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| RV Ramani - Picture by Asheesh Pandya |
Interview by Tajender
Sagoo
I first met RV Ramani, in
Delhi, April 2015 and collected some DVDs of his films. Recently, I
watched the film Hindustan Hamara (2014), and decided to ask RV Ramani some
questions about this, and his films My Camera and Tsunami (2011) and Nee Engey
(2003).
In Hindustan Hamara you follow the filmmaker Anand Patwardhan
as he travels the country, organizing screenings of his film Jai Bhim Comrade. I
watched interview you gave for the Hindu Lit Fest 2015, you were on a panel
discussion with Deepa Dhanraj and Venkatesh Chakravarthy (it’s on Youtube!)
You said you find Anand Patwardhan's films problematic. What do you find difficult
about his work and why did you want to make this film?
It is not easy to make a film on
someone like Anand Patwardhan who rejects the idea of me making a film on him.
In 2003, after seeing his film War and Peace, I proposed wanted to
make a film on him. War and Peace starts with a long narrative using
Gandhi's principles on non-violence. For me Gandhi discovered a form
to deal with the violent society. So my expectation
was Anand will discover a form in dealing with the nuclearization
of the sub-continent. I wanted to engage into a cinematic dialogue with him,
trying to understand, for myself and with him, what would be the
idea of non-violence in cinematic treatment. But before I could even
discuss the idea with him, he dismissed the idea that I can make a film
on/with him. I have had issues with Anand’s films, though I like him
as a person and his social concerns and persistence. One of the primary
issue that I have is that his films ends up strengthening status quo
and polarization, though his intentions seems to reveal or expose
the differences. He passes judgment and asserts his
righteousness through editing techniques, juxtapositions, using
voice over narrations or subtitles. He rarely works on nuances of
characters he portrays and they get slotted. In his filming, I have observed
that he doesn't reach intimacy with his characters but rather comments on their
situation. There are of course a few exceptions. In 2008, at a film festival in
Madurai, when his retrospective was presented, I decided to film the event, as
it was anyway a public event. I followed it in many other screening events and
filmed almost all the beginning screening events of his new film Jai Bhim
Comrade. He cooperated but he never remotely suspected that this could lead to
a film. But for me I only shoot with the idea of a film. Documentary cinema was
getting defined by his kind of films. Taking up hardcore issues, he and his
films dominated in film festivals, where my films were also screened. I too
make films similar to him, but his pre-occupations and my pre-occupations were
different. I wanted to address my dilemmas with him. I wanted to come to terms
with him. I wanted to engage with his kind of approach in films with my kind of
approach in films. I wanted to give him my perspective on his work as a film of
mine. Hindustan Hamara is the result of this.
In the same interview you said you are against the
consumption of images. Can you expand on this?
Bollywood or Kollywood and other 'Woods' are all essentially
commercial cinemas. They are based on the idea of consumption and profit. Alternate
cinema, Avant-garde, New Wave cinema, Art cinema are all inventions against
dominant mode or commercial or consumer oriented films and works on the area of
expressions and replenishing the form and stripping it out from being consumed
outright. This process also leads to consumption after a point. Any
art form will sooner or later get consumed. So as an artist one has
to constantly renew our working methodologies. Even genuine acts of
activism using cinema as a tool are also in the same danger. In my
opinion Anand's films too have fallen into this trap of consumption.
There’s a brief moment in the film when you, Anand Patwardhan
and Sanjay Kak are together. You’re all filmmakers roughly of the same
generation, is there a common philosophy or approach?
Yes we do, that is to remain fiercely
independent in the way we make and screen films. Both Anand and
Sanjay, engage largely with their own specific concerns on various political situations
of the country. They take enormous risks and go about their jobs with very
strong determination. I do get worried, just like in Anand's work, about status
quos in Sanjay's works too. Both Sanjay and Anand work largely with
activist groups, makes films in support of struggles, protests,
people's movements and tries to screen the films for these people and in
support of these people and also create awareness, discussions and debates among
the larger populace. While in my case, I do not do any of these as I stay largely
within the comfort zone or vulnerable zone of personal is politics and form is
the content and expression of it. Both Anand and Sanjay are good friends of
mine and I have warm affectionate feelings for them.
I watched Nee Engey, a film about shadow puppeteers
in South India, after Hindustan Hamara, in both films protagonists use image
and sound to tell stories and organize screenings or performances. Suggesting
perhaps the past and present are more mutable than we think?
While making Nee Engey (Where Are You), I was literally
putting myself in the shoes of the shadow puppeteers and felt very much part of
their family. I treat shadow puppeteers as the original filmmakers, much before
photography and cinema was even invented. They 'projected' images on the screen
with vibrant sound design, while the audience saw it from the other side.
Everything that we filmmakers are doing today, they have done it. Even the
ideas of cuts, dissolves, tracks, zooming all are similar. The only difference
is the screening, distribution and the idea of audience has become much more
complicated and 'sophisticated'.
Near the end of the film “Nee Engey” artist Arumugha
Rao says
“The whole country has forgotten this art form”
Do you think it has, and does it matter?
It does matter and he says so in a metaphorical sense. It is
also a statement that everything dies and has a graph. I suppose everybody in general
feels like that. There are exceptions of course.
My Camera and Tsunami, is a
film about your camera lost in the ocean and the images held within it. In the
film you and the camera seemed to be welded together. It’s a montage of images
and words, observations of the mundane, the filming through windows, of time
passing, of friends and family but with a narrative. In deciding the structure
of this film, how did you approach it, do you work with a script or storyboard?
It took me some 5 years to figure out how to make a film on
this Tsunami experience. I had held onto the camera throughout the
drowning experience when the Tsunami struck. The camera got damaged and the
footage also got destroyed. There were many requests from friends that I should
make a film on my experience. I decided to work on the absence of image. Also
on the idea of displacement, from the notion of reality, which was central to
my experience of Tsunami. On the back of my mind, I was trying to break the
structure of documentaries, that is based on trying to create
visual evidence and arguing out a case. My point was there is nothing you
can prove, claim or even assert as reality. I wanted to pitch the film on
the ambiguous surreal, the absence of the image, with an abundance of image, to
evoke multitudes of possibilities. The film is also about my relationships,
rather my struggles with relationship and how I use my camera as a companion,
as a confidant, to engage with my dilemmas. It is an homage to a camera who was
my partner. I didn’t want to show images of Tsunami as I myself do not
associate with images filmed by others. My experience and my imagination of it is
different. But I wanted the audience to experience Tsunami in the film in their
own way. Also, for me Tsunami functions as a metaphor and is a visual and
energetic spectacle, a career of change, a kind of accident and
we all go through such moments in different times.
What are you working on next?
Oh, a lot. I seem to be weaving
my own cocoon and hope one day to fly like a butterfly. Two films, feature
length are almost ready, waiting for a proper sound
mix, subtitling and mastering. One film is titled Santhal Family to Mill
Re-call, is on the process and performance of an art event conceived by the
artist Vivan Sundaram as a collaboration with other artists, theatre
practitioners in Delhi, to re- present and re-interpret the
works of the one of the earlier artist Ramkinkar Baij.
The 2nd film is tentatively titled Dancing Memories based on
a 92 years old woman who was a dancer and actor in her younger days and who has
forgotten most of it. Through the process of the filmmaking, she
re-emerges as a performer.
Can you recommend three to five films that we should
definitely watch?
If you are talking of my films then,
Saa
Brahma Vishnu Shiva
My new film on the lady
and maybe all the others. :)
Thank you Ramani, for answering my
questions, and perhaps in future we can continue this conversation.
References and further reading
