I wanted to show the anger of the people during the partition through ‘Begum Jaan’: Srijit Mukherji

April 23, 2017, 12:46 pm
I wanted to show the anger of the people during the partition through ‘Begum Jaan’: Srijit Mukherji
I wanted to show the anger of the people during the partition through ‘Begum Jaan’: Srijit Mukherji

I wanted to show the anger of the people during the partition through ‘Begum Jaan’: Srijit Mukherji

Partition remains a searing reality in the history of India and Pakistan. Against this backdrop, Srijit Mukherji has sought to bring to Hindi filmgoers what he had for Bengali viewers two years ago.

The subject is very hard-hitting. Partition as an event demands that kind of treatment. While reading stories of partition and its impact on human lives by Saadat Hasan Manto and Ismat Chughtai, I used to get angry and hurt. I wanted to show that in-your-face anger through Begum Jaan in these films
Srijit Mukherji to media

He did through Begum Jaan what he had earlier done through Rajkahini, the movie’s protagonist and its dominating figure not only has a hard grip on what goes inside, she also commands a hold among the who’s who of the society, many of whom are customers of the brothel. Her house is seen as a safe haven of sorts for many destitute women who were abused at some point. But it’s a tough safe haven — the madam keeps a tight leash on her girls.

In Bengali, the movie portrayed the problems that the Radcliffe Line, the British lawyer who got the job of dividing a seething cauldron of a nation into its Muslim- and Hindu-majority areas, had created for Begum Jaan’s brothel as the border demarcating India and East Pakistan went through her bordello, dividing it into two halves. In the Hindi version, one part of Begum’s house falls in India and the other in West Pakistan.

Begum Jaan and her girls become livid when they learn about the Radcliffe Line from the officers-in-charge of the Border Commission. She threatens to do a partition of their bodies — and thereby hangs a tale of misery, violence and women empowerment, in an era where two nations were taking birth through a trial by fire.

Unlike the Bengali version, where apart from Begum Jaan all the other 10 girls’ roles were played by established actresses, the Hindi version has many unknown faces.

“I didn’t want pretty faces. I wanted faces that will carry stories.” Mukherji along with the film’s casting director Mukesh Chhabra spent two months searching for such faces.

Mukherji had tried to make the movie as close as he could to reality. Although both the movies received some critical acclaim, the Hindi version was not seen as a great success at the box office. “People from northern part of the country really enjoyed it. But pan-India it didn’t do well,” Srijit said talking about the response.

The main reason is that I think the theme was dark and disturbing. There was very little entertainment. There was no so-called relief after watching the movie. There was no pop-corn entertainment
Srijit Mukherji 

He also felt the movie was “too melodramatic” for the urban audience. “The trauma of partition didn’t affect the entire country equally,” Mukherjee said.

“I went to Mumbai for subtitling of Rajkahini when Mahesh Bhatt and Mukesh Bhat gave me the idea to remake it into a Bollywood film. Then I started working towards it,” the director said. The low budget (Rs 19 crore) movie, though, has broken even. “I am satisfied with the debut of my Hindi movie,” he said.

Mukherji, a celebrated national award winning director, says he is mulling the remake of two of his Bengali movies — Hemlock Society and Chotushkone — into Hindi films. “It is a healthy trend. It will give Bengali cinema a national stage,” he said. He is also planning a full-fledged Bollywood movie but declined to give details.

Asked about this career shift, he said: “The story-telling bug was always there inside me. I was also doing theatre.” The loss to the dreary art — economics — would be counted as a major gain for the exciting world of cinema.