Benegal blended intellectual prowess with cultural roots, balanced between art with commercial viability

By Vikas Meshram*

At the age of 90, renowned filmmaker Shyam Benegal, who was battling kidney-related ailments, bid farewell to the world on Monday evening. Shyam Benegal is a name that revolutionized Indian cinema, bringing real-life experiences to the silver screen. His demise is an immense loss to the entire film industry.

Born on December 14, 1934, in a modest family in Hyderabad, Shyam Benegal was captivated by cinema at the tender age of six or seven, after watching a film for the first time. That moment ignited a spark in him to become a filmmaker. After completing his post-graduation in economics, the young Shyam ventured into photography, inspired by his father, who was also a photographer. His passion for filmmaking led him to understand the nuances of production technology while working as a copy editor at Hindustan Lever, where he also wrote advertisements. His advertising work was highly appreciated, even winning the prestigious President’s Award.

In 1974, Benegal made his directorial debut with Ankur, a film centered on women’s empowerment and societal issues. The movie not only brought him international recognition but also won over 40 national and international awards. Renowned filmmakers like Dr. Shantaram and Raj Kapoor praised his work, marveling at how he created such a masterpiece despite never having directed before.

Following Ankur, Shyam Benegal created memorable films like Manthan, Kalyug, Nishant, Aarohan, Bhumika, Junoon, Mandi, Zubeidaa, Mammo, Sardari Begum, Suraj Ka Satvan Ghoda, Welcome to Sajjanpur, and Mujib: The Making of a Nation. These films not only defined parallel cinema but also established it as a powerful movement. His films from the 1970s left a unique imprint on Indian audiences and gave a new dimension to filmmaking. He sensitively addressed complex societal issues through his art, demonstrating profound empathy for the human condition.

Benegal seamlessly blended intellectual prowess with cultural roots, achieving a remarkable balance between art and commercial viability. His demise leaves a void in the world of cinema that will be difficult to fill. His ability to narrate women-centric stories with simplicity and clarity made his style distinct. He is counted among legendary filmmakers like Adoor Gopalakrishnan in Malayalam cinema, Mani Kaul and Kumar Shahani in Hindi cinema, B.V. Karanth, M.S. Sathyu, and Girish Kasaravalli in Kannada cinema, Nirad Mahapatra in Oriya cinema, and Aribam Syam Sharma in Manipuri cinema. In many ways, he carried forward the legacy of art-house cinema initiated by Satyajit Ray, Ritwik Ghatak, Mrinal Sen, and Bimal Roy.

What set Shyam Benegal apart from his contemporaries was his knack for introducing and nurturing fresh talent in the industry. Actors like Naseeruddin Shah, Om Puri, Amrish Puri, Kulbhushan Kharbanda, Anant Nag, K.K. Raina, Sadhu Meher, Rajit Kapoor, Shabana Azmi, and Smita Patil earned their place in cinema through his films.

Benegal’s cinema was shaped by Nehruvian modernity and a commitment to social and economic justice. His early works laid the foundation for his later, more reflective creations. His documentaries and docu-fiction films were also highly acclaimed. One of his most iconic works, Bharat Ek Khoj, inspired by Jawaharlal Nehru’s The Discovery of India, explored India’s civilizational history. His commitment to liberal values and truth was evident in his aesthetic vision, which continues to inspire future generations.

Benegal’s films were distinguished by their compassionate humanity and timelessness. Alongside directing documentaries on Jawaharlal Nehru and Satyajit Ray, he created celebrated TV series for Doordarshan like Yatra, Katha Sagar, and Bharat Ek Khoj.

In recognition of his unparalleled contribution to the arts, Shyam Benegal was honored with the Padma Bhushan in 1991 and the prestigious Dadasaheb Phalke Award in 2007.

The hallmark of Benegal’s cinema was its authentic portrayal of ordinary lives and their struggles. His clear ideology about cinema was rooted in the belief that it should allow people to see and understand the true essence of India. He maintained that one must view people with their vulnerabilities, not as superhumans.

A prime example of his dedication to common people’s stories is the making of Manthan (1976), a film based on the White Revolution, spearheaded by five lakh farmers. Farmers across villages funded the film by contributing Rs. 2 each, making them its producers. When Manthan was released, these farmers flocked to theaters to watch it—a testament to its historic significance.

In his commitment to societal causes, Shyam Benegal donated 2,500 valuable books from his collection to the Indira Gandhi National Centre for the Arts. For him, human concerns always came first, whether in cinema or life. Despite ideological differences with the BJP, he famously remarked during the 2015 award-return protests that "Awards are given by the nation, not the government."

Shyam Benegal openly opposed the Emergency, yet Indira Gandhi once praised him, stating that his films reflect humanity’s true essence. His passing marks the end of an era.

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*Senior journalist

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