Amol Palekar: “The middle ground is shrinking”

Many know Amol Palekar as a splendid actor from Gol Maal, Chhoti Si Baat and many other such movies but what are the different hues of your being that you wanted to share in this book for your readers to know about?

I recall the ancient tale of the elephant and the seven blind men, where one man, grasping the tiny tail, mistakenly assumed the elephant’s diminutive size. Beyond the endearing “boy next door” characters, I successfully portrayed complexity and depth in films like Bhoomika, Akriet, and Khamosh. In addition to my illustrious career as a leading actor in Hindi cinema, I have also made significant contributions as a director in both theatre and film. My artistic pursuits extend beyond acting, with around a dozen solo exhibitions of my paintings showcased in India and internationally. My memoirs will help the readers to go beyond the ‘tail’, I thought!!

Furthermore, this memoir offers a unique perspective on the cultural renaissance of the 1960s to 1990s, encompassing visual arts, performing arts, cinema, and the evolving social fabric of our nation. I sincerely hope my memoir will serve as a time capsule, preserving the stories and achievements of incredible artists for years to come. This memoir serves as a heartfelt tribute to the remarkable artists who have inspired me throughout my career while shaping our cultural heritage.

As a theatre actor and director, on several occasions, you have faced censorship. Unfortunately, this problem has only worsened with time. How can artistic expression be facilitated and dissent be normalised?

I’m glad that you yourself acknowledged that the problem has ‘worsened’. The escalation of censorship is a pressing concern. While traditional censorship mechanisms, such as government-appointed boards, remain in place, the advent of social media and organised trolling has created a complex landscape of scrutiny and criticism. Artists must now navigate a multitude of potential pitfalls, lest their work be deemed offensive or insensitive. Nowadays, if someone dares to speak out against those trying to stifle free speech and expose their biased agendas, they’re likely to be branded as anti-national.

Due to this stringent censorship, filmmakers feel compelled to self-censor and tone down their content from the very beginning, starting with the scriptwriting process itself. Only a few speak out against it. If the majority finds the courage to stand up against the restriction of artistic freedom, even the quietest dissenting voice will resonate loudly, amplifying the impact of their collective protest. As Nelson Mandela once said, “To deny people their human rights is to challenge their very humanity.”

You have dedicated this book to ‘those who believe in the power of resistance’. What role has resistance played in your life and what message would you like to impart to the coming generations?

Having been born four years prior to India’s independence, I didn’t have to make any personal sacrifices for the cause. In a sense, freedom was a given for my generation; we took it for granted. The least we can do is honour the sacrifices of our freedom fighters by preserving the precious gift of democracy they bestowed upon us. Vocalizing opposition to injustice and authoritarian regimes, as well as exercising the right to protest and express dissent, are essential mechanisms for upholding and safeguarding democratic principles. As George Orwell stated, “If liberty means anything at all, it means the right to tell people what they do not want to hear.” I’ve had the privilege of interacting with courageous visionaries like Satyadev Dubey, Badal Sarkar and Utpal Dutt, who bravely fought for their convictions, with Dutt even facing imprisonment on sedition charges. I also had the opportunity to witness the theatre community, led by Ebrahim Alkazi, come together to stage a protest march and mourn the tragic lynching of Safdar Hashmi. I have taken up fights against censorship several times to the extent of filing writ petitions in the courts. I was inspired by the literary luminary Durga Bhagwat asking the then Chief Minister (of Goa, Shashikala Kakodkar) not to step into the art space. I have listed several such incidents in my book.

How would you assess the space for middle-of-the-road cinema in contemporary times and simultaneously weigh it against the emerging genre of cinema which sensationalises for political gain?

In contemporary times, the space for middle-of-the-road cinema, which typically refers to films that balance artistic and commercial appeal, is increasingly challenging. The parameters of ‘successful’ entertaining content have changed. Viewers are gravitating towards either blockbuster franchises, or niche/ independent films. The middle ground is shrinking. The audience’s appetite for mindless graphic violence appears to be insatiable, with a growing fascination for increasingly explicit and brutal content. The classic, relatable portrayal of the boy-next-door from a middle-class background is now a relic of the past. The demographics and values of the middle class have undergone a seismic shift. This transformation makes traditional, middle-of-the-road cinema seem outdated and less appealing.

Having said this, young filmmakers in Hindi and Malayalam cinema are making commendable efforts to craft theme-centric, nuanced stories in an unpretentious style. Notably, the emergence of OTT platforms has provided steady patronage and a viable outlet for these low-budget, high-quality films to reach audiences. Streaming services often prioritize content that appeals to specific demographics or niches, making it harder for middle-of-the-road films to find an audience. Also, the proliferation of content across various platforms has led to a crowded market, making it difficult for mid-budget films to stand out.

A different genre of cinema is emerging, which prioritizes propaganda, sensationalism and controversy over artistic merit or nuanced storytelling. This can only perpetuate misinformation, further fragment society and erode trust in institutions. The alarming rise of fake news, erosion of empathy, decline of critical thinking, and celebration of mediocrity are converging to propel our society down a perilous path of decadence.

From staging Badal Sircar’s play Michhil in Marathi as Julus during the Emergency to taking part in the Congress Party’s Bharat Jodo Yatra, what would you tell critics who might say this transition is hypocritical?

Firstly, there is no transition, and secondly, how is this hypocritical? During India’s Emergency period 1975-77, the artistic and literary communities bravely protested the suppression of free speech. My play, Julus, was a powerful symbol of resistance, featuring a faceless old man who embodied the common man’s defiance against fear and oppression. Performing Julus across Maharashtra, I urged people to unite against injustice, and the overwhelming response was a testament to the play’s impact. The Bharat Jodo Yatra aimed to unite India’s diverse communities. My support for the freedom-seeking endeavour was a natural continuation of my resistance against the Emergency. It reflects my consistent commitment to upholding democratic values. Hope the critics get enlightened and have a deeper understanding of my motivations and actions.

Tell us about your acceptance of your daughter’s sexuality and your subsequent understanding of the larger paradigm of sexuality and gender. In a society where fear of abandonment and even violence from parents towards a queer child is a reality, what role can art play to educate and sensitise the masses?

I’ve always been a supportive parent and openly accepted my child’s sexual orientation over three decades ago, when the LGBTQ+ community was still finding its voice. I made a conscious effort to educate myself and shed my own biases, embracing a journey of self-discovery and growth. I directed Marathi and English films, Thaang and Quest, respectively, which delved into same-sex narratives – in the same year, when Brokeback Mountain was released in Hollywood. I take pride in the fact that my films explored the complexities of sexuality and societal resistance, contributing to a seminal conversation. Artists play a vital role in raising awareness and fostering inclusivity. European cinema, in particular, has produced remarkable films that thoughtfully explore the complexities of homosexuality, helping to promote empathy and understanding. I will appeal to your readers to watch my film, Quest, through a unique feature embedded in my book. Through scanning QR Codes, you will be able to watch audio-visual content with 4k resolution. Enjoy reading my book as well as happy viewing!

Chittajit Mitra (he/him) is a queer writer, translator and editor from Allahabad. He is co-founder of RAQS, an organization working on gender, sexuality and mental health.