On Sujata

Even though I call myself a film-buff, I am sadly not quite well-versed with the black-and-white era of films - both Indian and world cinema. So it was with a view to educate myself that I watched Bimal Roy's Sujata, and ended up thoroughly enjoying the film. The film found a place in my heart not only because of cinematic reasons, but also because of the way it made me feel. Most of all, I liked the way Sujata's (Nutan) character has been etched out in the film. With the central theme of the caste divide, Sujata's character was in grave danger of becoming one-dimentional, matyr-ish and melodramatic. But thankfully, her character is much more than just symbolic.

What is most striking about Sujata's characterisation is the consistent nature imagery that has been used to make the viewer aware of what happens in her heart. The very first shot of the film is of a single blooming flower swaying in a light breeze, and as the credits role on this backdrop, we immediately become aware of the underlying theme of the film - which according to me is not only caste - but the simple story of a simple girl. This shot reveals to us the most prominent character trait - that she is organic and close to nature. Also that she is not an orphan, but is nature's (or God's) own child.

This nature imagery is carried through the entire film - always remaining subtle, and never becoming corny.

-- In many scenes, we find Sujata framed within the outline of foliage of plants and trees.
-- The scene soon after Sujata finds that she is untouchable cuts to the image of a huge leaf being cowed down by the pouring rain.
-- The first time Adhir (Sunil Dutt) meets Sujata, she is carefully tending a garden, which is supposed to be her favourite hobby, telling us that she is natural and also nurturing.
-- A slowly shutting touch-me-not leaf when Adhir meets her for the second time and also disarmingly flirts with her.
-- And a beautiful ballet of dancing flowers and trees when she realises that she loves Adhir.
-- The scene where Sujata rejects Adhir she is first shown watering a plant, but later, as she talks to him, she moves to a tree devoid of all its leaves.

It is this very trait that even Adhir recognises in Sujata as he tells her on Rama's birthday that the "stars know when you were born".

With all this nature imagery, I half expected to see two flowers inching nearer to each other in a close-up shot, depicting the milan of the two premees. Mercifully this never happens in the film, which is strange for a film set in a time when the union between a man and woman could only be described euphemistically!Instead, we have a mature scene (the ghat scene), where Sujata spontaeneously hugs Adhir and tells him that she is his.

The most interesting part of the film - had nothing to do with the imagery - was the song 'Jalte hain jiske liye'. This was somehow an unexpected way of picturising the song. This film comes at a time when technology did not dominate or direct our communications to any degree, but Adhir decides to sing to Sujata on the phone. I found the song picturisation very novel and pleasantly surprising.

So my indoctrination into the black-and-white era was extremely fulfilling, and I also know that I'm only looking at the tip of the iceberg. So here begins the exploration....