Aatmapamphlet is new milestone

Illustration/Uday Mohite

There are many reasons why Ashish Bende's Aatmapamphlet (Autobiopamphlet, Marathi) is a wonderful and accomplished film. In fact, this coming-of-age story is a new milestone in Marathi cinema, with a narrative that is bracing, socially conscious and delightful. First, the film was selected at the Berlin International Film Festival's Generation 14-plus section for teenagers and adults. Second, Bende's partly autobiographical film is remarkable for being a debut feature at an A-list festival. Thirdly, Bende has long assisted director Paresh Mokashi and considers him a mentor, a guru of sorts (Bende was Assistant Director/Associate Director on Mokashi's Harishchandrachi Factory, Elizabeth Ekadashi, Chi Va Chi Sau Ka and Vaalvi, as well as on films by others). So for the guru to write a film partly based on his protege's life, cherishing him (Mokashi is the screenwriter) - what could be a greater gift? In fact, screenwriter-producer Madhugandha Kulkarni, who is a producer on the film, insisted that Bende write down his life experiences, as she saw a potential film in it.

The film is about a schoolboy Ashish Bende (the director's name), who has a crush on his classmate, Srushti Damle. One day, he discovers that he is Dalit/neo-Buddhist, whereas Srushti is a wealthy, upper caste Brahmin. The discovery of his identity is a masterly scene, as brilliant in its satire, as it is scathing. Earlier, we have seen that Ashish has Buddha and Dr Babasaheb Ambedkar statues in his home, so we know that he is Dalit/neo-Buddhist. When filling a form for middle school, a clerk explains to Ashish that if you have a Buddha statue in your home, you are exempt from paying school fees. His buddy Borya immediately asks, hoping for exemption, "Okay, so where can we buy Buddha statues?" Ashish now realises he belongs to four marginalised categories - Dalit, Backward Caste, Mahar and Buddhist.

"What! You have four titles, but we have only one!" Borya wails, jealous. It is superb writing, evoking laughter, even as it attacks caste discrimination. The story is about how their buddies stamp out caste and religious discrimination, so the romance can blossom.

Ashish Bende, who made two shorts earlier, Once a Month and The Bliss, directs Aatmapamphlet with self-assurance and charm, and is an important new voice in Indian cinema. Moreover, with an extraordinary shooting ratio of 95 mins: 90 mins (total shooting footage time: final edit), Bende is setting dizzy standards in filmmaking. Mokashi's screenplay is a masterstroke: as I've said elsewhere, the film is a truck of TNT against caste and religious discrimination, but cleverly wrapped in an innocuous school romance. Alongside Ashish's milestones of life, are recorded the nation's milestones in the 1990s, via a first person voiceover. The climax stretches a gag about politicians and other worlds, but it's a minor blip in a wise film. And when did you last see a film in which the protagonist helps his neighbours make slippers? It harks back to the parallel cinema of the 1970s, that had an empathetic eye for the marginalised. And the film is Feminist too, with a heroine who stands by her choices, and feisty women who believe in Dr BR Ambedkar's dictum, "education is the milk of a tigress." The acting is lovely - Om Bendkhale is superb as Ashish, while Chetan Wagh as Borya is delightful, and Pranjali Shrikant as Srushti is sweet. Satyajeet Shobha Shriram's cinematography, Saket Kanetkar's music and Shishir Chousalkar's sound work are effective, while Faisal Mahadik's editing keeps it brisk. The producers include T-Series, Colour Yellow Productions and Zee Studios. The women crew include producers Madhugandha Kulkarni and Kanupriya A Iyer. Congratulations to the team. Can't wait for Bende's next film.

Meenakshi Shedde is India and South Asia Delegate to the Berlin International Film Festival, National Award-winning critic, curator to festivals worldwide and journalist.
Reach her at meenakshi.shedde@mid-day.com