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A Vivid Potrayal of the Indian Middle Class: Through the Lens of Habib Faisal

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A Vivid Potrayal of the Indian Middle Class: Through the Lens of Habib Faisal 1 A Vivid Potrayal of the Indian Middle Class: Through the Lens of Habib Faisal Afifa Baig & Garima Srivastava Abstract: This research paper is an effort to study and analyze the creative expressions of a comparatively recent Hindi film director, Habib Faisal’s directorial breakthroughs, ‘Do Dooni Chaar’(2010, Hindi) and ‘Dawat-e-Ishq (2014, Hindi). The researcher has used a descriptive type of research by undertaking a case study and content analysis of these films. The objective of the study is to explore the characteristics and intrinsic appeal in Faisal’s signature style and to pay attention to the underlying theme of the film. Faisal follows the path carved by renowned filmmaker Hrishikesh Mukherjee. He has taken a middle path between mainstream cinema and the harsh realism of art cinema. He has toned down the entire pitch of the movies, keeping the narrative low-key, even as the story moves down a path of conflict between crass commercial interests and social responsibility with happy ending with reservations. Faisal has addressed myriad of issues simultaneously in one cinematic experience i.e. film. He has created a real, wholesome world within his microcosmic outline of stories, adding gems to the lineage of middle-class films in Indian Cinema. Key Words: Direction, Middle Cinema, Symbolism, Characterization, Cinematic experience. A gentleman from Delhi who is basically a writer, Habib Faisal mostly portrays the narrow lanes of B town, local dialect and day-to-day challenges in a common man’s life. Faisal 2 continues the journey with his characters whether it is appreciated or not. Most of his films are not in the 100 crore clubs but he is still known for his interesting and incredible dialogues. He obtained a degree in Mass communication from Jamia Millia Islamia University. Before graduation, he got involved in theatre with Kirori Mal College’s (KMC) Society, Delhi. Faisal, in an interview, said that just like any urban middle class background where everyone wants to become a doctor or an engineer, he was also moving on the same path. Although, he was interested in medical stream but could not clear the medical entrance. While pursuing Mass Communication course at Jamia Millia Islamia, he got a chance to assist in a film ‘Electric Moon’ directed by Pradip Kishen and written by Arundhati Roy, which was released in 1992 (Vishwamohan and John, Behind the Scenes: Contemporary Bollywood Directors and their Cinema 347). To follow his dream of becoming a writer, he shifted to USA to pursue masters in fine arts in cinema and photography (Likhar, Habib Faisal para 2). After returning from the USA, he started working as a cameraman in NDTV and this is how the journey of passion started. Faisal has written many films like Salam Namaste, Tara Rum Pum, Jhoom Barabar Jhoom, all three films under the Yash Raj Films banner, but the film Do Dooni Chaar, his directorial debut, gained the highest popularity among all his films as it received Filmfare award for the best dialogues. Faisal garnered praises in the field of screenplays and dialogues. His authorship signalled through the presence of strong female characters and an attention to nuances of locations, characters, language and class. Vishwamohan and John also explain that, “Faisal’s oeuvre emerges at a period of key shifts in the Mumbai film industry. The impact of these changes is visible in the production and distribution strategies of Yash Raj films, the company under which Faisal has generated nearly all his filmic work. The changes that occurred in last decade or so include: hiring new directors, writers, marketing executives, production crew, introducing new stars, creating a new brand” (Behind the Scenes: Contemporary Bollywood Directors and their Cinema, 348). Faisal believes presenting true stories on screen rather than 3 reconstructing and moulding an actual script. In an interview he answers that true stories attracts him as he finds them perfect “Instead of finding a story in something that is created by a novelist or writer, which is screened through the prism of that writer here is a reality for me to apply my own filters and my own observations and life experiences” (Rosario, Residential Societies are a microcosm of Indian Polity para 3). The present paper explores the cinematic treatment of the middle class which constitutes a major part of Indian society but there are only a few directors who have taken the characters from this class as their subjects. Lack of glamour and no scope for show off are the apparent reasons for not considering life of a middle class man as themes of feature films in India. The paper aims to study the middle-of-the-road cinema of Habib Faisal with heart breaking irony and erudite sensibilities. It also examines the impact of tough competition and growing ambitions on the middle class value system. The paper further investigates the use of symbolism in creative visual portrayal of the theme of the film. Prasad in his book titled Ideology of the Hindi Film-A Historical Construction) analyses film-making as one of the greatest forms of art in the modern times. He examines various features or forms of narratives practiced in Indian Cinema. He also says that a film that showcases middle class scripts dominates the emergence of nuclear families. Middle-class mirrors the national identity and the core values of a society. Prasad elaborates on the detailed picture of Indian cinema rooted in our society as well as provides description about middle-class cinema, theoretical and actual portrayal of scripts and narratives styles (78-81). Ray in Our Films Their Films) expresses that creating a true film which actually touches the heart of audiences, it is necessary for film-maker to guide inconsistencies and presents most basic aspects of Indian life that are habit, speech, dress, manners, background and foreground in true sense. He feels that Indian film industry lacks its own unique style and misses the identity recognized as truly Indian. He analyses locations, sets, setting and costumes, as all these play a pivotal role in the films. As all these things attract audiences and create a deeper impact on their 4 minds (25-38). The observations of Ray may be seen in the creative outputs of Habib Faisal. Guneratne, in Rethinking Third Cinema describes ideas about third cinema theory and stresses cinema practicing in developing nations (like India). Indian films that highlight the issues of race, religion and discrimination are diminishing with high speed. But at the same time cinema of India is proving its own unique style of narration. However, he also says that narrative structure adopted in Indian cinema is influenced by Hollywood but still it has that potential that it depicts the Indian essence and has own unique characteristics (3-8). Somaaya, in Fragmented Frames–Reflections of a Film Critic after analysing different shades of Indian cinema finds out that change in the perception or in the perspective has taken place in this film industry. Her book showcases various aspects or reflections ranging like mythological, horror, theatre and many more and also discusses the real issues. She also says that in earlier times, writing on cinema was considered as ‘yellow journalism’ but now it is highly respectable and one of the most crucial professions in this industry (10-40). Monaco (How to Read a Film-Movies, Media and Beyond) explains film from different points of view such as an art, craft, science, tradition and technology. He says that all these facets are necessary to understand various perspectives or meaning a film conveys to its audiences. He closely examines the film’s narrative structure in comparison to other art and crafts like novel, painting, music, photography and many more (1- 25). This examination resulted in developing a view to know the ways a film communicates with its audience in such a manner that it should be clearly understood. Both Do Dooni Chaar (2010, Hindi) and Dawat-e- Ishq (2014, Hindi) have been analysed to understand the craft of the filmmaker on the selected parameters. The present research paper follows the qualitative research method. The two films undertaken for the study have been analysed using descriptive method. Two films of director Habib Faisal in which he has expressed powerful characters depicting typical middle class on the silver screen have been selected. The analysis takes Auteur theory of cinema as a base to 5 critically judge the narrative in the films chosen for this paper. Auteur is a French word which means ‘author. It is one of the film theories that describe the person who directs the movie is the author and the direction reflects his point of view. A French film director, Francois Truffaut, who was also a film critic and one of the founders of the French New Wave, said, “There are no good or bad movies, only good and bad directors.” He wrote an essay ‘A Certain Tendency in French Cinema’ in 1954 where he argued that film is a great platform for any director to showcase one’s personal ideas and hence, he could easily be regarded as an auteur (qtd.in Kidwai, Representation of Women in Hindi Cinema: A Comparative Study of Commercial and Parallel Cinema, 131). This film theory helps researchers to understand that representing a character on screen, viewpoint of the filmmaker is very significant. Researcher aims to ascertain a few parameters necessary to analyse these two films. The parameters chosen are: Characterization, Symbolism and Social Concern. The analysis of the films is based on connotative and denotative meaning of the image, vision, symbolism, themes, mise-en-scène, and narrative structure and technique of the film.
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