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BLASTFROMTHE PAST

Bara 1980

Photo: Courtesy www.chitraloka.com

A landmark film Bara excelled for its realistic approach

“Bara”, the 1980 film was produced and directed by M.S. Sathyu; it became a wonderful metaphor for the famine-struck politics of the country. The film starkly exposed the times. In fact, critics hail it as a film that is unparalleled in the 75-year history of Kannada cinema; no other film achieved what it did in terms of critiquing the political system. M.S. Sathyu, who created a niche in the Indian cinema with “Garam Hawa” (a classic on the Partition of India) and “Kahan Kahanse Gujar Gaya” transformed “Bara” (Famine) a novelette by Dr. U.R. Ananthamurthy into visual poetry, with striking metaphors. Much of what the film achieved is owing to the stunning screenplay by Javed Siddiqui and Shama Jaidi.

The novelette itself has lot of potential — at the outset it is the writer’s lucid understanding and concern about the socio-political dynamics in a drought-stricken district of Karnataka and the challenges and dilemmas a bureaucrat faces in such a situation. This apart, it is a novel that speaks of the drought of righteousness.

“Bara” received the first best film award by the Government of Karnataka and received Film Fare Critics award for the best movie when it was released in Hindi as “Sookha”.

Ananth Nag, one of the finest actors of Kannada, puts out a sterling performance. He is convincing as the struggling government official who resists being a mere puppet in the bureaucratic set up. Lavlin Madhu who plays the role of bureaucrat’s frustrated wife is okay. She is frustrated with her ever-busy husband and Pankaj Dheer as friend of this idealistic bureaucrat justifies his role with his subtle performance.

C.R. Simha, effortlessly slips into the character of advocate Bhimoji. The film has entirely been shot in the drought-struck regions of Karnataka. Sathyu has tried to expose the interference of politicians even when it concerns distribution of food to calamity-hit areas despite the efforts of the idealistic administrator. Satishchandra, the Deputy Commissioner is desperately trying to get relief for the people in the midst of factional squabbles.

The Chief Minister and Home Minister Rudrappa are at loggerheads. While the Home Minister has the support of Superintendent of Police and the president of Grain Merchants Association, the Chief Minister has the support of the local, self-styled politician Bhimoji.

The political conflict frustrates the efforts of Satishchandra. When all efforts to find water fail, Satish Chandra decides to seek the help of water diviner. He strikes a water source, but jubiliation is short lived as the squabbles between Bhimoji and Gangadhara finally results in the communal riot forcing the Superintendent of Police to open fire.

Set against the backdrop of a drought-hit area, “Bara” picks momentum from the very beginning. Wide angle shots of scorching sun over a parched landscape and dying animals greet viewers in the opening sequence. “Bara” is a grim reminder of the sinful times we live in. Technically, the film is beautifully shot with no-nonsense camera work of Ashok Gunjal.

Music and background score are used skilfully as and when required. Moving images including rolling of an empty earthen pot in the opening shot, a vendor pulling a cart full of aerated coloured drinks, when people are craving for every single drop of water; juxtaposing this with drilling a bore well as indicated by the water diviner, while father of DC performs a holy rite for water are striking.

The film is noteworthy for its realistic approach.

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