[ Daily News and Analysis, 4 Mar 2014 ; Dhaka Tribune, 5 Mar 2014 ; Echo of India, 11 Mar 2014 ]
People in the Bengals use the word ‘Goonda’ quite liberally – to refer to anything between a naughty child to the local political thug. But in the eyes of law, who is a Goonda? One of its many legal definitions is to be found in the Control of Disorderly and Dangerous Persons (Goondas) Act (East Bengal Act IV of 1954). There is goonda is someone ‘involved in affray, rowdyism or acts of intimidation or violence in any place private or public so as to cause alarm to the people living or frequenting the neighbourhood’. According to the Uttar Pradesh Control of Goondas Act (U.P. Act No. 8 of 1971, amended by U.P. Act No. 1 of 1985), it is ‘generally reputed to be a person who is desperate and dangerous to the community’. But if film and artist communities in Assam and West Bengal have been protesting mischief and many young people in the People’s Republic of Bangladesh are disgusted at the false and mischievous retelling of its Liberation struggle, then the source of mischief can safely be called a Goonda, at least rhetorically if not legally. When there is more than one such public enemy, in Hindi they are called Gunday. Gunday are backed by deep-pockets whose ulterior projects are more extensive than the specific acts of mischief. More often than not, the Gunday of the real-world are mercenaries for other people’s projects, even part of broader, more sinister projects of which the employed Gunday may not be even aware of. The Gunday are as important as the people who dictate what Gunday does, how they do it, when they do it.
In the reel-world, ‘Gunday’ is a project of Yash Raj Films, a Bollywood centric entertainment behemoth. It is one of greatest flag-bearer of Bollywood Hindi films, that grandest by-product of ‘Indianness’. Some perverse people like me feel that the relationship is inverse – that ‘Indianness’ is a byproduct of Bollywood Hindi films, among other things. It is the thread that connects the browns to browns, with the punitive sedition laws at hand just in case some folks didn’t get the point. Whatever be the tall ‘diversity’ claims of the Indian Union, the cultural landscape after partition has a couple of winners (English being one) and a large set of losers. In the Indian Union, we all know that cultural and political clout of which language has expanded after partition, so much so that not knowing it is seen as a sign of being politically and culturally queer. This advancement comes with the retreat of Marathi, Kannada, Bengali, Assamese, etc. as playgrounds of cultural imagination and virtual annihilation of fecund tongues like Maithili, Awadhi, Brajbhasha, etc. It is not accidental that the most successful film industry is of the same language that receives the maximum preferential subsidy for its advancement. The subsidy to English in poor brown-land is a scandal of another scale altogether.
Let me not beat about the bush and come to the point. Gunday is a Bollywood Hindi film. For West Bengal, it was dubbed in Bengali. This make one, get many formula by dubbing into other tongues makes economic sense for the producer. But that also opens the flood-gates for this trend. The film and cultural community in West Bengal has protested against this. If using their mighty economic muscle, Bollywood producers can brow-beat distribution networks and cinema halls into showing such dubbed material, this will be an economic bonanza for Bollywood. Much black money will find greater returns but fledling non-Hindi film industries will fail ruin as they cannot outcompete Bollywood in black money, film volume and the cinema-hall blackmailing strength that comes with it. This desperate aggression was in full display in Assam where Rajni Basumatary’s Assamese film ‘Raag’ which was running quite well was removed by economic goondaism to make way for Gunday. Not too many films are produced in Assamese and when a good one is made with help from the Assam Film Development Corporation, this is the fate. Cultural diversity, even cultural competition, can only flourish in a level economic playing field. No amount of bleating about ‘unity in diversity’ changes that basic fact.
Let me describe a scenario. Dubbing my story and then forcing it down your throat using my economic muscle will slowly silence you. You wont be able to tell your own stories. You will have to adapt my stories. It does not matter if you have a long tradition of telling stories. Soon you may even develop an aesthetic sense for my stories, get alienated from your stories, from your people, look at them with curious eyes of an outsider. In short, I will destroy you cultural roots, replace them with mine and you will finally clap along the way. If that does not make me a Goonda, I don’t know what does.
The acts of some gansters have international manifestations. Gunday has chosen to parrot the official Delhi fiction of Bangladesh being a product of a brief Indo-Pak war. The people of that independent nation did not take that lying down. The producers have apologized. The Assamese can dream on. Pakistan has sought to protect its film industry by trying to restrict ‘Indian’ (read Bollywood) films. The states of the Indian Union have no such power, just like they do not have the power to protest the huge subsidy and preference given to one desi language. Apparently, this language ‘unites’. We know how this unidirectional unity works. No Assamese film will be dubbed in Hindi and released to multiplex audiences in Delhi and Mumbai. Not in this nation state. If slow but sure annihilation of certain cultures is a pre-condition to some kind of a ‘national integration’ project, then that nation is an enemy of those cultures. It is up to the Indian Union to decide what integration project it wants to promote – a predatory one or a harmonious one. It is up to you, the viewer, to ask whether your film ticket is filling a goonda’s pocket.