Mid-seventies saw great turmoil and tumult pan India –– with events of far reaching consequence unfolding at scorching pace –– from the monumental railway union strike that crippled traffic to the Jayaprakash movement to imposition of the draconian Emergency.
In stark contrast, it was a period of renaissance in the eclectic Hindi film industry, when a simple man with an uncanny ear to the ground and background in advertisement became the flag-bearer of a new movement which changed the contours of filmmaking in the overtly commercialized Hindi film industry. The trail blazed by Shyam Benegal, father of what came to be known by many acronyms, parallel, middle of the road, off-beat cinema was successfully followed by someone who had already earned his spurs as a man wearing several hats. Girish Karnad, having vowed the world with the iconic play “Tughlaq” took on the mantle of directing “Godhuli”, his first Hindi film, (along with BV Karanth).
The story, based on a work by Munshi Premchand, is the strongest point of the less than two-hour-long feature, which was taken to greater heights by the screenplay (by Karnad and Karanth for which they won the Filmfare trophy) and centres on conflict between those who revere the cow and others who view as a source of income. The film was made both in Hindi and Kannada (“Tabbaliyu Neenade Magane”).
Set in an underdeveloped village in the vast rural hinterland, the story opens with Public Works Department workers taking measurements for construction of a road that is to pass through which is a common cow grazing ground and has a memorial dedicated to the son of the village landlord, who is respected by the populace, leading to upheaval and resistance. Venkatesh, village priest and teacher (Naseeruddin Shah), cautions restraint and counsels negotiations with Government agencies.
But this minor irritant is grossly exacerbated with the arrival of Nandan Gowda (Kulbhushan Kharbanda), son of the headman with his American wife, Lydia (Paula Lindsay). Bristling with ideas of modern farming and dairy development, he starts on the wrong note by drawing water from the baoli that is adjacent to the village temple, and which is considered auspicious by the villagers. Further, rumours spread about Lydia being a beef eater, primarily by a hot-headed, somewhat mischievous, holier than thou Gowda family lackey (Om Puri). To develop his dairy business, Nandan fetches some cows from his house, which is opposed by his mute mother, who fears their slaughter.
Incidents move fast as an aging cow is sent for the slaughter house. An incensed Venkatesh curses for termination of Lydia’s pregnancy and end of the Gowda clan. Matters reach the village panchayat, which hands a stiff punishment to Nandan, who performs the same in deference to his love for the land. His mother, shattered by the entire experience, does gau daan, donation of cows to the village priest, to ensure their protection, before she dies.
As the funeral procession winds its way through the dusty roads-superbly shot by cinematographer Apurba Kishore Bir; other crowd scenes are equally riveting and authentic. A teary eyed Nandan wants to participate but is unable to do so as his wife suffers labour pains (even as Om Puri gets his head shaved). Curse of the priest comes true, when the newborn’s survival is at stake because Lydia is incapable of breast feeding. A lactating mid-wife comes to their rescue.
The beleaguered Nandan is all set to pack up for good and while packing is underway his infant son’s survival is threatened been hungry for two days. A servant suggests that the milk of a cow now owned by Venkatesh can save the child’s life who initially refuses but relents after intervention by the villagers. The incident chastens the priest who repents and handovers all his cows to Nandan while urging him to bring back the ones sold to the dairy.
Nandan rushes but is unable to identify his cows amidst other ones calls them by their names in the midst of incessant bellowing –– the sounds superbly captured by SP Ramanathan who won the National Award for Best Audiography.
Naseeruddin Shah, Om Puri and Kulbhushan Kharbanda justified their selection but it was Puri who stole the show as his character had the wittiest dialogues penned by Sharad Joshi.
Genre: Social drama
Director: Girish Karnad and BV Karanth
Cast: Kulbhushan Kharbanda, Om Puri, Naseeruddin Shah, Paula Lindsay
Story: Based on Godhuli by Munshi Prem Chand
Screenplay: Girish Karnad and BV Karanth
Dialogues: Sharad Joshi
Trivia: Included in the 1984 International Film Festival of India. SP Ramanathan won the National Film Award for Best Audiography and Girish Karnad and BV Karanth won the Filmfare Award for Best Screenplay.
