{"id":5797,"date":"2016-04-20T21:48:31","date_gmt":"2016-04-20T16:18:31","guid":{"rendered":"http:\/\/13.201.39.237\/?p=5797"},"modified":"2016-04-20T21:48:31","modified_gmt":"2016-04-20T16:18:31","slug":"kalpana-uday-shankar-film-22-lakh-1948","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=5797","title":{"rendered":"Revisiting Kalpana, Uday Shankar\u2019s Film that Cost \u20b922 Lakh in 1948"},"content":{"rendered":"\nI<\/span> was 11 years old when I watched <\/span>Kalpana<\/span><\/i>, an experimental dance-drama on celluloid, by the father of modern Indian dance, <\/span>Uday Shankar<\/span><\/a>. It was in a government-owned theatre in Calcutta where <\/span>I sat with the entire Shankar clan \u2013 <\/span>Pandit Ravi Shankar was my father\u2019s musical guru and our families often met on special occasions<\/span> \u2013 <\/span>and tried to make sense of the two-and-half-hour film that was rejected by audiences when it was released in 1948. Today <\/span>Kalpana<\/span><\/i> is considered a rare gem, a masterclass in dance choreography, a riotous celebration of Indian performance arts: dance, music, and drama.\n\nThis story dates back to the early \u201980s. Pandit Ravi Shankar was in the city to receive an award, and the screening of <\/span>Kalpana<\/span><\/i> brought three generations of the incredibly talented family and their friends and followers together. <\/span>Guruji <\/span><\/a>dadu, as I called Pandit Ravi Shankar, was particularly fond of my parents. And his affection and generosity often translated into a special seat at intimate family gatherings such as this one.\n\nI didn\u2019t think much of the movie at the time: It was too long, too obscure. I did not get much of the expressionism that was at the heart of this \u20b922-lakh magnum opus. But I remember, I still could not take my eyes off the star of the show \u2013 Uday Shankar, the writer, director, and producer who also essayed the central character, Udayan. He appeared to be a <\/span>demi-god<\/span><\/a> who moved like the spirits \u2013 fluid as water, swift as the wind, and intense as fire. He occupied almost every frame. And every time he appeared, the screen lit up. Small wonder then that writer James Joyce once described Shankar as someone who \u201cmoves on the stage like a semi-divine being\u201d.\n\nUday Shankar was a self-taught dancer, who had gone to London in 1920 to study art. It was a chance meeting with legendary ballerina Anna Pavlova, that inspired him to study Indian art and sculpture in the British Museum and come up with his unique style of dance, which was a fusion of western theatrical elements and Indian movements and costumes. And <\/span>Kalpana <\/span><\/i>is a reflection of all these diverse influences, the only extant document of the life and work of a maverick genius.\n\nIn truth, <\/span>Kalpana<\/span><\/i> was a poorly veiled biography of the man who took Indian performance arts from the temples and hamlets, the durbars and gullies, and put them on the finest stages of the Western world in the 1920s. The film is the story of Udayan, a dancer driven by a single-minded obsession with setting up his own performance and teaching centre to promote Indian art and culture, and struggling to negotiate exploitative promoters. In between, it\u2019s a commentary on crass consumerism, mindless aping of Western cultures, <\/span>class<\/span><\/a> conflict, Mumbai being a \u201cdumping ground for the worst from Europe and America\u201d, and a love triangle that may have mirrored his own (Shankar\u2019s on-stage chemistry with Simkie, his French dance companion, is legendary, though he remained married to Amala Shankar until his death).\n\nBy the time Shankar made the film, he had experienced both dizzying stardom and crushing disappointment. For nearly a decade, he was the toast of the European and American artistic and elite society, travelling and performing with an entourage of musicians (including his younger brother Ravi Shankar who joined as an esraj player) and dancers, from his base in <\/span>Paris.<\/span><\/a> He was an incredibly attractive physical manifestation of the exotic Oriental that the West was just about discovering. And yet, in his own country, he was accused of desecrating traditional culture. His pet project, a dance institute in Almora, failed to take off.\u00a0 And he brought all his complex emotions to the film.\n\nShankar took himself as seriously as his art \u2013 the two were inseparable. He was a man consumed by the passion for dance, and in the film, he appears exactly as he was. In some of his relationships, he borders on the abusive when viewed through the prism of gender politics of our times. He voices his political opinions as freely as he heaps insults on the rich, scoffing at how the privileged class made small talk over the great Bengal famine and poked fun at Gandhi.\u00a0\n\nThere was that one scene, in which Shankar, dressed like Shiva, dances with his consort, played by his wife and dance partner Amala Shankar that has stayed with me. I was awestruck at how he blended elements of costume drama, folk and classical dance forms, with a keen sense of Western-style presentation, to create a spectacle. In another sequence, he made his knuckles dance, as ripples ran from the tips of his fingers to the rest of his body.\u00a0\n\n

Sometimes, he is a Van Gogh tormented by his inner demons.<\/p><\/blockquote>\n\nYears later, well past his prime, the award-winning cultural ambassador, explained the inspiration behind his signature set pieces in <\/span>an interview for Doordarshan<\/span><\/a>. He demonstrated his famous knuckle wave and Natraja move and explained how he had studied plaques, temple sculptures, and plates in books on Orientalism and Indian art to create the poses.\n\nToday, as Bollywood choreography continues to remain one of our most popular cultural exports, <\/span>Kalpana<\/span><\/i> is that chapter in history that needs to be rediscovered to understand how far we have travelled from that point in our cultural history. Some of that acknowledgement came in 2009, when it was digitally restored by <\/span>Martin Scorsese<\/span><\/a>\u2019s World Cinema Foundation, although it has also been mired in some controversy over who is the rightful owner of the <\/span>film<\/span><\/a>. But, it is available on YouTube for the world to rediscover this masterpiece.\n\nSeveral decades and life events past, I revisited<\/span> Kalpana<\/span><\/i>. This time around, I began to read deeper into the narrative of an artist who knows he is misunderstood and undervalued and realises that art has no true connoisseur or patron. I was reminded of Guru Dutt and his films that dealt with similar artistic anguish over moral and social decay. Shankar\u2019s <\/span>Kalpana<\/span><\/i> had a charming naivete in its urgency: \u201cHow can you not patronise the culture of your country,\u201d it seems to ask with righteous indignation. This is Shankar\u2019 personal reflection, born from the failure with his dance institute in Almora. He had hoped to restart the institute with the money from this film, an idea that didn\u2019t quite materialise.\u00a0\n\nAnd here\u2019s where the lives of two geniuses intersect. Dutt, who was born and raised in Kolkata, was a fan of Shankar\u2019s unique dance form and had perfected his own version of Shankar\u2019s \u201cSnake Charmer\u201d routine. He had also spent a few years at the doomed dance institute in Almora, that went down with almost all of Shankar\u2019s confidence and fortunes. Whatever remained, was destroyed in the debacle that was <\/span>Kalpana<\/span><\/i>.\u00a0\n\nIt is impossible for <\/span>Kalpana<\/span><\/i> to have worked at that moment in the country\u2019s life. Just a year after Independence, where India grappled with the aftermath of the Partition, facing poverty and starvation, the idea of patronising any form of art would have appeared ludicrous. Particularly obtuse would have been Shankar\u2019s dark expressionism, bordering on artistic insanity.\u00a0\n\nSometimes, he is a Van Gogh tormented by his inner demons. At others, he is Krishna, who is generous with his affections and appears as a divine lover in some of the choreographed pieces. Occasionally, in sequences that deal with the exploitation of farmers and labourers, he displays Chaplinesque humour and sarcasm.\u00a0\u00a0\n\nWhat astonished me about Kalpana<\/i>, is the courage that is on display, the audacity of imagination and ambition. I reminded myself, I was watching a one-man show, much like Shankar\u2019s elaborate stage performances that were showcased across the world for almost a decade between the \u201920s and \u201930s.\n\nSome of the greatest artists were discovered and cherished only after their death. Sometimes, they will have that one creation in their repertoire, that one book, one song, film, or painting that will be the greatest marker of their identity, only after being discarded in their own lifetime. Shankar\u2019s <\/span>Kalpana<\/span><\/i>, his disciple\u2019s <\/span>Kagaz Ke Phool<\/span><\/i>, share that tragic legacy.\n","protected":false},"excerpt":{"rendered":"

I was 11 when I first watched Uday Shankar\u2019s Kalpana, an experimental dance-drama, in a Calcutta theatre along with the illustrious Shankar family. I thought it was long and obscure. 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