Subaltern discourse is something you don’t expect in Punjabi cinema. In the past there has been, arguably, only one exception, viz., Madi da diva. Otherwise, we have been watching the stereotypical vendetta movies that catered to the lowest common denominator. The benchmark was raised significantly with the coming in of Manmohan Singh’s NRI narrative. But the emphasis remained on the upper-caste/middleclass milieu. Going by the characters as well as general plots in Punjabi cinema it would appear that Dalits simply do not exist in Punjabi society. This skewed perception is somewhat corrected by director Jatinder Singh Mauhar’s debut movie Mitti. However, the movie is not purely a Dalit story, but of the Punjabi youth gone astray. How they are used by various vested interests, especially politicians. All this comes to the fore on the sets of Zee Punjabi’s Sohani Saver (January 10) wherein Balwinder interviews Mauhar as well as theatre director Samuel. But what remained unasked was why should commercial ingredients dilute Mitti’s Dalit narrative? If Mauhar had shown the courage of making a truly Dalit-centric movie he would have configured a new paradigm in Punjabi cinema.
Samuel expanded the interview’s scope by giving account of how Punjabi theatre is being taken to the common man in the best traditions of Gursharan Singh and other pioneers of street theatre. This theme was further improved upon in Samwad (PTC News). Why has Punjabi theatre not gained popular acceptability? Many alibis were put forward – the coming of television being the most cited. However, one tends to agree with Charandas Sidhu when he points out the inferior quality of productions. One can’t expect the public to become patron of mediocrity. Why have we failed to have Punjabi answers to Ghasiram Kotawal and Adrak kay Panje? Nobody asked this question, alas.
Asking uncomfortable questions is one of the less pleasant duties of an anchor. He is there to see that an interview or a talk show does not end up as a promotional exercise but becomes a meaningful, thought-provoking and enlightening conversation. Take, for example, Masle’s treatment of the recent run in of hockey players with the establishment. There was hardly any attempt at providing Hockey India’s perspective. To rub in the anti-HI bias former national hockey goalkeeper Baljit Singh was allowed to get away with statements like “I was treated like a prisoner”. Why wasn’t he asked to comment on the union sports ministry officials’ claims that more than Rs. 35 lakhs had been spent on Baljit’s treatment? If the official claims are true then what or who impelled the player to come up with such allegations? Obviously, the player as well as the panelists and the anchor had wittingly or unwittingly become pawns of a political game aimed at maligning Mattoo.
Pindaan vichon pind is another talk show on Zee Punjabi that has been focusing on the villages which have been home to various singers, writers, poets and artistes. While watching Sarabjeet Cheema’s interview one was struck by the havoc that has been wrought in the countryside – as epitomized by the twin villages of Cheema Kalaan and Cheema Khurd – due to the large scale migration of Punjabi youth to foreign lands. Unattended, locked houses are turning into rubble. The camera focused on a lane that had at least two big houses, shuttered and in a state of disrepair due to desertion. Sad. But, apart from the usual homilies the anchor as well as the star singer had nothing much to say on Punjabi youth’s search for greener pastures abroad.
Happily, Sohani Saver hosted the noted Punjabi anchor and theatre personality Asha Sharma on 17 January. She stressed upon reading good literature as well as keeping oneself in touch with the events as necessary for becoming successful anchors. Hope the wannabes were listening.
By Randeep Wadehra
Punjabi Antenna
The Tribune
No comments:
Post a Comment