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Amol Palekar: Hindi cinema prefers to keep up a conspicuous silence on caste points


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: Hindi cinema prefers to keep up a conspicuous silence on caste points

Caste as a problem isn’t commented on in Hindi cinema as it’s not conventionally entertaining, believes veteran actor Amol Palekar, who’s returning to movies after a substantial hole of 12 years with “200 – Halla Ho”, a real story of Dalit girls who attacked a rapist in an open courtroom. The movie, directed by Sarthak Dasgupta and co-written by Dasgupta and Gaurav Sharma, touches upon the problems of sexual violence, caste oppression, corruption, and authorized loopholes via the eyes of 200 Dalit girls.

Palekar, identified for Seventies Hindi movies like “Rajnigandha”, “Chitchor”, “Chhoti Si Baat”, “Gol Maal”, stated producers normally shrink back from such “disturbing” subjects.

“The script of this movie handled caste points which have remained invisible in Indian cinema. Such themes are disturbing and never conventionally ‘entertaining’. Producers have shied away from backing such initiatives all via our cinematic journey,” Palekar informed PTI in an e-mail interview.

Caste points have efficiently featured in Marathi and Tamil cinema with movies corresponding to Nagraj Manjule’s “Fandri” and “Sairat” and Pa Ranjith’s “Kaala” and “Sarpatta Parambarai”, respectively.

In Hindi mainstream cinema, caste has largely stayed invisible, barring Neeraj Ghaywan’s “Masaan” and “Geeli Pucchi”, a brief within the Netflix anthology movie “Ajeeb Daastaans”.

Palekar stated the Hindi movie trade nonetheless refuses to return out of “Brahminical aesthetics”.

“Hindi cinema nonetheless prefers to keep up a conspicuous silence about caste points. Our movie trade refuses to return out of the Brahminical aesthetics. Themes of the caste divide used to get launched via a love story. Although oppression was proven the aid used to appease the bulk,” he stated.

“Plight of girls was a sub-text. With the appearance of OTT (over-the-top) platforms, female-centric themes are being dealt with; feminine characters are getting significant, lead roles. All this can be a very heartening change,” he added.

Citing the instance of movies corresponding to Aamir Khan-starrer “Lagaan”, Taapsee Pannu’s “Pink” and “Thappad”, the 76-year-old actor, who has straddled theatre, movies, and artwork, believes cinema as a medium has “stupendous energy” to attraction to the plenty.

“We noticed how ‘Lagaan’ was liked by all, we noticed how ‘Pink’ or ‘Thappad’ addressed misogyny. Such movies addressed points which made all of us face our hypocrisy,” he stated.

Palekar stated as a director he has usually made movies with sturdy feminine characters which have challenged the standard dictates of patriarchy however confused that there was a necessity for extra such “subversive” content material to be made.

The actor is hopeful that “200 – Halla Ho” – which is concerning the combat of girls in opposition to oppression, will definitely impress the viewers.

“My movie ‘Anaahat’ handled problems with feminine sexuality, yet one more banned theme. We want increasingly subversive content material. Depiction of collective power and the ability it yields will definitely encourage the viewers. Small ripples may also be very efficient,” he stated.

“‘200 – Halla Ho’ offers that sturdy sense of empowerment that may encourage the viewers. The projection of an assurance that ‘injustice may be ended via collective protest’ will convey constructive change in our lives, I hope. We as filmmakers should transcend objectification of victimhood… we as artistes ought to supply constructive resolves,” he added.

Palekar is making a comeback to performing after a decade with the movie. The important thing cause behind his absence from the massive display, the actor stated, is a dearth of difficult roles.

“As an actor, I’m a comet who surfaces as soon as in a decade. Most roles provided to older actors are insignificant by way of the theme of the movie. I all the time accepted roles provided that these challenged me as an actor or if it contributes to the scheme of the movie.

“Performing only for the sake of incomes cash was by no means my pursuit. What enjoyable is taking part in a superfluous position of somebody’s father or a grandfather? I choose to cover than to get overexposed,” the actor, whose final launch was the 2009 Marathi movie “Samaantar” which he additionally directed, stated.

When Palekar was approached for “200 – Halla Ho”, the actor stated he was pleasantly stunned and even instructed the makers to solid an actor from the Bahujan samaj for the position of a retired Dalit choose however they have been eager on having him.

“I’m by no means part of something which is regressive. I preferred the position for a number of causes. The movie celebrates the protest of 200 girls in opposition to patriarchy and caste atrocities. They have been the heroes and I used to be only a supporting character who supported their protest relatively than merely stay as a bystander,” he stated.

“200 – Halla Ho” additionally options “Sairat” star Rinku Rajguru, “Asur” actor Barun Sobti, “Jogwa” actor Upendra Limaye, “Abhay” actor Indraneil Sengupta,

“Soni” actor Saloni Batra and Sahil Khattar, a preferred YouTuber and host, who performs the rape accused.

The movie is claimed to be based mostly on the aftermath of the killing of the gangster and mass rapist Bharat Kalicharan aka Akku Yadav by 200 Dalit girls in 2004.



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