When Punjabi cinema meets renaissance

A PhD in English Literature from PU, Rashi Nair, currently in Dubai, stares at the screen - riveted. It is not a classical French or European film that has her attention. It is a Punjabi film, Chauthi Koot, that has her in its thrall. Later, Rashi compares the film, based on the 1984 riots, with some of the most critically acclaimed international films she has seen.
While '84 is an oft-repeated theme in the Punjabi film industry- Chauthi Koot skips the obvious to underline the subtle. It is about the interplay of fear, guilt and humanity minus the gore. Quite unlike the usual fare.
Surprisingly, director Gurvinder Singh is matter of fact about it. In fact, a question on "hat ke" Punjabi films catches him off guard and he buys time by hanging up. Later, he explains his reticence saying, "I don't watch Punjabi films so when someone asks me to comment I don't know what to say. If a stereotype has been broken it is irrelevant to me because I am not concerned with trends. It was good story by Waryam Singh Sandhu."
But can a filmmaker rest easy knowing fully well that he is breaking the rules? "I don't consider the commercial angle too much. I just want to make a good film and my audience is Pan Indian and from abroad. People who like good work will watch it," Gurvinder says.
Bambukat, another Punjabi film straying from the beaten path of NRI swashbucklers with spiked hair and glossy cars also captured the imagination of Punjabi viewers. A delightfully sensitive story on the equations between family members depending on their financial grounding and aspirations - the film hits home - despite the old world setting. What's more - the film has a message but is not preachy, which is exactly how director Pankaj Batra, from Chandigarh intended it to be.
"Concept should be the hero of the film. You need to work step by step. Excitement is necessary for work like this. You need to get a kick," he says - enthusiasm bubbling over in his tone.
Batra acknowledges commercial compunctions but tries to treat the subject in the most light-hearted manner possible. He knows films are meant to make to rock the box office, but sticking with stereotypes is not his style - not anymore at least.
"Stereotypes have been tolerated for so long because of filmmakers. The audience is ready for intellectual stimulation, it is only the filmmakers who were apprehensive," he says.
While diverging from set formulae, Bambukat is also deeply rooted in Punjabiyat and Pankaj feels this quality is a must in regional cinema. "Regional films must be connected with culture," he explains.
Actress Kulraj Randhawa, who did the lead role in Needhi Singh, knows how important it is to represent culture and also challenge some of its most deeply entrenched norms.
Doing Needhi Singh, a film based in a rural setting, without a hero to anchor it would have been daunting. Instead, she finds herself exhilarated.
Kulraj, who plays a woman facing discrimination and vigilantism, says Punjabis have seen the world and now want some novelty.
"Previous generations did not have such exposure. So films showed them how it is like abroad or in places they could not reach. Now we want the stories of Punjab. Culturally, Needhi Singh is a thought changing process. We didn't let go of entertainment factor but the message was strong," she says.
Filmmaker Anurag Singh, who has given Punjabi cinema some of its highest grossing films such as Punjab 1984 and the Jatt & Juliet series, says films are reflecting social change. "This is the result of what has been happening for the past two years. There is an atmosphere of revival and growth," he says.
For all his success, Anurag finds himself in conflict over content and entertainment. "Entertainment quotient is a personal call. Some people are not concerned about entertainment and I fluctuate between the two," he says.
Actor Dev Kharaud, who moved from theatre to films and essayed a character inspired by Balwant Singh Rajoana and gangster Rupinder Gandhi, among others, feels the change was inevitable. But he cautions against the change itself becoming a stereotype.
"Comedy ruled the roost for a few years and only seven to eight artists were getting roles. Then the 1984 theme was repeated. Now, we might find ourselves with a profusion of films based on old-world Punjab," he says.
Armed with rich experience in theatre, Dev is bold about the choice of films and characters. And true to the ethos of theatre, he feels films are relevant only if they precipitate social change.
"Cinema is entertainment but a message has to be conveyed. If that is not done, it is irrelevant. The aim should not be forgotten," he says.