BOOK REVIEW | Sunday, November 8, 1998 |
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Cinema as artistic narrative medium Cinema and the Indian Freedom Struggle by Gautam Kaul. Sterling Publishers, New Delhi. Pp. 275. Rs 600. This is no way to treat the elderly The Aged In India by K.G. Gurumurthy. Reliance Publishing House, New Delhi. Pp. xi+ 197. Rs 225. The patriot who stalked a killer Udham Singh by Sikander Singh. B. Chattar Singh Jiwan Singh, Amritsar. Pp. 391. Rs 350. |
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Natwar Singh |
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Cinema as artistic narrative medium Cinema and the Indian Freedom Struggle by Gautam Kaul. Sterling Publishers, New Delhi. Pp. 275. Rs 600. I have known Gautam Kaul for about three decades. Probably I met him during my very first International Film Festival back in the seventies. He was a genuine cineaste, bustling from film to film, from seminar to seminar. He overcame my reluctance to speak at the fairly useless functions called film seminars. Kaul used to glory in them and in fact got a degree of seriousness into the ill-spent hours. Later I sat with him at those ponderous occasions called film jury meetings to award prizes for the best director, actor, etc. These occasions were certainly not useless. They afforded full opportunity for political, regional and personal manipulations. Here again, Kaul rose above these messes and brought a degree of integrity to them. One remarkable feature I found in him was that though he was quintessentially a North Indian, he fought for regional cinema and for regional heroes. It was a kind of admirable cultural crossover. But sometimes he went too far. I remember on one occasion I had to request him to go over to the southern block and invite Jamuna, the Telugu filmstar, to come and sit next to me. This was to restore some kind of harmony because Jamuna was a fanatical regional partisan. I say all this as a prelude to the review of the book because it is necessary to give a glimpse of the author. I was quite surprised when Kaul approached me at a Bombay film festival sometime ago to discuss the project of this book. I was surprised because I did not expect the underlying patriotic impulse to write this book from an IPS officer. This is not meant to be pejorative. But somehow one does not associate Class I civil servants of India with this kind of enthusiasm. Second, I have lived through and participated to an extent in Indias freedom struggle. I do not have the kind of nostalgia which Kaul seemed to emanate and which is very much there in the book. But these are basic personal and ideological differences which I have to admit. At the outset, let me say that this is the first book on a subject which has never been seriously explored before. It is extremely well researched, well narrated and illustrated by some rare photographs. I recommend the book to lovers of Indian cinema, to film scholars and film libraries. Having said that let me proceed to a discussion of the book. The first chapters are very ambitious commencing from the birth of western civilisation going on to current history. The chapter "The British censors at work", contains a lot of valuable information. The British colonial rulers struggled hard to keep "foreign influences" out. I was amused to read that they even tried to shut out the great film "Intolerance". I may add an item of personal knowledge. I saw the marvellous anti-war film "All quiet on the western front" on September 2, 1939, in Madras and was bowled over. I wish J.P. Dutta, the maker of the recent so-called anti-war film "Border" had seen that film with a degree of understanding. On September 3, 1939, Great Britain and the allies declared World War II. "All quiet..." was banned on September 3, 1939. The chapter, "Cinema and freedom leaders", contains interesting information not generally known hitherto. Kaul is specially good on the links between Tamil political leaders like Satyamurthy and Tamil cinema. However, I must take issue on the way he deals with Gandhis aversion to cinema. I remember reading K.A. Abbass open letter to Gandhi in Film India (October, 1939). Kaul quotes Abbas: "In a more recent statement, you (Gandhi) include cinema among evils like gambling, sutta, horse racing, etc. which you leave alone for fear of losing caste."Abbas goes on to make the predictable pro-cinema noises. Reading Gandhis remarks in September, 1998, I realised how right he was. Indian cinema has always been speculative financially. It was so yesterday, it is so today and it will be so in the 21st century.Kaul knows this better than I do. This basic economic fact colours the quality of cinema. Kaul also knows this but tends to minimise the impact of economics on the art of cinema. Today, when film producers/ directors make the so-called action films or nonsensical romantic family drama they are playing satta. Every night I watch sequences from past and present films on satellite TV. From the North to the South, from the East to the West, I am confronted with the spectacle of uplifted bosoms and larger-than-life derrieres. Was Gandhi so wrong about Indian cinema? The link between Indias political leaders and Indian cinema has not always been to the good of either Indian cinema or Indian culture. Take, for instance, the link between Krishna Menon and Indian cinema. Or the link between the Nehru-Gandhi family and certain film personalities, which was exploited by them during Indira Gandhis emergency. Or, the takeover of Indian politics by cinema idols in the South. These points needed a deeper examination than Kaul has given them. The sections of the book, which deal with historical matters like the early patriotic films are more of academic than general interest. This reviewer was thrilled by the recall of the Tamil freedom song "Aaduvome palli paaduome" and mention of D.K. Pattammal and Thyagaraja Bhagavathar. But that is because I happen to come from the South. This is not a criticism of the book but a statement of fact. The book becomes more interesting when the author goes on to post-Independence cinema. There are odd statements like the following: "It was ironic that India continued to accept for decades on end, films made in England and the US which flayed not just the war waged by the Germans and the Japanese but also tarnished their image as a race." Whats that supposed to mean? Was World War II waged by (the) German and Japanese elites? In fact it was a mass peoples war on all sides except probably the Americans. It is this absence of fine-tuning historical developments that flaws the book. It becomes journalistically abrasive and loses academic detachment. There is too much space devoted to forgettable and forgotten films like "Prisoner of Golconda". Despite the fact that the fate of this film contains some legal precedents, these pages are a bore.An undistinguished director like Manoj Kumar is given space just because he made some "patriotic films". Making films on Bhagat Singh or Prime Minister Shastris slogan "Jai jawan jai kisan" does not by itself confer artistic distinction. The problem with this book is that Kaul thinks it does. More interesting is Kauls brief discussion of "Buniyaad" and of Govind Nihalanis "Tamas". These are important films but Kaul does not do full justice to them. In fact, the TV serial "Buniyaad" and Nihalanis "Tamas" work in opposite ideological directions. "Buniyaad"s ideology is somewhat opposed to Kauls. It takes an ironic view of the freedom fight and shows how the roots of Indias present corrupt state lie in the forties. "Tamas", on the other hand, is a rather partisan account of partition. J.P. Duttas "Border" came rather late for this book. Kaul would have applauded that chauvinistic film with glee. A cineaste like Kaul would have seen the latest American film on war, Speilbergs "Saving Private Ryan". In the next edition of the book I would like a comparison of the attitudes behind the films. Kauls provocativeness is in a sense a virtue. You can have a fruitful debate with some books. This is one such book. Iqbal Masud |
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