Politics and idealism: The Sathyu cinema kaleidoscope

The master was presented with the lifetime achievement award at the 15th BIFFes. Mukund Setlur writes about his endeavours

M S Sathyu has been associated with hundreds of plays. He has directed several of them, and been involved in design, and costume design. People who have worked with him vouch for innovation in all his chosen endeavours.  

Kannada theatre has many legends about his dedication to the craft and his never-say-die attitude.  He once turned up to supervise aspects of a play immediately after he was discharged following a major surgery. 

Legend also has it that he uses a film award trophy sponsored by a leading newspaper as a doorstopper. 

Beyond all these legends, he has 11 feature films and a handful of serials to his credit. Though the body of films may not seem significant numerically he truly deserves a lifetime recognition. 

MS Sathyu was born in a generation when there was a strong connection between theatre and cinema. He was a part of the theatre movement, which strongly felt that art could make a difference to a newly independent nation.  

This idea remained a lifelong doorstopper that allowed and energised him to tell the stories of people whose life was affected by political events. The cinematic qualities of his films may have varied wildly but no one could doubt where his heart stood. 

Idealism set against the backdrop of politics

Sathyu’s films have political developments as a backdrop. His films set out to explore the difficulties of maintaining ideals in situations of strife and conflict. 
Sathyu has managed to react to different political situations in his way through cinema. 

His earliest film was ‘Garm Hava’, which narrated the dilemma a Muslim businessman faced during Partition. While the businessman steadfastly believes in the principles of Gandhiji and the Hindu-Muslim brotherhood. He is perturbed when he is asked to go to Pakistan and he sees fellow Muslims emigrating to Pakistan.

A man is torn apart by ideals versus practicality.

Apart from capturing facets of Partition that include a sense of belonging, locally prevalent politics, and individual aspirations of economic and social prosperity, ‘Garm Hava’ also captures love and innocence. “Will  I be allowed to fly kites in Pakistan?” wonders a child when adults are talking about Pakistan.

Penned by his wife Shama Zaidi and Kaifi Azmi, the film ‘Garm Hava’ brought Sathyu to national and international fame as a director. 

Satyajit Ray called the film a milestone in Indian cinema based on the subject while objectively being critical of a few technical aspects and aesthetics.

In ‘Kahan Kahan Se Guzar Gaya’, Ravi a rich businessman’s son (played by Anil Kapoor) is leading a purposeless life driven by wealth and women. He tries to find purpose in life by joining the Leftist revolutionary movement.

The cinema notes how easy it is to cross over to the island of practicality when idealism drives you into the lap of danger.

Subsequently, ‘Bara’ explores the dangers of politics even in human calamity such as a drought. This film based on the story by U R Anantmurthy was also remade as ‘Sooka’ in Hindi.

Shot in Bidar, an idealistic IAS officer tries hard to get an official declaration from the state headquarters that his district is affected by drought. He is willing to do whatever it takes to get such a declaration. He even tries to work with a local middleman played brilliantly by C R Simha to influence the government.  However, political reasons delay the declaration causing death and rioting. 

He also tried using satire to convey power held in absentia in the film ‘Chitegu Chinte’. There are very few films in India that have used satire to narrate a political theme.

On the other hand, ‘Galige’ was a love story set against a background of Punjab strife in the 1980’s.  

The artist’s angst executed quickly

Apart from ‘Garm Hava’, his films were almost immediate reactions to events as they unfolded.  ‘Kahan Kahan Se Guzar Gaya’ was made in 1981 and shot in Calcutta. Indeed, West Bengal was the hotbed of leftist trade union movements and violence during the late ’70s and early ’80s. 

‘Galige’ was during the peak of the Khalisatani movement. ‘Bara’ was made when drought affected many parts of Karnataka. Sathyu amassed energy and the needed investments to react to the social and political scenarios prevalent around those times.  

Libertarian ideals

In his filmmaking endeavours, he embodies libertarian principles, staunchly advocating for freedom of expression. He opposes censorship vehemently, viewing it as a threat to democracy, and has advocated for its abolition.

Sathyu recommends meticulous planning and unwavering honesty in execution. However, he acknowledges the unpredictability of success in the film industry, recognising that the outcome of a film’s success cannot be guaranteed.

Despite this uncertainty expresses disappointment when artistic expression is stifled, irrespective of the prevailing political landscape. 

Sathyu’s fame is not limited to the borders of Karnataka. His films and plays have merited national fame. Indeed it is time to recognise the lifetime cinematic achievements of the son Karnataka’s soil.