Within the Seventies, when the nation was witnessing political upheavals — daring assertion of caste- and class-based consciousness — Indian movies weren’t left untouched. Just a few filmmakers, influenced by the European auteurs and neorealism, tried to name a spade a spade. Shyam Benegal (1934–2024) was considered one of them. He not solely captured the nuances of energy dynamics in rural India, he made the viewers expertise the complexities of human relationships, difficult the formulaic escapism of Bollywood. His thematic preoccupations, stylistic improvements, and enduring legacy positioned him as a foundational determine within the parallel cinema motion.
Complexities of caste, class and gender relationships had by no means escaped Benegal’s “camera-pen”. If Vishwam’s obsession with Sushila in Nishant (1975) introduced consideration to the fact of feudal society past the Gandhian creativeness of a serene rural world, Ankur (1974) explored the psychosocial side of caste oppressions and systemic inequities.
Class and caste at all times function within the framework of gender. Although Kimberlé Williams Crenshaw got here up with the idea of intersectionality in 1989, Benegal’s ladies characters fought each side of marginalisation — from patriarchy to class and caste. Movies like Bhumika (1977) and Mandi (1983) supplied nuanced depictions of girls navigating societal constraints.
In Bhumika, impressed by the lifetime of actress Hansa Wadkar, Benegal critiques patriarchy whereas exploring the non-public company of girls. Usha in Bhumika and Bindu in Manthan (1976) give testimony to ladies’s financial contributions and resilience. His collaborations with iconic actresses like Smita Patil and Shabana Azmi elevate feminist storytelling in Indian cinema.
In Benegal’s phrases, “Political cinema will solely emerge when there’s a want for it.” And he has at all times been true to what he stated. Intertwining historic narratives with modern points, he made The Making of the Mahatma (1996), depicting Gandhi’s adolescence in South Africa. He humanised Gandhi, emphasising his philosophical evolution past the prevailing hagiographies. Equally, Netaji Subhas Chandra Bose: The Forgotten Hero (2004) presents a balanced portrayal of the controversial nationalist chief, encouraging vital engagement with historical past. The tv collection Bharat Ek Khoj (1988), primarily based on Nehru’s The Discovery of India, is a landmark in historic storytelling, mixing cultural, non secular, and political narratives to replicate on India’s pluralistic identification. This collection stays related for its balanced method to India’s advanced previous, difficult selective historic interpretations.
His stylistic hallmark is his dedication to minimalism, realism, and layered storytelling. Rejecting Bollywood’s grandeur, his movies embraced naturalistic settings and refined performances. Collaborations with actors like Naseeruddin Shah, Om Puri, and Smita Patil enhanced the authenticity of his narratives. Music in Benegal’s movies performed a supporting position, enhancing emotional depth somewhat than serving as a spectacle. Visible realism, achieved by pure lighting and site taking pictures, characterised his collaborations with cinematographer Govind Nihalani. Benegal’s rejection of melodrama and deal with humanistic storytelling ensured his work resonated emotionally and intellectually.
Benegal’s affect on modern cinema is multifaceted, encompassing thematic, stylistic, and ideological dimensions. His physique of labor continues to encourage filmmakers who search to interrogate social constructions, craft nuanced narratives, and embrace cinematic realism. His politically-charged storytelling has set a benchmark for modern filmmakers like Nagraj Manjule and Meghna Gulzar. Manjule’s Sairat (2016) instantly engages with caste oppression and forbidden love, harkening again to Benegal’s masterpieces resembling Ankur (1974) and Nishant (1975). Gulzar’s movies, resembling Talvar (2015) and Raazi (2018), display a mix of social critique and gripping narrative constructions that resonates with Benegal’s method to layered storytelling.
Transcending the urban-centric framework of Bollywood, Benegal emphasised regional and native tales and made the viewers stroll by the interiors of the nation. His movies, resembling Manthan (1976), which was funded by farmers in Gujarat, and Susman (1987), which centered on the handloom business, confirmed that regional tales may surmount their particular contexts to handle international problems with financial exploitation and collective empowerment.
The influence might be noticed in Nagraj Manjule’s Fandry (2013) and Rima Das’s Village Rockstars (2017), which seize the cultural and socio-economic struggles of rural India, upholding Benegal’s dedication to grassroots storytelling and native authenticity.
Benegal’s integration of documentary aesthetics into narrative cinema additionally has had an enduring influence. Filmmakers like Anand Patwardhan (Jai Bhim Comrade, Warfare and Peace) and Rakesh Sharma (Closing Answer) instantly lengthen Benegal’s legacy of mixing realism with political engagement. The observational fashion and socio-political focus of their documentaries echo Benegal’s dedication to truth-telling and transformation by cinema.
Even fictional narratives, like Masaan (2015) by Neeraj Ghaywan, replicate the stylistic and thematic parts that Benegal popularised. The usage of pure settings, minimalistic manufacturing design, and refined character improvement continues to outline the aesthetic of recent socially aware cinema.
Notably, the resurgence of issue-based cinema, addressing matters like LGBTQ+ rights, environmental degradation, and communal concord, could be traced again to Benegal’s pioneering efforts to infuse activism into artwork. Filmmakers like Hansal Mehta and Onir carry ahead Benegal’s humanist method, specializing in the dignity and resilience of people difficult systemic injustices.
His demise marks the top of an period, however his legacy as a filmmaker, historian, and activist endures. His contributions to politically-engaged cinema stay a guiding power for filmmakers addressing questions of identification, justice, and illustration. So long as cinema seeks reality and transformation, Benegal’s spirit will proceed to encourage.
The author is an Affiliate Professor within the Division of English Research, Satyawati Faculty, College of Delhi
Why do you have to purchase our Subscription?
You wish to be the neatest within the room.
You need entry to our award-winning journalism.
You don’t wish to be misled and misinformed.
Select your subscription package deal
