Mahananda Film Review
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Mahananda Film Review
Arindam Sil's film "Mahananda" (2022) draws inspiration from the life and works of Mahasweta Devi, a renowned author and activist who tirelessly fought for the rights of tribal and marginalized communities. The film showcases extensive research, presenting a non-linear narrative that focuses on Mahasweta Devi's unwavering dedication to her philosophy and ideals.
Gargee Roy Chowdhury portrays the fictionalized version of Mahasweta Devi as Mahananda Bhattacharya, an author married to Bidhan Bhattacharya (played by Debshankar Haldar), inspired by Bijon Bhattacharya, one of the founding members of the Indian People's Theatre Association (IPTA).
The film commences with a captivating sequence depicting the torture of Birsa Munda, a tribal freedom fighter, by the police within a dark prison. As he calls upon his followers to resist British rule, this scene sets the tone for Mahananda's journey. Throughout the film, Mahananda repeatedly immerses herself in the lives of people living in close connection with nature, seeking to understand their struggle and art of survival when denied access to societal resources.
Birsa Munda and, later, young leftist workers being hounded and silenced in jail before the Left Front formed the government in West Bengal find their voice in the writings of Mahananda, who is guided by her prolific husband at the start of her career. She realizes that more than the history written from the perspective of the powerful, it is the folk songs and traditions of people that contain a humanist retelling of events.
Years later, when Mahananda has abandoned her family to lead her life among the Adivasi people, a young PhD aspirant Mahaal (Ishaa Saha) is advised by her boyfriend Bihaan (Arna Mukhopadhyay), a leftist party worker, to make the author the subject of her research. When she reaches out for a meeting, the aged Mahananda initially taunts Mahaal for her lack of connection with the stark reality of the indigenous peoples, but then she gladly invites her to explore her lifestyle through the life of the Munda and Shobor people, as she makes it clear that without detailed knowledge of their lives, Mahaal will not be able to do worthwhile research on her works either.
Mahananda and Mahaal’s intimate conversations reveal a lot about how the tribal people, initially declared barbaric by the British rulers, have been exploited for years. As Mahananda, affectionately called Maa by the tribal villagers, reveals how her marriage fell apart owing to ideological differences, Mahaal, too, begins to sense Bihaan’s political agenda, which basically serves capitalist interests in the garb of communist ideology.
The parallel narratives here explore how women from all social and economic strata are targeted for flexing power. Eventually, the rape and murder of a tribal woman by party goons employed for land acquisition opens Mahaal’s eyes and she joins Mahananda in her movement to protect the tribal people and their lands.
Through dialogues and visuals of tribal uprisings, the film analyses the trajectory of a political history in which the idea of independence doesn’t have much significance for the tribal people. The subtly lit frames, dominated by earthy colours, sometimes turn into dreamy sequences depicting moments of major transition in Mahananda’s life.
While the visual composition occasionally adopts a theatrical tone, the moments of arguments and resistance are handled with restraint, effectively showcasing the dignity and ideological strength of Mahananda. Gargee Roy Chowdhury delivers a gripping performance, seamlessly portraying the transitions in Mahananda's character. As an aged and experienced woman, Mahananda is fearless, straightforward, and possesses the ability to see through layers, immediately dismissing Bihaan upon her association with Mahaal. Roy Chowdhury's masterful portrayal captures the signs of aging in her body language while shedding any trace of tenderness in her mannerisms and way of speaking, remaining true to Mahananda's fighting spirit.
Ishaa Saha exhibits growth as an artiste, delivering a grounded performance. Debshankar Haldar's portrayal comes across as natural, and Arna Mukhopadhyay does justice to his character of an opportunistic hypocrite and chauvinistic political party worker.
However, the over-the-top performances of certain minor characters occasionally disrupt the film's subtle tone. Additionally, some sequences from Mahananda's early life could have been omitted. Arindam Sil's political affiliation is evident through the unapologetic use of colors associated with different political parties, which may affect the film's impartiality. Nevertheless, Sil's commendable effort in recreating Mahasweta Devi's life emphasizes the importance of carrying forward her legacy, particularly in a time when the interests of minority groups are deliberately targeted and their voices suppressed.