- Jagriti Thakur
- 28 January 2019
The master's great piece!
Looking back at Mrinal Sen’s 'Aakaler Shandhaney'
A voice narrates – “7th September 1980, a party from Calcutta, a film troupe is going to a village for shooting. The name of the village is Hatui. The name of the film is Aakaler Shandhane.”
The opening credits roll as we, along with the film troupe in cars, enter the village lane noticing the green fields, blue sky, rough road, dirt and poor villagers who are in full contrast to the vivacity of the song sung by the troupe. This is highlighted by the very first dialogue of the film by a character, a random villager standing on the roadside –
“The gentlemen are here for taking snaps of the famine… but the famine has enveloped us all.”
As 'a-story-within-a-story', Aakaler Shandhane (Bengali, English: In Search of Famine) (1982) is a poignant portrayal of reality and our perception of it. The director (played by Dhritiman Chatterjee) knows and believes in his story, he is determined, his research is complete, he has photographs of the Bengal famine of 1943, of a mini famine in 1959, of 1971 – he says, “remember the Bangladesh war”; he thinks that is what one needs to make a film on Bengal famine. But the director is absolutely ignorant about 1980, the present time, his time, and so when the Hatui village reveals the crippling similarities between the famine year and the present, the director feels at his wits end. He does then what is suggested to him – to leave and complete the film in a studio – for the ‘famine stricken’ village could no longer entertain any of them.
Smita Patil plays the role of a village woman, a wife married to a stubborn husband, who will die, but not bow down; this wife, for the sake of her little baby, accepts the famine, accepts exploitation, accepts filth and brings home handful of rice and oil to prepare a meal in her dusty kitchen. The husband goes mad with anger and picks up the little baby, ready to kill his own child for it unknowingly became the cause of bringing blasphemy to their household; Smita shouts and so does Durga. The director says “CUT”. Durga, a villager, standing in the crowd could not bear the pain, afraid for the child she shouted unaware of the camera and the art of acting. Every eye then stare at her, she hides her moist eyes and leaves.
Durga lives in the 80s, but finds a resemblance with Smita Patil’s character of the 40s – and why would not she, their lives resonate with gloom, caused by famine and its aftermath. Both are suffering, both have a child to feed, a husband to serve, a famine that torments and a society that reminds of it forever. Quiet like a candle, Durga becomes a flambeau in the end; burning with rage she asks her incompetent husband what is wrong if the director offered her a role in the film, what is wrong if the role is of a prostitute. She tells him that when a lady, in those ugly famine days, can step out the confines of her house, why cannot she?
The old village school master asks the same question from all the respectable men of the village, reminding them about their ancestors who were as opportunistic as the film’s womanising contractor.
It becomes clear that the famine of 1943 was not just about starvation or five million deaths, it was also about what humans are and what humans can become in trying situations; and that hunger alone did not kill, corrupt minds and hollow traditions killed too… are still killing.
And the most affected were the poor, the weak… the females – they lost their children, their families, their lands and themselves. The director’s attempt to cast a villager for the role of a girl, who is forced to become a prostitute, creates a chaos so profound that in no time the whole village starts disgusting the entire troupe, no one comes to help, no fans, nothing. What else will a film dealing with the topic of famine bring, but cursed memories of the past? The villager who spoke the first dialogue of the film now comments –
“The gentlemen have created a famine after arriving to make a film on famine.”
But what about the elite… they are now long extinct. The palace in which the film troupe settles is almost in ruins. There lives a couple – a lady and her bed ridden husband – the relatives of the king. While the rest of the inhabitants have left the luxuries of this palace and shifted to the cities, the presence of this couple is also but a mere illusion of the past. When the bed-ridden husband dies, the lady aptly says that everything is over.
Twice there are talks about the photographs of the famine, on one occasion a game is played – one is to guess by looking at the pictures to which period it belongs. When Smita Patil shows a picture that is completely dark, a character says it is the photo of ‘load shedding… power crises’ and everyone laughs, then another gives it a poetic touch and calls it ‘darkness at noon’ and then finally Smita Patil gives it the title ‘past, present and future’; none of them thought that this darkness will eventually force them to abandon the film shoot and leave.
Into this darkness we see Durga fading away at the very end; the narrator tells us that her frail little child died after sometime, her husband fled away and Durga was left all alone.
The story structure, which is subtly linear, seamlessly integrates the characters with the plot highlighting the contrast between the film troupe’s “idea of famine” and the actual impact of the many famines still reverberating in the village. The First Plot Point and the Second Plot Point appear visually the same i.e. both are the scenes where the photographs of the famine are shown and talked about; the former is where the director, confident about his research, is showing his actors the photographs of 1943 famine and telling how while the World War II struck the rest of the world, in their land “people just starved and dropped dead”, in the latter scene, they play a guessing game – “to which famine does the photograph belong”. In both the scenes, the horridness of the famine photographs is seen in stark contrast to the amusement of the film troupe.
The story takes a turn, naturally so, after both these plot points, taking the troupe and the audience closer to the seriousness that the reality of famine holds. In the climax we see that the entire village opposes and loathes the film troupe, the main characters find themselves completely defeated, and neither the modern nor the rural people are able to do anything about the famine that stared at them.
This masterpiece by Mirnal Sen won National Awards for Best Feature Film, Best Direction, Best Screenplay and Best Editing; it also won Silver Bear, Special Jury Award at 31st Berlin International Film Festival.
Aakaler Shandhane (In Search of Famine), searched for an answer that is still due.
Jagriti is a trained screenwriter from the Film & Television Institute of India, Pune, with experience in media and journalism. Currently, she is an elected Associate Member of the Executive Committee of the Screenwriters Association, Mumbai, as well as a member with its Dispute Settlement Committee (DSC). She can be reached at email@example.com