Junputh
Lorca was a patriot to the extent to which his poet’s instinct and lyrical temperament, his social conscience, and his understanding of the political realities of the day allowed him to be. He loathed fanaticism, which many make the mistake of construing to be their duty to their country and people.
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It is a remarkable coincidence that two dissimilar personalities, one an atheist and the other a man of God, who nonetheless shared many common ideals when it came to service to fellow-men, should have left the world within weeks of each other.
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For all its engagement with subaltern humour in many avatars, Haksar’s is a serious film. Hiding behind images of rib-tickling ribaldry, bolstered by original one-liners, is an insightful critique of the moral degeneration that has come to attend labour politics, especially since the advent of liberalisation some three decades ago, but never so severe as in the present times.
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In search of an elusive new order where religious and political intolerance would be a little less, and where frictions between classes, genders, faiths and ideologies would have to come up against the solidarity of reason, hope and compassion, Anand Patwardhan marches on with only his deliberately and consciously-chosen ‘imperfect’ camera and his conscience as his constant companions.
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