Reel Politics

When does news become a film … and film become news? That is the question that played ping-pong in my head after I saw Satyagraha, Madras Café and episodes of the recent TV tele-series 24 (about a young leader, facing an assassination bid, Rajiv-Gandhi style) and Desh Ki Beti Nandini (shades of Sonia Gandhi?).

While I was pleased to notice that in an environment where the Rs. 150 crore club is on the rampage — the new template of all that is glorious, sexy, hot n’ cool — there are films who dare to boldly step away from the mindless masala entertainers, catering to the lowest common denominator, and attempt to offer an engaging alternative with politics as master theme. Bravo!

However, Satyagraha disappointed because it was too shrill, over-the-top, simplistic and rigid in its playing out the Anna Hazare narrative. Prakash Jha’s intentions, as always, were honest and sincere, but somehow the movie just didn’t ring true. Despite some fine performances (Amitabh Bachchan, Manoj Bajpai, Arjun Rampal), it panned out, at best, as shadow boxing, caricaturing reality. Madras Café was different, because it never pretended to be a political film but an action-thriller seen through the eyes of a fictional spy. Admittedly it recreated the brutal killing of former Prime Minister Rajiv Gandhi, but that was it.

Question is: Why aren’t our Bollywood manufactured political films, audience-friendly? Don’t our film-makers find the genre, movie-worthy like scores of Hollywood gems (like Nixon, All the President’s Men, JFK, Missing) or are they too way out of their sing-dance sensibility to intelligently and sensitively understand, depict or interpret this segment in an engaging audience-friendly way?

Film scholar Partha Chatterjee believes that the reason is simple: “Where are the film-makers qualified to offer gripping and interesting political films? Nowhere, because it demands sharp and informed political awareness and education, and Bollywood, neck deep in Yeh Jawani, Krrish, Ram-Leela and Chennai Express, doesn’t have a clue. Most attempts are amateurish tokenism. For me, there hasn’t been a single, honest, hard-hitting political film coming out of the Bollywood stable in decades. The much-touted Hazaaron Khwaishen was a joke! It is a sad reflection of the quality of critics and audiences who consider it a masterpiece. It is colossal rubbish and bears zilch echo of the Naxalbari movement it attempts to play out. Political films come from people who are honest and uncompromising in their understanding of the complexity and reality of the subject. The Prakash Jha brand is constantly trying to make it easily digestible by simplistic, audience-friendly, star-driven methods and because there is no real competition, the man is hailed as a champion of political cinema. I laugh so that I may not weep!”

Chatterjee invites every sane viewer to see at least one film of Oliver Stone or Costa Gavras and then decide what real political cinema is all about.

Filmmaker Shoojit Sarkar, director of the charmingly funny and witty Vicky Donor and Madras Café, is less vituperative, but makes his point candidly: “As a filmmaker, I think it has largely to do with self confidence and self-belief after the basic decision has been taken that you wish to pursue a particular storyline, come what may. It will always be a tough call because in today’s marketplace of outrage with protests and bans for the smallest and silliest reason, political films will always be under siege, but one must fight it with will and resolution that comes from within and try to not be shouted down or bullied.”

Sarkar speaks of the harrowing times he had while trying to rustle up funds for Vicky Donor with many financiers viewing the theme as dirty, cheap, vulgar and obscene, completely oblivious to the main point and treatment. “Madras Café too had problems and production houses were nervous about backlash from political parties, activists, NGO’s etc. We were lucky to once again get John Abraham on board and man, did he go the distance to support the film. The overwhelming success of the film at home and abroad, critical and commercial, indicates the fact that if you are transparent, honest and strong, chances are, you will pull through.”

Sarkar hopes that Madras Cafe will motivate others to pursue the genre.

Film director Leena Yadav agrees with Sarkar that apprehension about bans and protests are a major deterrent for production houses and filmmakers: “Besides, let’s face it, the audience for the so-called realistic, intelligent, political film (New Delhi Times, Hu-Tu-Tu) is very tiny. This category is perceived as serious, issue-based, non-glam/entertainment stuff and thus given the go-by by the masses.”

Yadav, however, makes two interesting points: “One, being politically aware, erudite and educated does not necessarily/automatically translate into creating riveting cinema that connects with the viewers in a credible and interesting manner. Cinema is a different ball-game and goes beyond academic gyaan. Two, the double standards of our audiences. While they have no problem raving about Coming Home, JFK, Nixon, etc, home-made stuff irrespective of quality, is sneered at. No wonder even a fine film like Parzania had such a rough time and a commendable effort like Firaaq too was ignored. Audiences want masala in the local stuff they consume. From the phirangs, the same lot are willing to get serious. Unfair, na? Hope Satyagraha and Madras Café reverses this depressing mindset.”

Social scientist Shiv Vishwanathan believes that despite all the barbs and brickbats from purists, “Jha leverages protests engagingly as the new sacrament whereby a society can transform itself, offering, in the process, new insights, to become the prime storyteller of new-age politics.” Protests however carry their own baggage of history and stereotype, which seems to have been trumped by liberalization, which creates its own paradigms and touch points.

Everything considered, Jha and company mean well, but alas, the compelling, cutting edge quality of a Stone or Gavras is missing. When that no-holds barred, hard-hitting political film happen, will it go the doomed way of Kissa Kursi Ka and Aandhi or has Madras Café offered a new recipe and menu card? Only time will tell, but the loss in missing out on a gripping political tale, played out in movie halls remains entirely ours….