Archive for the tag “Cinema”

Make Your Own Movie: Umberto Eco

By Umberto Eco

In 1993, with the final, complete adoption of video cameras even in the offices of the national registry, cinema both commercial and underground was in real trouble. The prise de la parole had by now transformed movie making  into a technique within everyone’s reach, and everyone was watching his or her own film, deserting the movie theatres. New methods of reproduction and projection in cassettes insertable into the dashboard of the family  car  had  made  obsolete  the  primitive  equipment  of  the  avant-garde  cinema.  Numerous  handbooks  were  published  on  the  order  of  Be  Your  Own  Amonioni.  The  buyer  bought  a  “plot  pattern, ”  the  skeleton  of  a  story  which he could  then  fill  in  from  a  wide  selection of  variants.  With  a  single  pattern  and  an   accompanying  package  of  variants  an  individual  could make,  for example,  1 5 , 74 1  Antonioni movies.  Below  we  reprint  the  instructions  that  came  with  some  of  these  cassettes.  The letters refer to the interchangeable elements.  For example, the basic  Antonioni pattern  (“An  empty lot.  She  walks  away”)  can  generate  “A  maze  of  McDonald’s  with visibility  limited due to the  sun’s glare.  He toys for  a  long time with an object.”  Etc.

michelangelo antonioni's blow-up

michelangelo antonioni’s blow-up

Antonioni Scenario

 AnX emptyY lotZ. SheK  walks  awayN.

Variants Key

  •  x      Two,  three,  an  infinity  of.  An enclosure of.  A maze of.
  •      Empty.  As far as the eye can see.  With visibility   limited  due  to  the  sun’s  glare.  Foggy.  Blocked    by  wire-mesh  fence.  Radioactive.  Distorted  by  wide-angle lens.
  •      An      island. City.  Superhighway cloverleaf.  McDonald’s.  Subway station.  Oil  field.  Levit­  town. World  Trade  Center.  Stockpile  of pipes.  Scaffolding.  Car cemetery.  Factory area on Sun­  day.  Expo after closing.  Space  center  on  Labor  Day.  UCLA  campus  during  student  protest  in  Washington.  JFK airport.
  • k      He.  Both he and she.
  •      Remains  there.   Toys  for  a  long  time  with  an  object.  Starts  to leave,  then  stops,  puzzled,  comes  back  a   couple   of  paces,   then   goes   off  again. Doesn’t  go  away,  but  the  camera  dollies  back. Looks  at  the  camera without any  expression  as  he  touches her  scarf.

Jean-Luc Godard  Scenario

 He  arrivesa  and  then  bangb a  refineryc  explodes.The  Americansd  make lovee. Cannibalsf armed with  bazookasg  fireh   on  the  railroad.i  She  fallsl  riddled  with  bulletsm from  a  rifle.n  At  mad  speedo   to  Vins  cennesp  Cohn-Benditq  catches the trainr  and speaks.  Two ment  kill her.u  He reads sayings of Mao.v  Montesquieuz  throws  a   bombw  at   Diderotx.  He  kills   himself.k  He peddles Le  Figaro.j The redskins arrive.y 

Variants Key

  • a      Is already there reading the sayings  of Mao. Lies dead on the superhighway with brains spattered. Is  killing  himself.  Harangues   a  crowd.   Runs along  the  street. Jumps out of a window.
  • b      Splash.      Splat.   Wham. Rat-tat-tat. Mumble mumble.
  • c      A kindergarten.  Notre Dame. Communist Party headquarters.  Houses of Parliament. The Parthenon.  The offices of Le Figaro. The Elysee.  Paris.
  •      The Germans. French paratroopers. Vietnamese.  Arabs.  Israelis.  Police.
  •      Do  not  make  love.
  • f      Indians. Hordes of accountants. Dissident Communists. Crazed truck drivers.
  • g      Y agatan.  Copies  of  Le  Figaro.  Pirate’s  sabers. Submachine -guns.  Cans  of  red  paint.  Cans  of blue paint.  Cans of yellow paint. Cans of orange paint.  Cans  of  black  paint. Picasso paintings. Little red books. Picture postcards.
  • h      Throw rocks.  Bombs.  Empty  cans  of red  paint, green paint, blue paint, yellow paint, black paint. Pour some slippery stuff.
  • i  On  the  Elysee. On the  University  of Nanterre. In  Piazza Navona.  All  over the  road.
  • l  Is thrown out of the window by CIA agents.  Is raped  by  paratroopers.  Is  killed  by  Australian aborigines.
  • m      With a gaping  wound in the belly. Spewing forth streams of yellow  (red,  blue,  black) paint.  Making love with Voltaire.
  •      Loquat.
  • 0      Unsteadily.  Very, very slowly.  Remaining still while the background (process  shot) moves.
  • p      Nanterre.  Flins.   Place de la Bastille.  Clignan- court.  Venice.
  • q      Jacques Servan-Schreiber.  Jean-Paul Sartre.  Pier Paolo Pasolini.  D’ Alembert.
  • r      Misses  the  train.  Goes on a bicycle.  On roller skates.
  • s      Bursts  into  tears.  Shouts Viva Guevara.
  • t      A band  of Indians.
  •      Kill everybody.  Kill nobody.
  •      Quotations from Brecht.  The Declaration of the Rights  of  Man.  Saint-] ohn  Perse.  Prince  Korzybski.   Eluard.  Lo Sun.   Charles Peguy.  Rosa Luxemburg.
  •      Diderot.· Sade.  Restif de la Bretonne. Pompidou.
  • w      A tomato.  Red paint (blue,  yellow,  black).
  • x      Daniel  Cohn-Bendit.   Nixon.   Madame de  Sevigne.  Voiture.  Van Vogt.  Einstein.
  • k    Goes  away.  Kills all  the others.  Throws  a bomb at the Arc de Triomphe.  Blows up an electronic brain.  Empties  onto  the ground  various  cans  of yellow (green,  blue,  red,  black) paint.
  • J   The  sayings of Mao.  Writes a ta-tze-bao.  Reads erses of Pierre Emmanuel.  Watches  a  Chaplin  movie.
  • y      The   paratroopers.  The   Germans.  Hordes starving   accountants brandishing sabers.  Armored cars.  Pier Paolo Pasolini with Pompidou. The Bank  Holiday  traffic. Diderot  selling  the Encyclopedie  door  to  door. The Marxist-Leninist Union on  skateboards.

Ermanno 0lmi Scenario

A forestera  out of workb  roams at lengthc then comes back to his native villaged and finds his mothere is deadf. He walks in the woods,g talks with a tramph who understandsi the beauty of the treesl and he remains there, m thinking.n

Variants Key

  • a        A young man who has just arrived in the city. A former partisan. A jaded executive. An soldier.  A miner.  A ski instructor.
  •       Overworked. Sad. Without any purpose in life. Sick. Just fired. Overwhelmed by a feeling of emptiness. Who has lost his faith. Who has returned to the -faith. After a vision of Pope John XXIII.
  • c        Briefly. Drives a mini Cooper along the super­ highway. Is driving a truck from Bergamo to Brindisi.
  •       To his brother’s sawmill. To the mountain hut. To Pizzo Gloria. To Chamonix. To Lago di  Carezza. To Piazzale Corvetto and his cousin’s tobacco shop.
  • e        Another close relative. Fiancee. Male friend. Parish priest.
  •        Sick. Has become a prostitute. Has lost her faith. Has returned to the faith. Has had a vision of Pope John XXIII. Has left for France. Is lost in an avalanche. Is ,Still performing the humble little daily tasks as always.
  • g        On the superhighway. Near the Idroscalo. At Rogoredo. Through immaculate snow. At San Giovanni sotto il Monte, Pope John XXIII’s birthplace. In the halls of a totally advertising agency.
  •       With a former Alpine soldier. With the parish priest. With Monsignor Loris Capovilla. With a former partisan. With a mountain guide. With a ski instructor. With the head forester. With the executive of an industrial design studio. With a worker. With an unemployed southerner. Doesn’t understand. Remembers. Rediscovers. Learns thanks to a vision of Pope John XXIII. Of the snow. Of the work site. Of solitude. Of friendship. Of silence.
  • m           Goes away forever.
  • n       Thinking of nothing. With no purpose in life now. With a new purpose in life. Making a novena to Pope John XXIII. Becoming a for­ ester (mountain guide, tramp, miner, water bearer).

Angry Young Directors’ Scenario

A young polio victim x of very rich Y parents sits in a wheelchairz in a villa n with a park full of gravel. k He hates his cousin, s an architect w and a radical, q and has sexual congress e with his own mother b in the missionary position, v then kills himself f after first playing chess a with the farm manager.j

Variants Key

  • x       Paraplegic. Compulsive hysteric. Simple neu­ rotic. Revolted by the neocapitalistic society. Unable to forget an act of sexual abuse at the age of three by his grandfather. With a facial tic. Handsome but impotent. Blond and lame (and unhappy about it). Pretending to be crazy. Pre­ tending to be sane. With a religious mania. En­ rolled in the Marxist-Leninist Union but for neurotic reasons.
  •       Fairly well off. In decline. Diseased. Destroyed. Separated.
  • z        On cul-de-jatte. On crutches. With a wooden leg. With false teeth. With long fangs on which  he leans. Supports himself by leaning against trees.
  •       Yacht. Garden city. Sanatorium. Father’s private clinic.
  • k       Another kind of paving, provided it makes a constant sound when a heavy vehicle arrives.
  •     Other close relation, as desired, half brothers and in-laws admissible. Mother’s lover (or fa­ ther’s, aunt’s, grandmother’s, farmer’s, fiancee’s).
  •       City planner. Writer. President of Save Venice. Stockbroker (successful). Left-wing political writer.
  •       Subscriber to the New York Review. Moderate Communist. Liberal professor. Former partisan leader. Member of WWF board. Friend of Theo­ dorakis, Garry Wills, Jessica Mitford. Cousin of Berlinguer. Former leader of Student Move­ ment.
  • e        Tries to have sexual congress. Reveals impotence. Thinks of having sexual congress (dream sequence). Deflowers with bicycle pump.
  • b       Grandmother, aunt, father, sister, female second cousin, female first cousin, sister-in-law, brother. v  From behind. Inserting a stick of dynamite into the vagina. With an ear of corn (must be pre­ ceded by casual Faulkner quotation from radical architect, see s-w). Cunnilingus. Beating her savagely. Wearing female dress. Dressing up to look like father (grandmother, aunt, mother, brother, cousin). Dressed as Fascist official. In U.S. Marine uniform. With plastic mask of Dracula. In SS uniform. In radical dress. In Scorpio Rising costume. In a Paco Rabanne tailleur. In prelate’s robes.
  • f        Sprinkles himself with gasoline. Swallows sleep­ ing pills. Doesn’t kill himself but thinks of kill­ ing himself (dream sequence). Kills her (him). Masturbates while singing “Love divine, all loves excelling. ” Calls the suicide hot line. Blows up the post office. Urinates on the family tomb. Sets fire to photo of himself as a baby, with savage laughter. Sings “Mira Norma.”
  •        Chinese checkers. Toy soldiers. Hide-and-seek. Tag. Gin rummy. Slapjack. Racing demons. Fan­ tan. Snap. Spin the bottle.
  • J        His aunt. Grandmother. Innocent little sister. Himself in the mirror. Dead mother (dream sequence). The postman on his rounds. The old housekeeper. Carmen Moravia. A Bellocchio brother (according to preference).

Luchino Visconti Scenario

The Baroness, a a Hanseatic b lesbian, betrays her male lover, c a worker at Fiat, d reporting him e to the police. f He dies g and she repents h and gives a big party, i orgiastic, l in the cellars of La Scala m with transvestites, n and there poisons herself. 0

Variants Key

  •        Duchess. Daughter of the Pharaoh. Marquise. Dupont stockholder. Middle European (male) composer.
  • b       From Munich. Sicilian. Papal aristocracy. From Pittsburgh.
  •        Her female lover-. Husband. Son with whom she has an incestuous relationship. Sister with whom she has an incestuous relationship. Lover of her daughter with whom she has an incestuous re­ lationship, though she betrays her daughter with her daughter’s male lover. The Oberkomman- danturweltanschaunggotterdammerungfiihrer of the SA of Upper Silesia. The catamite of her impotent and racist husband.
  •  d      A fisherman from the Tremiti Islands. Steel­worker. Riverboat gambler. Mad doctor in a Nazi concentration camp. Commander of the Pharaoh’s light cavalry. Aide-de-camp of Mar­ shal Radetzsky. Garibaldi’s lieutenant. Gondo­ lier.
  • e        Giving him wrong directions about the route. Entrusting to him a bogus secret message. Sum­ moning him to a cemetery on the night of Good Friday. Disguising him as Rigoletto’s daughter and putting him in a sack. Opening a trapdoor in the great hall of the ancestral castle while he is singing Manon dressed up as Marlene Dietrich.
  • f        To Marshal Radetzsky. To the Pharaoh. To Tigellinus. To the Duke of Parma. To the Prince of Salina. To the Oberdeutscheskriminalinter­ polphallusfiihrer of the SS of Pomerania.
  • g        Sings an aria from Aida. Sets off in a fishing smack to reach Malta and is never heard from again. Is beaten with iron bars during a wildcat strike. Is sodomized by a squadron of uhlans under the command of the Prince of Homburg.  Becomes infected during sexual contact with. Vanina V anini. Is sold as a slave to the Sultan and found again by the Borgia at the flea market of Portobello Road. Is used as a throw rug by the Pharaoh’s’ daughter.
  •  h      Is not the least repentant. Is wild with joy. Gone mad. Bathing at the Lido to the sound of balalaikas.  A big funeral. A satanic rite. A Te Deum  thanksgiving.  Mystical. Dramatic. Baroque. Algolagnical. Scatological. Sadomasochistic.
  •  m     Pere-Lachaise. Hitler’s Bunker. In a castle in the Black Forest. In section 215 of the Fiat Mirafiori  factory. At the Hotel des Bains on the Lido at Venice.
  •  n      With corrupt little boys. With German homo­ sexuals. With the Trovatore chorus. With lesbi­ ans dressed as Napoleonic soldiers. With Cardinal Tisserant and Garibaldi. With Claudio Abbado. With Gustav Mahler.
  •  o      Attends the entire Ring cycle. Plays ancient songs of Burgundy on a Jew’s harp. Undresses at the climax of the party, revealing that she is really a man, then castrates herself. Dies of consump­ tion, wrapped in Gobelin tapestries. Swallows liquid wax and is buried in the Musee Grevin. Has her throat cut by a lathe operator as she utters obscure prophecies. Waits for the acqua alta in St. Mark’s square and drowns herself.

 Excerpts from Umberto Eco 1993-1972,  Misreadings, Translated from the Italian by William Weaver.

Cinema of Continuity:Tarkovsky and Béla Tarr: Aditya Tripathi

By Aditya Tripathi



‘Cinema of Continuity’

There are a few auteurs in cinema who have tried to realize, to reflect, the denseness of the continuum and the non-linearity of time thus preparing a ‘bildungsroman’ of space-time in which the subject is embedded. I prefer to call such cinematic consequences, ‘Cinema of Continuity’. When talking of space it is impossible to shun time. Time, which is not linear in this context. To my awareness Andrei Tarkovsky is the best artist of space time . He reflects ” History is not time ; nor is evolution, they are both consequences. Time is a state; the flame in which there lives the salamander of human soul.” He has a method to understand it ” Cause and effect are mutually dependent……Cause and effect are in moral sense linked retroactively and then a person does as it were return to his past”. He once envies the Japanese that they have ‘mastered time aesthetically’ through ‘Saba’ (a nuance, a sign of age) and he yearns to do so in his cinema which can be apparently seen in his ‘ The Mirror’ (1975). As for as space is concerned he goes on ” ..through the image is sustained an awareness of the infinite, the eternal within the finite, the spiritual within matter, the limitless given form..”. In Andrei Rublev (1966) we can see his exploration of this latter claim, that beautiful long sequence where the bell is being cast in the backdrop of  the Tatar invasion. Tarkovsky further plays with the metaphysical notion of a loop through panning shots beautifully creating some short of magical moment in almost all of his films (specially in Solaris, The Mirror, Andrei Rublev). Beautiful selection of non-diegetic music adds to the magic of dream logic and extraordinary spatial moments such as levitation shots. The long takes are such that you do not want to come out of it though materially not much transpires, spiritually you belong to it , be it, with the subject in question. It rarely happens otherwise. You want to live that moment, that cinematic fact which turns out to be a ‘hieroglyphic of truth’, artistically.

The second auteur is a master of space and space alone. There is a sense of timelessness in his films. The man who as it seems wants to depict the ancient Greek paradoxes of dichotomy in his single shot-extreme long takes and tracking shots. None other than the Hungarian director Béla Tarr. And what is meant here by Béla is his works post Öszi Almanach (1984) and since Kárhozat (1988) till A Torinói Ló (2011), reportedly his last film. Though single shot-long takes and tracking shots have a history, best example being Kenji Mizoguchi (for example his the Last Chrysanthemum, 1939. who had a mastery over it, but what Béla does to it is embedding some kind of haunting dark force by ceasing utterly the camera movement for a while during the extreme long takes with slowest possible movements, accompanied by natural white noise apposite to the cinematic ‘incident’ in question. Then there are the close ups of faces in a manner as if the camera is trying to perceive the story of that being. Space itself is the principal character, the protagonist of his films and its character is not already formed but is evolutionary, being built piece by piece, the retrospect added continuously consequence of which is a sense of shock, a catharsis when the space is finally redeemed in/by the infinite, eternity, and the cinematic process is culminated.

Béla Tarr-Sátántangó

Béla Tarr-Sátántangó

One might wonder that while writing about these two I have completely ignored individual films of theirs and thereby have ignored the individual themes or stories of those films. To that I would say, that is not important here and therefore the advertent selection of the term ‘auteurs’ and not directors. Further, Stanisław Lem’s futuristic Solaris is not as appealing as the aesthetically appealing and more humane Solaris of Tarkovsky or reading Roadside Picnic will not set the visuo-metaphysical plain prepared in Stalker. On a different level though László Krasznahorkai is a brilliant novelist and a collaborator of Béla with his Az Ellenállás Melankóliája and Sátántangó it is a pleasure to watch Werckmeister Harmonies or Sátántangó (the film) than to read the aforesaid novels they are based on. The novels concentrate upon the concepts, the linguistics and the philosophical problems sui generis to literature and though they set the stage for the drama they fail to appropriate the space the way cinema would do.

Aditya Tripathi

Aditya Tripathi

Aditya is a post graduate  in Economics from Delhi School of Economics. He can be contacted at

Arirang(2011)- A Self Interrogation by a Legendary : Kim Ki Duk

arirang(Arirang a 2011 South Korean documentary film by Kim Ki-duk. The film addresses a personal crisis Kim went through, sparked by an incident during the filming of his previous film, Dream, where the lead actress nearly died by hanging, and by the departure of a couple of close colleagues.)

By Kim Ki Duk

Arirang Ready? Action! And then the actors begin to recite their lines express different emotions and so on. There are differences between the roles of angels who say good things and roles to bad they say bad things is advantageous for the actors reciting bad parts? prefer to do the good or bad? Actors really like cruel and explosive roles Actors .. Ready? Action! What did you just say? What did you just say? What did you just say? What did you just say? Kim Ki-duk What are you doing? Because now you can not make a movie? What is wrong with you? Now I can not make films. So I take myself. Going back to myself, I confess my life, as a director and as a human being. Around a movie about myself It could be a documentary, a drama or fantasy genre I interpret the characters that I would like the protagonists of my films. I can … take the camera and film There is nothing scheduled but I need to shoot something to be happy So I film myself There is a movie I want to run. is about … an American soldier who fought in the Korean War. after 30 years, before dying, returns to search for the body .. of the person killed. Being old he returns to Korea and goes to a village. Buys Himself a shovel and salt on a mountain. begins to dig around, but can not find the corpse. and about to give up and leave, when he meets a woman. This woman helps him search for the body. He returns to His self from the past, a soldier in the Korean War He takes up to rilfe and starts wearing a uniform Returning to His Old Self. Only then can he find the body. Then he takes the body. Then he lets it go. While still ill, goes to a shaman and meets the spirits of the dead woman. This is the synopsis Trying to make this film I also spoke with Willem Dafoe But the circumstances are not favorable I would do, but for different reasons, I can not. Crying Would not turn into love As if to console me with tears. You can also go But you can not go more Do you like living in a tent in the middle of the countryside? Do you like? Tell me Living in a shack so cold That you have to put a tent in it? Drink all day like this? Kim Ki-duk, tell me Why do you insist on living like this for three years, from 2008? You’re not shooting the film? Give up everything? So you will reduce drinking every day? That’s why they say you are totally depressed. People are so sorry that you are The world-renowned director embittered by betrayals, lies somewhere in the mountains no more contact with the film industry. Why do you do this? Do you think this is right? But why the hell you live like this? In a place where water freezes in cold weather. A wretched place with not even a bathroom in it This you call life? Where are the plates then? What are you? A dog? Eat in a dog bowl Why live like this? Where’s the laundry? It seems that for years do not wash your clothes And what happens to the atlas? What has happened since 2008? And because of the incident in the prison during the filming of “Dream”? And that actress in the scene of the hanging? Have you run away to another cell to cry, and so? It was an accident! Admit that you’re scared You did not expect really, huh? Seeing her hanging there you scared me to death But you climbed a ladder and you saved her. So what’s the problem? Do you think if I had not acted quickly you could kill someone during the filming of a movie? Think of this scares you to death? And then you decided to stop making movies? Due to this shock? Tell me, you bastard! Are you connecting to the internet? Many are waiting for your film Do what you can, whatever it is. You’re so weak? You’ve done 15 films. There Have Been That many incidents of type I hate to see you in this state. Many people are waiting for your movie, baby Whether one person or one of Hundreds, you have to do your job! Instead, you stay locked up here Spend your days … in the wild Do you like living like this? At any time you decide to live like this. Why now? Dude, you’re still young! But thus wasting your time .. I’m not saying do not make sense Maybe you need it. Life was already hard before shooting “Spring, summer, autumn, winter” Just as then it’s time to wonder. But this time going for long Three years have passed now, we are now in 2011. Three long years. People are wondering about you. In many expect your film Think about it. Perhaps you’ve already said everything in these 15 movies. But I do not think That you are so traumatized. Because of the incident ah you dinner in shock, right? Just look at the movies When he was in post-production already wrote his next film. Then shot and edited and wrote the next movie! You wrote, preproducted, edited and produced all by yourself. A lot of work That’s why you run out. And like I’s block Many of your fans want to learn from you. Of course, I know I know you hurt To accept someone who waited hours in the rain to learn something from you and those who desperately begged in the mail … And then, five years later. have left that capitalism sucks And life and you know very well The people come and go. Many Came to Tell You That They respected you, but then they went away in disgust Whether it was your moral values or their personality problems, people can never stay together long. Because everyone has their own dreams persuasion and Choose Their Own Dreams and Desires. Nobody puts friendship first of these things Do you feel hurt because they were like family to you. You know life’s like this When you get close to someone, then you walk away and vice versa. We can not continue eating the same thing. I love the contours. This is life, you said it in many movies The way I see it, you are not living like in the movies. You are not as Determined and resolute as the characters you created. If those people could see you would be sorry for you. In your film there are many strong characters like wild animals. But because you are so I would say “so naive”? Whatever you say I can not give a clear answer I do not care how much you push me I can not I can not say anything What should I say? I should say the accident during the filming of the movie If the result was fatal for someone … would assume that meant the film? Movies are so important? It is natural that I was shocked As director, I was responsible for And I was also the screenwriter and producer I was responsible for everything that could happen. If that had happened. . something actress .. , and if she died for my idea and because of my film? would have been devastating How could I justify it? So many words as on No, it happened, like you said and Actress fainted and then recovered is not even aware of what happened and Despite this I was shocked by what would have happened And as a result of trauma look at my past life, I reflect on how I shot my films And I think to what we should do from now on I was sad and troubled because I am a director Should I continue to do so? What are the movies? If someone died because of images and stories that I have created, would be really terrible! I was shocked by the incident, but I also lived a good time As I had these 15 films, I wanted the realistic detail Several times and It Happened That Almost Got hurt people will drink with you, friend Very good is not a speech. . about being good or bad. Basically .. I need time to think back on my movies After That incident, I can not write anymore. But I still have much to say There are some stunts in that movie And scenes that involve ethical and moral issues. I keep thinking if it is really the case to make films like that In the past, when i finished one Instantly I Worked on the next one, as if I were a car So I started making a movie Each year. I did so. And that’s how I got where I am now awarded at festivals in Venice and Berlin and invited to Cannes. My films were distributed in many countries At the time I was very happy and thankful So what? Friend, you’re depressing. I thought I was through with directing. film, “Dream” was like a dream. The next film was to talk about death. But the meaning of death is changed after the accident. To me death was a doorway to another world of mystical but I understood that death may be a crime … that shatters the dreams of a person , which can shorten the life of a person And then life has become difficult After my first movie “Crocodile” The Death Treated with care. One can not understand death or talk about it easily without having first experienced It can be considered a form of hope Death and only … Now I consider … white turns black. Simple. You write movies, books, poems about death It is processed to give birth to abstract concepts. But death is like a cliff. And like a door that closes A light goes off. Death is … very different from you and now. Making movies with death in the scene … In many films of today die from hammers or axes. And then? A part of me longs to return to filmmaking Immediately Truly “I have to make a movie right now” What if I forgot how? ” there is also this desire in me, you know? A little ‘ Just a little … and I reached the goal I set for myself Winning a Grand Prix in a festival, or reach a worldwide box office records People work and expect results, not so? Something that no Korean film has ever reached It is said that Korean films are improved but none has received as the other Grand Prix in a prestigious festival I do not know why, but Let me be the first to do so. And humanly understandable, after all So I continued to write, pushing me to make films But the obsession has complicated things. I felt stifled and locked, because of this obsession. Before “Dream that I did in 2008, I was not so rushing as fast as a runner on the track! I kept running … no distractions is how I made my 15 films. So, this explains why those films are rough, naive, innocent and very rushed. Immediate. Some critics appreciate others crushed Them Them to part of the public hates Them, the other loves Them I made those movies like crazy But then I realized it was not right I’m not saying I’m right, but there is a difference I have lived and made films with passion. I had never had a decent job before becoming a director I am very happy to be a director, and a respectable one. Worked at the factory at a recycling metall Producing electric devices. Also I did street art. Back then I always felt alone and felt sorry for myself I never thought of getting respect from people. But after he began making films … do not know … I became a so-called “world-class filmmaker.” you know My films are seen in Europe in Latin America in the United States, Russia, in Germany, Eastern Europe. Even in Israel I was really gratified by the fact that my films were seen in the world I was happy and proud Obviously it was not all roses I have also received much criticism Many have criticized both at home and abroad saying that my films are rough does not matter if it deals with themes that touch the heart, for they are still crude How can I explain? It was so … Making films was happy for me to work But suddenly and was like being hit by a hammer. I wished the best for people who had worked with me I offered the opportunity to work for my two assistant directors. One has “Rough Cut ‘on my script The other shot “Beautiful” assistants have become directors and have received many appreciations After “Rough Cut ‘ director Jang Hun has received many offers from major to make movies with them Bu he stayed loyal and Decided to make two more movies with me. I’m grateful for this. But while preparing “Poongsan” the producer and the director of “Rough Cut” left. People would say “treason” That’s what I think too. but I prefer to say .. he left. They left to make their interests Just Like When They Came to me in the first place. For Their Own Gain. It was agreed to without my knowledge with large houses With whom I could talk about it? For months I have been tormented with these thoughts. Those two who let me … in the midst of my shock resulting in a “Dream I was flooded with a lot of doubts about the craft of cinema. Leave it that way. It was wrong. Had they come to talk to me I would have laid off, I did so. But fled like cowards If I had been told clearly that they wanted to make films with big houses and take the opportunity I would not hurt so much famous actors were involved, but they took a chance and they are gone. could not argue on this point This still makes me sick and … in the relations between people … Seems everything made of opportunism Perhaps I behaved That Way too. No, no, not true … I am nothing like that! They are different from me. This sort of thing confused me I thought a lot about how they could do this to me articles Media Were Saying That I Had Been Betrayed by my staff. Many have expressed their sorrow- and wrote to console me. Fearing bad Consequences For Him I wrote to defend the director. I Have Been Praised for Being so compassionately forgiving. But there is one question That saddens me It’s all very sad I do not know what I’m saying .. And the only reason I’m not doing films at this time I’m not sure why I can not manage it. I was shocked .. during the filming of a movie And some people hurt me. people are terrifying. I gave them my heart. There were others like them Like a bolt from the blue. I have been stabbed to the heart And so I lost confidence My role as a director meant little to me It was really sad I thought, ‘This is life? “. certainly was not so Our films tell great stories, right? Watch the TV news – Those are fantastic stories. But They Also show you what horrible things you can do In some news we can understand how people can be exceptional And from there it comes the strength to live. You who ask me questions … These you are also Kim Ki-duk Not the Kim Ki Duk of the Moment Kim Ki Duk You are the spontaniously who watches my life Thank you for these questions Listen to my speeches that sound like moans or justification. Thank you for the opportunity given to me by talking about it. I appreciate that The incredible thing Is that in my life at this moment I feel at home. Why I came here just now? I ‘m really Asking myself this. But part of me knows that I should not My dream is to live and make movies in different Countries Go where there are my fans, make a movie and then leave again. might seem a fantastic But I can not do it if I’m here What am I talking about? In this cabin where there is nobody who I’m talking about? With whom I am confessing? With no one. No one is listening to me. The machine that I did. for coffee The chairs that I have done I think that they listen to my stories. This wicked world My love indifferent Your love has been here But you leave I can not help but cry Arirang Arirang Arariyo Arirang hills Please When I sing this song I can understand all Arirang, Arirang Arirang hills, send me, please Arirang I heard that … read in Chinese characters the word means “self-assertion.” To me Arirang hills are … the hills of life. They go up and down, up and down Arirang They go on go down are back on fall down Then come back to climb Then down They go on go down They go on then back down are back to climb … and go on They live so This is This is Why weeps that crazy? Stop crying, crazy I get depressed. Boys .. And so much fun. I never thought of being a good speaker. Yes, you are! I never thought I’m saying what comes to mind. You see that you are good I’m talking about Profound Experiences of My Life. This body hears You think too much … Basically, I think that the word that sums up my life so far is “loneliness” I did not have any friends My only friend at school was mixed race, people despised him My only friend was the son of an American soldier lost was present in my film “Address Unknown” He was the only one who liked me. Even though I was surrounded by people. I was basically a loner have not been able to go to school Sorta went to work in a factory machines which use them mended by the workers. As the only man, I was alone. propm’o I could not talk to people. I could not get along. So I have had many opportunities to observe their lives How they live and what they say And I struggled just to survive always worked in the factory always slept little and worked 15 years already. In short, my life was lonely and difficult That’s why I WAS Able Those stories to tell. Through your questions, look at my past life. I have no regrets there are not many like me The honors. We Will not Take Them to heaven or hell. People live their lives. And then life ends up as a diary Even if the events are recorded people in the past are no longer here. The fact that he left a mark on world history is not a guarantee of happiness in the hereafter. Do not you think? So that I live in this miserable hovel or do I face a big movie That makes me so happy I can not sleep That Mocks The People I Have Worked with there’s no big difference. We live under the law of inertia (Trägheit) Extend perspective and see that it is always the same thing Some things have value, other-not, but still we give importance I wondered why the I am here, then there’s the family … then there is society Even more up there the nation. And That Is the world above. regulated by the competition that decides winners and losers We consider the nation as a foundation Be loyal to the country you increase national prestige Ironically, artists and athletes based on this The director of a film I received a presidential commendation when I won in Venice and Berlin and a medal from the Order for Cultural Merit I do not know how much benefit it derives from my life. But they award prizes, gives the same community awards. Given this people might be confused and think that I make films to improve the nation’s image. While not these my intentions, this is what appears If I win a prize abroad, my country is a reward People will think it has enhanced the national prestige But if you look at my films carefully are things that embarrass the country All this is ironic. My films describe the chaos of life during different periods of transition in Korea To Say That I improved the image of the country by winning international awards Honestly, I Wonder If They have seen my films. Perhaps They would not give me the medal If They had. Rather weird, right? I’m trying to say that there are artists who work in that system It is inevitable Which Would Reject director to praise for receiving an international award? I accept and use it This is why art is so unique Take my film, for example the story from the life experiences termination When you show them to others There are some art others of the truth or different points of view of life. Still others are touched and grateful. What can I say? And a way to communicate But in essence, what are human beings, life, movies? Do not know the answers We use cameras or digital cameras to make movies employing people, images, and sounds … and in the form of a story come to these films to the public adorn them with good feelings, or contempt and despair in some cases, , or various other emotions … Some people like. others feel struck. Not only movies. Even our lives are steeped in emotion. Modern society is full of people who have lives that look like film The writers will draw inspiration and make us a movie In the city, in every nation, witnessing scenes that reveal the nature of human In a few seconds, let’s take a look at the life of someone and feel contempt Or we find a great and profound life. And so films only provide more extensive and systematic There are expressions of life around us far beyond the movies. I have not made a movie … in three years Sometimes I think I’m good just to continue to live this way Bud then … Also I feel That I am not really living my life. So I bought this camera Mark II. I can only use it to shoot myself. Can I say what I want, without needing a crew to make a film usually takes 30 or 40 people cameras are used huge sets and lighting, but just this is enough room. In the movies we TEND to Intervene too much The real film cameras require more light because of the diaphragm The cameras can shoot instead with natural light. This room can instead shoot with natural light. The camera captures the world as it is but there are too many embellishments. I have been using the Mark to shoot myself I can not make a film then I take myself. Now my life and a documentary. but also a drama Now I am an actor. Here’s what I think are the movies: a truth. There is no need for professional cameras or lights. There is too much preparation to capture a single moment I hate the logistical preparations for a film I’m worried Because They Say That My films are rough and technically poor. Admittedly, some people may think so. but for me it is not really that important. I’m shooting like I was in a drama Some would call it a documentary, but I think it is a drama As a writer I Constantly Think About how to make the film more dramatic, even now Perhaps I cried the first to dramatize the emotions more Maybe I played a little ‘ is not funny? Not having the actors and crew to make a film, get one even so! I want to make a movie now! I’m recovering and I’m playing because I want to make a film I want to make a film To Prove That I am still a director To be honest I forgot all about directing I have forgotten how to direct actors I do not know what is even more a movie captured my imagination and my voice with a camera like this that it is truth, form, or acting Is not this a movie? Sons of bitches. Sons of bitches! Bastards! Damn bastards! Motherfuckers that reveal their instincts playing gangsters. Die by the desire to make the bad guys, right? You want to fuck the world, right? You think I do not know? You masturbate with movies Damn bastards! The villain is the easiest! The easiest, assholes! Damn lousy bastards! You know the bad guys and do it easier, right? You have only to blow all the anger in you. insult, oppress people! Shoot with guns hit with an ax! Am I wrong? Now I’m doing what you call a fucking bastard! Do not brag to play well the role of villain. This only shows that you are evil! Hit the bottle, cut with an ax and shoot bullets! I can do it myself, faces of shit! damn bastards Hey, KJM Ki-duk Have you ever been questioned by your shadow? Your shadow from the sun. As your shadow I ask you something The question is What is the Most important thing in your life? I never thought this to be asked by my shadow. Since you ask me as my shadow. I should answer, right? In my life there is sadism, masochism and self-torture turturing the others, and turturing turtured Being Ourselves At the end, many are content with self-torture, right? I think that life is When like Gazoline enters the engine of a car. The pistons move as input, combustion and exhaust Then the pipe shaft rotates the wheel and the car moves That’s Life The same applies to the principles of electronics. Conductors, semiconductors and conductors That lead, no lead and lead sometimes. The principles of modern electronics. transistors and integrated circuits I think that human life is very similar I understand. Love, hate, contempt, lose, and understanding. These are items related to emotional experiences of people. the Supervisory principles of human There is no reason not to hate, hate honors understanding of human life Even so, we continue to forget it in a shortsighted view we need time to heal from the pain, hatred and to forgive interesting We Keep Ourselves Alive in feeding on plants and animal life. But we always contend mineral resources obtaining nuclear weapons and bombs This serves to human life exists in this world. The principle of the inevitable struggle already exists. Fighting, jealousy, hatred, forgiveness, understanding, and so on .. already exist in nature The struggle there among the trees, animals, minerals. Even the nuclear bomb, right? Where they found a force so devastating? has always been the principle. nuclear explosion, fission and fusion This technology is not different from that which moves men The mechanism of cars or cell phone, all derive from human nature So I think that life is … self-torture, sadism and masochism. self-Turtur, sadism and masochism. Go ahead -That’s why I make films, I want to highlight this. That the white and black are the same color. The Truth Is that we are fighting an inner fight. 8 4 Becomes Becomes Becomes 2 and 2 1. namely me. to the I Am 8. This is our life. l my films are based on these principles. There are people who understand and identify with my films with my thoughts on human life on the order that exists in nature may also share my thoughts. Now when i watch, and remember Mostly I Understand my movies In practice, what I mean … Is that human life is so insignificant. From the point of view of history, a human life and an infinitesimal part. How insignificant are our lives! We are as happy as if we had the whole world I’m not saying it’s wrong. express happiness as if the world was ours But we have never had it all It would not even be possible. The happiness that gives us victory in a race or a big win money positions to achieve high power or receive a prize with honor … These are games for children. I Never Consider this happiness in the light I am concerned most of the food grown in greenhouses We eat plants and animals pumped strength. A food grown with the force stress contains This stress comes directly to our body We live life by releasing the stress from this food People Turtur Each Other and make it even more difficult. I think that is a different order If it’s not like this it’s too tragic to accept. Thank you for your question, and leaving to speak my mind Thank you, Shadow. Shadow of Kim Ki-duk Thank you for making these questions to Kim Ki-duk All the festivals that I attended I miss them all If your film festivals I had not been discovered I would probably be a nobody Only a director … that failed at the box office. But When I Was Discovered I Was Given The Possibility of recognition even in Korea. My films were not successful in Korea, but … Kim Ki-duk … thanks to you, this name is now known. In spite of everything is not enough. The Korean company, and so sad and absent. This wicked world My love indifferent Your love and stayed here But you leave I can not help but cry Arirang Arariyo Arirang hills Send me, please. When the Koreans feel anxious, lonely, sad or want a person singing “Arirang Ari Rang .. And so embarrassing me again with a video camera. Even after 15 movies .. I think it’s the first time confession in this way. It’s the first time. I’m excited and nervous, I do not know what to say I want to make a film. I do not care if they say it’s boring. I do not care if they say they are no longer the same I just want to make a film, I do not care how When I make films I live the happiest moments of my life. But the demons will not let me do it. I really want to make movies I want to talk about the world about people and about what I’ve seen I killed this fruit … to live. The men feed on countless deaths Dead pigs, cows, chickens nourish us with the deaths of plants and animals It is inevitable for men Why is it so sad? Why life is so sad and depressing, every day. Because I am. It’s so cold. How to shoot questions to myself, without knowing the answers and January 4, 2011. I still believe that there is something out there But down there and really for me? It may be over for me? I have to spend the rest of my life in this hut? What … I can see? Honestly, I do not know. that’s waxed World My love indifferent Your love and stayed here But you leave can not help but cry Arirang Arirang Artrang Arirang Aranya Coltine Arirang Please Stop it Kim Ki-duk Stop it Kim Ki-duk Stop, you bastard! I told you to stop, fool! Stupid idiot. You Did not Know That this is life? You Knew it, you stupid bastard! Damn idiot You Do not Know That this is life? Ready! Action! Motherfuckers Traitors! I’m coming to kill you, wait will kill you! will kill me for pointing out scum like you. Ready! Action! This wicked World My love indifferent PAINTINGS PAINTINGS IN 1990 in Cap d’Agde, France Your love and stayed here But you leave I can not help but cry Arirang Artrang Arariyo hills Anrang Please This wicked World My love indifferent Your love and stayed here But you do you vat I can not help but cry I can not help but cry Arirang Arirang Aranya Arirang hills Please Arirang, Arirang, Arariyo SITILO hills Ahrangt please send me My love, I have you forsaken you will hurt your feet before three miles Arirang, Arirang, Arariyo Suil Arirang hills, send me, please My love, I have you forsaken Your feet will hurt the first three miles.

Snapshot from arrirang(2011)

Snapshot from arrirang(2011)


जय भीम कॉमरेड: अम्बेडकरवादी आन्दोलन की सांस्कृतिक भव्यता और राजनीतिक विपन्नता के अंतर्द्वंद की पड़ताल: उदय शंकर

By उदय शंकर
मैं. जय भीम कॉमरेड देखने बहुत उम्मीद के साथ नहीं गया था। मैं आनंद की लगभग सारी फिल्मों से गहरे रूप से परिचित हूं और फिल्म का नाम इस परिचय के ऊपर एक झटके सा ही देता रहा था। झटके का एक मुख्य कारण जो मैं अनुभूत कर रहा था, वह यह कि हम एक ऐसे दौर में जी रहे हैं, जब मार्क्सवादी खेमे में एक खास तरह की निराशा देखने को मिल रही है और ऐसे दौर से आनंद भी अछूते रहेंगे इसकी उम्मीद तो थी लेकिन फिल्म के नाम से यह उम्मीद भी डगमगाने लगी थी। खैर, धन्यवाद अपने एक करीबी का, जिसके लगभग दबाव के कारण मैं इस फिल्म का साक्षी बन पाया। ‘जय भीम कॉमरेड’ आनंद के मित्र और प्रख्यात क्रांतिकारी-दलित गायक विलास घोगरे को एक रचनात्मक श्रद्धांजलि भी है। विलास घोगरे को मैंने पहली बार आनंद की ही फिल्म बॉम्बे: हमारा शहर में ‘एक कथा सुनो रे लोगो… एक व्यथा सुनो रे लोगों… हम मजदूर की करुण कहानी, आओ करीब से जानो!!’ गाते हुए देखा-सुना था। आनंद इस फिल्म (जय भीम कॉमरेड) में एक ऐसे ही फिल्म निर्देशक के रूप में सामने आते हैं, जो गरीब की ‘करुण’ कथा को करीब से जानने की कोशिश करते हैं और सफल भी होते हैं। इसके पहले कि उनकी सारी फिल्में एक तरह से ‘राजनीतिक’ हैं। ’जय भीम कॉमरेड’ शायद आनंद की पहली फिल्म है, जिसमें राजनीति तो है ही लेकिन इसके अलावा वे सांस्कृतिक और सामाजिक कथाओं-व्यथाओं को भी प्रमुखता से सामने लेकर आये हैं। विलास के उपर्युक्त चर्चित गीत के शब्दों को ध्यान से देखें, तो ‘गरीब की करुण कथा’ कोई सपाट पद नहीं है। इसमें सामाजिक-सांस्कृतिक पहलू को भी देखने का एक प्रबल आग्रह है। सिने-संसार में ‘जय भीम कॉमरेड’ अपने तईं इसी प्रबल आग्रह की पूर्ति करता है।
16 जनवरी, 1997 को लोकप्रिय ट्रेड यूनियन एवं कम्युनिस्ट नेता दत्ता सामंत की हत्या होती है और इसी के साथ मिल-मजदूरों के संगठन-संघर्ष का एक इतिहास खत्म होता है। बाल ठाकरे की मराठा-मान की राजनीति इस समय अपने चरम पर जाती है। 1 जुलाई, 1997 को बांबे के रमाबाई कालोनी में अंबेडकर की प्रतिमा के अपमान का विरोध दर्ज करा रहे दलितों पर पुलिसिया दमन होता है और उसमें दसियों प्रदर्शनकारी पुलिस की गोली से मारे जाते हैं और इसी घटना के बाद कवि विलास घोगरे आत्महत्या करके अपना प्रतिकार दर्ज करते हैं। इस ‘विडंबनात्मक’ आत्महत्या ने ही आनंद को इस फिल्म के लिए उकसाया है। ‘विडंबना’ कहने का तात्पर्य मेरा इससे है कि जो कवि जीवन भर मार्क्सवाद का अनुयायी बनकर जीवन का करुण गीत गाता रहा और अंत समय में खुद एक करुण कहानी बन गया, लेकिन विडंबना का महत्वपूर्ण पहलू यह है कि आत्महत्या करते समय विलास ने अपने सिर पर लाल झंडा नहीं बल्कि नीला रिबन लपेट रखा था। विचारधारा का यह सांकेतिक स्थानापन्न लगभग संदेश और सीख की तरह प्रेषित होता है। संदेश उनके लिए जो गरीबी की करुण कहानी जीते हैं और सीख उनके लिए जो सर्वहारा के हितैषी तो हैं लेकिन भारतीय सर्वहारा की सामाजिक-सांस्कृतिक अवस्थितियों के बजाय वर्ग-संघर्ष के आर्थिक आधारों पर ही टिके रहे।
फिल्म का पहला भाग रमाबाई कालोनी की घटनाओं और दलित-अंबेडकरवादी राजनीति के चरम फैलाव को अपने आपमें समेटता है। किसी भी तरह की अस्मितावादी राजनीति की मजबूती और अपने समाज पर उसकी पकड़ को जानने के लिए उनके सांस्कृतिक उत्सव एक उम्दा औजार के रूप में काम करते हैं। अकारण नहीं है कि आनंद ने इस औजार का भरपूर इस्तेमाल किया है और फिल्म को रोचक, नाटकीय तथा संगीतमय बनाने में इस औजार का काफी योगदान है। नहीं तो इस तरह के विषयों पर documentary बनाना एक तरह का दस्तावेजी शगल मात्र रह जाता है। Documentary सिनेमा का एक मनोरंजन-प्रद रूप भी होता है और आनंद इसका भरपूर ख्याल रखते हैं। महाराष्ट्र में दलित-आंदोलन की जड़ें बहुत गहरी हैं। इसका पैमाना वहां के उत्सवों में, मसलन अंबेडकर-जयंती, महापरिनिर्वाण-दिवस आदि के दिन होने वाले सांस्कृतिक कार्यक्रमों को बनाया जा सकता है। इन कार्यकर्मों को देख कर यह अंदाजा लगाना मुश्किल नहीं है कि यह संस्कृति और इसी से जुड़ा उत्सव-मनोरंजन उनके विचारों और जीवन से ज्यादा अलग नहीं हैं। एक बड़े दलित नेता फिल्म में कहते हैं कि यहां दो तरह के अंबेडकरवादी हैं, एक जो अंबेडकर के भक्त हैं और दूसरे जो अंबेडकर के अनुयायी हैं। अंबेडकर अनुयायीपसंद हैं, न कि भक्ताहंकारी। लेकिन, मुझे लगता है कि किसी भी विचारधारा की सांस्कृतिक जड़ को मजबूत करने में, उसे एक ‘जातीय’ रूप देने में, ‘भक्तों’ की सबसे बड़ी भूमिका होती है और महाराष्ट्र के भीतर दलित-आंदोलन की मजबूती में, उसकी सांस्कृतिक जड़ों को गहरे तक जमाने में भक्तों की भूमिका से इनकार करना असंभव होगा। ‘भक्त’ आचरण और वाणी में फर्क नहीं करता है। लेकिन अनुयायी और भक्त के अनुपात में खाई खतरनाक साबित होती है। अंबेदकरवादियों में भक्तों की संख्या अनुयायियों के अनुपात में पहाड़ हो गयी है और मार्क्सवादियों में भक्त इक्‍का-दुक्‍का ही हुए होंगे।
भाजपा और शिवसेना के मोर्चेबंदी वाली सरकार के समय रमाबाई कालोनी में पुलिसिया दमन हुआ था। मनोहर जोशी तब मुख्यमंत्री हुआ करते थे। उनका मानना था कि ये अंबेडकर का नाम लेने वाले कोई अंबेडकरवादी नहीं हैं बल्कि नक्सलाइट हैं। पांच साल बाद सत्ता में कांग्रेस और राष्ट्रवादी कांग्रेस आती है और उसका भी व्यवहार कोई अलग नहीं था। खैरलांजी की जाति-उत्पीड़न और यौन-हिंसा की घटना कांग्रेसी शासन-काल में ही घटित होती है। तब के अंबेडकरवादी नेताओं के भीतर भारतीय राजनीति के इन दो दक्षिणपंथी पालों को लेकर कोई गलतफहमी नहीं थी, इसलिए किसी भी तरह की खुशफहमी का सवाल ही नहीं उठता है। फिल्म का पहला भाग एक तरह से विलास भोगरे की पीढ़ी के अंबेडकरवादियों के क्रांतिकारी व्यवहारों को सामने लाता है। दलित आंदोलन का जो क्रांतिकारी पक्ष है, मसलन छुआछूत विरोधी आंदोलन, धार्मिक अंधविश्वास का नकार और उसके रचनात्मक प्रतिकार के साथ ही साथ अंबेडकर के विचारों को सांस्कृतिक-व्यवहार के धरातल पर अमल में ले आना आदि, उसको बहुत ही उम्दा ढंग से पर्दे पर ले आना आनंद की सफलता है। महाराष्ट्र के दलित-आंदोलन की सबसे बड़ी सफलता यह है कि उसने बड़े पैमाने पर जन-गायकों और सांस्कृतिक टोलियों को सामने आने का मौका दिया, जो कि मार्क्सवादियों के अलावा कहीं और नहीं दिखता था और मार्क्सवाद में यह परंपरा इतनी कमजोर हुई कि इप्टा की सौवीं जयंती के अवसर पर उसको इतिहास की एक गौरवशाली थाती के बतौर ही याद कर पा रहे हैं। फिल्म का यह भाग आज के किसी भी ‘पेशेवर’ दलित चिंतक के लिए उत्साहजनक साबित होता है। साथ ही साथ मार्क्सवादियों को बगलें झांकने को मजबूर करता है। लेकिन फिल्म के एक दर्शक के नाते यह भाग मुझे कहीं से भी विचार के स्तर पर पेशेवर होने का मौका नहीं देता है। क्योंकि, प्रथमतया मैं फिल्म देखने गया था और मैं उससे संतुष्ट था। ‘पेशेवर’ विचारकों की तरह न हताश और न ही अति उत्साहित। बस संतुष्ट। बेशक, आनंद का कैमरा और संपादन-दृष्टि का योगदान तो इसमें है ही, साथ ही साथ नुआन्सेस लिए गुदगुदाते व्यंग्यबाण और अंधविश्वास से लबरेज हिंदू धर्मं के रीतिरिवाजों को फिर से जिलाने या तेज करने की संगठित कोशिशों और उसमें ‘सबसे तेज’ बन रहे मीडिया के योगदानों को हास्य से हास्यास्पद बना देने की कला आनंद के अलावा कहां है, मैं नहीं जानता।
फिल्म का दूसरा भाग पेशेवर विचारकों के लिए पलटमार का काम करता है। इसमें अंबेडकर के विचारों से किनाराकशी और निज-हित साधन हेतु दलित नेताओं के पतनशील व्यवहारों को केंद्रित किया गया है। कैसे वे अपनी जड़ों से कटते चले गये और वोट-बैंक की राजनीति में social engineering करते हुए निजी हितों को ही समुदाय का हित बता कर थोपने लगे। बहुजन से सर्वजन की राजनीति में स्थानापन्न इसी social engineering का उदहारण है। रमाबाई कालोनी में हत्या-कांड मचाने वाली भाजपा-शिवसेना कैसे उसी कालोनी में नरेंद्र मोदी का कार्यक्रम करने में सफल हो जाती है। अंबेडकरवादी युवाओं को एक समय आकर्षित करने वाली, मनुवाद और ब्राह्मणवाद को ठेंगे पर रखने वाली पार्टी RPI भाजपा-शिवसेना के साथ गठजोड़ में कैसे चली जाती है। कैसे दलित पैंथर के संस्थापकों में विचलन आता है आदि-आदि।
अंबेडकरवादी नेता या पार्टी भले दलाल हो गये हों, लेकिन अंबेडकर और ज्योतिबा फुले के विचार दलित युवकों को अभी भी आंदोलित करने में कोई कसर नहीं छोड़ते हैं। इन युवाओं को संगठित होना है और ऐसे ही युवाओं का एक सांस्कृतिक संगठन है कबीर कला मंच। कबीर कला मंच विलास भोगरे के बाद वाली पीढ़ी के दलित युवकों का सांस्कृतिक संगठन है। यह संगठन न तो कॉर्पोरेट और न ही एनजीओ पोषित है। इसे किसी पार्टी का सांस्कृतिक मंच भी नहीं कह सकते हैं। यह सांस्कृतिक संगठन ‘जय भीम कॉमरेड’ के दूसरे भाग का बड़ा हिस्सा बनता है। दलित युवकों और युवतियों का यह मंच अंबेडकर और ज्योतिबा फुले के विचारों को अपने गीतिनाट्यों में पिरोकर उसे गांवों में, मोहल्लों में प्रदर्शित करता है। आज जहां दलित विचारकों का एक तबका इंग्लिश देवी के मंदिर के निर्माण की बात करते-करते औपनिवेशिक भूत को और आज के अमेरिकी साम्राज्यवादी विस्तार को न्यायोचित ठहरा रहे हैं, वहीं महाराष्ट्र के भीतर अंबेडकरवादी दलित युवकों-युवतियों का ‘कबीर कला मंच’ अपने नाटकों और गीतों के जरिये पश्चिम की सांस्कृतिक गुलामी को अपने कटाक्ष का विषय बना रहा है, बाजारवादी व्यवस्था और संस्कृति को नकारने की हिम्मत को रचनात्मक तेवर दे रहा है। ‘जय भीम कॉमरेड’ कॉमरेड इस नोट के साथ खत्म होती है कि अभी सात महीने पहले कबीर कला मंच को भूमिगत होना पड़ गया है, क्योंकि महाराष्ट्र पुलिस ने उस पर माओवादी और नक्सलाइट होने का लेबल चस्‍पां कर दिया है। गीत, कविता, ढोल, ढपली और मंजीरा स्टेट के लिए शस्त्र बन गया है। आप भले कभी बंदूक छुए भी न हों लेकिन अगर आपकी ढपली पुलिस की गोली से तेज चलेगी तो आप नक्सलाइट हों जाएंगे। इसीलिए अगर नक्सलाइट कहलाने से बचना है तो मंदिर में जाएं और घंटा बजाएं, सुबह शाम आरती में शामिल हों और लड्डू खाएं।
फिल्म इस अंतर्दृष्टिपरक ‘संदेश’ के साथ खत्म होती है कि भारतीय मार्क्सवादी, भारतीय सर्वहारा के सामाजिक एवं सांस्कृतिक पहलू को revisit करें। अंबेडकर के विचारों के क्रांतिकारी पहलुओं को समाहित करें। ‘मार्क्सवाद-लेनिनवाद और माओ की विचारधारा’ नामक पद भारतीय राजनीति में संभव है, तो इसमें अंबेडकर की विचारधारा को क्यों नहीं जोड़ा जा सकता है! लब्बोलुआब यह है कि दोनों धाराओं की ‘आत्मालोचना’ भी है यह फिल्म। हम जैसों के लिए फिल्म का यह ‘प्रस्ताव’ उत्साहजनक है और ‘पेशेवरों’ के लिए निराशाजनक। स्क्रीनिंग के बाद संवाद वाले सत्र में कुछ ‘पेशेवर’ फिल्म पर निराशाजनक समाप्ति का आरोप लगाते पाये गये। फिल्म में मार्क्सवादी राजनीति को बहुत विस्तार से नहीं देखा गया है और इससे जुड़ी आलोचनाएं क्रांतिकारी-दलित युवा संस्कृतिकर्मियों के द्वारा ही सामने आती हैं। अंत में यह कहते हुए समाप्त करूंगा कि अंबेडकरवाद के व्यावहारिक धरातल की सांस्कृतिक भव्यता और राजनीतिक विपन्नता के द्वंद्व को इतनी सूक्ष्मता से कोई सामने लाया हो, मुझे पता नहीं, कम से कम सिने-संसार में तो कोई नहीं। उम्मीद करूंगा कि वे कभी इतने ही विस्तार से मार्क्सवादियों की बौद्धिक भव्यता और सांस्कृतिक विपन्नता को भी अपने आयोजन में शामिल करेंगे। इतनी भव्य योजना को पर्दे पर लाने के लिए आनंद पटबर्द्धन के लिए एक ही अभिवादन – जय भीम कॉमरेड।

3 घंटे 20 मिनट की इस फिल्म को एक बार देखकर अभी यही तात्कालिक प्रतिक्रिया संभव थी, कभी एकाध बार और देख कर विस्तार से लिखने का भी मन है। एक फिल्म-दर्शक की तात्कालिक प्रतिक्रिया से अधिक तबज्जो की दरकार नहीं है और गुंजाइश भी नहीं। 

(उदय शंकर। जेएनयू से ही पीएचडी के लिए शोधरत। तीन खंडों में आलोचक सुरेंद्र चौधरी के रचना संचयन का संपादन। सांस्‍कृतिक आंदोलनों से जुड़ाव। उनसे पर संपर्क किया जा सकता है।)

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