Nishant (1975)

“Zulm karna paap hai, par zulm sehna us se bhi bada paap hai”

This line may be an oft repeated one in many of the old Hindi Masala potboilers from the 70s and the 80s. But few would expect it to be the most definitive and poignant lines from Shyam Benegal’s take on the curses of the feudal system, Nishant (Night’s end). Nishant is a story set in the pre-independent era when our country was no country at all, but an agglomeration of fiefdoms, kingdoms, and states- some tiny and non-descript, while some mighty and formidable. Benegal tells the tale of one of the many insignificant Indian villages from that time, which has a landlord family lording over it. This village remains unnamed throughout the film which implies that the story could have been an occurrence in any part of our country. Though from the dialect and the customs and traditions shown in many of the scenes, it can be inferred that it is somewhere in Andhra where the cruel Zamindar (Amrish Puri) and his three younger brothers exploit the poor and helpless villagers in a bid to sustain and further their dominance over them.

Like Benegal’s previous work Ankur, this one is a no-frills representation of an era and a place that we deliberately choose to glaze over while talking about our great nation. Written by noted playwright Vijay Tendulkar, the seemingly straightforward story has many contours and dimensions that cannot be missed. However, the first forty minutes of the movie are devoted solely to setting the context and establishing the characters. Through some cleverly handled sequences we are introduced to the terror of the powerful feudal lords, their blatant and brazen suppression of the villagers through their illicit ways, their intra-familial dynamics wherein the eldest brother is the commander, the next two (Mohan Agashe and Anant Nag) are his devoted uncouth followers, while the youngest Vishwam (Naseeruddin Shah) is a sometimes reluctant sometimes eager follower of his elder brothers’ ways and means. This much confused youngest brother Vishwam later becomes the inadvertent catalyst of a violent revolution that sees the villagers take up the arms against their oppressive guardians, while his much affected wife Rukmini (Smita Patil) can be nothing but a silent observer.

Vishwam and Rukmini

While we have had movies that have dealt with the issue of zamindari, Nishant is unique as it mainly addresses the issue of carnal exploitation by the debauched men of the landlord family, while the other forms of exploitation are relegated to the backdrop. Unabashed in its treatment and unequivocal in its approach, the misdoings of the zamindars is clearly highlighted through the bouts of drinking and sexual gratification the brothers indulge in every night at the expense of one or the other innocent village girl. This world of moral depravity is shaken when the youngest brother Vishwam gets attracted to the wife of the village schoolmaster (Girish Karnad). The schoolmaster and his wife Sushila (Shabana Azmi) move in to the village and just as they slowly start to get attuned to the ways of the land, the Zamindar brothers’ forcibly take her away to their haveli, while her hapless husband kicks and wails watched on by the suppressed villagers. At the haveli, Sushila becomes a sexual object to the brothers, though the access to her is primarily given to the youngest Vishwam who is terribly besotted by her beauty. She is kept confined in the house, and slowly resigns to her fate. On the other hand her husband tries to appeal to all the official authority in this regard, but proves unsuccessful. But egged on by the village priest and spurned by an exchange he has with his wife in the temple (when she is allowed a visit there by Vishwam), the schoolmaster sparks a revolution in the villagers that takes a violent turn…

The reference to Ramayana is obvious in the way the narrative pans out. The Ravanas (Zamindars) forcibly take Sita (Sushila) as her hostage and keep her in Lanka (Haveli). Then Ram (schoolmaster) assembles a sena (villagers) to fight against the devil. However the similarities end here as everything else is a much stark departure from what happens in the epic. The treatment here is dark and disturbing, which makes the movie quite hard to watch (I saw it in two sittings).

It is tough to talk about performances in such a film where the written material is so strong. All the actors do a terrific job. In fact this movie is one of the early movies in the careers of all the major stalwarts of parallel cinema- Naseeruddin Shah, Shabana Azmi, Smita Patil, Girish Karnad, and Amrish Puri. However the two strongest performances are by delivered by Amrish Puri and Shabana Azmi. The latter is simply brilliant in the temple sequence when she meets her husband. The way she expresses helplessness, defiance, anger, and disgust is simply seen to be believed. Amrish Puri has the physicality and presence of the cruel villain, and the director fully capitalizes on it by giving him such a persona. 

Parting Note: Like Ankur, this one too is a disturbing watch that basically mirrors some uncomfortable truths about our society through an engaging story. These Shyam Benegal films are a study in contrast to the Rajshri films from the same time that dwelt on all the things that were happy, well, and bright in our villages. In my opinion each of these schools of film-making is as important as the other and should be treasured equally.

Party (1984)

Govind Nihalani’s Party, based on a play by noted Marathi playwright Mahesh Elkunchwar, is indulgent cinema at its most brilliant. This irreverent indulgence however can be mostly attributed to the playwright, for it is set in the world of elitist art and theatre and there are long ramblings about the responsibility of art and its connections to politics. And thus, this is one of those rare Hindi movies that give the impression of being entirely written on paper before any of their shots were canned. It is the quintessential theatrical cinema, minus all its negative connotations. It is hard to remember any other such movie where long visceral monologues were the fodder for most of the narrative.

The movie is set entirely in one long party where the most elite and distinguished theatre personalities and journalists gather to celebrate the success of one of their own. This constrained time-frame and space builds up tremendous tension in the exchanges of many of the characters. But before the party is set in motion, the main characters get introduced one by one through a series of poignant scenes. A veteran insecure writer who is becoming stricken by the shallowness of his work, and his alcoholic and lonely girlfriend of ten years who craves for his attention; a bespectacled, fiercely independent, female journalist who is an open supporter of Maoists; an upcoming and hugely talented playwright who is grappling with the lack of purpose in his writing; a middle aged socialite who is throwing the party to celebrate her writer friend’s recent award, and her daughter who is a single mother waiting for the return of her lover, a talented young writer himself, who has gone to support and fight with the adivasis in the jungles of Andhra; a middle aged theatre star actor who has lost his own identity in the maze of iconic characters that he has lived and breathed. The troubles and emotions of all these characters collide and implode while they party and the wine flows…

Apart from these main characters under the spotlight, there are many other interesting peripheral characters that act as the director’s tool to make a comment on the moral depravity that is quite rampant in such high-society circles. The shallowness and superficiality that infests such people who are nothing but troubled souls from inside, quite unable to fight their own demons, is brought out remarkably through a series of exchanges that are quite intriguing to witness. And witness is what a stolid, sober, and quiet family friend of the rich hostess of the party does- Amrish Puri, once again after Aakrosh, in a role that is not quite connected to the main happenings in the narrative, but still is a vital and significant vehicle to channelize the director’s vision. He is the assured presence which is so unlike the rest of the people in the party, and yet in some ways as artificial as everyone else, for he chooses to take a back seat and let the show go on, despite his many reservations with a lot that happens during the course of the night. In some ways his character symbolizes a lot of people in our society who are dissatisfied and unhappy with the social happenings, but remain on the surface shielding themselves from the gaze of the dirty maze.

The political backdrop of the proceedings adds an intriguing dimension to all discussions between the lead characters. The growing social unrest in some corners of the country, and how some people some people pretend to be affected by it all is brought out wonderfully well through some dramatic exchanges. This backdrop also gives an opportunity to the makers to debate and discuss an issue that evidently is of great importance to them- the intertwining of art and politics and can both be really kept separate from one another. The last half an hour or so is devoted exclusively to this debate, and the rest of the things are relegated to the background. This change of texture is not exactly sudden, but is still quite stark. To many it may come across as too quirky, but it is nothing but an honest expression of an artist’s most personal thoughts and conflicts...

Some of the leading theatre personalities of that time make up the ensemble cast; however the two champions of parallel cinema of that time- Naseeruddin Shah and Om Puri are given very small but significant cameos to play. All the actors do a seemingly fabulous job, but it has to be said that hardly anyone of them has been made to transcend his or her comfort zone. The written material is so strong and emphatic, and the treatment is so very much like a theatre play, that these veterans of the stage would have hardly found it very challenging.

Parting Note: Party is one of Govind Nihalani’s finest works, if not the finest. However it is hard to infer how much of its finesse can be attributed to him, and how much of it is the brilliance of the playwright who has written the play. It is certainly a much watch for all those who like watching unconventional cinema.

Aakrosh (1980)

Angst. Anger, Aggression… Govind Nihalani’s Aakrosh (1980) is a dark and disturbing film set in the heartlands of our country where there is little regard for law and order and the men in power have all the powers of the world in the true sense. Based on true events, Aakrosh tells the story Bhiku (Om Puri in one of the most acclaimed roles of his career) who is accused of killing his own wife (played by Smita Patil), and how he remains silent-suppressing his cry of outrage due to his distrust and disbelief in the system.

This helpless and defenseless peasant, who refuses to tell his side of the story to the lawyer who has been appointed for his defense, is an enigma for the people around him as he literally stays mute all the time. The Lawyer Bhaskar Kulkarni (Naseeruddin Shah in a remarkably restrained and uncharacteristically powerless role) is utterly disappointed by his client’s lack of support (read speech), and in an attempt to salvage some pride in his first case, makes some investigations on his own. In the court, his professional adversary is his real life mentor- Public Prosecutor Dushane (played by Amrish Puri).

Before I go on about my mumblings on the movie I have an interesting observation to make. The basic plot of this movie is replicated in Puneet Issar’s Salman Khan Starrer Garv (2004). Despite having the same thread throughout the movie- one cannot have two more diametrically different movies. While Aakrosh is given a really realistic texture- Garv is full on front-bencher pleasing commercial cinema with a hero at the helm of the affairs. Needless to say, in Aakrosh there is no hero.Also while Garv doesn't let the evil prevail over the good in the end, Aakrosh does not fall in any such trappings and takes a realistic look at story. 

Aakrosh has a narrative that does not flow unrestrained. It is multilayered and has many political and social points to make- which it does by giving due importance and care to each and every scene. The story is told from the eyes of the young advocate Bhaskar. It is his fears, his apprehensions, and his persistent efforts at knowing the truth that bring out the tension in the plot. Bhaskar Kulkarni represents the educated and grounded youth of the country, fresh out of their studies, and having very little idea of the malice in the society. He makes his efforts not in an attempt to save Bhiku, but because he considers it his moral responsibility being the lawyer assigned the case. He never gives up, despite facing resistance from not only his detractors, but also from the people he tries to defend (Bhiku and his family).

Although Amrish Puri’s character is not very important to the central plot, his Dushane is very important to the points that Govind Nihalani intends to make with the movie. Dushane is respectable man in the society who, despite being from the lower caste, has managed to gain acceptance from the people around him, by the very strength of his professional achievements and legal acumen. He is also an impassive observer to the whole dirty politics that is being played out in the village. On his level of involvement in the swamp, the director remains non-committal. However he is shown to be a regular at the get-togethers of all the powerful people of the village (who are also the villains in the plot- to use the conventional lingo). Also, Dushane is the only source of comfort and also a confidante to the young Bhaskar who lives alone in the village infested with criminal elements. All this lends him a very ambiguous position, which Amrish Puri justifies very well with his polished portrayal of the character.  

The director shows no hurry and treats the story with a touch that is reminiscent of his mentor Shyam Benegal’s cinema. It is the harsh reality- take it or leave it. There are no efforts to please on set of people over the other. I guess such movies aren’t banned by the authorities as they know hardly anyone would watch them. There are many powerful scenes that stay with you once you are done watching the movie, but none is more stark than the climax scene when Bhiku finally abandons his silence with a heart-wrenching cry of outrage. His savage act which precedes this cry makes a very pessimistic statement (which is unfortunate), but it manages to put across the point that the director is trying to make effectively.

Parting Note: Aakrosh is a dark, disturbing, and hard to watch (despite it being really well made) mainly because of its serious content. For people who like their cinema all grim and true to life (that too the dark side of life), this is a mandatory viewing. 

Vijeta (1982)

While no one can put a stop to ageing (the world is still waiting for the chemical formula), coming of age  is an arduous job. It is a journey like no other, which is more psychological than literal. Unfortunately history tells us that the best men, more often than not, get made only after facing a lot of hardships and going through personal losses. Maybe it’s a small tax that they have to pay on their path of self-discovery and conquest. 

Govind Nihalani’s Vijeta is a movie that emphasizes on the above fact and explores human relationships through challenging times. It is basically a story of guy’s journey from boy to man, and how he conquers his doubts and apprehensions to emerge victorious in life. The movie has been produced by Shashi Kapoor, and stars his son Kunal Kapoor as the protagonist.

Vinod (Shashi Kapoor) and Neelima (Rekha) form an estranged couple, who despite their differences live together for the sake of their only son Angad (Kunal Kapoor as a young surd). Vinod is in the entertainment business, while Neelima is a housewife who is highly involved with her pursuits in classical music (This deep involvement suggests a void in her life that she is trying to take care of). One day Angad, their son, returns home after leaving his boarding school. Utterly confused about what to do in life, and highly troubled by the shaky relationship his parents share, Angad feels that his life is completely worthless and confesses contemplating suicide in front of his mother (with whom he shares a friendly relationship, contrary to the acerbic one that he shares with his father). Neelima’s young brother (and Angad’s uncle), a Naval officer, takes Angad to stay with him for a few days. During his stay with his Uncle, Angad finds life in the armed forces highly disciplined, challenging, and adventurous, and decides to enter the National Defense Academy to train for becoming an Air Force Pilot.

Soon, after countering the initial resistance to the idea posed by his father, he enters the Academy and settles into a new regime that throws more challenges at him that he anticipates initially. Thus his journey ensues, and how along the way he forms new bonds- finds few friends for life and finds love, and how his success in life helps resolve the issues between his parents, is what the movie is all about.

The one thing that striking about this movie is its authenticity. Be it the manner in which human relationships are depicted, or the way the life at the Defense Academy is showcased- everything is done realistically and nothing is over the top. Even the love story between Angad and Ana (played by a young Supriya Pathak) is unconventional in the way it has been handled on screen- minus any melodrama and the usual kitsch associated with Hindi cinema. There are many sequences that deserve mention-right from the initial ones involving Shashi Kapoor and Rekha, to the pre climax when Angad is at the front fighting the 1971 war. Certain scenes are so powerful that they can be easily included in the best shot scenes ever in Indian cinema. One such lengthy sequence is at the Air Force training academy when the handling of an in flight glitch is depicted wonderfully. When one contrasts it to one such scene in the latest movie ‘Mausam’, one can only feel highly impressed by the way Govind Nihalani shot the scene almost 30 years ago without using the kind of digital technology that is at the disposal of the directors today (incidentally, just struck me, Supriya Pathak is another connection between the two movies).

This movie is embellished with truly remarkable performances, led by Shashi Kapoor and Amrish Puri. The latter is, in my opinion, the greatest character artist ever in our movies, and the respect for the former has grown leaps and bounds in my eyes after watching this and Junoon (both unconventional movies produced and backed by him). The people who play Angad’s friends are all very efficient, and so is Rekha, in a complex role that required much emoting but no histrionics (again unconventional by usual standards). Om Puri, who plays Angad’s Uncle, is effective in an extended cameo. Supriya Pathak is damn sweet in her portrayal of Angad’s love interest, and I wonder why she didn’t do better as a mainstream actor. The only one who disappoints a little is ironically the main lead- Kunal Kapoor, for whom this movie was a kind of launch vehicle. Maybe in an effort to remain restrained, he is surprisingly insipid and dull in many scenes, and does not enforce himself on the movie at all. He shows flashes of talent in a few sequences, but overall, it is not hard to understand why he was not a success as a mainstream actor after watching this movie where he was handed a role of the lifetime by his father.

Parting Note: This movie is a must watch for many reasons. One- it is a technically brilliant film that has a strong theme and an engaging storyline. Two- it is an unconventional take on human relationships, the kind is realistic and at the same time has tremendous entertainment value. Three- it shows life in the Air Force, and the growth of an individual as he progresses through the various stages of his career in the defense forces. And lastly, it is an ode to the human spirit, undying and relentless in its pursuit of acceptance, peace, satisfaction, and victory…

P.S. A poster of the movie, that did not care to even slightly depict its central theme. Commercials trappings hard to eschew completely in the big bad world of Bollywood.