Dear All (apologies for cross posting on Kafila.org and the Sarai Reader List)
The recent attack on Taslima Nasreen has again shown how fragile the freedom of expression is in India today. It breaks whenever a sentimental reader or viewer has their ‘sentiments challenged’. Are all these worthy gentlemen who go about obstructing screenings and readings suffering from some early childhood trauma that makes it difficult for them to countenance growing up and acquiring the ability to listen to contrary point of view? How long are we to be held hostage to their infantile suffering?
What is worse is the fact that the people who attacked her, and have made public threats to kill her – activists and elected representatives belonging to MIM, a leftover of the Nizam’s hated Razakars, were arrested and then let off on bail. So, the message that the state sends out to these goons is – “threaten to kill, be taken to a police station to have a cup of tea, have your picture taken, be splashed in the media, go home and make some more threats.”
see – http://www.expressindia.com/fullstory.php?newsid=90746
Continue reading The Attack on Taslima Nasrin in Hyderabad
I was going to Lahore for the first time, and took a taxi to the IG International airport in Delhi. My local taxi stand had sent a driver whom I didn’t know, and there was another lad in the front seat with him. At some point, as the driver swerved to avoid a vehicle that overtook from the right, he said to me – “Madam, aap bahar ja rahi hain. Bataiye, hamare desh mein aur bahar ke deshon mein kya farak hai”.
It was probably an opening gambit for a diatribe on how uncivil hamare log are as compared to gore log, but I replied – “Vaise main Pakistan ja rahi hoon, mujhe nahin lagta hai ki koi khaas farak hoga.”
At this, he responded, “Pakistan ja rahi hain? Hamare liye ek topi le ayengi?”
Me: “Zaroor. Lekin koi khas kism ki topi chahiye kya?”
Him: “Nahin, hamare musalmanon wali topi. Mere dadaji pehnenge.”
Continue reading Lahori topi
Gautam Ghose’s Kalbela is a film set against the background of the Naxalite movement. Based on a 1980s novel by Samaresh Majumdar, the film sets itself up, quite self-consciously, within a certain tradition of films, namely radical political Bengali cinema of the 1970s and 1980s. It thus establishes an intertextuality and a certain connection with them.
The casting sequences take us through a rapid tour of some of the more emblematic moments of that cinema and that time:
- The shot from Mrinal Sen’s Calcutta 71 of the young man on the run jumping off a wall, running through the lanes, pursued by the police and finally shot in an open field. You can almost hear Akashvani’s signature tune as it begins its news bulletin to announce the discovery of yet another anonymous dead body in those troubled times.
You are barely through with it and in quick succession you see two, now somewhat iconic, scenes representing the 1970s angry young Bengal:
- Ranjit Mallik in the final sequence of Interview, flinging a stone to break open the showcase of a shop. He would denude the mannequin and remove the suit it is wearing, and take it for his interview the next day. It is a stylized ‘trial’ of this character for the offence of disrobing the mannequin that becomes the opening sequence of Sen’s ‘Chorus’.
- The other sequence is also equally iconic: Dhritiman Chatterjee ‘turning the tables’, literally, as it were, on his interviewers. This is a sequence from Ray’s Pratidwandi. Satyajit Ray, who has all too often been accused of ‘evading politics’, however captures, in this sequence, an important mood of rebellion that marked the 1970s.
Continue reading ‘Kalbela’, Naxalbari and Radical Political Cinema