India: 2011
to the Memory of my friend Claude
Forget, an activist and distributor for Independent Cinema (1949 -
2008)
Was it Ritwik Ghatak (“Before art
shall be beautiful it must be true”) or my late friend Claude
Forget who taught me about the importance of authenticity of cinema?
I am not sure anymore.
This film by Bengali Anamika
Bandopadhyay deals with one of the most delicate issues in
contemporary India, this disturbed relationship between the modern
urbane society and the rural one which is still the majority.
Bandopadhyay focuses on the dramatic situation in the West Bengali
village Jangalmahal which is symptomatic for another uproars in other
places like Amlashol, Singur or Netai, villages terrorized by police
forces sent by the former communistic government of West Bengal. Some
people , familiar with the tragic incidents around Nandigram will
still remember a this bloodshed against villagers which caused a
rupture through the mostly leftish Intellectuals of this Indian
state.
The images tell about a village under
curfew occupied by armed police forces and about the anger of the
Villagers who try to struggle against the invaders. The official
motivation was to hunt armed Maoists, the nonofficial and since
Nandigram well known reason is the expanding of the modern industry
of India which is in demand of land. What an irony that especially
the only communistic government among Indian states was fulfilling
obvious neoliberal needs of the industry without any mercy for the
village tribes. The images evoke in me documentaries of violence
against native tribes in Latin America but also in images of the
Vietnamese-American war.
Some of the villagers are telling that
their houses were confiscated, their women harassed and raped. Some
members of the armed forces urinated into their wells the only source
for drinking water. Just a few hundreds kilometres from the mega city
Kolkata, the forces of the government (which lasted until the
elections of 2011) are nothing else as invaders in another culture.
What is so special in this film which
appears obviously as a film made under extremely bad conditions
hardly with any budget or other supplies is a dynamic between
recorded facts (interviews with human rights activist, politicians
and most of all - victims and witnesses of massacres against the
villagers and on the other hand a few created, performed moments. Some of them
are collages, excepts of a film by Ritwik Ghatak, others are for
example the “leitmotiv” of a woman writing in her notebook. Even
though we see only her hands we understand there is someone who tries
to reflect, to handle the disturbing images she witnessed.
Anamika Bandopadhyay emphasizes her
visible presence always as that of an outsider from the city, a
powerless but a compassionate witness. At the beginning we see her
also looking through an objective of a camera. The link between the
recording camera and the writing hand of a reflecting person suggests
an approach of “caméra stylo”, this old dream of filming like
writing.
At the same time there is a connection
between us and the filmmaker in realizing, recording and the moments
of reflecting in this try to handle all these images of violence and
anger.
In these images of violence we see
people killed (in a photo montage) or people captured like wild
animals. The tension between the filmmakers empathy and sympathy for
the villagers and her own helplessness leads to the most disturbing
moment. We hear the romantic song “Sunshine on my shoulder (makes
me happy) and see the images I just described above in a kind of
slide show. Killing, violence and heavily injured people caused by the
armed police force. This moments burn into my memory. I didn´t read
it as a kind of sarcasm or irony like used for example by Kubrick
with music in Dr. Strangelove or A Clockwork Orange. There is rather
the colliding of this two elements, the images and the song. Her
using of of a sound and image montage as an artistic device seems to
me rather as naked despair and anger, a feeling she hardly could
express properly while filming the interviews. In the background of
some shots we see often armed policemen which seems to me as an
embodiment of the arrogance of their power which is mocking and
threatening the villagers as well like the filmmaker.
Sometimes Bandopadhyay´s questions to
the villagers, witnesses or even victims becomes hectic like she has
to fear in any moment a policeman will interrupt her filming. The
tension between the villagers and the ruthless police forces is
always present. Sometimes it seems it can blast at any moment. The
point of view for the filmmaker as for the spectators is a totally
fragile and unprotected one.
One of the key moments of the film is
for me another hectic sentence by Bandopadhyay spoken to the
villager: “We are helpless. We can only convey your suffering to
the people.” This is one of the most moving moments. She does not
just make a film about something, she is there with all the sympathy
among these people and at the same time the whole film is in all its
roughness, in his fragmentary character like a seismograph.
Near the end we see her sitting, the
face covered by their arms which are pillowed on her knees. For this
one moment she seems to be homeless like Caplin´s famous tramp,
homeless as the return to her city are not any more possible. As she
is not one of the victims, the killed, injured and raped villagers,
her body position is like an echo from all the nightmarish
impressions burnt in our and her mind with the help of the recording
camera. We and her are for a moment alone with these terrible images. As we can learn from the most emphatic filmmakers like Ritwik Ghatak and Terrence Malick to understand what we see or what we film from the world we have to understand ourselves always as a part of it.
As the film is full of anger, empathy
and sympa1700 Kelvin by Anamika Bandopadhyay
thy for the victims and the villagers against the violence
caused by the political and economical interests of the former
government of West Bengal, it is also a poetic essay which asks your
attention and empathy in an age of audiovisual mass media where all
the news channels make us more dull instead of sensibilizing our
attention and empathy.
In this composition of documented
facts, interviews, collages and performances 1700 Kelvin, a film
really made out of nothing, no budget, no properly technical or
organizational conditions except the passion and commitment of the
filmmaker and her team is quite an exciting essay about “history
from below”.
Last but not least 1700 Kelvin is in
its anger an authentic film until its bones. And all these bad
conditions under the film was made, the fragmentary character, the
lack of a budget etc make this impression of authenticity even
stronger. It is a f film (and that is why I call it a variation of
“Caméra Stylo”) which has the truth of a cinematic diary.
Rüdiger Tomczak
on her previous film RED, please read here
another interesting article on 17oo Kelvin by Abhijit K. Kolkata can be found here
on her previous film RED, please read here
another interesting article on 17oo Kelvin by Abhijit K. Kolkata can be found here
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