This article has been motivated by classic filmmaker Wim Wenders’ recent declaration at the Berlinale International Film Festival earlier this year where he headed the jury. “Yes, movies can change the world,” he told reporters in the German capital at the start of the 11-day event. “Not in a political way. No movie has really changed any politician’s idea, but … we can change the idea that people have of how they should live,” he said. This drew angry and pacifist responses with some claiming that Wenders was going back on his own credo as at one time, he made films that made a strong political statement. But these are idle comments thrown in the air by people who are not aware that every person, from a filmmaker to a cobbler, has the right to change his mind, his ideology and his philosophy over time.

Any discussion on political cinema in our country is based on three important considerations: (a) India is the world’s largest democracy; (b) India produces the largest number of films in the world; and (c) India has the second largest population in the world with a very low literacy rate, a high poverty level, the most diverse of language and ethnic cultures and a low per capita income. The first consideration clearly sets out the need for political cinema in India. The second consideration spells out the possibilities of exploring true political cinema. The last tells us about the difficulties structured into ways of creating awareness about and liking for meaningful political cinema.

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Govind Nihalani says that that cinema is political that “presents the filmmaker’s ideological point of view, communicates this point of view to his audience, and finally, convinces his audience to convert to his point of view.” The late K.G. George, a Malayalam filmmaker who made films with political overtones said,“Almost all good cinema has some kind of political commitment. It is difficult to make explicitly political cinema in India. A good political film is one that clearly exposes the ruling class for its corruption and misuse of the political system. The common man’s reaction to such film is very important because real good cinema does not reach the common man.” He is considered one of the greatest filmmakers Kerala has ever produced. Shyam Benegal said, “Basically, a political film is one that should ask questions such as – is our democracy getting fractured? What is our state like? How can we make it healthier? And so on.”

The late G. Aravindan admitted that his Uttarayanam had political overtones. He said, “In the Indian context, it is very difficult to make an honest political film. I am doubtful that it will reach the screen. This may happen because if one is honest enough, one will have to make devastating statements. Lightly touching politics here and there does not mean anything. When you think of political realities, you should be able to show it directly. In my opinion, an honest political film should be like a pamphlet, a very strong pamphlet, or a slogan. From my limited knowledge, I feel that there was much more freedom in East European countries before the fall of the east to capitalism, to make films with strong political statements. Films like Costa Gavras’ Z, Missing or State of Siege are relevant within their countries. We are not making films relevant to our nation. Our political statements remain confined to someone being denied a job or someone not getting a job. I liked Govind Nihalani’s Aghaat. I found it important for its competent comment on the theories and analysis of Marxism.”

Every single film has political implications. Political and aesthetic approaches differ. For some filmmakers, the aesthetic approach is more important than the political one. The emphasis of an aesthetic approach is........

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