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Indian Library
60 MINUTES
THE HINDU Magazine DELHI
Sunday, March 3, 2019 3
WITH AMOL PALEKAR oftheroad or parallel cinema of the
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70s offered a different viable financial
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model that gave filmmakers the
‘What is necessary breathing space to deal with
the little problems of the common
man. Their films chose not to be larger
than life, not to be melodramatic, not
new is the to dazzle people, and yet were
entertaining enough to get the
audiences hooked. Digital cinema and
online streaming portals have opened
fear factor’ platforms that offer similar or even
bigger freedom to young filmmakers.”
Poetic language
Palekar, who filmed Thoda Sa Roomani
Fifty years in the industry, Ho Jaayen entirely in verse — in a
throwback to the Kaifi Azmiscripted
and the veteran actor has gone Heer Ranjha — has spoken the language
of poetry rather than prose through
back to his first love, painting most of his directorials. “I have always
been fascinated by Hollywood’s
musical genre, which offers seamless
HARI NARAYAN narration from prose to free lyrics to
music. West Side Story, The Sound of
ought to include the artist communityDownload Indian Library App
hen actorfilmmaker Amol Music, My Fair Lady, Carmen, all these
Palekar tried to praise the old classics. The ageold Bollywood
Ministry of Culture for situations break into songs when in
Worganising a retrospective love, when in despair, while
last month, it was interpreted as a celebrating. However, the Hollywood
‘backhanded compliment’ by one of musical offers mundane situations like
the hosts. “Their apprehension of arguments, discussions and debates in
criticism triggers the gagging and a lyrical manner. I explored this
preempts what would follow… Good, exciting form first in the TV serial
bad, ugly,” says Palekar, whose speech Kachchi Dhoop in 1987. It was
at the National Gallery of Modern Arts
(NGMA) was rudely interrupted when c
he expressed concern that some When you expect a quid pro quo
advisory committees were being
#70929 from the system or some
unilaterally disbanded and that two
retrospectives had been cancelled. The patronage in the form of awards
actor thinks that what happened to or appointments, you cannot
him was just “one dot in the extended afford to say anything against
arrow aimed at suppressing the those who will sanction what
subversive text”. you are seeking…
“In the last four years, a definite,
consistent pattern of interference with immensely appreciated by audiences.
a specific agenda does emerge,” says So I created the musical Thoda Sa
Palekar. “Any art needs the patronage Roomani. Both these creations were
of the system that ought to nurture, supported wholeheartedly by
preserve and cherish it. The system Doordarshan, which at that time was
free from the clutches of marketdriven
as insiders and refrain from controlling commercial forces.”
them and their art. In our country, no
matter which political party is in Breaking barriers
power, this abstinence is axed.” Challenging gender hierarchies and a
ILLUSTRATION: R. RAJESH
unidimensional and heteronormative
Face-saving effort notion of sexuality has been a theme
NGMA Director General Adwaita fear factor! The deterrent is that Prasad, his character, is shown stealing Palekar has stressed in his films.
Gadanayak later clarified that the two someone is watching your moves all the attention of the autographhunting Daayraa had as its central character a
advisory committees had not been the time and any adverse move will schoolgirls as Amitabh Bachchan stares transvestite; Anahat was a period
scrapped; their term had ended, he attract action from the tax department, with a despondent look. (Incidentally, drama where a woman seeks sexual
said, and new panels are in the process or police, or you will be labelled an Palekar won the Filmfare Award for his fulfilment outside marriage while Quest
of being constituted. Palekar calls it a urban naxal or you may be lynched — role, outmanoeuvring Bachchan.) was about homosexuality. Could we
“good facesaving effort”. “Artistes have that is new. The silence now is However, apart from these affable see Palekar make more such films, now
complained to me about the ministry’s overwhelmingly loud.” roles, Palekar also essayed negative that there is a more informed
■ Palekar studied
fine arts at Sir J.J. arbitrariness… even when they characters, like that of the obsessed audience? “In most of my films, I
School of Arts, convene the committee, they will Back to the canvas lover in Agni Pareeksha. “After starting explored the theme of a manwoman
Mumbai, and appoint a stooge who will parrot their The veteran of over 50 films was last my career as hero in three silver jubilee relationship and its various dimensions
began his career songs.” seen in a TV series in 2015, and says he hits — Rajnigandha, Chhoti Si Baat and through a subversion of cumulative
as a painter Palekar, who has called these acts of has found consolation in the “blank Chitchor — I played a negative role in silence and prototypes of exploitation.
gagging a “war against humanities”, canvas”. “Very few know that I am a Shyam Benegal’s Bhumika and a My protagonists march towards love
■ Worked at Bank
of India before has been part of the industry for professional painter from J.J. School of murderer in Khamosh. And, if I may and empathy. I also chose to depict
switching to a almost 50 years. He regards most of the Arts. Over the years, with the change in point out, my loveable portrayal in unconventional female characters who
career in acting film fraternity as “conformists”. “When the filmmaking scenario, I have moved Gharonda (and in a much less seen film seek to challenge providence. Lachchi,
you expect a quid pro quo from the away. I stopped acting as I lost interest Spandan) had quite a few negative a rural girl in Paheli, accepts a lover
■ Made his movie
debut in 1971 system or some patronage in the form in it. Recently, I did accept an shades. I tried to swim against the knowing he is not her husband. Binni
with the Marathi of awards or assignments or interesting role in a Hindi web series.” mainstream.” in Thoda Sa Roomani proclaims that
film Shantata! appointments, you cannot afford to say Palekar, through his roles, made the Among Palekar’s most frequent marriage is not the ultimate aim for a
Court Chalu Aahe anything against those who will mundanity of middleclass life likeable collaborators were filmmakers like girl. My female characters strive to
sanction what you are seeking… So it is in the 1970s and 1980s. His ascent, Basu Chatterjee and Hrishikesh break their alienation and assert
■ In 2006, he won
the National Film a choice an artist has to make: whether which began in 1971, coincided with Mukherjee, who made ‘middleofthe themselves against the mainstream
Award for Best to succumb to the dictates of the the reign of Amitabh Bachchan. Among road’ cinema. So, has the space for dominance. Maybe a retrospective of
Feature Film in system or to speak up.” the best ‘meta’ moments of Hindi such cinema expanded with the arrival my directorial journey will reach the
English for Quest So what’s new? “What is new is the cinema is in Gol Maal, when Ram of streaming portals? “I think middle more informed audience of today!”
