While trying to take David down, the agents reveal to him that his mother was Ghani’s mistress and might have killed his father to be with him. Things take a turn when two undercover RAW agents come to London to expose Ghani’s ties to religious extremists in India. David is in love with Ghani’s ward, Noor and promises to marry her. David is Ghani’s protege who is poised to take over the empire one day as Ghani’s son is a spoilt, playful brat. London, 1975: 30-year-old David (Neil Nitin Mukesh) works for Iqbal Ghani, a dreaded Mafia don who controls London’s Muslim community through his illegal activities. It seems that they will not dive into anti-caste cinema anytime soon.The story revolves around the lives of three Davids in three different parts of the world in three different eras. In Bollywood, superstars like Bachchan, Khans and Kapoors did not take the plunge yet. The success of Kabali has allowed deeper penetration into Dalit movies. An actor like Rajnikanth took the plunge into anti-caste movies. It is something both Bollywood and the Bengali movie industry are majorly lacking. Superstars like Rajnikanth, Arya belong to Dalit-middle class and OBC. Activist Thanthi Periyar rebelled against the Brahminical oppression and is called the father of the Dravidian Movement. The first movement against Dalit oppression in modern India was ushered in Madras Presidency. Unlike in the rest of India, Tamil Nadu has a dominant and active minority population. Periyar literature has evolved Tamil Cinema If someone follows Indian history through movies, they will miss out on major events that shaped the country and its politics in the last 30-50 years. Hindi movies did not talk about the JP Movement, Mandal Commission and its complication during implementation, minority politics in northern India and others. As witnessed, Bollywood has failed to capture the post-independence struggle of Dalits that contributed to the new age cinema in India. Most film directors follow a similar pattern to direct a hit movie. The main reason behind the saviour syndrome is Bollywood’s method of movie-making. Even Gangajal starring Ajay Devgn had a same plot. Article 15, the famous Dalit movie in the Hindi language, had a similar plot. The plot narrates the oppressing tales of the marginal community and how they are saved by a liberal and socialist upper class. In both Hindi and Bengali Dalit movies, the concept of a saviour is common and heroic. Even in their limited representation, Dalits would be shown as poor, wretched, targeted and uneducated. Satyajit Ray’s Sadgati had a mute Dalit character. Movies like Rajkahini talks about sex workers during the partition. Movies about them are plenty.ĭirectors like Srijit Mukherjee centralize his movies about women oppression, emotional turmoil amidst city couples and others. It mostly raised its voice against women oppression, Brahminical religious supremacy and other social stigmas. Cinema like Praktan by filmmakers Shiboprasad and Nandita Roy spoke about a divorced couple who accidentally met each other during a train journey.Īs said earlier, Bengal did not witness any strong and influential anti-caste movement in the modern era. In the Bengali movie industry, the coming age movies are predominantly about emotional hazards in city life, feminism and other social stigmas. In this article, only three movie industries are taken into consideration: Tamil, Bengali and Hindi. Dalits in Movies: Bengali Industryĭalits are popular movie subjects across the industries, but each regional cinema treats them differently. On the other hand, Tamil new age movies are about Dalits and their oppression. Most modern Bengali movies are about youth and urban problems, women issues etc. For example, the new age movies in the Bengali and Tamil industry are different. Most of the regional plots are based on their respective social struggle and movements. The overall revenue of Indian cinema reached $2.7 billion in 2019, according to Wikipedia.Īpart from their contribution, the regional industries also treat their subjects very differently. The regional cinemas consist of Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi, Sanskrit, Punjabi, and Bhojpuri film industries. In 2020, the combined film revenue earned by the entire regional film industries had surpassed that of the Hindi film industry. In 2019, Bollywood (Hindi) contributed around 44% of the revenue, followed by the Tamil and Telegu movie industries (26%). Indian cinema consists of sizeable contributions by multiple regional language movies. Therefore, Tamil modern movies are about Dalits and their oppression.
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