The Curse of Gandhism: A Review of Prakash Jha's "Aarakshan"

I've just returned from seeing Prakash Jha's already-controversial film Aarakshan (Reservation) at the Regal Cinema in Connaught Place, New Delhi. Built by the British in the early 1930s, it is a magnificent, cavernous space complete with a wide balcony, round arches on the side walls, and pictures of old film stars in the lobby. Surprisingly, it's also fairly clean and well kept. All in all, it reminds me once again of how fake, gaudy and soulless the multiplex "experience" can be, especially in India, and how little of the old culture of film-going remains with us.

But I digress. As far as the content of the film goes, this was also a surprise. The pre-release controversy had made it seem like Aarakshan was a bold, reactionary attempt to criticise reservations - hence why it was banned in UP by Mayawati's government. In fact, as the Times of India review notes, very little of the film even references or discusses the issue of reservations in any sustained or serious way. It's more of an incidental device to move the plot forward to the real confrontation: between Amitabh Bachchan's heroic, inspirational ex-principal of a private college who offers free classes to the community and villain Manoj Bajpai's commercial education scheme. True, Bachchan's character does resign from his post at the college over his support for reservations, and there is a fierce conflict in the first half involving Saif Ali Khan's Dalit professor and a high-caste student played by Prateek Babbar. But they come together in the end to help Bachchan defeat the for-profit coaching classes, backed by corrupt politicians and the police. The film's climactic scene is a showdown, as bulldozers approach the gate of Bachchan's compound, between the good guys (students and volunteers of all castes) and lathi-wielding policemen.

By pure coincidence, I caught a bit of Richard Attenborough's Gandhi on TV last night, a film I have not seen in years and certainly not since I began doing a PhD. in Indian history. The moving scene depicting the Dharasana Satyagraha, in which row after row of peaceful marchers are mercilessly clubbed by police, shows just how ideologically and cinematically powerful the imagery of Gandhism continues to be. In effect, Prakash Jha has resolved his plot by using the classic set-up of Gandhian struggle: non-cooperating, non-violent do-gooders versus the mighty apparatus of the state. It comes as no surprise, though it still manages to be an emotional moment drawing cheers from the audience, when the bulldozers' drivers are convinced by Bachchan's appeal and cross over to join the students in solidarity. What does this say about Jha's view of politics, and its appeal?

This has been a hot topic for discussion since last summer's hit Raajneeti, which depicted the political process and very nearly all its participants as fundamentally violent and corrupt. A perceptive essay in the current issue of The Caravan about Jha's career basically makes the point that his characters have become "bereft of a moral core". They do not ask themselves questions about the "ethical consequences" of their actions. In some cases, as in Gangajaal (2003), the film "dangerously leaves the task of public accountability to the individual conscience of one man". It should become apparent from my description that, with Aarakshan, Jha can be absolved of the charge of not creating idealistic or ethically concerned characters anymore. Bachchan's principal is a model of uprightness, honesty and fairness; when the fight over reservations erupts on the grounds of his college, he steps in to reprimand both sides and dutifully carries on the fight to improve children's lives and test scores through tireless work and self-sacrifice. Here, however, Jha's tendency to offer solutions in the form of the virtuous actions of one individual reveals itself. Though an entire community comes together to help with the free classes, and a mass protest including both upper and lower castes ends up facing the villains at the end, in the end the success of the enterprise rests on one man's shoulders. The method of grassroots voluntarism being idealised here is also extra-institutional, and leaves no room for contemplating the reform of existing institutions like the private college. Only after Bachchan is on the outside can he score his great moral victory and then be appointed back to his old post. The crooked politicians are not voted out or held judicially accountable but publicly shamed.

The appeal of this worldview is not only nostalgic but deeply connected to the ongoing debate about corruption. The self-anointed Gandhian activist Anna Hazare has been mobilising the middle classes by fasting in support of the passage of the sweeping anti-corruption Lokpal Bill. Critics of Hazare's approach have pointed to the absolutist nature of the demands, which move beyond and even seek to de-legitimise the political process. A remarkable and profound interview in Tehelka with civil society activist Aruna Roy makes the point that any attempt to change the mechanism or culture of governance in a democracy must go through the painful but necessary process of soliciting opinions from stakeholders, debating drafts of bills, compromising, and, at the end, living with the end result even if it may not be ideal: "Democracy is a dialectic and you can’t afford to lose it. And no matter how imperfect it is and how much we struggle to refine it, unless we want to opt for a dictatorship, even a benign one, it is the only viable political system we have." She tells this story to illustrate the dangers of Hazare's bottom-line approach: "Let me give you a very small example from a meeting in Tilonia in Rajasthan. Every 15 August and 26 January the gram panchayat there has meetings and invites me to speak. Once there was this big talk in the air that “Constitution koh badalna hain”. I asked the 3,000-strong crowd, how many of you have seen the Constitution? About six hands went up. Then I asked, how many of you have touched it, about four went up. Then I asked, how many of you have read it and two went up. So then I said, if a political party is telling you the Constitution of India is anti the people of India and we must amend it, and all of you are saying, yes, yes, it’s bad, change it, are you acting out of reason or ignorance?"

The "curse of Gandhism" I am referring to is not so much the substantive nature of Gandhian political thought, but the enduring appeal of the form. In Hazare's case, as it has become very clear by now, the high-profile fasting and the other theatrical aspects of his movement conceal a contestable political programme (pushing for oversight by building a new bureaucracy) while claiming to be outside and indeed even hostile to politics. Prakash Jha's recent films, along with Rang de Basanti (2006), invoke the social-patriotic conscience of mainstream Hindi cinema (largely absent since the 1950s, the decade of Guru Dutt, Raj Kapoor and Bimal Roy). These are films about big issues, daring to ask about how to save the country (Aarakshan's tagline: "India v. India"). The answers they provide, however, are troubling in different ways. Rang de Basanti was an extreme case; its protagonists, apathetic students inspired to love their country by making a documentary about Bhagat Singh, take action by assassinating a corrupt politician. In Aarakshan, the solution is mild and basically unobjectionable by comparison. But by not saying anything about the political process, or offering any hope about building institutions other than the Bachchan character's selfless volunteerism, the film offers a bleak assessment of the prospects of Indian democracy. We never get to hear a full argument about the politics of reservations, or understand what place they have in India's democratic system. All we know by the end is that we must "be the change we wish to see in the world", so to speak. In 2011, that's no longer enough.