The annual Indian screenwriters’ conference was held last week in Mumbai. The fourth such gathering organised by the Film Writers’ Association based in the same city had, what I believe, was a flawed theme: do our stories reflect India’s reality? The keynote speaker was the journalist, Palagummi Sainath, whom Amartya Sen once called one of the “great experts on famine and hunger”, and who is somewhat conveniently placed to argue that Bollywood does not represent the real India.
My disagreement with this statement is twofold. Firstly, screenwriting is an art, and, like all art, its essence is openness in interpretation and it does not owe it to society to act as a mirror. Secondly, the crux of the conference, to be meaningful at all, should not have focused on whether stories in Bollywood reflect India’s reality, but rather whether they should reflect India’s reality at all.
The argument is somewhat like mirrors and windows: if people want a mirror, they should stop complaining about what they see when they look at a window. There are census bureaus, polling organisations, data collection and research centres, and, of course, National Geographic, to represent countries for what they are, to show people a non-fictional account of what India is and so on. Films, like stories of yore, have always been windows to let imagination escape, to heighten our senses, to present a larger-than-life portrayal that may or may not be grounded in reality. Ashok Vajpeyi spoke of the Ramayana and the Mahabharata, both stories rich in culture and moral but in all likelihood skewed when it comes to portraying reality — but then again, whose call is it to make? Continue reading