Anand Patwardhan won the V. Shantaram Lifetime Achievement Award at the Mumbai International Film Festival, 2014 - the world’s largest and oldest international festival for non-feature and animation films, which is being held between February 3 and 9. In this, his Acceptance Speech, he talks about why he thinks he is a failure, no matter what the world thinks of him and his works.
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| Anand Patwardhan receiving his award. (Photo by Satyen K. Bordoloi) |
I have mixed feelings this evening as I accept this Lifetime
Achievement Award. Of course I am
overjoyed that our work is recognized and deeply grateful to all those who must
have struggled to make this come about.
I have been very lucky. I was lucky to have the parents, the family and the friends that I did, who gave me such unstinting and ungrudging support through all the times when our work was frowned upon by the authorities and ignored by the market. I am also lucky that despite opposition, many of my films got recognition both in India and abroad.
I have been very lucky. I was lucky to have the parents, the family and the friends that I did, who gave me such unstinting and ungrudging support through all the times when our work was frowned upon by the authorities and ignored by the market. I am also lucky that despite opposition, many of my films got recognition both in India and abroad.
Here is where my mixed feelings come in. My films are nothing without
the causes they speak about and the people they champion. Today if I ask myself
whether these films really made a difference to the people and the causes they
are about, I would have to admit that the difference is marginal.
Let me give just a few examples:
Prisoners of Conscience (completed in
1978) was about political prisoners in Independent India. Today our jail population
continues to rise as our system refuses to grant bail even to those who have
been in detention without trial for years. As I speak many prisoners have gone
on a hunger strike to protest this long denial of bail.
Bombay Our City (completed in
1985) was about the macabre practice of demolishing the makeshift homes of the
homeless. Demolitions are still in full swing as we continue to criminalize the
poor instead of questioning a development paradigm that forces urban migration
and urban poverty.
In Memory of Friends (1990) and Ram ke Naam/In the Name of God (1992)
were about the rise of sectarianism and violence in the name of religion. Today
we may be on the brink of once again bringing to power those who were nurtured
with the ideological mindset that killed Mahatma Gandhi, who engineered and
celebrated the demolition of the Babri Mosque, who connive in or condone the
massacre of minorities. Amongst those attacked and then denied justice, it also
creates a thirst for revenge and counter-violence.
Father, Son and Holy War (1995) was about
our patriarchal system and the connection between religious violence and
machismo. Today we are witnessing
increasing attacks on women, communal assaults that include gang rape and a
popular culture that celebrates manliness. And we have a prime ministerial
candidate who publicly boasts of his 56 inch chest size even as his crimes of
omission and commission during the pogroms of 2002 are forgotten and forgiven
by the entire corporate world and its embedded media.
A Narmada Diary (1995) was about
the destruction and displacement caused by the gigantic Sardar Sarovar dam and
about a peoples’ movement that forced the World Bank to stop further funding to
the project. Today the dam is almost complete yet the water instead of reaching
the thirsty in drought prone areas, is being electrically pumped to serve
water-parks and promenades in urban Gujarat.
War and Peace (2002) was about
India’s tragic decision to join the infamous nuclear club and become a nuclear
weapons wielding State. As Pakistan replied in kind, the region plunged into
nuclear insecurity and uncertainty. Today our departing Prime Minister when
recounting the few achievements he is proud of, lists at the forefront a
nuclear deal with the USA that lifted an embargo on India’s nuclear program and
allowed it to plan a huge increase in nuclear plants across the country. In the
wake of Fukushima when the world is finally waking up to the fact that nukes
are not only unsafe, they are unaffordable, India is busy buying second-hand
Chernobyls to populate our tsunami susceptible coastline.
Jai Bhim Comrade (2012) was about
the music of protest of a people who for thousands of years were denied
education, forced to do menial jobs and regarded as “untouchables”. According to
official government figures, every day somewhere in this country, two Dalits
are killed and three raped. In our film
one of the many groups protesting these atrocities was the Kabir Kala Manch
(the KKM). By the end of the film KKM members had been forced to go underground
after police began to brand them as Maoist “Naxalites”. After Jai Bhim Comrade won awards including
one at the last MIFF, and was extensively written about, we formed a KKM
Defence Committee. Finally the KKM decided that with civil society support, it
was worth it to come overground. They did a non-violent Satyagraha by singing
outside the Maharashtra Assembly and were arrested. Three of them eventually
got bail thanks to a High Court order, but 10 months later, three others are
still in jail. They all gave themselves
up voluntarily, expressing faith in democracy. Their only weapons were their
songs. Today it is really our political and judicial system that is in the
dock.
So I say that my feelings are mixed. Added to the bitter sweetness of
this moment is the fact that my parents to whom I owe everything are not here
anymore. Nor are many of the protagonists in my films, people like Pujari
Laldas, Jaimal Singh Padda and Shahir Vilas Ghogre who gave their lives for
what they believed in. And during this long journey I have also lost many of my
beloved and admired friends in the filmmaking fraternity, people like Pervez
Merwanji, Saratchandran, Tareque Masood and now, Peter Wintonick.
I am sorry for taking so much of your time. I am deeply grateful that
my work, and through it, the work of so many others, has been recognized. I
only hope that such awards will make our work and our causes more visible. Once
that happens on a bigger scale, I am confident that change will come. Thank you
!
Anand Patwardhan
Mumbai, 3 Feb. 2014
anandpat@gmail.com
