(The article was first published in Dash Magazine, New Delhi, October, 2007)
Shyam Benegal has dared to enrich cinematic landscape by making movies loaded with radical ideas. For example, in his movie Ankur he was successful in giving the impression that it’s not impossible to to turn the tables in society dominated by feudalistic perceptions. The movie successfully portrayed that awakening among the common people would alone bring revolutionary changes. His movies mainly centered around social and political dilemmas. His movie Manthan, which went on to win National Film Award for Best Feature Film in Hindi in 1977 was based on White Revolution of India (Operation Flood). Interestingly, the story was penned by none other than Dr. Verghese Kurien, hailed as the Father of the White Revolution in India.
One can notice that Shyam Benegal was a sensitive filmmaker moved by the plight of the underprivileged. His movies dealt with the power of common man and his ability to emerge successful in society governed by anti-human tendencies. In movie Manthan we find that poor farmers in Gujarat, learn to rise above individualistic tendencies to form the Co-operative Milk Producers’ Union. The film highlights the impact of caste-politics found in Indian villages.
This maker of New or Alternate Cinema chose to flirt with complex themes in a masterly way. His movie Bhumika dealt with trials and tribulations of a woman in search of suitable place for herself in society dotted with so many prejudices. Smita Patil once again played her part perfectly to highlight the various shades of Usha, the movie actress in love with various men, even with a married person much older than her age! One of the best things about Shyam Benegal is that he not only explores bold themes but also at the same time keeps experimenting with the style which sometimes makes us remind of Satyajit Ray. Nishant, Mandi and Suraj Ka Satvan Ghoda (1993) prove that point quite well. Interestingly, Suraj Ka Satvan Ghoda is a novel penned by well known Hindi writer Dharmavir Bharati, who hailed from Allahabad.
As a matter of fact, he tried to force viewers to don the thinking cap by bringing to the fore various shades of problems plaguing the society. He helped many actors, including Smita Patil and Naseruddin Shah, to name a few, to carve a niche for themselves in the world of realistic cinema. However, having said that, let me state that directors of Parallel cinema are responsible for failing to interpret the mood of viewers with the changing times. Though it’s an uphill task to project complex themes in lighter vein, the art to present complex themes in a palatable way has to be learnt by the movie-makers. This has been learnt quite well by directors like Shekhar Kapoor and Kundan Shah but most of them have struggled to give way to flexibility.
It’s a harsh reality that satellite channels and Doordarshan have been held hostage to a variety of cheap entertainment- all in the name of catering to the taste of new generation. To bring a change, it’s necessary that art filmmakers learn to blend their serious themes with interesting styles. Needles to state that Shyam Benegal has the capacity to set a good precedent in this regard as well.
Shyam Benegal: http://www.sscnet.ucla.edu/southasia/index.html