The power formula

Political issues have been used repeatedly as a theme by film-makers
down the years, writes M.L. Dhawan

Politics has always provided food for thought to Indian film-makers. Surprisingly, this topic never fails to entice the audience. India is the world’s largest democracy; it is not surprising that politics appears as a subject frequently in our Hindi films. Prickly political issues prompt the film-makers to present their point of view in films.

Prakash Jha’s Rajniti that studies the equation of politics and various political parties is in the news these days. Another half a dozen films on politics are also in the making right now. Sushen Bhatnagar’s Monica is based on journalist Shivani Bhatnagar’s murder case and explores the rise of a commoner in the corridors of power and his tussle to retain that power.

The topic may be tricky to handle at times but Indian film-makers are doing full justice to this genre. Jha’s Apaharan spoke about the commercialisation of crime and Gangajal was about one Yadav killing another. Ram Gopal Varma’s Sarkar was loosely based on Bal Thackrey’s life.

A political film basically does not reflect on the life of a minister but on the political system that affects a large number of people. When communal riots broke out in Gujarat, Rahul Dholkia’s Parzania brought out the insensitive face of the police and the callous administration. Nandita Das’ Firaaq dealt with the emotions of people in the aftermath of these riots. The film explored the fears and anxiety in human relationships during such trying times.

Yashraj Chopra production’s Veer-Zaara (2004) gave the message that India and Pakistan should break away from the bitterness of a blood-stained past and come together to forge a new bond of brotherhood and cooperation through the love story of a Muslim girl and an Indian Air Force officer.

In Gulzar’s Aandhi (1975) some of detailing that went into the character of Aarti Devi (Suchitra Sen) — especially the streak of grey in her hair and the allusion to a power-crazed father who was responsible for her failed marriage — strengthened the notion that the character was not just somebody modelled on Indira Gandhi but was Indira Gandhi herself. This resulted in the film being withdrawn from the theatres. In fact, the film was a celluloid study of the process of a woman’s emancipation seen in the context of marital politics.

Gulzar’s Mere Apne (1971) was set against the backdrop of mounting student unrest of the 1960s and alluded to the disillusionment of the youth with politicians who lost no opportunity to exploit the system for their petty interests. His Maachis (1996) encapsulated his ire at the state of affairs that led to a spiral of violence and bloodshed in Punjab. The film projected the desperation and anger of the situation that these young men found themselves in. The movie was a telling comment on the politics of religion and a scathing attack on the disgruntled leaders who lure youth into the vortex of terrorism and the brutal bullet-for-bullet approach of the police. His Hu Tu Tu (1981) captured the frustration of the youth with leaders who embodied the decline of Indian politicians in the midst of spiralling dishonesty, erosion of values, rampant corruption and increasing cynicism.

Govind Nihalani’s Ardh Satya (1983) brought to the fore the gangster-politician-police nexus. An idealistic cop Anant Welanker (Om Puri) gets frustrated with corruption of the system when he is forced to release three of Rama Shetty’s men who is merely a rising politician. Welanker is outraged by his helplessness and in desperation kills Shetty and surrenders to the authority. Welanker was not just a cop who fought the villain single handedly but he was an ordinary man fighting against the system.

M.S. Sathyu’s Garam Hawa (1973) was about the anxiety and trauma of minorities and about India’s ability to infuse confidence into the Muslim subjects. As more and more disturbing events occur which plunge the family of Salim (Balraj Sahini) — a shoe-maker in Agra — in grief. As some family-members and friends migrate to Pakistan, Salim and his family also decides to follow suit. On the way to the railway station, the tonga of the family about to leave comes across a demonstration advocating the unity of all without the discrimination of caste, creed and religion. Salim and his family decide to remain in India confident about the democracy of this country which is theirs.

The trauma of Chinese aggression was captured by Chetan Anand in his magnum opus Haqeeqat (1964) which depicted with honesty the mistakes made by our leaders and the humiliating defeat suffered by India in the India-China war of 1962. The film generated a sense of unity among the masses when the nation’s morale had hit rock bottom.

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