A la recherche de la famine

"Cut!, Cut!, Cut!, Cut!" One of the remarkable scenes of the movie is a group of village boys running after the film crew bus shouting and mocking the way the director officially ends a shot. It is apparently, not much and only a 5 sec shot. However, 5 sec is long enough for people like Mrinal Sen to turn an innocent childish errant into much more purposeful. The word symbolically sharply demarcates between what is it in the movie and what is in the reality. The film crew was shooting famine which should have ended with the utterance of "cut" yet it leaks into the other side of the camera even though half century has passed since then and India supposedly progressed a lot. It is a slap and a mockery on the failure of the system done in the most subtle way. If a 5 sec shot can communicate all these, then think of what the full movie can do?

Famine is not about lack of food but it also about lack of morality rather the breakdown of values. Famine unleashes the dormant opportunist in the most corrupt and bigot way. Yet amongst such devastation there could be island, there could be people who despite of the hardship can still be empathetic, can still be humane. The movie is reap with many such examples. That's the reason it is a humanistic movie as Mrinal Sen himself is humanistic intellectual.

Unlike his contemporaries, his movies often end without a definite answer and leave the audience guessing. It is a bold experimentation to deliver a scratching message. The striking characteristic of "Akaler Sandhaney" is also that the making of the movie itself and the process of story telling is done in the most informal way. To the audience it it is more a like documentary capturing a set of unrelated events that happened to a film crew than a a feature film itself. His movies is mainly a feast for the mind, appealing and engrossing to your intellect and less so to your senses.

It has an additional value that it is only handful of movies that reminds us of the 1943 Bengal famine where 5 million people just perished due to lack of food (as mentioned in this movie itself)

Dhirtiman, Smita Patil and Rajen Torofdar (Himself a great director) all deserve special mention without which this review will be incomplete.

A must for the film school

1st watched 12/27/2009 – 8 out of 10(Dir-Mrinal Sen) Fascinating portrayal of a film crew coming into an area to film a movie about a famine 40 years earlier in the same area and disrupting the villages around them. This movie is an obvious documentary but there is so much drama behind the scenes that this becomes a story all to it's own. The crew enters the area with good intentions of portraying the suffering that occurred as a reminder and a historical recreation of the time. At first the villagers welcome this mostly, but they obviously expect more from these new folk around them as they become a separate community in the area with big city needs. They hire locals to work with them to hopefully make up for their disruptions but this eventually backfires. The movie being made loses a main star in the production and they start trying to get local talent to play the part of a prostitute but this creates a lot of controversy in the villages and they start turning against them. This is a one of a kind movie that makes you think about our insistence on being entertained despite the circumstances. The movie community actually starts creating it's own famine in the surrounding areas by absorbing their goods – which is exactly opposite of their intention. The movie portrays the film crew as understanding and willing to make changes based on the locals reactions(unlike what American filmmakers might be like), so they definitely are not the enemy just absorbed in the situation. The movie should be a requirement for film schools but because it's made in a third world country and mostly unknown it probably wont. Watch it, you'll see what I mean!!

Akaler Sandhane (AS2) was released nearly a decade after Satyajit Ray's Ashani Sanket (AS1) . There are a number of clues to help the viewer connect the two films, and read its message hidden between the lines; but for that, it is necessary to re-watch AS1 after AS2.

Early in AS2, a character says that the bamboo groves remind him of Pather Panchali. For any cinephile, it's fleeting invitation to recall Ray's work, specifically AS1, the only other significant film on the Bengal Famine of '43. Later, Dhritiman's character is annoyed that an actor has shaped her eyebrows, and admonishes her for being insincere. In another scene, a young woman, fan-girling over the "real" Soumitra Chatterjee, asks the "director" why the the great actor wasn't part of his project.

It is worth noting that by the time Soumitra Chatterjee took part in AS1, he was already a mega star, having taken part in over 40 popular films. Mrinal Sen must have watched Soumitra Chatterjee's stellar presence, and Babita's immaculately shaped eyebrows in a closeup of the harrowing climax in AS1, and mused how easily the veneer of the "real" breaks and exposes the "make-believe" underneath.

In fact Sen constantly plays with this idea of "real" and "make believe" with wit and satire. Smita Patil's character breaks down convincingly in front of the camera, but the audience is aware it is make-believe, because they see the camera and hear the director's running instructions on how to feel. In contrast, Durga's the emotions are real and present. Smita Patil snaps out of her character in the very next scene, but Durga can't. The viewer also becomes aware of the Sen casting choice for Durga, who genuinely looks rural and of low-caste, relative to Ray's casting of Chhutki, who glaringly does neither.

It may be a stretch to see Dhritiman's character, the high-intellect, charming, urbane, privileged "director" to be modelled after Ray. He is an outsider in a real village, with his imported classicist and humanist morality, searching for something that is staring right in the face.

I love Ray's work; his art, literature, music, and of course films, and until now, never got into Mrinal Sen's films. But with AS2, i'm beginning to appreciate Mrinal Sen's iconoclastic, provocative rebellious art. How fascinating!

Just adding what I inferred as the message of the movie (Caveat: I am not an avid film buff and see very few movies in a year. So my interest and exposure to films is limited. This may be considered before the reader takes any of my ratings/comments/reviews seriously. Given this rider, I am open to correction anytime by anyone.)

The film tries to convey the message that there is often thin and blurred line between fiction and reality.

In the movie, the villagers fear that playing the role of a 'fallen woman' would make a woman a 'fallen woman' in the eyes of society (the villagers).

Similarly the film crew is insensitive to the villagers need and does not think it is creating a 'famine' by taking away the village produce for its own extravagant consumption.

"Akaler Sandhane" is a hauntingly beautiful and deeply layered Bengali film that transcends time and narrative. Directed by the legendary Mrinal Sen, the movie brilliantly blurs the line between reality and fiction as a film crew sets out to portray the 1943 Bengal famine - only to find themselves emotionally entangled with the real struggles of the village they're filming in.

The strength of the film lies not just in its socio-political message, but in its storytelling style - subtle, self-reflective, and disturbingly relevant. Sen masterfully critiques both the cruelty of historical famine and the ethical dilemmas of artists trying to recreate human suffering.

Performances are pitch-perfect - particularly by Smita Patil and Dhritiman Chatterjee - capturing raw vulnerability and conflicted conscience. The cinematography, stark and poetic, pulls you right into the emotional landscape of the film.

This is not just a film about a famine - it's a film about representation, responsibility, and the power imbalance between those who suffer and those who tell their story

A must-watch for lovers of meaningful cinema.