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SUSMAN (Der Kern)

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SUSMAN (Der Kern) SUSMAN (Der Kern) ausgezeichneten Schauspieler sehr zum Vor• teil, daß er mit dem Webstuhl umgeht, als Indien 1987; Produktion: Association of hätte er sein Leben in diesem Beruf vei— Co-operation/Apex Society of Handloom- bracht. Als Resultat eines verwickelten und Sahyadn Fi 1ms Production; Regie, manchmal verwirrenden Machtspiels in der Produzent; Shyam Benegal, Buch: Shama Kooperative arbeitet Ramulu jetzt für den Zaidi; Kamera: Ashok Mehta; Ton: S.W. ehemaligen Sekretär der Gesellschaft, der Deshpande; Musik; Sharang Dev, Vanraj sich selbst in seine Position erhoben hat. Bhatia; Ausstattung: Nitish Roy; Kostüme; Als eine ehrgeizige Regierungsangestente Sushama; Schnitt; Bhanudas Divkar; ins Dorf kommt, um nach den besten Designs Regieassistenz: Joy Roy; ausführender für eine Pariser Ausstellung zu suchen, ist Produzent: S.K.Misra; Darsteller: Om Puri sie beeindruckt von Ramulus Arbeit und gibt (Ramulu), Shabana Azmi (Gauramma), Neena seinem Arbeitgeber den Auftrag für die Sei• Gupta (Manüira) sowie Kulbhushan Kharbanda, denstoffe. Die Entscheidung führt zu Eifer• Mohan Agashe, K.K.Raina, Annu Kapoor, süchteleien bei den Mitgliedern der Koope• Harish Patel, IIa Arun rative. Originalfassung (Hindi) mit englischen Die Situation wird weiter kompliziert, als Lintert ite In Ramulus Frau ihn überzeugt, gegen sein ei• Format; 35 mm, Farbe genes Gewissen einen Teil der kostbaren Länge: 140 Minuten Seide für den Hochzeitssari ihrer Tochter beiseitezuschaffen. Der Betrug wird ent• deckt, und Ramulu fällt in Ungnade. Die Innalt: Tochter heiratet und zieht in eine nahege• legene Stadt, wo ihr gefühlloser Ehemann an 'Ikat'(binde und färbe) ist eine der ausge• einem modernen mechanischen Webstuhl arbei• klügeisten Webetechniken in Indien. In SUS• tet; aber die Bedingungen dort sind furcht• MAN erleben wir die Freuden und Leiden ei• bar, das verheiratete Paar muß einen Raum ner Familie von 'Ikat'- Webern, die in in einer Blechhütte mit anderen Arbeitern Pochampally (einem führenden Zentrum dieser teilen, und die Unruhe unter den Arbeitern Kunst) in Andhra Pradesh lebt. Die Familie führt zu Straßenaufständen. besteht aus Ramulu, dem Vater, Gauramma, Trotz der Bestechungen, Betrügereien und der Mutter und ihren beiden Kindern Chinna, dem Diebstahl, die in der Handwebeindustrie einem Mädchen im heiratsfähigen Alter und fast selbstverständlich sind, arbeitet Ra• Parshuram, einem Schuljungen. Bei ihnen le• mulu in der traditionellen Weise weiter, um ben Ramulus jüngerer Bruder Laxmayya und schließlich in Paris auf die Fragen eines seine Frau Janaki. franzosischen Journalisten zu antworten. Obwohl Ramulu ein ausgebildeter Weber ist, Benegals Thema ist: der traditionellen ist er nicht unabhängig, sondern an den Kunsthandwerker muß nicht nur überleben, 'Meister-Weber' Narashima, seinen entfern• sondern auch würdig leben können; denn es ten Onkel, gebunden. SUSMAN zeigt verschie• ist der Webemeister, der 'den Kern seiner dene Hintergründe aus dem Leben dieser Cha• Seele' in sein Gewebe gibt. raktere. DER KERN ist am schönsten in den Sequenzen, in denen wir einfach den Protagonisten bei Kritik: der Arbeit beobachten, aber Senegals Expose über die untergründigen Machenschaften in Vor zehn Jahren drehte Shyam Benegal der Handwebeindustrie werden das westliche Manthan, einen Film über eine Milch-Koope• Publikum faszinieren. Der Film ist ein we• rative, finanziert von Mitgliedern dieser nig lang, aber in schöner, klarer Farbe Kooperative. Nun hat er mit SUSMAN einen aufgenommen und kann sich starker Darstel• ähnlichen Film vorgestellt, für dessen Her• lungen rühmen. stellungskosten die Handwebstuhl-Weber im Staate Andra Pradesh aufkamen. Wieder ein• Aus: Variety, New York, 17.6.87 mal ist es Benegal gelungen, die Probleme, denen seine Geldgeber sich gegenübersehen, objektiv zu beleuchten. Das Resultat: ein weiterer glänzender Film dieses durch und Biofilaosraphie durch interessanten Regisseurs. Die zentrale Figur ist Ramulu (Om Puri), Shyaa Benaga 1, geb. 14.12. 1934 in Hydera• ein Webemeister, dessen Seidendesigns wun• bad (Andra Pradesh); Studium an der Osmania derbare Kunstwerke sind; es gereicht diesem University von Hyderabad; M.A. in Ökonomie. 97 Begründer des Cine-Clubs von Hyderabad; von sehe Kinostars erst bekannt. Bis auf eine 1959 bis 1973 als Assistent und Ideenlie- Ausnahme sind alle seine Filme in Hindi. ferant, dann als Regisseur bei verschie• denen Werbefirmen tatig. In vierzehn Jahren Dokumentär?ilme (Auswahl): dreht er über 600 Werbefilme und 26 Doku• mentarfilme. 1969 Dozent am Film and Tele- 1967 A Child of the Streets vision Institute of India (FTII) in Poona Close to Nature und Dozent für Massenkommunikation am Bha- 1968 Indian Youth: An Exploration van College. Aufenthalt in Amerika und Eng• Sinhasta Or the Path to Immortality land. In Boston Koproduzent der Fernsehsta• Poovanam (Der Blumenweg) tion WGBH, in New York Mitarbeit am 'Child- 1969 Horoscope for a Child ren's Television Workshop'. Mit seinen 1971 Pulsating Giant dortigen Erfahrungen drehte er 1974 in In• Steel: A Whole New May of Life dien fünf VorschulProgramme für Kinder. Tha la and Rhythm Shyam Benegal gehört zu den wichtigsten Sruti and Graces of Indian Music Vertretern des indischen 'New Cinema'. Mit Raga and the Emotions seinem ersten Spielfilm, Ankur (Der Setz• 1972 Power to the People ling, -1974), und einigen darauffolgenden Foundations of Progress Filmen schuf er eine Art Trilogie der Un• 1974 The Quiet Revolution terdrückung. Die meisten seiner Filme waren Ba 1 Sansar ökonomisch sehr erfolgreich, obwohl sie so• 1976 Tomorrow Begins Today: Industrial ziale und politische Konflikte zum Thema Research haben. Durch sie wurden auch einige indi- Epilepsy Epilepsy 1982 Satyajit Ray, Filmmaker Jawahar la 1 Nehru Spielfi line: 1973 Ankur (Der Setzling) 1975 Charandas Chor (Charandas, der Dieb) Nishant (Ende der Nacht) 1976 Manthan (Butter machen) 1977 Bhumika (Die Rolle), EineFiImschauspilerin versucht ihr Leoen in die Hand zu nehmen 1 978 Kondura (Der Ta 1 i sman)/Anugraham (=Telugu-Version), Die Zerstörung einer jungen Frau durch religiose Unterdrückung Junoon (Besessen), 1980 Kalyug (Das Maschinenzeitalter) 1982 Arohan (Aufstieg) 1983 Mandi (Der Marktplatz) 1985 Trikal 1987 SUSMAN 98 .
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