09 May,2021 06:29 AM IST | Mumbai | Meenakshi Shedde
Illustration/Uday Mohite
Bhave's contribution to the body of films by Indian women directors is also substantial, given a fairly bleak picture overall. Wikipedia lists about 160 Indian women directors; comprehensive, reliable surveys are hard to come by. Even Hollywood had just 10.6 per cent women directors in 2019. And while Bhave and Sukthankar's company Vichitra Nirmiti (Strange Productions) found it challenging to get wide theatrical release for their films, they did find receptive audiences in the festival and NGO/impact space. They were unstoppable. What's more, Bhave and Sukthankar are two fairly rare filmmakers, whom producers pursued to direct films. Something about which even Bollywood directors can only fantasise. Yeshwant Oak, former president of the Schizophrenia Awareness Association, produced two films by Bhave and Sukthankar - Devrai, on a young man battling schizophrenia, and Ek Cup Chya (A Cup of Tea) encouraging use of the Right to Information law, to demand accountability in governance.
Doghi is about how one of two sisters is forced into prostitution; Dahavi Fa is about a teacher and students rebelling against academic pressure; Devrai is a sensitive portrayal of a schizophrenic man; Kaasav is about a young man recovering from mental depression; Vaastupurush is about a woman holding together an unreliable family, while her son fulfils her dream of opening a medical centre in their village; and Astu is about the impact of Alzheimer's on the patient's family.
I was delighted to present Astu (So Be It) as part of the Women Directors Making Waves season of India on Film, a year-long programme of Indian and South Asian films at the British Film Institute, London, for which I was Guest Curator, in 2017. As a member of the National Film Award Jury in 2014, we also gave Astu two National Awards, for Best Dialogue to Sumitra Bhave and Best Supporting Actress to Amruta Subhash. Although technically modest, the film's narrative arc is breathtaking. It focusses on an ageing professor with Alzheimer's, who doesn't remember who he is, gets lost and is instinctively adopted by the nomadic mahout's family, of an elephant that he has followed. Astu makes a sophisticated connection between loss of memory and loss of identity and the aim of Hindu philosophy - dissolving one's identity into the absolute. Subhash's performance, and the Kannada lullabies Albyado nana kanda and Jo jo malagaiyya, will haunt you for years after.
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With her background in social work, Bhave, and Sukthankar - originally Bhave's daughter Satee's friend - lived together and collaborated for over three decades, based in Pune. I have the impression that Pune is the seat of much social reform, liberal values and revolutions - including by Jyotiba Phule, Savitribai Phule, Dhondo Keshav Karve and Lokmanya Tilak, as well as modern Marathi experimental theatre, with a common pool of artists working in film. When you can make the films you want in Bollywood's own âhome state', over 60 of them, always finding producers for your next, as well as appreciative audiences, and live the life you want, you can be deeply fulfilled even if Bollywood is nowhere in the picture. And that's something, isn't it?
Meenakshi Shedde is India and South Asia Delegate to the Berlin International Film Festival, National Award-winning critic, curator to festivals worldwide and journalist. Reach her at meenakshi.shedde@mid-day.com