[ The Friday Times (Lahore), June 14-20, 2013 – Vol. XXV, No. 18 ; New Age (Dhaka), 10 June 2013 ; The NorthEast Today, July 2013 ]
The recently deceased acclaimed Bengali film-director Rituparno Ghosh (31 August 1963 – 30 May 2013) went to the same school as me, the very populous South Point High School of Kolkata. He was a couple of decades senior to me. It was at one time the largest school in Asia. My secondary standard graduation class was nearly 800 strong. One thing our school used to do very well (before it turned ‘Indian’ from ‘Bengali’ in the post economic ‘liberalization’ era of the 90s) is that it did not inculcate ‘values’. The value of this lack of school-instilled ‘values’ has stood many alumni of the school in good stead throughout their lives. For one thing, it made unlearning easy, if one wanted to. Due to lack of values, reverence was shallow and hence irreverence was easy, if one wanted to. Rituparno Ghosh represents one of the best products of our school – more by omission than by commission. She made films primarily in my own mother-language and also lived in South Kolkata, where I am from. When media outlets all over India give front-page space to the death of a film-director whose primary film medium was not Hindi, it is important we pay more attention. There are only a few in the subcontinent who will command such widespread mourning in these times when the Bollywood = Hindia = India equation has gained serious currency. Rituparno Ghosh was one such. They don’t make ‘em like that any more. Or to put it more correctly, in an increasingly monocultural nation-state, it is getting ever harder to make them like that. Her death also made it to the front page of newspapers in the People’s Republic of Bangladesh. People in Pakistan may only be acquainted with him, if at all, through his Hindustani productions. I would invite people from Lahore, Karachi, Lyallpur and elsewhere to do what you know best how to, so that the Youtube ban in Pakistan does not stand between Rituparno and you.
She started his life as an ad-man and was tremendously successful at that. Then he ventured into film direction and, as they say, she never looked back. If one’s diet of films is limited Bollywood, it would be hard to know that Rituparno is widely regarded as one of the best film directors of the subcontinent in the post Satyajit Ray generation. Chitrangada, Kashmakash , Mumbai Cutting (segment “Urge”) , Arekti Premer Golpo (Just Another Love Story), Abohomaan , Shob Charitro Kalponik , Khela (as Rituparno Ghosh) , The Last Lear , Dosor (The Companion , Antarmahal: Views of the Inner Chamber, Raincoat , Choker Bali: A Passion Play , Shubho Mahurat (An auspicious time), Titli (The First Monsoon Day ), Utshob ( The Festival ). Bariwali ( The Lady of the House), Oshukh ( Malaise ), Dahan ,Unishe April (as Rituparno Ghosh) , Hirer Angti ( The Diamond Ring) – the long list of films are a testament to the immense fecundity of the director. But it was just not about the number of films. Over the years, his films had one 12 National awards in India and also awards in film festivals of Berlin, Locarno and Chicago among many others. He also write the story and the screenplay of many of his films.
Death often creates a strange silence in a room that was laughing a moment ago. In this case, many Bengalis had been laughing to the blatantly hostile mimicry of Rituparno hosted by one Mir Afsar Ali, a comedian and anchor of sorts. In that ‘comedy’ show, there were hapless young men trying to keep a safe distance from a comedian mimicking Rituparno. The portrayal of the queer as a predator on the hapless went by the name of mimicry. Laughter is the best medicine for diseases we wish to keep undiagnosed. Just that, now no one is laughing. This silence also matches the broad silence at what went by the name of ‘comedy’. Honesty about the nature of our creatures would be a good tribute to Rituparno. And that involves none of the two silences.
As we talk about posthumous tributes, I remember one of Rituparno’s earlier films, Dahon. It was a story about the trials and tribulations of a woman who was molested on Kolkata’s streets. The real-life Bollywood style twist-in-the-tale came when the Chief Minister of West Bengal ‘directed’ the cheap posthumous drama of ‘owning’ the death of Rituparno. Death breeds selective memory. This Chief Minister had, only a few months ago, termed a rape on Park Street of Kolkata as a ‘staged incident’. Another MP from her party said that it was not a case of rape, but a ‘deal’ that had gone wrong. In Rituparno’s final journey, these are the people who scripted the show. When the government wanted to project sensitivity, few saw shamelessness. No amount of fresh scented flowers can take the stench away from wreaths so rotten.
The sexual minorities in the subcontinent know better than many others how police lathi feels inside their alimentary canal. The daily brutalization of sexual minorities is a frequent pastime for lions in khaki. Some of these lions were lined up beside Rituparno’s corpse in Kolkata. Rituparno’s on-your-face ‘non-standard’ sexual identity, that made many squeamish, looked harmless, even absent, in death so much so that the police offered a ‘gun salute’. We were impressed. The lathi has a spongy cuddly heart, you see.
Only the guilty is scared of nakedness. And to hide that, they gnaw at anything, even the shroud of a corpse. The guilty covers themselves in the shroud of the dead. This makes them a very peculiar kind of kafanchor – the kind that doesn’t even wait till the burial to steal the shroud in secrecy. Rather than the darkness of the night, such kafanchors like grand send-offs and flashing cameras. It offers the twin advantage of stealing the shroud from the corpse and showing it off to many others by wearing it right there. And looking very somber. And almost comical. And yes, to laugh at that somberness would also be a tribute to Rituparno.
Such public spectacles add to the cesspool of vested interests that politics in West Bengal has become over the last 3 decades or so. Some would argue it was always so. But earlier there would be some distance. In moments of death, the leaders would become like the public and join them in remembering some worthy. Now that has become another cause to show who really runs the show. When a government cannot improve lives and deny rights of the people, spectacles over death become their forte.