Shyam Benegal

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Benegal’s successful feature debut is set in feudal AP and consolidated the New Indian Cinema movement. The politically inflected melodrama tells of a newly married urban youth, Surya (Nag, in his Hindi film debut), who is sent alone to his rural home to look after his ancestral property. Finding himself in the role of the traditional landlord, he has an affair with Lakshmi (Azmi, in her extremely powerful film debut), the young wife of a deaf- mute labourer (Meher), and she becomes pregnant. Her husband, believing the child to be his, goes to tell the landlord the good news but Surya, consumed by his guilt and afraid of being exposed, beats the man almost to death. Lakshmi then turns on her former lover with a passionate speech calling for a revolutionary overthrow of feudal rule. In the last shot, a young boy throws a stone at Surya’s house and then the screen turns red.Read More »

Does India have a national cinema? Does it, indeed, require one? Mrinal Sen is not quite sure. Yet, his latest celluloid essay, And the Show Goes On, a British Film Institute-funded tribute to the world’s largest movie industry in cinema’s centenary year, is quite polemically categorical about what India’s filmic output should be.

But can it ever be what it ideally ought to be? Again, Sen, as is his wont, is not forth coming with a clear answer. His prescription, however, is rather unambiguous: cinema should confront social realities, no matter how harsh; it cannot continue being as cavalierly escapist as it is in India and yet expect to be taken seriously on the global stage. As film director and critic Chidananda Dasgupta says on camera: “India lives too much by myth and too little by fact”. That, for Sen, is where the problem begins. And ends.Read More »