Dirty linen?

Ankur (The Seedling, Hindi, Deccani; 1974)

Director: Shyam Benegal

https://www.amazon.com/Ankur-Seedling-
Hindi-English-subtitles/dp/B008V22NKE

The recent passing of actor Manoj Kumar reminded everyone of the patriotic Bollywood films (once known as Hindi or Hindustani cinema) that endeavoured to stir nationalist fervour among the audience. His films from 1965 to 1974, which include Shaheed (1965, about Bhagat Singh), Upkar (1967, set against the backdrop of the Indo-Pak war of '65), Purab Aur Paschim (1970, celebrating Indian values over the West), and Roti Kapada Aur Makaan (1974, emphasising the needs of the common man—bread, clothing, and shelter)—prompted his audience to reflect on their country rather than be numbed by the intoxication of love or the struggles of others in romance. Interestingly, the idea for Upkar came to Manoj Kumar after he was honoured by India's beloved PM, Lal Bahadur Shastri, who inspired him with the notion of a farmer transforming into a war hero through Shastri's party slogan, Jai Jawan Jai Kisan (Hail the Soldier, Hail the Farmer). In Upkar, a farmer becomes a soldier to defend his nation amid greedy and ungrateful brothers and relatives.

The question arises as to whether the storyteller exposes dirty linen in public when he writes stories about vilifying practices in his country, particularly as his films are viewed by diaspora audiences worldwide. Paradoxically, is he enlightening the general public, in the hope that they will strive for improvement?

While Manoj Kumar @ Bharat Kumar's films appeared in mainstream cinema, which typically boasts a larger budget, more opulence, music, and colour, as well as star power to attract the audience, there existed a parallel cinema platform that was less ostentatious but focused more on everyday issues. Shyam Benegal was one of the creators of such films. 

'Ankur' is Shyam Benegal's debut film. It introduced Shabana Azmi and Anant Nag to the cinematic world and proved to be quite a sensation. Naturally, the world often takes notice when India, Indians, or the Indian way of life is portrayed unfavourably.

It tells an intricate story seamlessly, using minimal dialogue and more symbolism. Sometimes, words can convey only so much; many of the tales are shared through gazes and silence.

The story centres on two characters, Surya and Lakshmi. Surya believes he is a modern man with contemporary ideas, having obtained a BA. However, his ambitions of pursuing higher education are thwarted by his father, who sends him to tend to a family-owned piece of land. The father has a mistress in the village, and Surya's stepson is attempting to claim that land. Thus, Surya's task is to protect the land and ensure that the produce is not looted away. Despite thinking the modern man he is, Surya has to oblige his family's demand to marry a very young bride before being sent off, but alone.

The way Surya is treated in the village is typical of caste and class segregation. Lakshmi is the maid assigned to maintain the bungalow where Surya is staying. Lakshmi is the wife of a lowly, mute village potter. His pottery business has seen better times now that the villagers are comfortable with aluminium pots and pans.

The 'modern' Surya allows Lakshmi to prepare his meals despite her low caste, yet his other behaviour does not seem particularly civilised. When Lakshmi's husband goes missing after being humiliated by the villagers, Surya begins an affair with her, which results in her becoming pregnant. One day, Surya's wife arrives, and Surya behaves as though nothing has occurred.

 

Essentially, nothing has changed. Surya has a mistress and an illegitimate child, much like his father. An immersive watch. 4.5/5.

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