Recently released three mainstream movies Thangalaan, Preacher (Tamil), and Vedas (Hindi) has a historical meaning. Far from the conventional trend of populist films, which often celebrate the cultural and political dominance of social elites, these films revolve around the concerns and dreams of marginalized social groups. By introducing strong Dalit protagonists, these films continue the new but impressive journey of Dalit cinema, registering a demand for greater democratization of the Indian film industry.
The apparent dominance of queer brands of films – often referred to as ‘masala entertainment’ – and filmmakers, especially the wealthy social elites, has turned Indian cinema into a ball with no democratic credentials. While the entertainment-focused popular cinema is necessary to support the film industry, the main center for profit and entertainment has removed ethical concerns about any art form that will be conceptualized. For example, fame, profit, and privilege are granted by a junta of niche social elites, making marginalized social groups passive spectators of cinematic magic. Ironically, the absence of artists and filmmakers from vulnerable social groups such as Dalits, Adivasis, and Other Backward Castes, is not seen as an unhealthy convention in the film fraternity.
In recent years, the genre of Dalit cinema has attempted to bring some reforms to the routine of popular Indian cinema. The impetus for this change has been driven mainly by the regional film industry, especially Marathi and Tamil cinema, which offers very brilliant works that cater to the interests and concerns of marginalized social groups, and quality entertainment for the general audience. Nagraj Manjule Fandry (2013), Sayrat (2016), and Naal (2018) provides an excellent example of a socially sensitive and commercially successful film. Later Marathi movies like Uchalya (2015), Jayanthi (2021), Musk (2019), Zollywood (2022), Aatmapapplet (2023), and others remain passionate, building an important dialogue about cinema’s responsibility in offering socially responsible films. However, it is Tamil film producers who are making a strong stir to establish this genre as a viable commercial model.
Another possibility
Pa Ranjith’s previous successful films – Madras, Timeand Kabali — has advanced the idea of a new Dalit hero. Big movie stars like Rajinikanth are roped in to tell about the crisis in Dalit life, their resilience, and their heroic nature. This success was further developed creatively by great filmmakers, especially Mari Selvaraj (Because, 2021 and Perierum Perumal, 2018) and Vetrimaaran (insurance, 2019 and Viduthalai, 2023), proves the emergence of the ‘Dalit genre’ in Indian cinema. By offering a nuanced Dalit character, it is given mainstream heroic credentials (like Rajanikant’s character in Come backDhanush in Causeand Udhayanidhi in Mothers), it breaks the conventional ‘victim’ stereotypes present in the representation of Dalit characters on screen.
The Dalit genre in Tamil and Marathi cinema created a powerful rupture, which influenced the Hindi film industry to understand. As a response, Bollywood has also added to this churning by offering strong Dalit characters in earlier films like Masaan (2015), Manjhi – Mountain People (2015), and recently Jhund (2022)Shamsara (2022), Bheed (2023), and now Vedas (2024). Interestingly, while this emerging Dalit genre sensitively presents the demands and aspirations of marginalized communities, the films also ensure quality entertainment with a flow of dance, music, drama and action sequences.
This genre offers the possibility that Dalit characters may emerge as ‘mainstream heroes’, their stories may become inspirational tales and artists belonging to the Dalit-Bahujan strata may become famous. Recent success and critical acclaim from Thangalaan and Preacher suggest that this genre is here to stay.
In the intellectual discussion of Indian cinema, popular Hindi cinema has yet to receive an award. It is often seen as a profit-seeking industry that creates hyper-sensational fiction to dazzle audiences, avoiding engaging with important social and political issues.
In the mid-1970s, some deviations that presented critical and socially sensitive narratives were marked as alternative genres or house cinema, limiting their celebration to mainstream cinema culture. There is concern that the new but impressive arrival of Dalit cinema may be relegated to the same tag of retaining the dominance of conventional ideas and identities in the filmmaking enterprise.
Connect, promote
It is an opportune time for the film fraternity to recognize and collaborate with the outstanding cinematic works of artists and producers from socially marginalized communities, making them an inspiration to the new generation.
New cultural festivals, public institutions, and policy frameworks by the state are needed that will promote the culture and talents of various social groups that are often marginalized in the mainstream discourse on cinema, art, and parties. It is important to create new platforms and old popular cultural institutions to improvise in order to connect and promote producers, artists, and technicians from Dalit, Adivasi, and Other Backward Caste communities.
It is also important for more Dalits to join the film industry as producers, technicians and directors who bring stories and talent. It is high time that the new Dalit genre will be recognized as part of the track of reformist cinema, guided by an inclusive vision, showing that the film industry has an important responsibility to promote social diversity and values of social justice.
Harish S. Wankhede is Assistant Professor, Center for Political Studies, School of Social Sciences, Jawaharlal Nehru University, New Delhi
Published – 13 September 2024 08:30 IST
