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Of royal tales and earthly pursuits
The biggest tragedy in Amol Palekar's life is that he remains known as an actor. The point everyone misses is that he is a lot more accomplished as a director says Manjulaa Negi.
One of the most unfortunate pitfalls of being an all rounder is that only one of the many traits gets highlighted and that is precisely the problem Amol Palekar faces as a filmmaker.
Possibly the biggest tragedy in Palekar's life is that he remains best known as the actor who carried with aplomb films like Rajnigandha, Choti Si Baat and Golmaal on his shoulders. The point everyone misses completely is that he is far more sensitive and a lot more accomplished as a director.
There aren't many filmmakers (including the so called art-house variety) in the country who can claim to make cinema with the kind of the passion that Palekar does. Admittedly, his films find niche audiences but surely that is small price to pay for creative satisfaction - leading to stupendous results such as Thoda Sa Rumani Ho Jaye, Daayra, Kairee and now Anahaat - starring Anant Nag, Deepti Naval and Sonali Bendre. For there can be no doubt that Anahaat - which opened the Indian Panorama section at the 34th IFFI - has been one such exercise in satisfaction.
The story is set in Malla kingdom of which Shravasti was the capital in the 10th century and revolves around the issue of Niyog, the selection of a mate for impregnating a married woman whose husband is incapable of fathering a child due to ailment or impotency. Niyog was an accepted social custom since the 6th century B.C. The King of Malla was incapable of producing an heir to the throne but was duty-bound in that regard, so the ceremony not only had social sanction but even actively encouraged by the Senate.
Based on Surendra Verma's play Surya ki aakhri kiran se surya ki pehli kiran tak, the action of which takes place in the space of a single night, Anahaat delves into the deepest recesses of a relationship between a husband and a wife - thereby lending it a universal appeal instantly. Even though the Queen and the king are in love with one another, they are duty-bound to provide an heir to the throne.
What the decision leads to is a lot of emotional upheaval for both, the questioning of socially accepted and traditional belief vis avis choices for the self and the exploration of female sexuality.
Since the structuring and treatment of the film remain true to tone of the play - that is austere and without frills - what emerges is well-mounted film, set in the romantic monuments of Hampi. The earthy, warm shades of the rocks of the ancient monuments are in sharp contrast to the soft chiffons in the backdrop and traditional jewellery worn by the actors, creating a feminine aura about the film. The mis-en-scene turns into a character - as strong yet as feminine as the queen herself. Nothing - movement or dialogue is frivolous making it a composite whole
Sonali Bendre comes across as a revelation and a performer par excellence who's truly moved beyond being a pretty face. It is clear that her potential has yet to be discovered. In fact, Anahaat could well be her ticket to genuine acting.
Deepti Naval as Mahatharike (the chief maid to the royal couple) makes her presence felt with eyes and a body language that speaks for itself. She is proud, yet humble in every scene she appears and eyes go back to her even as the protagonist mouths his/her lines.
Anahaat has the makings of great cinema, which survives the test of time. There can be no doubt that Amol Palekar is one of those directors who will not compromise in order to cater to the lowest common denominator. In fact, he is valiantly attempting to bring them to his level. And its working.
