{"id":3358,"date":"2016-05-02T14:37:55","date_gmt":"2016-05-02T09:07:55","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3358"},"modified":"2026-07-17T20:30:29","modified_gmt":"2026-07-17T15:00:29","slug":"manto-movie-biopic-review-nandita-das","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3358","title":{"rendered":"Manto Review: Alcoholic, Absent Father, Dazzling Writer… How to Get a Biopic Right"},"content":{"rendered":"\n

M<\/span><\/p><\/div>

idway through Nandita Das\u2019s <\/span>Manto<\/span><\/i><\/a>, the biopic of Indian-Pakistani writer, Saadat Hasan Manto, I was reminded of <\/span>Sanju<\/span><\/i>. <\/span>\n\nI don\u2019t intend to insult <\/span>Manto<\/span><\/i>\u2019s emotional honesty by invoking <\/span>Sanju<\/span><\/i><\/a>, the very definition of manipulative dishonesty. But I doubt that there will be any criticism of the kind of hagiographies we are used to, which is as scathing as <\/span>Manto<\/span><\/i>. Although, both <\/span>Sanju<\/span><\/i> and <\/span>Manto<\/span><\/i> exist to serve celebrated men, yet <\/span>Manto<\/span><\/i> refuses to exalt or exonerate its protagonist. If <\/span>Rajkumar Hirani<\/span><\/a> went out of his way to insist that a naive Sanju be forgiven for his \u201cmistakes\u201d, then Das almost makes a statement against Hindi biopics by refusing to look away from Saadat Hasan\u2019s flaws just because he was Manto.<\/span>\n\nEven before <\/span>Sanju<\/span><\/i>, biopics in Hindi cinema have long followed a tried-and-tested formula, trundling along the predictable \u201crags to riches\u201d arc. Most Hindi biopics, like <\/span>Mary Kom<\/span><\/i>, <\/span>Bhaag Milkha Bhaag<\/span><\/i>, <\/span>MS Dhoni<\/span><\/i> or even <\/span>Gold<\/span><\/i>,<\/span><\/a> usually cram a lifetime\u2019s worth of flaws, struggle, and sacrifice into under 140 minutes, only to lead up to that one moment of exceptional achievement. Since these biopics exist to evoke unfettered pride and awe at the resilience of men who go beyond the limitations of humanity, their imperfections are glossed over. Barring exceptions (<\/span>Neerja<\/span><\/i>, <\/span>Shahid<\/span><\/i>), most <\/span>biopics<\/span><\/a> are hardly rooted in the reality of the life and times of its protagonists. <\/span>\n\nDas\u2019s <\/span>Manto<\/span><\/i> is having none of that. Das\u2019s Manto is a dazzling <\/span>writer<\/span><\/a>, betrayed Indian, troubled alcoholic, and an absent family man in the backdrop of a divided nation. <\/span>\n\n

Even in 2018, we find writers and activists, critical of the establishment having their books pulped, being branded \u201curban Naxals\u201d and placed under house arrest, and in some extreme cases, killed.<\/p><\/blockquote>\n\nManto <\/span><\/i>traces the four definitive years in the life of the Urdu writer \u2013 two years in India and the two after he moved to <\/span>Pakistan<\/span><\/a>. From the beginning, it\u2019s evident that Das\u2019s razor-sharp focus isn\u2019t meant to familiarise or inspire audiences with the legacy of Manto; instead it peers into the timelessness of literature and mourns the consequences of writers speaking truth to power. If anything, it\u2019s an ode to Mantoiyat, and its continued relevance. <\/span>\n\nManto\u2019s<\/span><\/i> almost 120-minute-runtime is interspersed with five of Manto\u2019s short stories, re-enacted with a surreal touch. It opens with \u201cDus Rupay Ka Note\u201d, a story centred around the 15-year-old <\/span>prostitute<\/span><\/a> Sarita, who uses her fascination of cars to distract herself from the depravity of her life. And it then neatly cuts to Safia Manto (a luminous Rasika Dugal) reading out the story in present. It launches into \u201cSau Watt Ka Bulb\u201d when Manto (an unforgettable Nawazuddin Siddiqui) lights his cigarette while walking alone on a dusty lane thronged by prostitutes. It\u2019s through these stories \u2013 written before the Partition in India \u2013 that Das lets us gaze inside the mind of the author. An author who could bring out his pen and spin prose almost on command, and fictionalised the grief of those around him. <\/span>\n\n\"Manto\"\n

\n

Manto\u2019s almost 120-minute-runtime is interspersed with five of Manto\u2019s short stories, re-enacted with a surreal touch.<\/p>\n

Image Credit: HP Studios<\/p>\n<\/figcaption>\n<\/figure>\n\nFor a film set in 1940s India and Pakistan, Das is sparse with detailing \u2013 but she lets us feel the uncertainty of the period through its circumstances, like a conversation between two <\/span>Muslims<\/span><\/a> at a shoe shop debating whether they should emigrate to Pakistan, or Manto having to carry a <\/span>Hindu<\/span><\/a> and a Muslim cap to avoid the temper of mobs, and the divisiveness of religion instantly melting in the presence of a Bollywood star \u2013 as relevant then, as today.<\/span>\n\nBut it\u2019s in the second half, after Manto moves to <\/span>Lahore<\/span><\/a>, that the film drives home the realisation that we\u2019ve hardly progressed from the time when he was alive. Back then, Manto faced serious legal troubles for writing stories that criticised the one-note narrative of Indian Independence. Even in 2018, we find writers and activists, critical of the establishment having their books pulped, being branded \u201curban Naxals\u201d and placed under house arrest, and in some extreme cases, killed. <\/span>\n\nIt\u2019s in this period of Manto\u2019s life, when he\u2019d all but resigned to his fate, with work drying up and <\/span>alcoholism<\/span><\/a> crippling his sense of duty, that the film tries harder to understand him through the context of his work. Besides \u201cKhol Do\u201d and \u201cToba Tek Singh\u201d, <\/span>Manto<\/span><\/i> uses a chilling rendition of \u201cThanda Gosht\u201d (Cold Meat) \u2013 a story about a <\/span>Sikh man<\/span><\/a> who rapes the corpse of a woman \u2013 to reflect on an intolerant society. But even then, the film doesn\u2019t paint him as a hero. The fact that Manto was largely oblivious to the needs of his family is spelled out throughout the film, as in a scene where he spends the money meant for medicines for his ill daughter on alcohol. <\/span>\n\nGoing in, I\u2019d expected <\/span>Manto<\/span><\/i> to provoke and make a statement at every opportunity. What I got instead, was an unflinching portrait of a man who despised taking the middle road. <\/span>\n","protected":false},"excerpt":{"rendered":"

Most Indian biopics are hagiographies, glossing over the imperfections of their protagonists. Nandita Das\u2019s Manto is none of that. Her Manto is a dazzling writer, betrayed Indian, troubled alcoholic, and an absent family man in the backdrop of a divided nation.<\/p>\n","protected":false},"author":103,"featured_media":3361,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[6469,6480,6481,6482],"class_list":["post-3358","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-manto","tag-manto-biopic","tag-nandita-das","tag-nandita-das-biopic"],"yoast_head":"\nManto Review: Alcoholic, Absent Father, Dazzling Writer... How to Get a Biopic Right<\/title>\n<meta name=\"description\" content=\"Most Indian biopics are hagiographies, glossing over the imperfections of their protagonists. Nandita Das\u2019s Manto is none of that. 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