A journey across borders

January 12, 2025

The cinematic legacy of Shyam Benegal bridges cultural divides between India and Pakistan

A journey across borders

Shyam Benegal visited Pakistan on several occasions.

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n the complex relationship between India and Pakistan, there have been moments of warmth and hope for normal diplomacy. During these periods, backchannel exchanges open up and travel restrictions are eased. Prominent individuals from both countries start visiting one another more frequently. This is particularly the case for those associated with art, culture and business. Indian filmmakers and show business personalities have always been well-known in Pakistan.

Even during the years when Indian films were officially banned in Pakistan, their influence persisted. People tuned in to radio broadcasts to keep up with the latest releases. Some travelled to Kabul to watch these films in Afghan cinemas. In England, Indian films were shown in obscure, dimly lit cinemas in London and later in Birmingham.

The craze for Indian cinema intensified when Amritsar Television began broadcasting films, a phenomenon eagerly followed in the neighbouring areas of the Punjab, including Lahore. However, the accessibility of Indian films truly became commonplace with the advent of VCRs. As video players became household staple, they ushered in a cultural shift, transforming family routines and bringing cinema into homes, where films could be enjoyed together.

For those weary of the typical song-and-dance routine of Indian cinema, there was a growing belief that films should tackle real issues. The Indian People’s Theatre Association has been addressing such concerns, albeit with a limited audience. Meanwhile, Satyajit Ray made a name for himself internationally and built a loyal following in Bengal. However, as his films were in Bengali, their reach remained somewhat regional. Over time, there emerged filmmakers who created works with broader appeal – films rooted in dramatic storytelling rather than resembling documentaries. One such filmmaker was Shyam Benegal.

An unassuming man, Benegal was always open to discussion and consistently emphasised the importance of strengthening cultural ties with Pakistan. However, the uneven nature of the India-Pakistan relationship, marked by inconsistencies and mistrust, never allowed these efforts to bear fruit over the long term. Even when initiatives were taken, they often faltered as artists feared being labelled sympathetic to the other country – or worse, as traitors or enemy agents.

Shyam Benegal won numerous awards, both national and international, including honours outside the realm of cinema. He also headed various prestigious institutions dedicated to the study of cinema and theatre in India and served on juries at some of the world’s most acclaimed film festivals.

Benegal’s films explore the multifaceted nature of human identity, exposing the ambiguities and contradictions that shape individuals and societies alike.

Shyam Benegal brought many graduates from esteemed institutions like the National School of Drama in Delhi and the Film and Television Institute of India in Pune to the big screen. Their training and expertise enriched his films, helping him craft narratives that combined theatrical depth with cinematic finesse.

In Pakistan, too, efforts were made to create issue-oriented films. However, many of these productions struggled to transcend their roots in television, often coming across as expanded teleplays or leaning heavily on documentary-style storytelling with overt moral or political undertones. While well-intentioned, these films lacked the subtlety and layered storytelling that distinguished filmmakers like Satyajit Ray.

Ray had a unique ability to capture the atmosphere of his native Bengal. His films avoided overt moral or political messaging, allowing the drama of the human condition to emerge naturally from his narratives. Benegal’s films Mammo, Sardari Begum and Zubeida portrayed the lives of Muslim women against the backdrop of rapidly shifting political and social landscapes. These characters were firmly rooted in their circumstances, navigating the complexities of their situations without succumbing to the forced resolutions of poetic justice.

Later in his career, Benegal turned to documentaries, focusing on famous personalities and their writings. His goal was to explore their lives within their historical context, offering a nuanced understanding rather than definitive conclusions. His documentaries left an intentional ambiguity, resisting the temptation to make conclusive statements or moral judgments, which added depth and complexity to his work.

Unlike earlier generations of filmmakers who were more certain in their values and optimistic about the potential for cinema to drive societal change, Benegal embraced the inherent dilemmas of human existence. His films explore the multifaceted nature of human identity, exposing the ambiguities and contradictions that shape individuals and societies. This evolution in his approach reflects a broader understanding of storytelling as a medium for exploring, rather than resolving, the complexities of the human experience.


The writer is a culture critic based in Lahore

A journey across borders