin Shah) occurs nearby a river. The fiery and beautiful Sonbai catches the eye of Subedar who approaches her for a drink of water. When Sonbai instructs Subedar to bend down and cup his hands for the water he does in a show of obedience that is suffused with eroticism as Subedar drinks sexually while looking up at Sonbai. While Mehta satirises this erotic encounter with archetypal images, the rustic belle meets the despotic colonialist tax collector, a fortuitous power relation establishes Sonbai as an unbridled force of feminist defiance. We know now that Sonbai will never give in to Subedar’s sexual advances, posing a threat to Subedar’s masculinity.

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Mirch Masala has often been interpreted as a colonial allegory and to some extent this may be true depending on how far you want to read into this perspective. Although the colonial interpretation can be restrictive, Mirch Masala works alternatively, perhaps more progressively as a tale about gender relations, specifically a feminist satire in which moments are deliberately heightened to the point of absurdity; notably the humiliation of the villagers by Subedar, played with an outright parody by Shah that sees him endlessly twirling his colonialist moustache. The totemic Subedar instructs his men to seize the land of those villagers who default on tax payments – even after Mukhiya (Suresh Oberoi), the indentured village chief has told Subedar about a poor harvest. And whatever Subedar desires he gets; he has women from the village brought to his tent so he can have sex with them but when Sonbai resists all hell breaks loose. Her protestations upset the equilibrium of power relations, an uncontested feudal sphere. As a source of patriarchal oppression, the characterisation of Subedar is grossly archetypal; difficult to take seriously, but as the film progresses Subedar’s despotism remains one facet of a much wider system of subjugation in which the village men are revealed to be an ineffectual melange of wretched patriarchy.

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This is a film that also details the oppression of women and the collective stance of female defiance at the end is a culmination of the cruelty catalogued along the way including the village chief Mukhiya who spends his nights with a mistress, ignoring his wife, Saraswati (Deepti Naval) and children, the beating a father gives to his daughter (Supriya Pathak) for desiring a young man, Mukhiya’s removal of his little daughter from school (enrolled as a progressive feminist choice by Sarswati) and Subedar’s sexual harassment of Sonbai.

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Two notable male exceptions exist though. Masterji (Benjamin Gilani), a disciple of Gandhi who is mocked for his Swadeshi beliefs, tries to rally the village, arguing they should partially resist the demands of Subedar but it is a failure predicated on Mukhiya’s resentment about Masterji’s intellectualism. In contrast to the non-violence of Masterji is the physical interventionism of Abu Miyan (Om Puri) the noble watchman heroically guarding the spice factory and women sheltering inside. In a lonely act of defiance Abu Miyan extols:

Not one of you is man enough to help this woman. ‘I’d rather die than take part in a criminal act. Go and tell Subedar there is still one man left in this village. He isn’t young; he’s an old man. But as long as he lives, tyranny will not win

Although Abu Miya’s martyrdom leads to an open revolt amongst the women in the courtyard of the spice factory, attacking Subedar with swathes of red chilli powder, there is an ideological suggestion that non-violence has its limitations when dealing with a system of patriarchy and colonialism that is so entrenched. And while the women at the end don’t directly resort to the physical violence of Abu Miya, the use of chilli powder to blind, impair and subdue Subedar is doubly ironic. Since red chillies were a colonial idea, ideological inversion explicates anti-colonial sentiments that fall in line with the Swadeshi beliefs of the Masterji.

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When Sonbai flees and takes shelter in the spice factory amongst the other female workers, she indirectly creates a collective, which is depicted tentatively since the solidarity amongst the women is undermined by internal bickering. Outside of the gates of the factory, Saraswati, plots against her husband, bringing together the women in the village to help Sonbai. And when Mukhiya with the men from the village marches to the spice factory with a final ultimatum from Subedar, they are stopped prematurely by a protest organised by Saraswati including other women. The protest is non-violent, the banging of pots and pans, instruments of domestic servitude, are inadvertently transformed into a chorus of female resistance, the din from the protest articulating an unheard rage of tyranny captured vividly in the figuration of Deepti Naval’s rebellious gaze.

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At the end when Subedar orders his men to break down the door and enter the factory by force, Abu Miyan is shown reading Namaz, and abruptly Mehta frames the struggle as essentialist, masking over a complicated ideological bind that may seem officious when simplifying the struggle as a battle between the forces of good (religious sentiments) and evil (colonial brutes). Nonetheless, Mehta does not allow this romantic ellipsis to distract from the final shot, an epic freeze frame of a defiant Sonbai, looking at us with an indescribable fury as a swathe of red chilli powder wafts through the air like some supernatural entity. This has now become an iconic moment in Indian Cinema, potently encapsulating a history of gender oppression.

Mirch Masala will be screening on Zee Classic: Sat 23 July at 10pm

SADGATI / DELIVERANCE (Dir. Satyajit Ray, 1981, India) – High and Low


 

 

 

 

 

 

 

 

 

 

 

Pikoo (1980) and Sadgati (1981) were short films Ray directed for television, marking his shift into the 1980s and both acting as precursors to his 1983 full length feature Ghaire Bhaire. Whilst Pikoo was made for French television, Sadgati was based on a story by writer Prem Chand whom Ray was familiar with from his adaptation of The Chess Players and funded by Doordarshan, a new state run television company. I have yet to see Pikoo and have read from Andrew Robinson’s book that it is a film about the gaze of an innocent. I hope I can see it on a good print one day. Sadgati, translating as Deliverance, lasts for fifty minutes and contains very little dialogue yet is as accomplished and powerful as his masterworks including even The Apu trilogy. The story is located in rural India in a small village and concerns the relationship between a lower caste tanner Dukhi (Om Puri) and a Brahmin Priest Ghashiram (Mohan Agashe). Before his daughter is married, Dukhi needs the approval and blessings of the Brahmin Priest to set an auspicious date but when Dukhi goes to ask Ghashriam to come to his house for the ceremony, the priest takes it upon himself to exploit Dukhi’s predicament by forcing him to complete various chores. Having instructed his wife Jhuria (Smita Patil) and daughter Dhania to anticipate their arrival with food, Dukhi complies with the orders of his master, the Brahmin Priest. He begins by sweeping the outside of the house then lifting sacks of wheat but when it comes to the ardous task of chopping firewood, Dukhi comes undone.

However, Dukhi’s sorrows are made much worse when Ghashriam catches Dukhi asleep in the afternoon sun exhausted from fatigue and hunger. Incensed by Dukhi’s apparent insolence, Ghashriam berates him and forces him back to work. In one last moment of desperation Dukhi attempts to chop the wood but having had nothing to eat all day and suffering from an illness, Dukhi falls down dead. Panic sets in for Ghashriam as the removal of Dukhi’s body becomes imperative if the high caste villagers are to carry on as normal but none of them can touch the body as this would mean becoming contaminated in some way. Ghashriam sheepishly pleads to the lower caste workers to remove the body but they ignore his command in light of another fellow worker who was witness to the painful destruction of Dukhi. Such are the horrors brought on by village orthodoxy, Dukhi’s corpse becomes a symbol of rural depravity and the caste system. When Jhuria discovers her husband is dead she breaks down and mourns his loss but even she cannot move his body. Finally, to avoid being directly implicated in the death of Dukhi, Ghashriam using ropes, and using a stick to touch the body, drags the corpse away from the village, dumping it in a field of rotten carcasses. In a final act of vitriolic caste politics, Ghashriam decontaminates the ground upon which Dukhi died and corpse lay with droplets of holy water.

What is brilliant about Ray’s approach to the story is that it all plays like a piece of silent film. Unfiltered, prolonged and detailed throughout, the neo realist tone is poetically evoked by the incredible rhythm of the narrative over which Ray has terrifyingly precise control. Whilst Ray was critical of what he saw as a New Indian Cinema in love with European art cinema, the work of Shyam Benegal was one film maker that impressed Ray in many ways especially his command of actors that included Shabana Azmi and Smita Patil with whom he would also collaborate. Ray has said himself that his early films were not political and whilst he was one of the first Indian film makers to turn the lens on the imperfections and wonders of village life, Benegal’s rural trilogy beginning with the seminal Ankur in 1974 offered a somewhat radical politicisation of rural cultural values. In many ways, Sadgati should be viewed as a reply by Ray to his contemporaries at such a particular moment in time, proving quite brilliantly that polemicizing such political discourse did not necessarily equate to great storytelling and cinema.

I got the distinct impression whilst watching Sadgati that Ray was inadvertently responding to the directors of New Indian Cinema as if to articulate his own vehemently angry and outspoken ideological position on the politics of rural India. Ray had originally intended to make a documentary on the issue of child labour but was met with opposition from the government which was trying to actively discourage and effectively prevent film makers from representing such deeply important social issues like poverty on screen. Sadgati was a response, small scale though, to such critics alike and the fact it was filmed in Hindi for a television audience seemed to suggest Ray was reaching out to a much bigger audience. Interestingly, all three of the main leads including Om Puri, Smita Patil and Mohan Agashe were all regular collaborators with Shyam Benegal and their collective presence offers a concrete link to such cinema. Ray takes a very visible observational approach to the action and the camera rarely moves, resulting in a stillness that complements the slow and at times languid pace of village life. Sadgati is available on DVD in the UK as part of a 3 DVD set released by Artificial Eye.

ALBERT PINTO KO GUSSA KYON AATA HAI / WHAT MAKES ALBERT PINTO ANGRY (Dir. Saeed Akhtar Mirza, 1980, India) – Look Back In Anger

 

 

 

 

 

 

 

 

 

 

It was only recently that I posted a lengthy entry on director Saeed Akhtar Mirza’s 1989 film Salim Langde Pe Mat Ro (Don’t Cry For Salim the Lame) which was one of his most personal works. A precursor and very much a template for Salim the Lame was Mirza’s 1980 satire Albert Pinto Ko Gussa Kyon Aata Hai. Focusing on the Catholic community in Mumbai, the story focuses on a garage mechanic Albert Pinto (in one of Naseeruddin’s funniest performances) who spends much of his time arguing with his girlfriend Stella (Shabana Azmi) whilst at home he witnesses his father’s increasing politicisation due to a textile strike. With the secondary narrative of Pinto’s despairing father Mirza refers directly to the Great Bombay Textile Strike which was beginning to take shape as a result of mill closures in the area of Mumbai commonly known as Girangon, meaning ‘mill village’ in Marathi. Until the early eighties, textile workers were a sizable employment force in Mumbai and around 300,000 were employed at the peak of the industry. One of the longest strikes in the history of contemporary India, The Great Bombay Textile Strike lasted for around two years and though the government faced opposition in terms of civil unrest, the workers campaign of non protest did little to prevent the demise of the cotton mills. Today, the land on which the textile mills once operated is estimated to be worth at least 100 billion Rupees and much of it has been sold to various corporations whilst the impact on the surrounding community and level of unemployment has simply been brushed to one side.

Financed by the FFC (Film Finance Corporation), Mirza’s film outwardly displays the characteristics of classic parallel cinema including an art cinema aesthetic, low budget, state funding, a topical script shaped by political/social factors, graduates of Pune including editor Renu Saluja and scriptwriter Kundan Shah and perhaps most importantly the formidable and iconic acting quartet of Shah, Puri, Azmi and Patil. An episodic film, much of the narrative situations revolve around Albert Pinto’s inability to decide what exactly he wants to do with his life other than repair the expensive cars of his rich clients at the garage. A youthful figure with a sharp dress code and eccentric hairstyle, Pinto slowly comes to realise that it his girlfriend and friends at work are the only ones he can really depend on given his minority status. It is Pinto’s lack of understanding of the social and political dimensions of his reality and that of his family which sees him failing to prevent the imprisonment of his jobless younger brother whose vulnerability is inevitably exploited by local criminal elements. Pinto’s anger gradually transforms from a trait of selfishness, coming to symbolise a much wider discontentment that was about to be voiced by the real Mumbai textile workers as represented in the figure of the politically active yet defiant father.

By the end of the film and having witnessed his brother’s imprisonment, his father’s dignity destroyed and the company’s vile attempts to discredit the worker’s union and their right to strike, Pinto’s misplaced anger finally finds an appropriate target – the political and economic elite. This moment is crystallised in the cinema of all places with Pinto challenging the political address of the company management. Yelling out at the cinema screen, Pinto is shouted down by the disgruntled audience members and Mirza reverses the notion of political acquiescence by implicating the rest of society and empowering Pinto. Similarly like Salim The Lame, Mirza’s visual feel for the urban milieu of Mumbai is particularly striking and from what I have read about his career and films, the authenticity of shooting on location yet again points to his documentary roots. One of the great ideological achievements of parallel cinema was its relentless and fearless questioning of Indian cinema’s mainstream assumptions on the state of society – Mirza’s film not only questions power relations but is fully sympathetic to the cause of the workers. That in itself is a powerfully radical position to take up.

PAAR / THE CROSSING (Dir. Goutam Ghose, 1984, India) – The River as Life and Death

Bengali cinema has produced so many brilliant film makers over the years that it is easy to determine it is predominately auteur led as opposed to the preponderance of genre often associated with the Mumbai film industry. Born in Calcutta, Bengali director Goutam Ghose (also known as Gautam Ghosh) has produced work including documentaries and feature films whilst also being credited as a cinematographer, writer and composer on a number of Indian art films. He is obviously multi talented and somewhat prolific but nevertheless his absence from the discussions of Bengali cinema and Indian art cinema yet again stresses a pertinent need to catalogue with some trepidation key directors and films that construct a strong argument for parallel cinema’s sustained political engagement with the social. Writer Subhajit Ghosh offers one of the best overviews of the director’s work, emphasising his ‘strident political activism’ which of course is more than well represented in his 1984 film Paar (The Crossing). The IMBD entry for Ghose underlines a filmography made up of a string of documentaries, emphasising a concern with realism and political issues. It might be the case that his documentaries are probably far more political and radical than his feature films.

His first Hindi film Paar is a tough watch in many respects. Featuring a towering central performance from Naseeruddin Shah and supported by Shabana Azmi, Om Puri and Anil Chatterjee. I guess, Shah, Azmi and Puri was the perfect cast for a parallel film from the 70s or 80s – all three continue to work tirelessly and remain hugely influential. With the success of Ankur and Benegal’s focus on rural exploitation, parallel cinema made this into a virtual trademark. Paar also explores feudalism and exploitation of the untouchables in Bihar but unlike Ankur which hints at the potential for peasant revolt, Paar sees a worker, Naurangia (Shah), retaliate against the oppressive system by avenging the murder of the local schoolteacher who initially helps the workers to unite and resist. However, Naurangia and his wife, Rama (Shabana Azmi) are forced to flee when the villagers are massacred in a night of carnage. A despondent Naurangia and pregnant Rama end up in Calcutta and this is where the film becomes much darker and visceral in its impact.

Survival becomes the only aim for both the impoverished husband and wife and soon they are faced with a life and death ultimatum. Homeless, destitute and starving, Naurangia’s only chance of making some money comes in the form of an absurd proposition; to take a herd of pigs across a river crossing. A Herculean task and the centrepiece of the film’s narrative, the desperate image of Naurangia and his pregnant wife Rama trying to stay afloat whilst directing the pigs across a wide river crossing morphs into a symbol of human struggle. Admittedly, this is a film of two halves and whilst the first half tends to offer some kind of sociological explanation why Naurangia is forced to flee the village, the second half dispenses with narrative concerns and depicts with great intensity an odyssey of pain and determination. Ghose seems unconcerned exactly where Naurangia and Rama are headed as it is their physical exhaustion which he captures so vividly through the hard edged cinematography and frantic performances. Paar is another key work of parallel cinema and Ghose is an auteur who seems equally impressive as Shyam Benegal, Aparna Sen or even someone as radical as Mrinal Sen. It will be interesting to see how the rest of his work stands up to the beauty of Paar. I’m not sure but I think Paar was also funded by the NFDC.