PIYUSH ROY
Recently, I got an unusual forward in my inbox sourced to the ‘Sikh Council UK’ with guidelines on how to protest against a new Hindi-Punjabi film, Nanak Shah Fakir. It suggested that those who wished to protest outside their local cinemas could gather as ‘a small well-disciplined picket organised in cooperation with the cinema and the authorities to express the community’s concern against the film to other viewers.’ The request listed a four-point objection that argued that the film’s makers had not followed traditional practises during its making, it had not been cleared by the Sikh religious authorities in Amritsar, it had already been banned in some places in India and that artistic freedom of expression should not offend religious sentiments.
Given the assurance of a ‘peaceful’ protest, I headed to an Edinburgh multiplex, secure that interested viewers will not be harassed or forcibly stopped from viewing. In a 750-seater theatre, there were two other viewers in all! Had it been an Indian multiplex, the show would have been cancelled for not meeting the minimum quorum of five. I didn’t encounter any protesters, but the film was taken off the theatre the next day, perhaps due to lacking audience attendance than any tangible threat.
The show I had gone to was one a sunny Sunday noon and the languorous pace of the film did induce a few winks. Post interval, it however turned into a fairly educative experience. The film has an impressive pan-Indian shooting canvas with locations ranging from the Himalayas in the north to the southern oceanic shores and the Rann of Kutch in the West. A welcome surprise was to see Guru Nanak’s character leading a massive ‘kirtan’ gathering off the Puri beach. The moment had been preceded by an authentic depiction of the interiors of the Jagannath Temple and its ritual aarti enacted on a grand scale attended by Nanak Dev. The sequence culminated with a divine revelation that had stars in the sky interestingly reconfigure to create an image of Lord Jagannath (for a split second) before morphing into the sacred ‘Sikh’ symbol of ‘Onkar’.
The film’s sets and costumes are fairly period considerate, though its episodic nature of unravelling may give one the feel of watching an ambitious TV epic on the big screen. In deference to myriad counter-opinions, potential restrictions, hurt sentiments and specific devotee concerns that no human being is capable of enacting a divine identity or a God avatar, the film’s makers imaginatively present Guru Nanak’s character as a guiding voice or a human shadow with a halo, to further heighten his mystic aura. We never see his face as a baby, a young boy, an adult or as an aged master in the near two-and-a-half hour long film.
The reverence accorded is so exalted that while for authentic biopic seekers it does deny the possibility of nuance or a more humane engagement (a la recent Hollywood films on Biblical prophets like Moses and Noah), I couldn’t find a single scene or even a shot that in any way could even hint at insulting or belittling the founder of the Sikh faith. The film is made by a Sikh director, it features many Sikh actors and singers singing the teachings of Nanak Dev (some of which are rendered by Padma Vibhushan Pundit Jasraj), and the film’s opening credits and posters indicate it being blessed by one of the most influential Sikh power centres, the Akal Takht.
So what exactly is problematic and why the many calls for a ban? I wonder how many of those protesting against the film have actually seen it, as I am yet to come across any strong critique of its liberties or failings for justified censure. One of the online anti-blogs on the film stated that ‘even if Guru Nanak’s face wasn’t shown, it was still unbearable to see his wife or parents being acted by human characters’. It argued that the Sikh community will never accept any human, however good or great the actor, to play ‘holy’ characters like Mata Sulakhni (Nanak’s wife) or Bebe Nanki (Nanak’s sister and first disciple).
Fair enough, but then, will accommodating such objections not completely de-link ‘holy’ lives from the domain of a far reaching mass medium like cinema, which could make an influential contribution towards taking their life and teachings to so many across the globe, beyond primary followers. I definitely returned educated about the life and times of Guru Nanak Dev Ji, with ample inquisitiveness kindled for a greater informed engagement with the ideas of Sikhism, and a deeper understanding of its foundational prayer– Ek Onkar Satnam…
Guru Nanak travelled way beyond the geographical boundaries of his state (Punjab) and the Indian sub-continent to spread the message of equality, peace and ‘Ek Onkar’ (There is, but one God!) and hence was reverentially referred to as a ‘shah’ by the Muslims and ‘fakir’ by the Hindus. Backed by arresting visuals, a moving soundtrack (helmed by A.R. Rahman), competent acts and adequately explanatory subtitles, Nanak Shah Fakir, makes an honest and faithful attempt to take his message beyond the Sikh community. It is natural to be cautious and possessive about institutions and inspirations we love or venerate, but for a larger, meaningful and contextual engagement relevant to our changing times isn’t it also necessary to share and accommodate relevant alternate imaginations around them…
