Category Archives: Culture

Shaym Benegal – A filmmaker who kept the flag of meaningful films among Hindi films

December 23, 2024 | By V K Cherian
Shaym Benegal – A filmmaker who kept the flag of meaningful films among Hindi films

In his foreword to the book, on collected essays of Satyajit Ray, Shyam Benegal described how he got hooked on to the magic of films, through the screening of Pather Panchali in a regular theatre at Kolkata when it was released. On a visit to the city, he heard about this novel being made into films and went to see it and was enamoured by it so much that when he saw it he stayed back at the theatre to see the evening and late evening shows of the film. The passion for meaningful films, ignited by Ray’s “ Pather Panchali “ remained with him all his life  as a filmmaker from Ankur in 1973 to Mujib-The making of a new nation” in 2023.

Very few knew that as a young student at Hyderabad Osmania University he kept his passion going through a  film club called “ The Cultural Group”.” : This was sometime in 195-56. Having heard of Pather Panchali, I wrote to Satyajit Ray to ask him if we could get his film to screen at our film society.He graciously sent me an introductory letter to his producers, who in turn sent us a print quite unhesitatingly for a screening. It was with this film that the Cultural Group was inaugurated at a cinema in Secunderabad on a Sunday morning,”Mr Benegal wrote in the message to my book on the history of Indian Film Society movement. The filmmaker continued his passion for Ray as filmmaker when he made a two part documentary, where he himself interviewed Ray about his films and filmmaking.  After Ray’s demise as a lifelong President of  Federation of Film Societies of India (FFSI), Shyam Benegal served as President of the Federation for 6 years ( 2004-2010).

Personally as a cinephile, I had a love -hate relationship with as a filmmaker. Hated him as I argued with him,( as I had problems with his clinical style of filmmaking even as a student) in my FTII interview and lost out on admission. Loved him, as he always stood for better and meaningful films till his end on Monday, 23 rd December.  I rate him as just above the mid cinema, not along with the art house picture just as a Mani Kaul or Adoor.  I met him for the last time 10 years back in his office in Mumbai, to talk to him about a possible bio-pic on George Fernandes. He was ready if we arrange the funds, which the Mumbai trade unions of George did not part with, for reasons best known to them. I always considered him a clinical filmmaker, as he could take any subject to make a film, whether he has an in-depth knowledge, feel for it or not. He was essentially an advertisement filmmaker (he started off in that genre) and with a good brief, a good subject of the times and with a good script, he could make it into a film. Best example being Manthan , a film about Amul co-operative, which is all about the historic farmers’ movement which Dr Verghese  Kurian  converted into a  mega corporation.  The film stands on its own not because of the filmmaker, but the uniqueness of the movement. Same is his first two films, Anukr and Nishant, which was about the feudal eco-system of the Indian villages. The subject incidentally was the toast of the Indian new wave films, which he became part of and remained as the only consistent filmmaker in Hindi making such films his entire 55 year old career.

I thought I was biased about him, but when I heard the same opinion from Prof. Fatima Meer , who wrote the basic script of ” Making of Mahatma” which Bengal directed, I was convinced I was right.( The late S African activist , an expert on Gandhiji’s S African period, through her book –The Apprenticeship of a Mahatma- was upset about the clinical approach of the film). According to Prof. Meer, the filmmaker took out the feelings of the life of young Gandhi and made it a text book film.  But as a filmmaker Benegal always stood for a good script and knew how to execute it as great film. His films are there for anyone to see and feel it. From Ankur in 1973 to Bio-pic on Mujib Rehman ( Bangabandu of Bangladesh) in 2003 his oeuvre work, mostly in Hindi, will stand testimony to a lifelong commitment to good films. I rate his series on Bharat Ek Khoj  based on late Prime Minister  Jawaharlal’s path breaking book, “ Discovery of India “, as his best work though.

Shyam Benegal though not considered as the vanguard of new wave of Indian cinema like Mrinal Sen, Mani Kaul or Adoor Gopalakrishnan, carved out a niche for himself over the years with his consistent filmmaking without any commercial ingredients, handling sort of conventional narrative but insightful and refreshing subjects. From  Ankur to  his Muslim life trilogy to Mujib, the making of a nation, the bio-pic for the Bangladesh government, he kept the vision of a Nehruvian India in films. His TV series Bharat Ek Khoj and Samvidhan  amply reveals his affinity with the wider world of the first Prime Minister of India.

Describing the film policy initiatives  such as establishment of   Film Finance Corporation for financing of feature films, the creation of a film school to train filmmakers in all disciplines,  a children films society to encourage the making of films for children and replacing British Censor code of films with and Indian film certification policy, Mr. Benegal said in an interview that “ All film policy of Independent India began  about that time so you can certainly imply that it was a Nehruvian policy initiative.” Admitting that the relevance of the new wave of Indian cinema was always marginal, he went on to add that  it was not just the official policies but the interest of Prime Minister Indira Gandhi and the then FFC Chairman which led to a series of  films by new wave filmmakers challenging the mainstream commercial films. “Official policy had little to do with any of this until BK Karanjia took over the Film Finance Corporation and Mrs. Indira Gandhi took an active interest in wanting to see more artistic Cinema being made in India.  B K Karanjia’s intervention helped in supporting the graduates of the FTII graduates to make their first films in the early 70s.  This is considered the beginning of the New Cinema movement in the country. The Film Society Movement kept pace with all these changes.  Kerala was always at the forefront with the largest number of film societies in the country.  Kerala also produced a very significant number of extraordinary films through the 70s and 80s”, the veteran filmmakers told this writer in an interview on new filmmakers and film society movement earlier.

Though his mother tongue is Kannadika and origins from Udupi, in Karnataka,   Mr Benegal was  a filmmaker who made films in Hindi and is considered as doyen of new wave  films. Many of his films did not get a proper theatre film release, but they were celebrated in film festivals in India and across the globe and widely screened in film societies and Doordarshan. He can be credited with making actors like Shabana Azmi, Naseerudin Shah and Om Puri mainstream actors through the brilliant performance of in his films. His films were honoured in various categories in National film festivals over the years and he himself was celebrated with a Dada Saheb Phalke award. Benegal was in most governments film policy committees over the years and last of which was censorship. In his passing away India and its meaningful films lost a strong pillar and a spokesman as his words were final on many contentious issues in the film sector.

(V K Cherian is a Delhi based author of “Celluloid to Digital-India’s film society movement and Noon films and Magical Renaissance of Malayalam Cinema”.).

Echoes of a Renaissance: The Uncelebrated Masterpiece of M.T. Vasudevan Nair’s ‘Nirmalyam’

December 04, 2024 | By V K Cherian
Echoes of a Renaissance: The Uncelebrated Masterpiece of M.T. Vasudevan Nair’s ‘Nirmalyam’

“Nirmalyam” (The Offering), a 1973 creation of M.T. Vasudevan Nair, a revered cultural figure in Kerala, stands somewhat in the shadows of the celebrated New Wave Renaissance of Malayalam cinema in the 1970s. Despite MT (popularly called) significant stature as a writer, especially noted as he turned 90 in July 2023, this particular film hasn’t received the widespread acclaim or recognition one might expect. Intriguingly, even those who meticulously document Kerala’s rich film history seem to have overlooked Nirmalyam, failing to give it its due place in the annals of Malayalam cinema’s evolution and legacy. This oversight is particularly curious given the film’s unique contributions and the high regard for MT ‘s broader body of work. 

MT’s film, warmly referred to by his initials, stands as a cinematic milestone not just for its compelling story but also for its rich visual language and stunning beauty. The film masterfully captures the essence of a fading feudal village, where the rhythms of life have been disrupted by the sweeping changes of the 1950s and 60s. It’s like a vivid tapestry, weaving together the lives of these village folks, who find themselves at a crossroads of time and tradition. More than just a portrayal of societal shifts, the film delves deep into the evolving religious beliefs of the villagers, centering on an ancient temple that has stood as a silent witness to the passage of time. This temple, a cornerstone of their lives, becomes a symbol of their changing faith and traditions. MT’s film is a poignant reflection of this transformation, told through a lens that captures both the heartache of change and the enduring beauty of tradition.

Best film of the year

It’s no surprise that Nirmalyam   was celebrated as the best film of the year, a distinction shared by the same esteemed jury that had honored Adoor Gopalakrishnan’s  Swayamvaram as the top film of 1972. The 1973 jury, led by Romesh Thaper, included not just luminaries from the film world but also celebrated Malayalam writer O.V. Vijayan, Teji Bachan, and Dileep Padgaonkar, who later became the Editor of The Times of India. This panel of judges recognized the exceptional quality of Nirmalyam, a recognition that Swayamvaram did not receive at the state level. In Kerala, where MT’s reputation as a gifted writer and editor of a popular literary weekly was well-established, it would have been almost unthinkable for any jury to overlook his cinematic creation. Nirmalyam thus found a well-deserved place of honor in the Kerala State awards, cementing MT’s status as a filmmaker of extraordinary talent and vision.

The film’s enduring significance lies in its courageous depiction of the deep struggles faced by those devoted to their faith, particularly highlighting the life of a local Hindu temple’s deity. The film’s protagonist, a deeply committed oracle, embodies this devotion. He equates  the misfortunes and the melancholy state of his village as a direct result of the villagers neglecting their temple rituals, the temple itself standing on the brink of ruin.

This oracle, a pillar of faith in the story, continually confides in his father, who was once an oracle himself but now is bedridden following a stroke. For the son, his father represents more than just a parent; he is a symbol of ‘time’ itself—immobile, yet acutely aware of every unfolding event, including the heart-wrenching betrayal by his wife as the film reaches its climax.

This narrative thread weaves a tapestry of emotions, capturing the profound impact of faith on human lives. The oracle’s unwavering belief and the resultant turmoil he faces paint a vivid picture of devotion and despair. The film, through these poignant portrayals, invites the viewer into a world where faith and reality collide, leaving an indelible emotional imprint.

In the film, MT, along with his talented team including Associate Director Azad and cinematographer Ramachandra Babu, both alumni of the prestigious FTII, brings to life some truly touching scenes. They skillfully capture the intimate moments shared between the elder oracle and his son within the dimly lit confines of their home. These scenes, reminiscent of the works of Tarkovsky, are where time seems to pause, allowing the viewers to fully immerse themselves in the emotional depth of the narrative.

In these quiet, reflective moments, the film portrays the poignant fate of two generations bound by their unwavering devotion to a local deity. The father and son, both ardent followers, have intertwined their own destinies with that of the temple, mirroring the fate of their village and its inhabitants. These scenes are crafted with a gentle yet powerful touch of empathy for respect of individuals, showcasing the deep-rooted beliefs and the legacy of devotion that passes from one generation to the next. It’s in these moments that the film not only tells a story, but also paints a picture of enduring faith and the complexities it brings to human lives.

The story takes a compelling turn with the oracle’s elder son, a representation of the third generation. Educated yet unemployed, he stands in stark contrast to his forefathers. To him, the ancestral role of the oracle is not a calling but a burden, one he finds deeply unappealing. Yet, he finds himself anchored to the village, trapped by the lack of job opportunities that would enable him to provide for his family, which relies on the increasingly scarce offerings from the temple.

In a poignant juxtaposition, the father, the current oracle played by the renowned PJ Antony, remains steadfast in his traditional role. His deep-rooted beliefs and commitment to his duties are unshakable. He tirelessly works to keep the temple rituals alive, even seeking out the local Nampoodiri to request a new priest when the old one departs. His warnings about the consequences of neglecting the local deity echo through the village, especially as a smallpox outbreak jolts the villagers into a grim realization. This narrative beautifully captures the generational divide and the struggle between upholding tradition and embracing change, set against the backdrop of a village caught in the midst of its own evolution. 

As the story unfolds, the village is shaken by the outbreak of smallpox, a dire reminder to the villagers of their neglected temple deity. However, this awakening comes too late for the oracle, whose life is already steeped in turmoil. His son, unable to bear the weight of tradition and lack of opportunities, leaves the village. Meanwhile, his daughter, who had formed a connection with the new young priest, faces betrayal as the priest abandons her for a better life elsewhere, leaving her in a state of confusion and heartbreak.

Echoes of a Renaissance

The oracles plight

The oracle’s household, already strained, faces further humiliation from the local money lender, whose frequent visits for repayments become a source of shame. In a moment of despair and vulnerability, the oracle’s wife, seeking to alleviate their financial burdens, succumbs to the exploitative demands of the money lender.

For the oracle, these cascading tragedies become his breaking point. Yet, he chooses not to lash out in anger or violence. Instead, he channels his profound frustration and sense of helplessness into a powerful, ritualistic dance with a sword, intended for the welfare of his fellow villagers. In a climactic and heart-wrenching moment, he strikes his own skull with the sword, a frenzied act symbolizing his complete disillusionment. His blood, spilled on the deity, becomes a poignant testament to his despair. This tragic act leads to his demise, leaving the viewers to grapple with the depth of his anguish.

These emotionally charged scenes, filmed at a village temple in North Kerala, capture a raw intensity that resonates deeply, especially considering the current religious climate in India. PJ Antony’s portrayal of the oracle, an actor of Christian faith, is so powerful and convincing that it earned him the highest acting honors both nationally and in the state. This part of the film not only showcases his extraordinary talent but also underscores the universal themes of faith, despair, and the human condition.

The film, which largely unfolds in a tranquil, unassuming manner, culminates in a finale that is profoundly unsettling. This stark contrast in tone imbues the film with a poetic quality reminiscent of Ingmar Bergman’s Winterlight (1) from 1963. In Bergman’s film, a priest grapples with his faith against the harsh realities of life outside the church walls, his doubts mirroring those of his atheist girlfriend. Similarly, Nirmalyam explores the struggles of faith, but set against a different backdrop: a village suspended in time and poverty.

In this quiet village, the film paints a vivid picture of life where beliefs and traditions are deeply ingrained, yet the gods seem indifferent to the plight of their devotees. The villagers’ struggle with their faith in the face of adversity and the unyielding passage of time echoes a universal theme. This poignant juxtaposition of the serene village life with the tumultuous inner turmoil of its characters lends the film a depth that transcends its setting, making it a powerful narrative about the human condition and the complexities of faith in a changing world. 

Capturing the period

In the decades of the 60s and 70s, the villages of India found themselves caught in a delicate dance between age-old traditions and the impending winds of change. This era, especially following the country’s independence, was marked by a gradual transformation, one that many New Wave films of the time chose to spotlight. These films, much like Satyajit Ray’s iconic  Pather Panchali, turned their lenses towards the rustic landscapes of Indian villages, capturing the stark realities of life there. They painted vivid pictures of the hardships and the dire need for significant change in these rural heartlands.

M.T. Vasudevan Nair’s debut film beautifully aligns with this cinematic movement. He weaves a narrative that mirrors this period of transition, shedding light on the poignant struggles of village life. Through his storytelling, MT not only reflects the slow and painful  pace  of change that marked this era but also underscores the profound impact it had on the lives of people in these villages. His film is a testament to the resilience of these communities and the enduring spirit of hope amidst times of uncertainty and transformation.

In the realm of Malayalam cinema during this transformative period, films like Adoor Gopalakrishnan’s  Swayamvaram(1972) and G. Aravindan’s Uttarayanam(1974) became poignant narratives. These films shared a common thread – the portrayal of educated yet jobless young individuals trying to navigate through the slow and agonizing pace of societal change. Their struggles, marked by intense uncertainty and unfulfilled aspirations, mirrored the collective experience of many during that era. MT’s Nirmalyam of 1973 joined this new wave Renaissance among Malayalam films.

These cinematic pieces were often labeled as somber and introspective, echoing the deep philosophical undertones found in the works of  an Akiro Kurosawa  or Ingmar Bergman. However, it’s within these dark and reflective themes that the true brilliance of creators like M.T. Vasudevan Nair shone brightest. MT, a luminary in Malayalam literature and film, harnessed these challenging times to craft stories that were not only compelling but also deeply resonant.

Nirmalyam, MT’s own contribution to this era stands as a testament to this creative flourishing during challenging times. It added a unique voice to the Malayalam film renaissance of the 1970s, embodying the era’s spirit and its poignant quest for meaning amidst the changing tides of time. In doing so, MT and his contemporaries not only captured the essence of their times but also enriched the tapestry of Indian and Malayalam cinema with their profound and introspective narratives.

Despite the evolving religious and social landscape that, over the years, has made the screening of such forthright films challenging, Nirmalyam remains a significant cultural artifact. It masterfully captures and preserves the essence of life in that era, both creatively and technically, for future generations. The film is not just a portrayal of a time long passed but a living, breathing piece of history, offering insights into a period of profound change and the timeless nature of human struggles and triumphs.

(Edited excerpts from the book “ Noon films and Magical renaissance of Malayalam cinema” by V K Cherian)

Professor Satish Bahadur: 1925-2016

December 03, 2024 | By V K Cherian
Professor Satish Bahadur: 1925-2016

If someone can truly be called the guru of ‘film appreciation’ in India, it definitely is Satish Bahadur. He was not just the first academician to become a professor of film appreciation at FTII, Pune, in 1962, but he was a life-long promoter of the academic study of film and its appreciation as a serious subject, when star-gazing of celebrity film stars was the norm of the day. With the one-month long rigorous course at FTII, along with the National Film Archive from 1967 till his death in 2010, he nurtured academicians and film buffs across the country, making them connoisseurs of good cinema.

‘‘Nothing in the film is accidental. Everything that you experience is ‘put there’ by the makers of the film,” were his oft-repeated words, recalls one of his students, Arun Khopikar. Recounting his days in the classroom presided over by Bahadur, Arun wrote, “Bahadur Sa’ab made us understand how a film is ‘made’. To concentrate on that, we needed to be denied the pleasure of sitting and staring — hypnotised at the screen. Like a mother who applies bitter medicine to her breasts for weaning, Bahadur Sa’ab used cruel methods to shake us up from the somnambulist state of a film spectator. Sometimes, he would tell you the story of a film before he showed it, ruthlessly killing the pleasures of anticipation and surprise. At other times, he would project the film in half-lights and comment with his pointer at its compositional highlights. Occasionally, the film would be projected without sound and sometimes only the sound-track was kept on for to you to analyse it.”

Prof. Bahadur defined film appreciation as film criticism: “A filmmaker makes a film. A spectator receives the film. These are two segments of the communications process. The critic is also a spectator, but of a special kind. What a critic does has a special significance for the lay spectator and for the filmmaker, as also for the development of the art of the film.”

Bahadur began his career as a lecturer in economics at DAV College, Kanpur, and then shifted to St. John’s College, Agra, where he founded the first university film club in India. The Agra Film Club was one of the early film clubs of India and Bahadur was its secretary. As an academician, he encouraged discussions on a film after every screening and this led to further discussions on the film from various angles. This caught the attention of Marie Seton, the British film expert, evangelising film appreciation in the late 1950s in India.

When FTII began its operations, in 1961, Bahadur was persuaded by Marie Seton to join there as a professor of film appreciation, and he remained there until he retired in 1983. His close associates in the field were Vijaya Mulay and PK Nair, who became the curator of the Film Archive. “Prof Bahadur remains the initiator of serious film appreciation in the country,” said Adoor Gopalakrishnan, his student from the second batch of FTII.(54)

“Satish was not only the lifeblood of film appreciation, he greatly contributed to the development of filmmakers like Adoor who led the new cinema movement,” says Anil Srivastava, who worked with the professor to bring out the first journal of FFSI, IFCON.(55)

It was under him that the one-month long film appreciation summer residencies were conducted at the FTII, along with the Film Archive. From 1967 onwards, the summer residency had been an annual feature at Pune, attracting film buffs from all shades of the academic fraternity and the Film Society Movement.

“I have shaped myself through my conscious decision of using the classroom as a space for live interaction with young minds. My entire being as teacher depends on the obvious fact that I am face to face with live, young persons who are hoping to learn from what I do in the classroom. This unrelenting practice over the years has built in my system a natural respect for young students who are willing to learn. Such teaching-learning interaction in the classroom builds up confidence in a student, so that he can go beyond the mere understanding of the subject and discover his own path to learn more and more,” Bahadur wrote about his pedagogy.

Over the years,the one-month residency had spread to other centres on a yearly basis. Many of the institutions and film societies have been hosting film appreciation courses of a shorter duration in various cities of India.Comparing films and literature, Bahadur insisted that there is no film culture without film criticism, just as there is no literature without literary criticism. He noted in his Notes on Film Criticism, “Literary Culture is not merely Literature. It is Literature plus Literary Criticism. It is Criticism which completes the communication process and makes Literature a social entity. Likewise, Film Culture is not merely films. It is Films plus Film Criticism.”(56)

The Moradabad-born professor wrote extensively on the aesthetics of cinema, but he is best known for his analysis of Satyajit Ray’s films. His last writing was the textual analysis of the Apu Trilogy. He wrote about,and taught Ray’s early films with such critical consistency,that even Ray was quoted as wondering how critics find meanings in films which sometimes even the filmmakers have never thought of!

Though he taught for about four decades, he did not bother to write a book and his writings remain scattered. Shyamala Vanarse, his long-time associate, remarked: “He loved to lecture and discuss films, but he was almost averse to writing. The only book he saw through was posthumously published, A Textual Analysis of Apu Trilogy. He wrote his lectures for AIR and wrote papers for seminars, but never really bothered about getting them into print… and his hands were full with lecture tours, courses, and routine teaching at the institute. Many people had urged him, but he would just freely pass on his notes.” (57)

Satish Bahadur continued serious academic work on films which Marie Seton and Chidananda Das Gupta initiated. He became the first Indian professor of film studies, making a lasting impression not just on his students, but on film buffs across India. The annual film appreciation workshop of FTII became a cornerstone of film studies for the movement. (58)

(Excerpt from the Book- Celluloid to Digital_ India’s film society movement_ Atlantic)

Documentary cinema: Long way to go

September 15, 2024 | By Suresh Nautiyal
Documentary cinema: Long way to go

THE future of documentary cinema in India has to be promising and bright given its role of educating the people at large. Undoubtedly, a section of the documentary filmmakers is already adapting to the international filmmaking trends and some of them have found success as well on the global stage by adapting to the international trends like focus on the characters and taking the dramatic curves. For example, “The Elephant Whisperers” won the documentary short Oscar in 2022, and “All That Breathes” won both the Sundance and Cannes documentary awards the same year. The digital revolution is also helping the documentary filmmakers to compete on a level playing field, as the cost of digital acquisition is lower than that of the traditional film stock.

Dr John Grieson, the sociologist turned filmologist who was a pioneering Scottish documentary maker and often considered the father of British and Canadian documentary films coined the term “documentary” in a review of Robert J. Flaherty’s Moana in 1926. He was much inspired by the French word documentaire. This genre, however, reached India soon after Dr Grieson, Paul Rotha Basil Wrighty, Harry Watts and others launched the documentary movement in Britain.

But even today the destination has not been reached and still miles and miles to go because in a time of alluring networks, it seems there are no takers for the documentaries. Unfortunately, this is a worldwide phenomenon in general and in India in particular.

Despite some success stories, the documentary filmmakers in India continue to face challenges, such as a lack of funding and lack of producers coming forward to support the documentary cinema projects. Some filmmakers also turn to the online crowdfunding but only a few have succeeded in this.

While the purpose of the mainstream cinema is to communicate through artistic excellence and entertainment, the objective of the documentary cinema remains fulfilling the purpose of educating the people and the government leaders. But regrettably, the Indian documentary cinema hardly has the government patronage. This is evident in the film festivals held in the country where documentary cinema is given a step-motherly treatment.

The film festivals of short and documentary films, where the filmmakers get into the serious business of screening films, holding seminars and workshops, do not have the resources to attract the larger public. All this does not speak of a very bright future of the documentary cinema in the country. As mentioned already, a lack of adequate funds has been hampering the natural growth of documentary cinema.

The Films Division of the Government of India is supposed to produce most of the documentary films but lately it has hardly produced significant documentary films. The Film Division needed to establish its own small theatres throughout the country to screen only the documentary and short films made by it as well as by the private filmmakers to make the documentary films an awareness movement. Instead, it created a kind of monopoly of screening their films in the commercial theatres, which is no longer in vogue. The documentaries produced by the Film Division and other government agencies only served as breaks for the majority of the audience or they simply ignored these films. Through the Defence of India Rules, the British had made it mandatory for every commercial theatre in the country to show either a documentary or a newsreel in every show. This practice continued till the recent past.

As mentioned earlier also, the lack of proper distribution system of the documentary films further hampers the growth of documentary films in the country. This has led many private documentary filmmakers to cater to an overseas market. With such an uncertain future, some very well-known documentary and short filmmakers have had no option but to switch over to the feature films.

The documentary filmmakers will definitely welcome creation of an autonomous institution to take care of their needs. The lack of a proper distribution network has already stifled the growth of documentary films. When documentaries are used as prosaic and subdued sermons or shown at the film festivals occasionally, how can a documentary filmmaker survive in a climate where there is no demand for their films?

A documentary film has to document something, not succumb to be a tool of the government propaganda. Earlier, the audiences were quick to notice that politics and propaganda were intelligently mingled with the documentaries and other short films. They also lost the charm of being the documentaries. Most of the Film Division films thus resulted in artificial portrayal with no sense of reality.

When the multitude of entertainment channels sprang up, the documentary cinema almost became a thing of the past. Today, the multitude of the digital platforms have posed further challenges to the documentary cinema. Another reason is that the documentary cinema has not seen a transformation similar to the feature film over the decades, of course, except a few exceptions.

People generally are not interested in documentaries because of their boring content, and then they have the choice of more alluring and entertaining channels. This means the documentaries come at the fag end of the priorities. Nobody is interested in nostalgic history about the times when short films on mass movements automatically led to a political consciousness, as in the filming of meeting and procession of the Bengal Partition movement. A concerted effort can change this attitude.

Now, the time is ripe for the documentary filmmakers to rebel and let their cameras and microphones roam the streets and houses of today’s life. The poetic, the humanistic and the sociological attitude of the documentary cinema can only be reflected prominently through the documentaries. Moreover, it has now grown into an instrument with a thousand serious jobs to train doctors, nurses, soldiers, mechanics, astronauts, teachers, scientists, biologists and the like.

Kudos to the documentary filmmakers who are working against all odds to make quality films. That they face problems at every step was evident when Anand Patwardhan’s film “Bombay Our City” ran into problems with the Doordarshan and finally could be shown at 11 O’clock at night.

Dada Saheb Phalke, who initiated the industry of feature films, himself made a number of short films on the subjects like the funerals of national leaders, Gokhale and Tilak, or on the Indian National Congress meet of 1918. Even after the advent of feature films, documentary films based on Mahatma Gandhi’s life, the Prince of Wale’s visit to India and similar events remained strong attractions for the viewers. Gradually, all social realities in cultural activities and above all political upheavals came within the purview of the short films which were to definitely evolve it into a distinct genre propagated by Dr Grieson.

In a nutshell, the documentary cinema, which is a medium with an immense power to move people’s mind for good, is yet to be explored fully so that it is not treated with great contempt and disdain. We need to remember that the short films had their day before the feature film was born, and in the western world, the short films were announced and advertised as prominently as the feature films.

The Interview: Anupam Roy (AR)’s Questions to Y. S. Alone (YSA)

August 31, 2024 | By Anupam Roy
The Interview: Anupam Roy (AR)’s Questions to Y. S. Alone (YSA)

This contribution proposes to restitute a conversation organized between the art historian and professor at JNU, Yashadatta Alone, and the practicing artist Anupam Roy. These two protagonists discuss constitutive characteristics of artistic activism in South Asia, and focus on four main thematics: the impact of the concept of “Brahmanical Modernity,” how it has contributed to the constitution of the history of Modern Art in India, as well as its persistence in writing an artistic contemporaneity in India; the investment of established political parties, especially the Communist Party of India (CPI) and other political parties, in Dalit artistic activism; the emergence of an “Ambedkarian aesthetics” and possible ways of showing an engaged Dalit art within the structures of the Indian art market (private galleries and government venues); and whether the advent of Dalit art allows for the emergence of new artistic practices, as well as new places to exhibit artistic productions. This is a discussion between two friends and colleagues belonging to two different generations but sharing a long-term involvement with art activism in their own writings and art productions.

AR: Your approach to the history of modern and contemporary art in India gives pride of place to what you call the “Non-Brahmanical” interpretation framework. Could you tell us a little more about this concept and the impact it has had on the construction of the history of art to date?

YSA: The canonical discourse on artistic modernity has been a problematic one in India. Both exogenous (colonial) and endogenous (Brahminic) systems of interpretation have produced an interpretation of society shaped by considerations on the supremacy of race, caste and hierarchy in which some citizens have had secondary status. The interpretation of the past and of traditions was also largely dominated by ideas of the “divine” and the “sacred,” paving the way for Brahmanical cultural nationalism. This interpretation expresses itself in several ways with regard to society. As a matter of fact, the cafe culture in Mumbai began as a place for caste outings, as has been discussed by Prof. Umesh Bagade.1 However, advocates of modernity promoted such practices of café culture without dismantling the concomitant social structures. Anything that was advocated as modern was blended with the caste practices. The adoption of formalism as a crucial principle in articulating modernist pictorial space relegated the creation of visual space, form, and textural surface to the sole criteria dominating artistic practice. As an extension of this movement, “revivalism” has produced an expression of Indianness in modern artistic practices, whose themes and subjects are largely rooted in the Brahmanical tradition of myths and epics but with a modernist pictorial language.2 Gandhian ideas strongly advocated the depiction of a highly romantic vision of rural India as a place representing an inclusive and peaceful society.3 In later times, abstraction became integrated into Indian modernist experiments, giving rise to Tantric abstraction,4 and Brahmanical philosophy invented a justification for it. Thus, modernity in Indian art remained closely associated with Brahmanical modernity.

The “non-Brahmanical interpretation framework” represents a shift in scholarly perspectives, invested in history, art, or cultural studies. In the sphere of art, the most emblematic contributions are certainly expressed in the representation of the Santhal Tribe by the prominent sculptor Ramkinkar Baij (1906–1978). By representing these subjects with a sense of dignity and realism, he challenged the prevailing elitism and Brahmanical hegemony in art. In addition to renewing the representations associated with marginalized groups, the sculptor also levelled sharp criticism at the country’s progressive ideals and their leading representatives, as in the sculpture of Gandhi represented with his right foot placed on a human skull, suggesting that he became Mahatma by stepping on people.

As for the political cartoonist Chittoprasad Bhattacharya (1915–1978), who was particularly active from the late 1930s to the 1970s, he played a key role in capturing and critiquing the socio-economic disparities and injustices of his time. His productions sought to call attention to the struggles of the working class and peasants, among other disenfranchised communities. By satirizing and exposing flaws and injustices, he contributed to a broader discourse that questioned traditional hierarchies and power dynamics. His documentation of the Bengal Famine of 1943, made up of a series of sketches capturing the devastating impact of the famine on the lives of ordinary people, paved the way for an art strongly oriented towards visual evidence of the resistance to oppressive structures. These accounts, among others, tend to reverse a dominant art framework that still balks at questioning social conflict and politics.

AR: Could you tell us more about your critical views on the construction of the dominant narrative that has been structuring the conceptions of modern art in India?

YSA: After Independence, India claimed to be a sovereign and new nation. Starting in the early 1930s, the movement of nation-building became strongly anchored in the principles of hegemonic policymaking and the traditional dominance of the caste-Hindu communities and feudal lords. All the figures who were considered as builders of modernity, i.e. Gandhi, Radhakrishnan, Swami Vivekananda or Aurobindo Ghosh, were largely Vedantic. The sole advocate of transformation in 20th-century India was Dr. B. R. Ambedkar, who firmly believed in achieving change through robust constitutional methods. Unfortunately, he became marginalized within the Congress narrative, and the Gandhian modernity that prevailed shifted toward exploring cultural expressions laden with revivalist undertones. The assertion of modernity was upheld by embracing the formalism of Western modernism, deliberately overlooking the social conflicts and hierarchical structure inherent in Indian society. In his book “Studies in Modern Indian Art,” Ratan Parimoo (1975) discusses the impact of Cubism on modern Indian art, aligning with the perspectives articulated by the American art historian Robert Rosenblum in his 1970 work on Cubism and twentieth-century modern art (Rosenblum 1970).

I posit that artists such as M. F. Husain, through their depiction of themes rooted in epics, mythologies, and the struggle for freedom within the Congress Party narrative, adhered to Brahmanical cultural nationalism. In contrast, artists such as Jagdish Swaminathan5 took a bold stance by integrating the work of Jaidev Baghel, a Bastar tribal artist, into contemporary art practices, and strove to incorporate principles of equality into the realm of modern art. However, numerous artists in India failed to grasp the rationale behind Swaminathan’s approach, dismissing his endeavors as emotional. They overlooked the crucial aspect that his activities were part of a Madhya Pradesh government initiative, wherein the state aimed to democratize modernity and make it accessible to its citizens. I contend that the overarching narrative of modern Indian art has revolved around the concept of the “creative genius,” as it is used in Western modernism and adhered to by collectors and patrons. This narrative has consistently aimed at perpetuating elitism within art practices. Formalistic vibrancy becomes an objective of artistic creation. Numerous artists hailing from socially backward castes, including highly skilled abstract artists, have been systematically excluded from recognition and representation. The story of the Mumbai progressives and formalists6 is told from the perspective of the achievements of the elite class, individuals who often seem disconnected from the realities of their surroundings. The exhibition Place for People (1981), curated by Geeta Kapur and shown within elite spaces, marked a historic event. The exhibition was held at Jahangir Art Gallery Mumbai (former Bombay) and Rabindra Bhavan in New Delhi (Mukherji 2022, and Jumabhoy 2023). However, critical examinations probing the intersections of art and social spaces are conspicuously absent in India. The discourse on modernity, particularly in its “social” dimension, remains unaddressed. This lacuna is evident in the silence of the elites, predominantly from the caste-Hindu community, who have not vocally opposed Brahmanical cultural nationalism. The book Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930–1990, by historian Sonal Khullar (2015) is one of such attempts to provide critical extensions into the realm of modernism, although with some limits.

AR: In your view, what level of investment or support have established political parties, particularly left-wing entities like the Communist Party of India (CPI) or other non-Dalit political parties, provided to Dalit artistic activism?

YSA: Geeta Kapur’s When Was Modernism (2000) presents a compelling analysis of the politics of modernity, by examining the relationship between modernism and political parties, along with their respective assertions and claims. I argue that left-wing parties have not adequately addressed the issue of social modernity. It is predominantly Ambedkarite political parties that have actively engaged in addressing social modernity and sought transformative changes. The leftist groups, particularly the CPI and CPM, have consistently neglected to address the major issue of caste within their political framework. Instead, they have chosen to amalgamate caste and class, overlooking the distinctive challenges posed by caste dynamics in society. Their steadfast commitment to attribute economic factors the exclusive cause for existing caste and other discriminations, or their mobilization processes that consistently operate at the level of class unity, has resulted in a systematic bypassing of the divisions among laborers in Indian society. In his book “Annihilation of Caste,” Ambedkar (1936) not only defined caste as division of labor but also as the division of laborers. The left-wing groups consistently overlooked the dimensions related to the division of laborers. The same can also be said of the frameworks of the “post-colonial.”

The Indian People’s Theatre group, affiliated with the left-wing parties, was a well-organized collective aimed at utilizing art activism as a potent means to express political issues. The theatre brigades of the IPTA wanted to mainly address the “subalterns” (peasant world, lumpenproletariat of the city suburbs) regardless of their religious and caste affiliation. The most oppressed segment of Indian society were the Ambedkarites, and as in the constant targeting of Ambedkar by ruling authorities, his followers endured persistent violence and defamation from caste-Hindus. Gail Omvedt, in her book Dalits and the Democratic Revolution (Omvedt 2014), documented how the CPI at that time used Ambedkar’s ideas to delve a wedge between Scheduled Castes and Scheduled Tribes. Ambedkarite social movements consistently employed performances and songs as tools to raise awareness for social transformation and the pursuit of a dignified life. On occasion, they also utilized the medium of illustrations and paintings to convey their messages. Due to social and economic disadvantages, the Ambedkarite section of society faced challenges in documenting their activities, as they lacked a consolidated mechanism for support and had no resources to document their activities. Dependent on public patronage for survival, they were unable to establish their own archive. Only a limited number of Ambedkarites had the opportunity to pursue art education, and their artistic consciousness was shaped by formalistic modernity. They devoted their time and energy to creating textured surfaces on canvas as part of a new wave of creativity. However, many lacked the courage or the suitable language to articulate, even through modernist means, the issues of caste oppression. The main exception has certainly been the Dalit artist Savi Sawarkar who bravely dared to portray caste through a series of artworks.

AR: Why do you use the term Ambedkarian aesthetics and what does it refers to?

YSA: In recent years, a handful of artists have emerged in opposition to this restricted and ghettoized modernity, engaging in social and political critiques of religiosity and challenging Brahminic hegemony. A surge of artworks is being generated by the Ambedkarian consciousness, interrogating the metanarratives of normative modernity. These artists are crafting a new visual vocabulary to address core issues, and to critique both present day and historical perspectives. What I refer to as Ambedkarian aesthetics encompasses individuals from diverse backgrounds who ardently adhere to universal humanism and principles of constitutional justice and morality.

How does this manifest aesthetically? Inhibitions are deeply ingrained in the behavior and thinking of Indians. The aesthetics of inhibition pertains to the adherence to hegemonic thinking and the reluctance to challenge the self-accepted Brahmanical codes of operation. Brahmanical cultural nationalism consistently fostered an aesthetic of inhibition, discouraging divergent thinking and resistance against established norms in life. In contrast, Ambedkarian thinking succeeded in overcoming such inhibitions by challenging them, allowing artists to exercise their art practices to declare a liberated state of mind. To that extent, the artworks by Savi Sawarkar, J. Nandakuram but also the body of work that has been produced is representative of the overcoming of the aesthetic of inhibition. In my recently curated exhibition at Gallery OED in Kochi as well as following exhibitions at the American School on May 23 and at the American Centre New Delhi (July 13–August 12, 2023) and in a recently curated exhibition on Vikrant Bhise at Anant Art Gallery Noida, I emphasized that the term “Ambedkarian Aesthetics” defined as follow8: the term “Ambedkarian Aesthetics” is a world free from prejudices, inhibitions, and the metanarrative of hegemonic/Brahmanical modernity. Its historical trajectory is to subvert the narrative of the “given” and propose to get into a process of dismantling several inhibitions that have been nurtured over a period of time. Historical pasts, both ancient and modern, are constant reminders of ideas of contradiction that have been part of lives, including the life of works of art. For many, it is a constant engagement to kill “protected ignorance.”

The artists are consciously engaging in removing “protected ignorance” (Alone 2017). They move away from transcendental metaphysical aesthetical practices and are involved in producing a critique through visual means, which is deeply rooted in the ethos of Ambedkarian thinking, through a commitment to constitutional democracy and inclusivity.

AR: How can “engaged Dalit art” be exhibited within the frameworks of the contemporary Indian art market, including private galleries and government spaces?

YSA: The concept of engaged Dalit art pertains to artistic expressions originating from individuals belonging to Dalit communities in India. It fundamentally gives voice to a spirit of resistance, which echoes what Dr. Ambedkar advocated for. Only a handful of individuals from upper-caste communities have participated in such expressions, thereby contributing to a visual critique of Brahmanical traditions. In reality, the art world and art galleries are inherently exclusive, seldom deviating from this norm, which aimed to trap artists within the dreamy realm of Vedantics. The only exception to this was J. Swaminathan, who boldly included tribal artists as part of contemporary art gallery practices by showcasing them alongside modern and contemporary art practitioners at Bharat Bhavan, Bhopal.

There is an absence of patronage for Dalit themes and the critique of caste and religious inequalities within the art realm. Artists like Savi Sawarkar were able to pursue their artistic activities thanks to government employment, and similarly, others managed to survive by engaging in alternative occupations, a scenario which is common for the majority of visual artists. Take J. Nandkumar, for example. As long as he was making abstract paintings, the Reliance Group purchased his works. However, when he began to produce figurative works, including the well-known painting depicting “Gandhi and the Pune Pact,” Reliance chose to distance itself from him. The art world has elements of nepotism and the restriction of ideas to specific groups. Only in recent times has art patronage expanded to include artists who explore social critique and integrate their artworks as a commitment to democracy in India. There is a notable absence of support for artists from these communities through any policy mechanisms or even private galleries. The Lalit Kala Academy, for instance, provides fellowships to young artists, yet the selection process is entirely at the discretion of the panel, thereby potentially lacking sensitivity toward social issues.

To this day, it remains rare for artists outside of caste-Hindu leanings to receive fellowships. This reality contradicts the fundamental principles of democracy. Artists such as Sajan Mani, Rajyashree Goody, Priyadarshi Ohole, and Amol Patil have secured art residency programs in Europe. In 2019, Prabhakar Kamble organized the residency-workshop titled Revolution and Counter-Revolution drawing inspiration from Dr. Babasaheb Ambedkar’s writings. The event brought together fifty artists at the world heritage site of Ajanta Caves. Sanjeev Sonmipare, an artist, and curator based in Mumbai, Venkataraman Divakar, an art critic and curator of Knots Collective from Baroda, and Rumi Samadhan in Mumbai have been curating shows that aim to showcase diverse artistic practices that challenge Vedantic thinking and inhibitions. Some noteworthy exhibitions include Mahad Satyagriha by Rumi Samadhan, Broken Foot by Prabhakar Kamble and Rumi Samadhan, and my recently curated show at Gallery OED Kochi titled Dismantling Aesthetics of Inhibitions: Representing Difference, which was from December 10, 2022, to January 10, 2023 along with Interrogations and Ideologies: A Quest for Equality at the American Centre New Delhi from 13 July to 12 August, and Vikrant Bhise’s solo exhibition Sense and Sensibilities: A Reflective Realisation at Anant Art Gallery from January 20 to March 20, 2024. Thanks to collective efforts, photographers are collaborating and organizing exhibitions. Documentary photography is gaining prominence, creating archives that are independent of official nationalist imaginations. Sudharak Olwe’s contributions are noteworthy, as each of his images tells a story, consistently breaking the shackles of inhibitions. Inspired by Sudharak’s work, photographers like Palani Kumar and Arun Vijai Mathavan have produced exceptional images, showcasing phenomenal social realism. I hope that the awareness of art collectors and patrons evolves, moving beyond entrenched political perspectives to reconsider the current state of affairs in the country.

AR: How do you perceive the new awareness conveyed through the collection of artworks devoted specifically to the subject of social thematic caste structure?

YSA: Currently, a multitude of artists from both marginalized and non-excluded communities are engaging with issues such as caste discrimination, violence, anti-constitutional practices in dominant communities, challenges to political co-existence, instances of lynching, cow vigilantism, opposition to the rape of women, and the exploitation of labor. As I wrote in one of my papers (Alone 2019), the political landscape in India can be characterized by the dichotomy of Ambedkarism, advocating for transformation, and its counterpart, anti-Ambedkarism, which aligns with the status quo.

Drawing inspiration from Dr. Ambedkar’s constitutionalism, these artists14 have forged their own visual language to give expression to the voices of the impoverished and marginalized communities, as well as to address broader societal issues, including those related to women. In their creative endeavors utilizing visual forms, these artists defy Brahmanical cultural nationalism and break free from inhibitions, embracing a fresh perspective that aligns with democratic constitutionalism. Their aesthetics stand in contrast to the speculative metaphysics practiced by other artist communities, and notably, they are not constrained by gallery directives. Dr. Ambedkar is widely embraced as an icon of modern India, reflecting a broader acceptance, as his thinking is seen as pivotal for the future. Ambedkar, a modernist, vehemently opposed hegemony and dedicated his efforts to the welfare of all members of society. Many educated individuals, seeking to break free from the constraints imposed by Brahmanical polity and cultural nationalism, are recognizing Dr. Ambedkar’s pivotal role in constitution-making and advocacy for universal rights. This line of thought forms the basis of Ambedkarian aesthetics, characterized by its absence of speculative metaphysics. This emerging mindset emphasizes political consciousness rooted in constitutional ethos and, significantly, seeks to move beyond Gandhian romanticism.

(from the journal-https://journals.openedition.org/samaj/9280 with permissions)

Restoration of films as a tribute to heritage and celluloid masters

August 30, 2024 | By V K Cherian
Restoration of films as a tribute to heritage and celluloid masters

It is said that “If a book is still in print after 50 years, it is probably more important to read than a new book.”

But the same cannot be said about films, as the medium of production of films itself has changed from celluloid to digital. With the release of celluloid films in digital format, there is a huge interest and market for old films opening up. However, unlike the books, this restoration or conversion of films from analogue to digital medium is heavily hampered. Reason, the digital print is as good or bad as its original celluloid negative or print which is available. In most cases the negative is not available or print has been badly stored..

World over, when the film productions turned digital and celluloid laboratories got closed, very few stored their library of negatives or prints in specialized vaults as archival materials. For instance in India, National Film Archive of India (NFAI) has facilities to keep celluloid negatives and print in pristine conditions for use in future, but the erstwhile Directorate of films festivals which keeps prints of all award winning movies in the celluloid era had no such facilities unless their godowns got filled and they moved the old prints to the National Film Archive. Celluloid negatives and prints had to be kept in air conditioned vaults away from heat and dust , if they have to be used for making digital copies in future.

With restoration of old classics and historically important films being in vogue these days, there is frantic search for locating old films to digitize them for the new market. A representative of Chennai based Prasad laboratories  which specializes in such restorations says, most labs in India have destroyed their  celluloid negative and print libraries, unless the producer or the director  took it away to safer places like NFAI. Adoor Goplakrishnan is among the few filmmakers who have moved all the celluloid negatives and prints to NFAI for safe keeping, as he was aware of the future needs of these prints as a filmmaker.  So are the films of MGR in Tamil Nadu, since some of them are still used in the State for political and election  campaign purposes.

According to Ramu Aravindan, the son of late G Aravindan, he and the team of Film Heritage Foundation of India (FHFI) had a difficult time restoring Thampu ( Tent ) and Kummatty ( Bogeyman) of his father. The available prints were in bad shape and no one knew the whereabouts of the negatives.

The issue becomes much more complicated for colour films as celluloid colours can bleed if not kept in proper conditions. However black white films, like Apu Trilogy of Satyajit Ray restored by  Criterion of USA, had an advantage as negatives though damaged and prints  were available in London vaults of the British Film Archive and with Bengali speaking resources they could undertake a good job to make the Ray classics “ better than the original” for future generations.

For instance a good restoration can take away the humming of the magnetic sound track of the celluloid and also remove grains in the films of the celluloid era. Also a keen restorer can make the light and shades in black and white celluloid movies alive in such a way, one feels it has been shot in digital format. The restored “ Pather Panchali” stands testimony to this process. The film’s light and shades of trees and movements of characters in it get a rebirth digitally, and one can see the ripples in the pond in the film  more clearly and beautifully and hear the hustling of the leaves better than in a celluloid print. This has been made possible by frame by frame digital restoration by the passionate team of Criterion with available negatives and prints.

Unfortunately, Thampu did not get such extensive treatment as the light and shadows in the film and some of the humming of the magnetic sound track were beyond digital redemption as the available print was in bad condition. However, the specialists at the   Italian Laboratory at Bologna did the best possible job they could with the print. In India Prasad laboratories, at Chennai which is into the restoration and digitizing undertook, the Classic David Lean film “Lawrence of Arabia” for Hollywood. As the Americans were quality conscious, it is said Prasad laboratory had to send every ten minutes of the digitized film for approval of Hollywood studio involved.

In Malayalam, few films like Spadikam, and Manichitrathazhu and Devadoothan have been restored and digitized for theatre releases. More celluloid films are being restored and digitized for   a re-run in theaters. The issue is the availability of negatives and good prints which very few popular films have in good quality. As the world of digital films moves from 4 k to 8 k format technology allows even improvement of sound track, one can even hope to hear fresh sounds in many films. However, just as celluloid negatives and prints, legal digital rights of many of these films were sold for peanuts soon after its release and conditions involved in  such rights can also be a bottleneck for a re-run in  cinema houses for old films.

However, the restoration process is focused on meaningful films of master filmmakers, be it  Ray, Ritwik Ghattak or Guru Dutt  from India  or David Leans of the world. According to Shivendra Singh  Dungarpur of FHFI, they are concentrating more on regional films in India, to showcase India’s rich regional film culture, with funding from Martin Scorsese foundation of USA to develop world heritage of great and historic films. Online pay channels like Criterion of USA have already developed a market for such films, by acquiring classic films across the world and showcasing it for the future generations. The recent  films FHFI restored included Manthan of Shyam Benegal ( Hindi), Ghadasatra of Girish Kasaravalli ( Kannada) and Maya Mriga of Nirad Mahapatra ( Oriya).

In India such a process is yet to happen in a significant manner though the Central Government has started a Film Heritage project with NFAI. With the merger of NFAI with NFDC, which is a corporation, such high budget projects are bound to be shelved. NFAI, true to its mandate, had already digitized many of the films available with it.  Films of Adoor and John Abraham have been digitized and some of them even pirated for you- tube by certain groups. As the rights of these films are not clear or can be disputed many are making a quick buck by uploading them on you tube views and earnings.

The world has entered the digital age. Our films too have, but the celluloid, analogue era films whose negatives or prints have been archived properly and whose rights for digitization are clearly accessed might get a digital reincarnation for future generations. Others, however great they are, will remain in memories of a generation or digital records. For instance national award winning 1965 Malayalam film Chemmen used to have a rerun in theatres till the end of the 70s, thanks to the popularity of the novel on which it was based and the national awards the film had. No idea who has the negatives or prints and rights as the film is a historic one due to its first national award for best film of 1965 and also a trend setting film of the 60s which had a huge box office success.

Manthan – film on the story of “Amul“ brand is re-released publicly, after 48 years after it is digitally restored and premiered at Cannes film festival in May 2024

June 04, 2024 | By V K Cherian
Manthan – film on the story of “Amul“ brand is re-released publicly, after 48 years after it is digitally restored and premiered at Cannes film festival in May 2024

Shivendra Singh Dungarpur, Founder Director of Film Heritage Foundaiton of India, who is heardling the digital restoration of such filmy classics speaks.

Over a decade of its existence Film Heritage Foundation of India (FHFI) has restored 10 Indian films, from not so well kept celluloid film reels to world class digital formats. And such film is Manthan,( The churning) produced by 500,000 Gujarat milk producing farmers and directed by Shyam Benegal , on the amazing story of the farmers behind the “ Amul “ brand of milk and milk products. The film is being released in theatres across India, after almost 40 years, a rare tribute to a film of historic significance.

The event is all because of one man and his love for films and its restoration, Mr Shivender Singh Dugapur, an Film and Television Institute of India , Pune, graduate, and his pioneering work with Film Heritage Foundation. Initially one got an impression that he is replicating what National Film Archive of India (NFAI) owned by the Government was doing, but with NFAI amalgamated with the bureaucrat headed National Film Development Corporation, such innovation like digital mastering and restorations have gone beyond NFAI. That is where the significance of public re-release of Manthan becomes a milestone for a film crazy country.

As digitally restored great films have become part of International film festivals across India, as part of the global film heritage, many of the FHFI films restored were premiered at Cannes Film festival in France. They include Ishano , a Manipuri classic by Aribam Shyam Sharma, Thampu , a Malayalam film by G Aravindan and Manthan in the last edition of Cannes. So far FHFI has restored six Indian films and they include Kummatty , Malayalam film by G Aravindan , Ghatashradda , a Kannada film by Girish Kasaravalli, Maya Mriga, an Oriya film by Nirad Mahapatra apart from the three films mentioned earlier. I spoke to Shivender Singh about the ongoing restoration of films and its significance. Excerpts:

1. As the world is going digital, what is the need and significance of digitization and digital reconstruction of films?

I discovered that India had lost a colossal amount of our film heritage during the making of my film “Celluloid Man.” A large part of India’s over century old film heritage is on celluloid, as we were shooting on film till as recently as 2014, even after the advent of digital technology. Celluloid is fragile and deteriorates unless kept in temperature and humidity controlled conditions. In India, we have lost a colossal amount of this heritage due to ignorance, apathy and neglect so it is very important that we preserve what is left of this heritage in its original format.

With the advent of digital technology, digitization of celluloid material became an aspect of film preservation through duplication for ease of access and exhibition of films. However, it is not a substitute for the preservation of the original material. This misconception has led to filmmakers and producers discarding their original camera negatives and prints after putting them through a scanner. Digitizing a film is not making an exact replica of the film as it is necessary to understand that celluloid and digital are different mediums. Digitizing a film is merely creating an approximation of the original in a different format. A 4K scan of a celluloid film is a tiny approximation in bits and bytes of the depth and resolution of the photochemical medium. It is like saying a photograph of a Van Gogh painting is the same as the original. Digital technology is still evolving. We are digitizing at 4K today with 8K around the corner and we know the march of the Ks will only continue as technology keeps changing and older technologies and software becomes obsolete.Filmmakers and producers will have to go back to their negatives and prints to rescan them till digital technology evolves to the extent that it can match the depth and resolution of the photochemical medium.

Celluloid continues to be the only proven medium for preservation with a longevity of over a hundred years. If films on celluloid are stored and maintained in optimum conditions, they can survive for decades which are why we can still watch films from the silent era. However, in the case of digital formats there is no single format that offers a solution for long-term preservation. Hard disks are not preservation formats as they have a shelf life of just three to five years. Also, with constantly changing technology, software and hardware, digital preservation requires constant migration and data storage facilities which can be very expensive in the long run. This is the digital dilemma that the whole world is facing. Currently Linear Tape Open 8 (LTO 8) for storage and 4 K resolution are the standard, but 8K is around the corner as is the next level of LTOs.

Digital technology and software has also enabled the digital restoration of films, but as in the case of any technology, it is not the technology, but its judicious, responsible and ethical use in restoration that is important. You can do anything with technology today, but the question is, should you? To continue the Van Gogh analogy, you could make the sunflowers in the iconic “Sunflowers” painting blue, but that is not restoration.

2. How do you differentiate between digitalization and digital reconstruction?

Digitization is merely creating a digital copy of a celluloid film by putting it through a film scanner. Once again this is not as simple a process as putting a paper through a photocopying machine. One needs to assess the condition of the celluloid material, clean and repair it if required depending on its condition and prepare it before putting it through a scanner. Film scanning also needs training and understanding of the material to decide how to achieve the best possible results. Digital restoration begins after the film has been scanned and refers to processes like digital cleanup of issues like scratches, tears, dirt, flicker, colour correction etc. to restore the film as closely as possible to the original creator’s vision.

By definition, restoration means the process of returning an item, in this case, a film format, to a known earlier state. It involves not just the repair of physical damage or deterioration of the film, but takes into account the intent of the original creator, the artistic integrity, accuracy and completeness of the film. It involves complex and exacting processes including research, selection, physical repair, cleaning and various photochemical and digital techniques for repairing the image and creating new materials.

The approach for restoring a movie is the same as restoring a manuscript or a work of art. You don’t work on a photocopy, but restore the original and it involves months of work. The task of restoration also involves studying the film and its production history, understanding the filmmaker’s vision or his limitations, knowing the work of the cinematographer, the art director, the costume designer, etc. and this is where the preservation of film ephemera like scripts, director’s notes or diaries, posters, lobby cards, song booklets, shot breakdowns, etc. plays a crucial role as they can give the restorers clues to any gaps of information they might be hampered by.

It begins with research, the involvement of the director and the cameraman if they are still available, the search for the best possible source material and repair of the original camera negative or print before scanning and digital restoration. The usual process is to identify the best source material, inspect, clean and repair the celluloid material before doing a scan, followed by a digital clean-up and colour correction and then output on DCP, Blu-ray or a new celluloid preservation print depending on the plans for exhibition and public access.

This was the process that was followed on the recent restoration of G. Aravindan’s “Kummatty” that we collaborated with Martin Scorsese’s The Film Foundation and Cineteca di Bologna that was restored at the L’Immagine Ritrovata lab in Bologna. We were fortunate to have detailed inputs from the cinematographer Shaji N. Karun and Ramu Aravindan, the son of the filmmaker, to ensure that we stayed as true as possible to G. Aravindan’s original vision. We are now embarking on the restoration of G. Aravindan’s “Thamp” where we will follow the same process to ensure a world-class restoration.

3. What is the need of the hour in Indian film,digitizations or digital reconstruction?

In my opinion, in the case of celluloid films, the most important thing is to first collect and preserve as much of this heritage as one can. That has been the focus of Film Heritage Foundation. Archives around the world chart out digitization programmes of their film collections based on several parameters including the condition, age and rarity of the material and of course the budget and long-term digital preservation plan. What is important to keep in mind when formulating policy and implementation of digitization programmes is not the quantity of films, but the quality of the digitization. It is important that quality checking and control is maintained when scanning the films.

As far as film restoration is concerned that’s the next stage. For if you have not preserved, you will have nothing to restore. Having said that, it has also been said “preservation without access is just hoarding”. Films are meant for public consumption and right from the earliest days of cinema, watching films has been a communal shared experience. Therefore, restoration as well as exhibition, curation and public access are key elements of preservation. The idea behind preserving our film legacy is that future generations will get the opportunity to view the works of filmmakers and artists that came before.

Restoration becomes important in this context as when you restore a film, you give it a new life. World-class film restorations of classics are given red-carpet premieres at the most prestigious film festivals: Uday Shankar’s classic “Kalpana” (1948) was restored by Martin Scorsese’s The Film Foundation’s World Cinema Project and the restored version was given a red carpet premiere at the Cannes Film Festival in 2012. Similarly, Satyajit Ray’s “Apu Trilogy” was restored by the Academy of Motion Picture Arts & Sciences and The Criterion Collection and the restored films were given a theatrical release in the United States. In addition, quality Blu-Rays and DVDs, streaming platforms and film festivals ensure that these films are made available for viewing all over again and there is definitely an audience for these films across all platforms.

4. What could be the criterion for such digital storage of Indians film, as huge numbers are lying across the country?

Long-term digital preservation is an entirely different challenge. We continue to churn out endless petabytes of data and content that requires huge server space and innumerable tapes. There is still no guaranteed digital format and so digital preservation requires constant migration and upgradation. In India, every stakeholder producing and making digital films, needs to bear the expense and responsibility of preserving their films. Producers need to build a preservation budget into their production budget. Film Heritage Foundation currently archives digital material too, but our long-term strategy is to have a centre for digital preservation that can work with the film industry and other stakeholders for moving image content on the digital format.

5. What is your view of the National Film Heritage project launched by the Central govnt when India celebrated 100 years of its film sector? Has it served its purpose so far?

The Ministry of Information & Broadcasting, Government of India, more specifically Raghvendra Singh, the Additional Secretary at the time, reached out to me in 2013 saying that they were planning a National Film Heritage Mission and asked if I could make a presentation on a roadmap for the project. We worked on a detailed proposal that was submitted to the government, which clearly served as a catalyst.The National Film Heritage Mission (NFHM) was announced in November 2014 with a budget allocation of Rs. 597 crores to be deployed in instalments till 2020-21 with the NFAI selected as the implementing agency. The goal was the restoration of 1050 feature films and 960 shorts, digitization of 1050 features and 1200 shorts, construction of vaults of international standards and training programmes. In 2016, Film Heritage Foundation conducted an intensive 10-day film preservation training workshop at the NFAI to train and upgrade the skills of the NFAI personnel as we knew that they would be starting work on NFHM.

I think it is great that the government has woken up to the fact that our film heritage needs to be preserved and has allotted funds for this. As far as the implementation of NFHM is concerned, I cannot comment on whether it has served its purpose as I am not privy to any reports on their targets and achievements. With an industry that is producing over 2000 films in 50 languages from all over the country, I have always believed that we need many archives around the country run by trained and qualified archivists to preserve our film heritage and it cannot be solely the responsibility of the government. Around the world countries have multiple film archives and even universities and museums have their own film collections and archives. We are lagging far behind in this respect.

6. FHF has conducted series of workshops across India and what has been its impact?

One of the earliest challenges we faced when we set up the foundation in 2014, was the lack of trained film archivists and conservators. With no educational courses in film preservation and the workforce available from defunct film labs being just a step above manual labour with a focus on film cleaning and rewinding, this was an issue that needed to be addressed right away. We realized that the only way to tackle this challenge was to train and develop a local resource of film archivists and restorers. Faced with a lack of Indian trainers, we decided to partner with the International Federation of Film Archives (FIAF) for the country’s first-ever film preservation and restoration workshop that we held in Mumbai in 2015. We opened applications to our neighbouring countries like Sri Lanka, Nepal, Bhutan, Bangladesh, Afghanistan that either had no film preservation culture to speak of or archives that needed help.

The first workshop was a huge success thanks also to the curriculum put together by David Walsh, currently the Training & Outreach Coordinator, FIAF and our collaboration with FIAF that helped us put together a superb faculty from premier film archives around the world. We decided we were going to make the film preservation and restoration workshop an annual event and would follow a travelling school format to target our linguistically and geographically diverse film culture.

These workshops were not easy to mount given the lack of local trainers and infrastructure, not to mention funding. With most film labs becoming defunct and conservation material being hard to come by in India, every workshop in effect means that we have had to set up film repair and digital restoration labs in venues that are just empty rooms for the most part. And that means importing everything from film scanners to bobbins to film cement to erasers, making rewinding tables from scratch, arranging tables and chairs, HDMI monitors, cables, restoration software, and hardware – all of which would be taken for granted in other parts of the world that are decades ahead in the race to save films.

We conducted the second workshop at the NFAI in Pune; the 2017 workshop was held in Chennai, the fourth workshop in Kolkata in 2018 and the last physical workshop in Hyderabad in December 2019. In 2020, despite the pandemic, we went virtual and conducted the first online edition of our film preservation workshop. With every passing year, we have expanded and improved the curriculum based on feedback from the participants and faculty to cover almost every aspect of film preservation including film identification and repair, scanning, paper and photograph conservation, digital preservation and restoration, archive management, exhibition and access. In the Hyderabad workshop we were successfully able to run basic and advanced courses with streams of specialization.

Despite the struggle for funds, we decided to keep the course fee extremely subsidized to encourage participants even from lower economic strata to have the opportunity to be introduced to film preservation as a possible means of livelihood and a viable career opportunity. Right from the start, we ensured that scholarships were available for promising participants who would find even the subsidized fee a challenge. Till 2020, we have trained close to 300 participants out of which more than a third have done the course for free inclusive of accommodation and meals thanks to scholarships from the Tata Trusts, FIAF and sponsors. The participants have included personnel working in government archives and cultural institutions, library science and museology graduates, conservators, filmmakers, cinematographers, film editors, heads of film departments in universities and journalists. Many alumni of our workshops are working at the NFAI implementing the NFHM and at Film Heritage Foundation. In December 2020 one of our alumni reached out to us on behalf of the Manipur State Government, to ask for our help in setting up a film archive there. Subsequently we signed an MOU with the Manipur government to help them set up the first film archive in the northeast of India. Last year our team travelled to Manipur to conduct a training workshop and advised them on building their film vaults and archive for film memorabilia. We are also collaborating with them on the restoration of one of their earliest films “Brojendragee Luhongba” directed by S.N. Chand. We are very proud of our in-house team of conservators who we trained from scratch and who are now repairing and chemically treating films, salvaging them from being written off. Our annual workshops have been acknowledged by FIAF as the model for their international training programmes and have started a movement to save films not just in India but in the subcontinent with both Sri Lanka and Nepal well on their way to setting up film archives and digitization programmes thanks to their participation in our workshops.

An amazing endorsement of our work happened in 2019 when Mariam Ghani (the daughter of the former President of Afghanistan and a filmmaker herself) reached out to us to ask if the archivists from the Presidential Palace Film Archive and the Afghan Film Institute could attend our workshop in Hyderabad as bringing trainers to Kabul was impossible given the security issues. Getting the 10 Afghan archivists from Kabul to Hyderabad involved much stress about visas and frantic calls to the Indian Ambassador and friends in high places, but finally, they arrived. The archivists from Afghanistan were heroes, having risked their lives to save the films in their archive from being destroyed by the Taliban when they came to power in 1996. We were very pleased that the Afghan archivists also participated in the online edition of our workshop in 2020.

We are very keen not to lose the momentum of what we have created and do a physical workshop this year with hands-on training.

7. India is the outsourcing capital of IT industry and does it have the capability in this sector?

Film restoration is as much of an art in a sense as filmmaking. I have worked with some of the best restoration labs in the world and it is a work of passion and requires an understanding of the archival material you are working with. In my opinion in the area of film preservation, while aspects of digital restoration could be outsourced to India, we still need to train a resource of archivists and restorers to enable world-class restorations especially for scanning, colour correction and sound capture and restoration.

8. You were involved in digital reconstruction of Aravinda’s Kummatty? How the experience and what was are the other films which you got digitally reconstructed and what are the issues in this sector?

While Aravindan is undoubtedly considered a doyen of the alternative cinema movement in India, the circulation of his films has been diminishing with the passage of time. The National Film Archive of India (NFAI) in Pune had digitized some of his films a few years ago and “Kummatty” is available on a Youtube channel called Potato Eaters. However, I knew that these versions did not do justice to the original vision of an artist like Aravindan. I knew then that if his films were not restored soon, what would be left would be poor replicas which would reflect a mere shadow of the artistry of the great filmmaker. I began a quest to assess what celluloid elements remained of his films and I soon realized that the situation was urgent as the original camera negatives seemed to be lost and prints that were available were deteriorating rapidly. When Martin Scorsese’s The Film Foundation asked me for my recommendation for Indian films to be restored under the aegis of their foundation, Aravindan’s films were an obvious choice.

It’s been a long and challenging journey since 2018 when I made the first phone call to Bina Paul, the Artistic Director of the International Film Festival of Kerala broaching the idea of restoring Aravindan’s films. She was very excited and introduced me to the filmmaker’s son Ramu Aravindan who in turn introduced me to the producer, K. Ravindranathan Nair. After almost a year of emails and calls with his son Prakash, he finally agreed to meet me. I travelled to Kollam in Kerala on February 1, 2020 and spoke to him about our desire to do a 4K restoration of two of Aravindan’s films “Kummatty” and “Thamp”. He readily gave his permission to restore the films and promptly issued all the formal letters and NOCs so that we could begin work.

Once we had the official go ahead, we put out a call through the International Federation of Film Archives (FIAF) to member archives and institutions all around the world searching for best available source elements that we could use for the restoration of the film. For a film restoration, the best element is the original camera negative, but sadly, as I had feared, none of the original camera negatives of Aravindan’s films survived – they had all melted and nothing could be salvaged from the liquefied celluloid. The loss of the original camera negative was a big blow as prints can never give you the same latitude as a negative.

I remembered that in a conversation with P.K. Nair, the former Director of the National Film Archive of India (NFAI), he had mentioned that their collection included prints of “Kummatty” including an unsubtitled one. I checked with the late Kiran Dhiwar, Film Preservation Officer at NFAI who confirmed that the archive had two prints of the film. On the producers’ request, the NFAI made arrangements for me to check the prints at the archive. Accordingly, I travelled to Pune with Pravin Singh Sisodia, our foundation’s film conservator. On inspection, we found that the prints were not in great condition. However, the prints were shipped to the L’Immagine Ritrovata lab in Bologna as they were the best elements we could find.

The restoration itself was very challenging. Cecilia Cenciarelli of Fondazione Cineteca di Bologna sent us the lab inspection report which was daunting. On inspection, the lab found that both the prints had a lot of wear and tear and were very dirty and deeply scratched. One of the prints presented a consistent vertical green line on the right-hand side of the image, which required painstaking frame-by-frame manual work to be removed. The colour of the positive was decayed and the film’s natural environment, an essential character of the film, had completely lost it rich palette of skies, grasslands and foliage and become all magenta presenting a real challenge for Diego the technician who had to spend days working on the colour grading to get it right. Even with highly skilled technicians working with the latest digital technology, the lab said that there were still sections of the film where details of the film could not be recovered and were lost due to the poor condition of the print and consequently the scanned image.

We were very fortunate that Ramu Aravindan had photographs of the shooting location which served as a crucial reference for the colourist. Additionally, we were very grateful that Shaji N. Karun, who had shot so many of Aravindan’s films and worked so closely with him, made himself available for several long Zoom calls along with myself and Ramu Aravindan and the colourist at the lab in Bologna to ensure that Aravindan’s original vision was honoured to the best possible standard. Normally this would have been done physically sitting with the colourist at the lab. Doing this remotely over Zoom calls and checking file transfers was a long and arduous process. Being a musician, Aravindan was very particular about the seamless blending of the music and sound design of his films. Unfortunately, in the case of “Kummatty” we were hampered once again by the fact that we did not have the original sound negative and were working with the sound from the print, which was far from ideal. Ramu Aravindan helped us to source his father’s quarter-inch tapes and we digitized about fifteen of them in the hope of finding better source material, but there was none. As a result, the sound engineers at the lab had to spend many hours cleaning up and remastering the sound.

But the result more than made up for all the struggles and pitfalls we had faced. The restored film was screened at the Il Cinema Ritrovato festival in Bologna on July 25, 2021. The audience were blown away by the imagery, colour and sheer poetry of the film, which shone like a jewel on the big screen. I wish Aravindan could have been there to see his film get a new life and be by our side as we begin the journey to restore his film “Thamp”.

All we imagine as great films changes with the Cannes award of the film – All We Imagine as Light

June 04, 2024 | By V K Cherian
All we imagine as great films changes  with the Cannes award of the film – All We Imagine as Light

All we Imagine as good films and great films in media these is not at all that, is what  this young lady Payal Kpadia’s  film “ All we Imagine Light” which won the 2nd best film-Grand Prix- in the Olympics of  global films, Cannes film festival reveals. Once again like during the times of “ New Wave “ of Indian films in the 1970s and 1980s the yard stick in  judging the film is going to be its artistic merit , not its box office collection or tis star value, going by the build Payal’s Grand Prix has created.

In the good old tradition one can says that it is made for the art-house film people, but the fact that no one can ignore the Silver medalist in  an Olympics also applies here. May be it is the debut film of Ms Kapadia, but  it is a film about Mumbai and the immigrant women labour in that with Malayalam and Hindi as its languages  also point out  to multi cultural pan Indian film language emerging in India. With 22 official languages and more dialects, India needs multi-cultural –multi-language films, which at least the OTT platforms have realized, when they dub their films into various languages. But when it is conceived and made as multi-cultural films with a pan Indian view, the genre of filmmaking itself becomes refreshingly different.

“All We Imagine as Light” is a delicate triple portrait of women who have devoted their lives to helping others, but have received precious little in return in terms of money, status or freedom. Things would be different if they were men: the film’s feminist theme is established in the amusing introductory scenes, in which an elderly patient complains to Prabha that the ghost of her late husband keeps bothering her when she’s trying to watch television, and Anu slips a bottle of contraceptive pills to a 25-year-old woman who already has three children.

But Kapadia doesn’t resort to polemic, nor does she try to force the narrative into tragedy or farce. In her clear, lyrical way, she simply tells the bittersweet stories of three friends who want nothing more than to be allowed to carry on as they are. All We Imagine as Light is specific in its detailing of life as a woman in today’s Mumbai, but this Indian-French co-production also has the feel of an American or European indie comedy-drama. It is universal and emotional enough to hypnotise anyone who has been alone in a city, or been spellbound by a film on the subject”, wrote BBC ‘s film critic Nicholas Barber after the film’s preview at the Cannes film festival last week.

By the weekend debutant FTII-trained filmmaker Payal Kapadia was raised to the level of iconic Satyajit Ray, when she was awarded the Grand Prix, at the 77th edition of the revered French Riviera festival. Interestingly she is facing a case filed by the Director of FTII for participating in a strike at the campus in 2015, when a third-grade actor was made the prestigious Institute’s Governing Council Chairman. Payal is to present herself at a Pune trial court in June.

That being the situation, the Focus is clearly on the Film and Television Institute of India, Pune established in 1960, as part of the Nehruvian dream of creating an Indian Idiom in films. FTII incidentally was the first Asian institute of its kind and was modeled on its French and Moscow counterparts. The FTII was formed as part of a series of institutions to nourish new Indian films. The other institutions included the Film Finance Corporation(FFC), the Children’s Film Society of India, the Directorate of Film festivals of India, the National Film Archive and the Federation of Film Societies of India. Such a planned activity was recommended by a Parliamentary Committee headed by SK Patil in 1952 and had the involvement of stalwarts like Mari Seton of the British Film Institute and Jean Bhownagary of UNESCO, who was also the head of the Films Division.

Looking back, these institutions supported each other to give a new direction to Indian films, which now have been honoured at the most prestigious film festival in the Universe, Cannes. FTII early graduates were financed by FFC and most of these productions went on to make the “Indian new wave” by the 1970s, which was celebrated by the Film Societies across the country. Most of these films also went abroad and began to get noticed in international film festivals, giving Indian films a new place along with the world’s best. FTII graduates like Payal need no introduction, as her illustrious seniors have carried the torch of her Institute to the global arena over the years.

It may be a coincidence Payal Kapadia, a graduate of FTII was honoured in a weekend falling on the 60th death anniversary of the visionary Prime Minister Pandit Jawaharlal Nehru on May 27th. It may be also equally ironic that the present regime at the Centre has amalgamated most of the Nehruvian filmy institutions into a corporation and stopped short of privatising  FTII recently.

A senior FTII cinematographer said during one of the student strike negotiation meetings in the early 2000s, the then Information and Broadcasting Minister had wondered what the contribution of the Institute over the years was,  but went quiet when pressed whether he was serious about such a statement . With Payal Kapadia, an FTII graduate director, bagging the Grand Prix, henceforth no Minister or bureaucrat at the Information and Broadcasting Ministry will even dream of asking such a question.

Payal’s film also heralds a new trend in Indian filmmaking with its multi-cultural, multi-lingual approach. If released across the centres in India, one is sure that will show up a new avenue for filmmakers across India to access audiences across India. Already regional films are being dubbed and even subtitled to be shown in multiplexes in urban centres and also on OTT platforms, taking the reach of films and audience exposure to films across  India. By mixing multiple languages cultures and characters, Payal has also heralded a new multi-cultural filmy trend in times of threat to the pluralistic cultural fabric of India and the spread of propaganda films.

FTII being the only national film school till the 2000’s and having attracted students from across the country to be amalgamated into a unique film culture had already contributed to drastic changes in the content, narrative and technology of filmmaking over the years in most regional and even Hindi films. It is natural that they also have initiated multi-cultural-linguistic content in Indian films, giving the film culture a new avenue to reach audiences across the country. A Mumbaikar, making a film on Kerala nurses, mixing the lead character’s mother tongue with local languages and ethnicity of the province in an urban context must surely be a Nehruvian dream of Indian idiom in our films. The fact it took 50 years after the death of the dreamer Nehru that too when the present regime is trying to shut all such dreams, can only be a reminder of the decades of nation-building in all sectors, which the Nehruvian generation undertook. “ We never thought Indian films would reach such heights. We undertook all initiatives in the field of films as part of building a new nation”, veteran film policymaker Vijaya Mulay( Akka) said during a conversation.

None of them who initiated the new film culture in India, be it Satyajit Ray, RitwikGhatak,  or policymakers like Mari Seton, JeanBownagary, Chidananda Dasgupta and Vijay Mulay were there to rejoice in the Cannes Grand Prix-winning by FTII graduate. All those centenarians have given the film field a legacy where debut filmmakers from India can bag such awards and make India proud. In short Payal Kapadia’s Cannes achievement is a crowning glory for those Nehruvian dreamers who created institutions enabling young filmmakers to discover their inherent best creativity, which now the world has begun to honour.

V K Cherian is the author of  the Book” Celluloid to Digital: India’s Film Society movement-2024

Al-Azhar Sharif: Nursery where Indian Muslims learn moderation

April 20, 2024 | By Dr. Shujaat Ali Quadri
Al-Azhar Sharif: Nursery where Indian Muslims learn moderation

Most noted bridge between India and ancient lands like Arab countries is Islam. Muslims of India since their arrival in Indian shores have maintained their relations with the land of Islam’s origin. Cities like Baghdad, Medina and Cairo have remained centres of learning for them and students from India still enroll themselves at seminaries and universities in these cities to gain expertise in Islamic laws and sciences. Al-Azhar Al-Sharif is an Islamic scientific body and the largest religious institution in Egypt. It has played a pivotal role in upholding and reforming Islamic laws. These reforms are adopted in letter and spirit by Indian Muslims too. Interestingly, almost all schools of thoughts of Indian Muslims follow Al Azhar edicts. A number of Indian ulema and students of Islamic sciences pursue their courses at Al Azhar University.

It’s worth noting that the establishment of Al-Azhar took place at the hands of the Fatimids (970 AD). Since its inception, Al-Azhar along with its Qur’an experts (Mufassirin), hadith scholars (Muhaddithin), reformers (Muslihin), thinkers, leaders, and jurists (Muftis) in various departments of religious and modern sciences, is striving for the reformation of the Muslim Ummah, while promoting mutual brotherhood among all communities.

Al-Azhar has continued to evolve and promote the moderate methodology (Manhaj Mu’tadil) in Islamic theology without interruption since 975 CE. Notably, several Sunni and Sufi-oriented Indian Madrasas have an affiliation to the Al-Azhar’s educational programmes such as the 3-year courses in Usul al-Deen (genealogies of Islamic thought resources), Kulliya al-Shariah wal Qanun (faculty of jurisprudence and law) and Kulliya al-Dirasaat al-Islamia wal-Arabia (faculty of Islamic and Arabic studies). While this helps the ongoing process of cultural exchange and knowledge-sharing, it has also augured well for India’s second largest majority — the Indian Muslims. It was perhaps Shaikh al-Azhar (the Grand Imam of al-Azhar, a prestigious official position in Egypt) who coined the term ‘Muwatin’ (meaning: equal citizens) for the religious minorities, and issued the fatwa that in Islam, minority communities must be treated fairly well and should not even be called ‘minorities’. This is an eye-opener for us Indian Muslims too. Instead of floating the idea of Muslim ‘minoritism’ in India, we should rather strengthen the position of al-Azhar which regards every community as equal citizens (Muwatin).

The above example is one of many illustrations that explain the reform drive of Al Azhar and its ongoing and possible impact of Muslim theologians in India.

Notably, Al-Azhar Academy runs the World Academy for Training Mosque Imams, Preachers and Fatwa Researchers and offers training programmes through a 3-month crash course to the Ulema of various countries. The focal points of Al-Azhar in this course entitled, Tarbiyat-ul-Aaiymma (Training of Imams) include: preparing contemporary imams and muftis well equipped with the modern challenges, “Information Revolution” and an Islamic Perspective on “Moderation” (Ei’tidal) and Wasatiyyah — avoidance of extremism in Islamic approaches.

Every year, hundreds of Indian imams attend these courses. These courses focus on moderation and countering extremism. Ulema and imams from around the world are provided with precise training, efficiency and expertise in this crash course so they can be capable of tackling the modern issues in their social and cultural settings. There, they are anchored in a peaceful and moderate version of Islamic theology which helps them curb the intrasect Takfirism and promote the peaceful coexistence with people of other faiths. After the training at Al-Azhar, when they go back to their own countries, obviously they foster national integration, communal harmony, Muslim and non-Muslim relations based on humanity and nationality.

Inspired by Egypt’s al-Azhar and its vision of moderate methodology, many young Islamic scholars especially from the Sunni-Sufi tradition are trying to fight the sectarian disunity in the Indian Muslim community, particularly from a theological point of view.

Not only ulema and students from noted Sunni-Sufi seminaries, batches from Darul Uloom Deoband and Nadwatul Ulama, Lucknow, flock to Al Azhar to pick up lessons in moderate theology. This is the magic of Al Azhar.

12th fail Movie and Hidden Caste privilege: A Critical Analysis from Dalit Perspective

March 06, 2024 | By Akhilesh Kumar
12th fail Movie and Hidden Caste privilege: A Critical Analysis from Dalit Perspective

People are talking about the movie 12th Fail and its emotional scenes. From Dalit perspective this movie needs to be seen critically. Emotionally, this Movie tried to connect with the audience. This Movie depicts the struggle of a Person to crack the UPSC Examination. The main characters in this Movie are Manoj Sharma, Pritam Pandey, Shraddha Joshi,  and Gauri Bhaiya. Manoj Sharma was shown as a person who came from a poor family; his father was in a job and later got suspended. In the Movie, it has been shown that he was poor and came to Delhi and struggled a lot to Crack the IAS Exam. When Manoj was coming to Delhi to become an IAS, his belongings and money were stolen. Then he got help from Pritam Pandey, Pritam Pandey helped him to travel to Delhi; he got help in Delhi also from Gauri Bhaiya; it seems like he was getting help instantly from whomever he was coming in contact with. he got admission to a coaching institution instantly with help.

What is it? We can call It as a Caste privilege because he was getting help from everywhere. If the Character had been a Dalit, would he/she have gotten this help instantly? No. It is hard for a Dalit to get the kind of help that Manoj Sharma in the Movie was getting. Does the main character of the movie face discrimination because of his Caste in School? Did he drop out of School because of Caste discrimination and Humiliation? Does he get beaten because of his Caste? Faced Humiliated because of his Caste? Does Manoj’s Father get Humiliated because of his Caste? Do Manoj’s father and his forefather put human excrement on his head? Does Manoj not allowed to mingle with others because of his Caste? Did  he have to hide his Father’s Surname in School and college because of his Caste? Did his Mother got Humiliated Because of her Caste? This was the Caste privilege of the hero in the Movie, who doesn’t have to go through all this that what a Dalit Aspirant goes through. This is the Caste privilege That Manoj Sharma in the Movie got, and he got help from everyone whom he met. That is the Caste privilege, Which Caste Privileged people haven’t acknowledged yet. This movie does not show the hidden privileges that he was getting because of his Caste. In this Movie, it is shown that Manoj gets a Chance to give an interview twice; if he had been a Dalit, he would not have gotten the chance to face an interview twice. We can see the Case of Tina Dabi, A topper, but even today, people use Casteist slurs and question her merit only because she comes from Dalit community. The so-called question of “Merit” is always connected with a Dalit.

This Movie looks like the glorification of a person who comes from a Caste that is regarded as a superior in Society to show how hardworking he was. There are many Dalits who want to have a better Career. Still, no one comes into their life and support like Manoj Sharma in the Movie was getting. Because of lack of money, lack of resources, lack of Social Capital, lack of cultural capital, lack of economic Capital and obviously because of his Caste, Many Dalits have to leave their studies and have been compelled to drop out of the Schools, and because of Caste Humiliation, Caste Discrimination Which they face in Schools and also on colleges.

Which a person who borned in Caste which is regarded as a superior in society will never face. In this Movie, it has also been shown that, While searching for Coaching, Manoj found Shraddha Joshi; he slowly started to love her and proposed to Shraddha. Shraddha also accepted his proposal, and Shraddha told him that even if you do not become an IAS,she would love him; Shraddha was her support in his entire journey. Does this thing happen if a Character would have been a Dalit? No, because Caste would have become the barrier. Both Manoj and Shraddha came from a family that is regarded as superior in Society, so it became easier for both of them to marry in a Society where everything is decided by Caste. If Manoj had been a Dalit, his Love would not have been accepted, and it would not have turned into marriage; one needs only to Google, and one will find what price a Dalit pays for loving a person to those Whose Caste is regarded as a superior in the Society. When you google you will find many cases where a Dalit gets killed, or the girl who was loving to a Dalit gets killed only merely for loving. The Love of a Dalit, affection of a Dalit, has not been accepted in Society. They have been prohibited from loving or being loved. Dalits have felt the burden of Caste as no one else has. Love makes each other evolve into good human beings. Touch, the touch of Love, the touch of affection, and the touch of acceptance, Dalits have been deprived of all of this because their touch becomes Untouchables to others.

Whatever is shown in the 12th Fail Movie may happen in the life of a Caste Which is regarded as superior in the Society but not in the life of a Dalit against whom the worst kind of caste atrocities took place; not any person will come randomly in the life of a Dalit and help them. The movie failed to acknowledge the advantages  that privileged Caste people get. Being born into a Caste that is regarded as superior in Society is itself a privilege Because they don’t have to face Untouchability or discrimination, they don’t have to hide their Parent’s Name from others, they don’t have to live in fear in Childhood that if others will know their Caste they will beat you, they will not talk to you, they will not sit with you, Teachers don’t make fun of them and Question their credibility in School, Teachers don’t laugh and make fun of them in whole class because of their Caste, they don’t have to face this all. All this is being faced by Dalits. When a Dalit is born in a home, he knows that he has been born in a Dalit’s house, and from that moment, the struggle of a Dalit starts. The struggles of a Dalit have never been acknowledged by mainstream Bollywood  Movie and Castes which are regarded as superior in the Society.the struggles and sufferings of Dalits have been normalized in society, when atrocities happens with a Dalit people say what is new in it, this shows how pain and sufferings of Dalits have been normalized.

What privileged Caste people get unseen Privileges since birth? Privileged of not being segregated, separated in Society, Privileged of not living in the Outskirts of the Village. Do privileged Caste people acknowledge the privilege they get? With The Social Capital, Cultural Capital, Economic Capital which privileged Caste people are born, Dalits have been deprived of it. Privileged Caste people have not been deprived of Education for thousands of years; they were allowed. But Dalits had been deprived; It is because of Baba Saheb’s Constitution that Dalits got rights and fought for their place in a society Where still they have been beaten for small petty things, where still in the Universities they have been otherized, and many a times they are being compelled to take their lives. Privileged Caste also has the advantage that no one questions their so-called “Merit,” they were always regarded as Meritorious, but Dalits have been regarded as so-called “meritless’ ‘. Merit is a vague concept; what is this so-called “Merit” when you were not allowed to compete, to take an Education, and deprived of each and everything for ages? What is this so-called “Merit”? The people who are born in a Caste that is regarded as privileged in a Society have never Acknowledged the Unseen Privileges that they get. In the movie, it is shown that the main character is showing slippers to others. The father of the hero is also shown showing slippers to the officer when he gets suspended, his brother shows slippers to the workers of MLA, and he himself shows slippers to the library staff. This is the privilege of the Caste  of showing the Slippers because of the Caste in Which the hero of the movie is born, Which is regarded as a Superior in the Society. Does Dalit ever do this? No, if they do, they will be beaten brutally by Society, and Society will say, how dare a Dalit show the slippers?

We have seen in caste atrocities cases whenever Dalits raised their voices; they are beaten; we have seen from Khairlanji to Hathras. Recently in Gujarat, a Woman allegedly forced A Dalit to hold footwear in his mouth, and in Tamil Nadu only recently, 60 Dalits broke the pre-independence era discrimination and walk with slippers, one can only google and see how many cases where Dalits are being garlanded with slippers and beaten with slippers for raising voice. This is the privilege with which Manoj is born, which has been shown in the movie, where he can show slippers to others. In a Society where Dalits are being hit with slippers, Garlanded with slippers, Putting slippers on their head and making them apologize, Urinating on the head of Dalits. Does this happen with a Caste that is regarded as a superior in the Society? Beating others with slippers is also a privilege, and it is a Caste Privilege. Do the people who are born in a Caste, Which is regarded as a Privilege in a Society, question themselves? Power from Unseen Privilege can look like strength When it is, in fact, permission to dominate. Caste-privileged people need to know that the Caste in which they are born, they are born with certain advantages that Dalits have been deprived of. They don’t have to face What Dalits have to face on a daily basis; they are not Humiliated because of their Caste. They are born with certain advantages, Which Dalits have been deprived of. We don’t decide in which home we will take birth, but at least the unseen privileges which a person who is born in a Caste Which is regarded as superior in a Society, at least they should acknowledge that privilege; it is crucial that they reflect on the advantages they have and acknowledge the disparities faced by Dalits, Recognising privilege is a crucial step towards fostering a more equitable Society, Dalits did nothing to deserve the Unequal treatment which happens with them daily. The Onus is not on Dalits to make a Casteless Society; The Onus is on the Castes Who enjoyed the privilege of their Caste since ages.