(This paper presented on മല്കലം Adishaseshiahcentenary celebration-2010,January-25-൨൭-Organisedby Madras Institute of development studies)
“I think that we the filmmakers should be inspired from our time itself. It aims not only at the interpretation and expression of the tragic and rough folds of our own, but in cumulating the echoes of the time also. We the filmmakers must be sincere people ;We must be perfect; and we must be conscious people .This is the only way to live and survive. Never try to escape yourself from the responsibilities you have to perform”
- Antoniyoni-
The credit goes to Vladmir Lenin for having rightfully predicted that the cinema would become the most powerful artform in the 20th century. It is truly the same art form that too determines the destiny of 21st century. The cinema influences not merely our lifestyle: but it also moulds our socio-political and cultural outlook.
The forces of capitalism and imperialism originally identified the power of influence, the visual art forms including cinema can exert on mankind. It helped them to dominate in the arena of cinema and other visual art forms as well as news media. Shrewdly and judiciously utilizing all these means of arts and media, capitalists disseminated their culture all over the world. They tactfully rewrote the boundaries Of culture. The history of cinema itself started with dominance of capitalists. (The statistics in 1914 points out that 85 percentage of total viewers were watching Hollywood on those days. The pattern of viewership even today didn’t change drastically).
In this context of world scenario, I would like to analyses the ideas and culture being disseminated by Indian cinema (produced in all Indian languages) and television serials. I would also examine the fact that to what extent our cinema reflects the stark reality of life the majority of Indians are living through.
Dominance of Upper Caste
The ideology upheld by dominant class turning out to be the general ideology is quite natural throughout history. This ideology chiseled out of mindset of dominant class can easily conquer the consciousness of the depressed. This kind of social transformation always happens invisibly. Most of Indian arts, literature, cinema, TV serials reflect the values set by Savarna.
Those outstanding cinema denouncing the mainstream ideology and value concept are meagerly produced in our industry, ie, they are very less in number.
The sad plight of Adivasi and Daliths who have been marginalized and suppressed for centuries has barely found place as a main theme in our cinema and TV programmes. If the camera was largely turned towards them, we could have brought the shocking pictures of their life into light. The film maker on the other hand takes just opposite path. The burning realities being hidden behind screen is the result. The cinema instead takes the viewer into a world of dreams, which is unrealistic and immaterial. All the mainstream cinema reiterated the dominance of upper cast and their ideology.
The Savarna-Brahmanical ideology adopted different means for their dominance in society. The texts of Ramayana and Mahabharatha which have been in a dormant state in our unconscious mind are repeatedly reminded through cinema and serials. The hero would be a model of courage and sacrifice (Raman), the heroine being most tolerant (Seetha), the role of villain is being played in the midst. The stories of Ramayana and Mahabharatha was tactfully broadcasted through television in numerous episodes in recent past. The housewives in northern India even conducted Pujas on television just before watching the so called serials. To Sangh Pairivar, it gave a political mileage. The actors and actress in the serial later turned to be the candidates of BJP and other Brahmanical parties in parliament and assembly elections. They became MLAs and MPs. It undoubtedly proved that they could tactfully utilize the means of cinema and TVs for their political and cultural dominance in society.
After 1980s, plentiful movies explicitly glorifying Savarna fascism were produced in regional languages including Malayalam and Tamil, imitating the trend set by Bollywood. Malayalam movies had a history for its allegiance with progressive ideology. But, later it drastically changed and tilted towards the rightist and Brahmanical ideology. ‘Druvam’ released in 1992 was a stroke in the wind. It played in Big screens at a time when Indian fascism exhibited all its worst forms. ‘Druvam’ fanatically illustrates the forces of vice and virtue. Muslims are picturised as forces of all vices and atrocities. The cinema creates a false notion that success of Savarna is inevitable. It tries to bring back the Savarna feudalism, which was thrown into dustbin by democratic societies.
With ‘Druvam’ hitting the boxoffice, the ground was already set for releasing such Malayalam movies in a row in later days, the theme of which actually alienates muslims and Daliths from our secular social fabric. The ‘Narasimham ‘released in the same year upholds the ideology of Savarna fascism. Just as in case of Druvama, Narasimham also sets a doctrin that nobility of feudalism is enough to combat with Muslims.
The keen analysis of ‘AraamThampuran’, ‘Ustad’ and many other Malayalam movies point out that all these boast of glorification of Savarna ideology. Almost all the successful heroes in those cinema were christened the Savarna Hindu Gods. The hero of ‘Aram Thampuran’ is Jagannathan, hero of ‘Ustad’-Parameswaran and that of ‘Narasimha Mannadiyar’ being Narasimham.
The glorification of Savarna feudal culture in Malayalam movies dates back to release of‘Neelakuyil’ and some other similar films in older days. The nostalgia towards feudalism is explicit even in the latest Malayalam movies. The second ‘Neelathamara’ by famous literary figure M.T Vasudevan Nair and Lal Jose upholds the feudal values in medieval age. But, the theme of first ‘Neelathamara’ released in 1979 under the direction of Yusafali Kechery was anti feudalist. It had also been vigorously critical of male dominance.
The vicious changes undergoing in the theme and theory of Malayalam movies for last three decades are visible. It is astounding and despiring in a deep sense. The ‘Paleri Manikyam oru paathira kola paathakathinte katha’ directed by T.P Rajeevan, released in the last month envisages anti –communist, anti-muslim, anti-Dalith, anti-woman ideas. Chinthamani Kolacase, Vadakkunnathan, Keerthi Chakra, Bharahth Chandran IPS, ect eventually give a green signal to Savarna Fascism.And what about Art films in Malayalam?. The cinema directed by Adoor Gopalakrishnan can be taken as apt examples. The Kerala culture (Keraleeyam) is exhibited throughout his cinema in the form of Savarna images. Valluvanadan Savarna language is widely spoken. The home of Malayalee is Nalukettu and Ettukettu. In portico Thulasithara is inevitable. All other tools and signs and customs existent in the feudal age would be exhibited with unending nostalgia. The temple art of Kathakali, though not necessary, would be screened. The temple, temple pond and Althara are main constituents of Adoor cinema. He puts forward an invisible and influential idea that the absence of feudal signs would make the concept of Keraleeyam a meaningless one. The fascist ideology is indirectly but vehemently reflected in all his films. Adoor uses all these images, which have deeply inserted a sense in the public consciousness as glorified for his purpose. It is really not confined to Adoor movies alone. All the Malayalam movies, known as art films, released after 1980s persuade the same path with a plethora of feudal icons.
Dalit Realities
The Indian films turned a blind eye to the plightful and shocking realities of Dalith lives. It rarely depicted gloomy faces of marginalized and depressed, always scratching the surface of the matter. The gravity of identity crisis faced by Daliths and Adivasi in different social set up found no place in the agenda of Indian films, serials and documentaries.
Different reasons are attributed to the utter negligence of the depressed on sreen. The ideology of Savarna picturises Daliths as Others. Those films which make a true depiction of Daliths would be marginalsed, attributing various reasons. ‘Ambedkar’ being the best evidence. Savarnas think, this kind of films would pose a challenge to their dominance.
The Hollywood films in its initial stage of history had completely neglected the Black. The western film industry developed a discriminative ideology against them. Similar hidden agenda against Daliths is actively in I force in India.
But, on the other side, bucking the general trend, some rare films were produced to picturise the gravity of exploitation of lower casts. Akrosh by Govind Nihalani(1980), Ardh Sathya(1983), Chomanathudi(1980) by Sivarama Karanth are among them. Kollywood(Tamil film) had once denounced Brahmanical ideology. It had keenly been interested in upholding Dravidian cultural heritage. But Kollywood underwent drastic changes since 1990s, closing the chapter of untouchability with Sangh Parivar and embracing Brahmanical ideology. Manirathnathinte Nayakan, Roja, Bombay set this new trend followed by many others in later days.
We need a comprehensive study on the way Malayalam movies present Dalith-Adivasi life. No Malayalam film, fully dedicated to their cause, throught the episode has not been produced so far. Many movies awkwardly picturised Adivasi and sometimes in just opposite way of how they lived. Adivasi women in some pictures played their role in a sexually fascinative way(Nellue, Elavankode Desam are best examples). It gave a false impression to viewers who are not aware of Adivasi life style.
All the pro-Brahmanical, Savarna films are vehemently critical of Democracy. The reason behind it is interesting, but dangerous. Democracy is vice because Dalit, who had been helper to cook in feudal homes, later turned Driver and eventually emerged as representative of people in legislative assemblies(Druvam). It is also vice because of the fact that Dalit emerged as a Dewasam Board member(Adwaitham). Democracy continues to be vicious due to elevation of Dalit into a Sub Inspector(Aryam), a barber becoming a minister(Ekalavyam). The people from lower strata of society being elevated into top brass causes serious damage to the power structure-according to this kind of films.
The induction of Kalabhavan Mani (he is from a Dalith family and an important cine actor) inti Malayalam movies should be analysed. Mad, clown, idiot, deaf, blind, handicapped are his major roles in mollywood (Vasanthiyum Lakshmiyum, pinne jyanum, Karumadikuttan ect).
A joyous scene in Narasimham is a forceful kick by Savarna hero on the black dalith body of Mani. It happens in front of a Savarna home. The same kind of kicking in differrnt forms is repeated in some other films too. The forceful kicking on Kalabhavan Mani is depicted in Vallyattan, Dada Saheb, Karumadi kuttan as an exercise of Savarna dominance over downtrodden. The names of character given to Mani are not modern ones. Mollywood gives a false impression that Mani can act only the roles of the depressed.
Deep analytical study on dominance of Savarna and negligence of lower class in cinema was not conducted so far. Dalit literature derived out of the same community should be set as a model to be imitated for the creation of Dalit cinema in near future. It would definitely result in a restructuring of our visual art culture.
Referance
1.Indian cinamayil ninnu indiaye kandethumpol (malayalam)-G P Ramachandran
Chintha publishers, thiruvananthapuram, Kerala-2008
2 .Malayala cinema desham bhasha samskaram-G P Ramachandran
Kerala Bhasha Institute-2008
3. Cinemayum prathya shastravum-V K Josheph
Keraka bhasha institute-2006
4. The image Trap-MG Ramachandran in film and politics
by MSSPandian (sage1992)
5. Cut-outs,Caste and cine stars-The world of thamil politics by vaasanthi(penguin)
6. The impact of globalization on the cultural identity of indian cinema
By Shoma A.Chatterjji(federation of film societies of India)
7. madyamam weekly-2010, January first issue
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