“Biggest problem with Indian cinema is that it has never become a brand like ‘Chinese cinema, Iranian cinema, or lately Korean cinema”. - Buddhadeb Dasgupta.
Buddhadeb Dasgupta is a filmmaker whose trademarks are the passive humanism, visual poetry, with an economy of expression. An economics professor by training, many critics considered Buddhadeb Dasgupta as India’s foremost director today.
His initial films, Duratwa (1978), Grihajuddha (1981) and Andhi Gali (1984) formed a trilogy that served to establish him as the director to look out for. In latter years, he has moved towards a more poetic cinema, in which the camera, framing, compositions, lighting, symbolism have contributed significantly to the evocation of mood and atmosphere.
In all his films, the pulse of critical humanism animates the cinematic disclosure. Uttara created history at the Venice Film Festival on August 30, 2000 and was the Winner of the festivals' Special Director Award. This year his 'Kalpurush’ has bagged the national honor the SWARNAKAMAL and the master director has been chosen for Greece's coveted Golden Athena award. His latest film, 'The Voyeurs', dwells on love and relationships in the time of web-cams and CCTVs.
The master director talks about Indian Cinema in an exclusive interview
On the current status of meaningful cinema in India.
Call it meaningful cinema or sensible cinema, it’s happening right from the time cinema was born and Indian cinema is no exception. Sensible cinema was being made even before Satyajit Ray and even after him, directors are making sensible cinema. It’s being made in Bengali, Marathi, Malayalam, and so on.
Is there the audience?
Definitely there is audience for such films. The only thing I want is that the producers and directors should be aware of the market beyond India for such films. There is a huge market in Europe, America, even in Latin America.
They may not be responding to every good cinema made in this country but when they find any film from which they can identify themselves, their emotions with films made in our country, they definitely go for that film. Even distributors show interest in such films, it has happened many times in Bengali, Malayalam.
I have found good market abroad.
Makers should come with this objective and go ahead. It will add to their revenue and audience as well.
Do you still have to struggle for finance?
Sensible cinema is not easily made and easily financed. One has to fight, struggle. Satyajit Ray struggled to make films like ‘Pather Panchali, today also I still have to struggle at times.
But, at the end of each film I realize one thing that it is still possible to make your kind of film.
How is Indian cinema looked upon as compared to other Asian cinema?
Biggest problem with Indian cinema is that it has never become a brand like ‘Chinese cinema, Iranian cinema, or lately Korean cinema. Indian’s where never been able to brand their films like them. Independent makers like Ray, Ghatak, they attracted the audience.
What is the reason?
Indian cinema deals with themes which can be identified by Indian culture only. Indian cinema has never been programmed for festivals, mostly we make song and dance extravaganzas, which are great fun, but never taken seriously. Where as sensible cinema fails miserably.
For example. Untouchability still exists in India; you can make a good sensible film on this issue but do not expect the foreign audience to accept it. They will not believe it. If somebody touches someone why it is a big issue?.
Don’t expect everybody to have done a research work on this country. You cannot deal with Indian problem which is not known abroad. You can definitely make a good film but never expect the foreign audience to understand that.
My films get selected for the festivals because of my independent identity, they go for my films, they have been seeing my films, sometimes they enter my film without even seeing it, but that doesn’t happen to many other makers in India.
How to make Indian cinema a Brand?
Identify the demand, need of the international market. Market decides the norms & restrictions. Identify that and make films accordingly. Definitely your film should be Indian but it should have the universal appeal to touch the heart of world audience.
You have to be different. That what I feel after visiting Cannes, Toronto, Venice, & many other festivals.
I have realized that if a film is extremely good, tactfully told & communicated to the audience, the audience comes back. It cannot be great all the time.
Like films by Ray, though they where Indian, where able to touch the heart of world audience.
What role does festival recognition play in getting finances?
If you expect to get finance by only showcasing your film at any festival than sorry, you will not get the desired results. But through festivals you can sell your film. I have not counted but roughly there are around 4000 festivals in a year. Out of which 40 are important, and out of this15-20 are well known and from this 5-7 are respected like Berlin, Cannes, Venice, Toronto. Here you expect to see good cinema. Once your film enters this festivals & events and if it is properly programmed at the required sections then investors show interest, if you have made a good sensible film.
Have seen any bollywood movie made by today’s promising directors?
I liked Lagaan and most recently Cheeni Kum in the commercial format.
I found Nagesh Kukoonor’s ‘Dor’, Anurag Kashyaps ‘Black Friday’ to be a sensible film.
It is good to see bollywood makers are now making good sensible films without spending crores.
Any temptations to make a commercial pot boiler?
There is a saying in Sanskrit which means ‘It’s better to die in your religion than live by changing it’.
No, I will never do that.
Because I know what I am doing & I know how to do it.
I don’t know about others. I am happy in doing things that I believe in.