Satyajit Ray’s ‘cruellest’ movie so far, Sadgati, is 40: The searing Om Puri starrer holds up the mirror to Dalit atrocities
A lot of the mythology round Satyajit Ray tends to give attention to the acclaimed Apu trilogy, Charulata, Mahanagar, Jalsaghar, Nayak, Goopy Gyne Bagha Byne and so forth. By some accounts, the legendary auteur’s personal private favourites had been Charulata and Aranyer Din Ratri. 1981’s scathing Sadgati, with Om Puri and Smita Patil as leads, is never talked about in the identical breath and but, it stays certainly one of Ray’s strongest broadsides towards the caste system. Having the excellence of being Doordarshan’s first color outing, Sadgati is 40 years outdated right now nevertheless it’s message continues to be related. Caste-ridden violence of the sort that Sadgati denounces continues to be certainly one of India’s nice social evils even within the digital age.
You want merely look at newspaper headlines to know the way the ugly underbelly of caste-based violence and discrimination reveals the darker edges of a rustic that in different methods is fast-paced in the direction of globalisation and financial progress. What’s stunning is that the persecution of the lower-caste even enjoys social sanction in lots of cases. Assaults on Dalit girls, gang rape, lynchings, the Hathras incident, the Bhima Koregaon case… the atrocities towards Dalits is a standard actuality that the majority of us flip a blind eye to. Rohith Vermula wrote that he was happier “dead than being alive.” In 1935, Babasaheb Ambedkar condemned caste violence as “man’s inhumanity to man.”
Sadgati’s untouchable protagonist Dukhi (Om Puri) is a sufferer of the human cruelty that set Ambedkar on a reformist path. The violence on the coronary heart of Sadgati could seem insignificant in comparison with the far better injustices meted out to the long-suffering outcasts however it’s this very personalised type of Brahminical brutality that makes the movie so impactful. They are saying when many individuals die it’s statistics. However (spoilers forward) Dukhi’s demise impacts the viewers personally as a result of Ray makes you complicit within the crime. You see him wrestle and being pushed round. Within the India the place Sadgati is ready in, feudalism and social hierarchies is the gospel. And it appears nothing might have been accomplished to stop the oppression towards males like Dukhi.
Sadgati’s principal solid is one which the Hindi parallel cinema audiences would immediately recognise, for they may nicely belong in Shyam Benegal’s socially related cinema — Om Puri, Smita Patil and Mohan Agashe have all been co-stars earlier than. A tanner by occupation and caste, Dukhi, performed with uncooked naivety and a mixture of concern and trepidation by Puri, has a daughter who’s getting engaged. When he goes over to the village priest’s (Mohan Agashe) residence to fetch him with the intention to get the venerable Brahman to solemnise the engagement, he realises that the panditji is in no temper to grant him this favour so simply. He makes Dukhi toil like a beast of burden, whereas he himself enjoys his meal and afternoon siesta. However, his spouse Jhuria (Smita Patil, naturalistic as ever in her rural act) waits impatiently for Dukhi’s return. Stung with starvation, Dukhi, in the meantime, passes out and dies of hunger, fever and over-exhaustion.
His corpse lies within the area, his darkish shadow falling on the intersection in such a manner that villagers can’t even entry the nicely for each day water. Ultimately, the priest has to clear Dukhi’s physique himself. He does so with out even touching the stays, utilizing a tree department and cord to drag the lifeless man. Sadgati isn’t any straightforward watch however the haunting climax stands out as most likely probably the most gut-wrenching second in a movie that one critic referred to as Ray’s ‘cruellest’ so far. When the film first premiered on Doordarshan it “provoked a strong reaction from audiences and critics. It was said to be both too shocking and not shocking enough, even by the same critic,” writes Andrew Robinson in Satyajit Ray: The Internal Eye.
Ray was an avid reader who envisaged his cinema by means of the prism of literature. Like a lot of his classics, Sadgati was primarily based on a Munshi Premchand quick story. Each Ray and Premchand have been hailed as nice “humanists.” In his writings, Premchand typically critiqued the caste system, whereas Ray, the final word metropolis man with a Western mindset, had introduced the agricultural life and penury so poetically to the display that he has been accused of “romanticising poverty.” Arguably, Ray’s finest work is his lyrical adaptation of Bibhutibhushan Bandyopadhyay’s novels for the Apu trilogy. Curiously, for his solely two Hindi movies — in addition to Sadgati, there may be Shatranj Ke Khilari (1977) — he turned to Premchand in whom he could have discovered a kindred spirit, the best way he did with Bandyopadhyay. If Ray had been capable of make credible and authentic-looking movies on topics he had little information about, say the agricultural Indian life or the caste system on this case, it was, as he acknowledged, as a result of he relied on the authors to supply him the cultural canvas.
Born right into a Calcutta the Aristocracy, the filmmaker was fluent in English and Bengali, however not a lot in Hindi. “Even the coaching of actors — where I often act out the pieces myself in advance — became impossible during the making of a Hindi-language film. Since I do not have enough knowledge of the language, I can only give a certain amount of verbal direction to the actors,” the maestro as soon as mentioned in an interview. In response to Nandita C. Puri’s biography ‘Unlikely Hero: Om Puri,’ Ray was eager to solid Puri after watching him in Aakrosh (1980). Puri was nonetheless some years away from being a high-in-demand arthouse star. Nandita mentions an attention-grabbing alternate between Ray and her husband throughout the movie’s making. On the primary day of the shoot Puri was clearly nervous given Ray’s stalwart-like fame. For the primary scene, Ray defined to Puri to stroll gingerly into the priest’s home. However Puri didn’t know what gingerly meant. Ray replied, “When a dog or a goat enters an unknown house, he enters gingerly.” With out which means it, that anthropomorphic instruction acquires an unsettling resonance in Sadgati’s climax. Dukhi, the person, the daddy, the husband, the workhorse, the perpetually harassed no one dies an animal’s demise and in the end involves relaxation in peace with wild carcasses.