Aliens As the Other in Post- Independence Hindi Cinema Madhavi Reddi
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Aliens as the Other in Post- Independence Hindi Cinema Madhavi Reddi Tis paper seeks to understand globalization as a way to interpret the shift in the portrayal of the Other as allegorized as aliens in Hindi science fction cinema. After a brief discussion of what constitutes science fction, the paper examines four science fction flms: Chand Par Chadayee (Sundaram 1967), Wahan Ke Log (Ansari 1967), Koi…Mil Gaya (Roshan 2003) and PK (Hirani 2014). A comparison is drawn between the flms produced in the twentieth century and those produced in the twenty-frst, noting the vilifcation of aliens in the former and the positive characterization in the latter. Tis shift in the portrayal of aliens is argued as a result of the liberalization of the Indian economy, the strengthening of the Indian military, and other factors that contribute to today’s globalized world. Madhavi Reddi is pursuing her Master's Degree in Communication, Culture, and Technology at Georgetown University. Her research focuses on the relationship between flm and society, with a particular focus on Indian flm. You can reach her at [email protected]. gnovis • 29 Volume 18, Issue 2 • Spring 2018 ndia’s relationship with the Other has flm, the genre emerges as a critical tool for evolved since its independence in 1947. commentary on Indian society. Here, the term Other refers to the way Iindividuals defne the people and things What is Science Fiction? around them who seem alien to their own social identity (Miller 2008, 588-91). Since Popular science fction scholar Vivian gaining its independence 70 years ago, Sobchack states that: India has loosened its guard when it comes to outsiders of all kinds. Te early decades One of the difculties inherent in post-independence were characterized by a discussing the science fction (SF) sense of discomfort and skepticism of the flm is that the critic has to deal with Other and a “desire to maintain the greatest the nagging conviction that he or she possible independence in the conduct of ought to defne it before describing it, India’s foreign afairs” (Ganguly 2009, 2). Te that the very act of defnition is, indeed, wars with China and Pakistan in the 1960s an academic requirement as well as a furthered the negative sentiment towards the personal cathartic. (1987, 17) Other, a sentiment that remained prevalent for several decades. Te Indian government In her book, Screening Space: Te American also projected Otherness on foreign goods, Science Fiction Film, Sobchack cites restricting their entry or heavily taxing defnitions of several science fction scholars them (Kohli 2006, 1251). It was not until and critics. Sam Moskowitz, for example, the liberalization of the Indian economy in defnes the genre as: the 1990s that India opened up its borders to the rest of the world and embraced what Science fction is a brand of fantasy the Other had to ofer, particularly in regard identifable by the fact that it eases to commerce (ibid.). Additionally, the the ‘willing suspension of disbelief ’ on strengthening of the Indian military, paired the part of its readers by utilizing an with the nation’s rapid growth in science atmosphere of scientifc credibility for and technology, provided a sense of security. its imaginative speculations in physical Tis sense of security allowed India to science, space, time, social science, and engage more confdently with the world and philosophy. (ibid., 19) changed the way India viewed the Other. Sobchack notes that this defnition is Tis evolving view of the Other has been weighted by Moskowitz’s “Catholic refected in Hindi science fction flm conception of science” (ibid.). Another through the personifcation of the Other as defnition of science fction that Sobchack an alien from outer space. In particular, a fnds to be “narrower” than Moskowitz is link between India’s portrayal of Otherness in that of British author and critic Kingsley science fction flm to the nation’s evolving Amis, perception of the Other is demonstrated to be the result of globalization within India’s Science fction is that class of prose social, economic, and political climate. Tis narrative treating of a situation that played a role in the shift from the vilifcation could not arise in the world we know, of the Other to characterizing the Other as but which is hypothesized on the an agent of positive change. By examining basis of some innovations in scene the portrayal of Otherness in science fction or technology, or pseudo-science or 30 • gnovisjournal.org The Other in Hindi Cinema pseudo-technology, whether human or superhuman abilities including the ability to extraterrestrial in origin. (ibid.) teleport, resize himself, and to assume the guise of anyone he wants. If defnitions of science fction are so heavily based on one’s own background and opinion Because the Indian populace was already (ibid., 17-9) a new defnition, inspired by accustomed to seeing features of science academic Darko Suvin (1979, 7-8) will fction in flms through Hindu mythological also be put forth for the purposes of this narratives, there was no pressing need to essay: science fction is a genre that depicts experience the fantastical through science supernatural beings, imaginary (sometimes fction. While Hindu mythological narratives inconceivable) technologies, and fantastical are considered to be part of religious history, settings. they, like science fction narratives, are forms of allegorical storytelling. Nevertheless, a The Monopoly of Hindu few production houses ventured into the Mythological Films territory of science fction, mirroring the world’s increasing interest in scientifc Regardless of what science fction might be, research and advancement. In Hollywood, it has never been a popular genre of Indian the 1950s onwards saw an increase of flms cinema (Khan 2014, 186). Tis is largely in the science fction genre in parallel to due to the fact that the Hindu mythological the beginnings of the Atomic Age, Space drama genre already had the monopoly in Race, and the Cold War (Mubarki 2015, the flm industry (ibid.). If the ingredients 249). Addressing societal concerns through that make a science fction flm include the lens of science fction, particularly via supernatural beings, imaginary technologies, flms such as Te Day the Earth Stood Still and fantastical settings, then it is not a (Wise 1951) and Te Ting from Another stretch to say that these mythological genre World (Nyby 1951), allowed flmmakers to flms ofered the same. A prime example is comment on the times without pointing the popular flm Mayabazar (Reddy 1957), fngers at specifc populations (ibid.). originally made in Telugu and subsequently into several Indian languages (including Tough India remained neutral for much Hindi). Tis flm incorporates many features of the Cold War (Prabha 2016, 150-1), the of science fction flm though it is set during country’s position as a newly independent the Mahabharata era, a key time in Hindu nation increased anxieties around religious history. For example, the female other countries’ military and scientifc protagonist Shashirekha uses a magical box advancement. In response, Hindi flmmakers to contact her lover, Abhimanyu. Tough also utilized extraterrestrial creatures to we have Skype and FaceTime today, this metaphorically represent these new tensions was certainly an inconceivable technology with the Other. Tough flms like Mayabazar in the 1950s. Suspension of belief in this (Reddy 1957) included supernatural beings technology was attributed to acceptance like Krishna and Ghatotgacha, these that such devices existed within the realm characters were not considered aliens, as of Hindu mythology. Te flm also housed they were already part of the known realm several super-humans, one being Krishna, of beings in Hindu mythology—humans, who is an incarnation of Lord Vishnu animals, Devas (Gods) and Asuras (Demons). and the other being the friendly demon, Te transition from mythology into science Ghatotgacha. Ghatotgacha has several fction came when the supernatural beings gnovis • 31 Volume 18, Issue 2 • Spring 2018 were no longer borne of religion, but rather of outer space, but rather from a “neighboring science. Recognizable characters outside of country” (Ansari 1967). In truth, Anil cinema, such as Ghatotgacha, were replaced partnered with the neighboring country’s with aliens that were manifestations of only government and dressed up his minions as the flm director’s imagination. Additionally, creatures from Mars to deceive the Indian mythological flms took place in known time government in order to gain control of the periods of Hindu religious history and were country. In the fnal scene after Agent Rakesh set either on Earth, heaven, or hell. Science uncovers Anil’s plot, his boss congratulates fction narratives, however, occurred in him saying “Rakesh zindabad,” (“long live galactic spaces such as the Moon, Mars, and Rakesh”) (ibid.). Agent Rakesh patriotically other celestial bodies. Tis clear distinction replies “No, motherland zindabad” (“Victory is illustrated in the Hindi science fction to the motherland”). His victory embodies flm Chand Par Chadayee (Sundaram 1967) an invincible India against the foreign threat when the flm’s protagonist, Captain Anand, (ibid.). asks his alien abductor if they are going to heaven. Te Lunarian abductor replies, Chand Par Chadayee follows astronaut “this is not heaven, it is space” (ibid. 1967). Captain Anand (Dara Singh) who is sent Tis transition from religion to science to the Moon on an assignment to rescue secularized the Other and created a shift in an abducted scientist. On the way, he too the diegesis of these flms from religious is abducted by Lunarians and is sentenced history to modern and futuristic times. to death by the Moon’s court of law. Death sentences are conducted by pitting the Military Undertones in 1960s accused against a monstrous space gorilla Science Fiction Film in a fght to the death.