KOLKATA: Emphasis on showcasing Trinamool’s achievements has overshadowed artistic and cultural essence of festivals.
Shooting at the iconic Tollygunge studios in Kolkata, popularly known as Tollywood, came to a grinding halt last weekend.
This came about after a section of technicians, all members of the Trinamool-backed Federation of Cine Technicians’ Workers of Eastern India (FCTWEI), decided to boycott a young director, Rahool Mukherjee.
His “crime”, technicians said, was filming parts of, “Lahu” in Bangladesh, a production registered with the Eastern India Motion Pictures Association (EIMPA), using technicians from that country.
Film technicians affiliated with the FCTWEI accused Mukherjee of depriving local talent by not hiring the requisite number of local technicians for his shoot in Bangladesh.
Mukherjee himself told The Sunday Guardian that “Lahu” was an India-Bangladesh production and its Bangladeshi producers decided to shift the shooting to their country after facing extortionate demands from the Tollywood guilds associated with the Trinamool-backed Federation.
The FCTWEI is an umbrella body of all sorts of people connected with the film and television industry. Trinamool Congress leader Swarup Biswas, the younger brother of Mamata Banerjee’s confidant and Cabinet Minister Aroop Biswas, is the president of the FCTWEI. Directors and actors are also members of the FCTWEI, which is considered an umbrella body.
Director Raj Chakraborty, a two-term legislator of the Trinamool Congress, and actor Deepak Adhikari, popularly known as Dev, a Trinamool Congress three-time Lok Sabha member, protested against the conditions imposed by FCTWEI. Since both are producers as well, other producers also supported them.
Several renowned Bengali film directors, like Raj Chakraborty, Srijit Mukherjee, Sudeshna Roy, Kaushik Ganguly and others gathered at the Technicians’ Studio and accused the FCTWEI of strong-arming them with stringent rules and contributing to the decaying condition of the film industry.
“Halting shoots without reason is very unfortunate, especially when work in the Bengali film industry has already dwindled. 90% of the work that used to happen in the Bengali film industry earlier does not happen anymore,” actor and Trinamool Congress MP Dev said. He also emphasised that the directors’ outrage against the technicians’ boycott was “not politically coloured.”
Well-known actor Prasenjit Chatterjee appealed for a resolution to the issue “out of love for filmmaking”.
“We are all emotional people. We cannot create if we do not love and respect each other,” Chatterjee beseeched, even as renowned Bengali actor and director Parambrata Chatterjee claimed that such stringent rules exist not in any other film industry in India but in Bengal. “Because of the Federation’s rules, Bengal is the only place where producers are forced to hire more technicians than we require,” he said.
When negotiations failed, the director-producers trooped to Nabanna, the state secretariat, to meet Chief Minister Mamata Banerjee. In a meeting that lasted close to two hours over coffee and fish fries, sources said, the CM heard a litany of complaints about the highhandedness of the Federation, which has reached Frankenstein proportions, thanks to its head Swarup Biswas.
In the end, the directors, producers and actors trooped out and sang paeans to Mamata Banerjee, saying that the Chief Minister, after hearing the complaints, had set up a team to set new ground rules. She had also issued instructions that no unreasonable demands would be accepted “from anybody”, they told the media.
On the condition of anonymity, some of those present at the meeting quoted Mamata as saying that she knew nothing about the sorry state of affairs in Tollywood, as the Bengali film industry, which functions from Kolkata’s Tollygunge area, is known. She promised redress. However, those connected to Tollywood are keeping their fingers crossed.
They say that Mamata Banerjee has, for the past 15 years, been using Tollywood faces to attract rural and women voters. And Swarup and his brother Aroop Biswas rule the roost in Tollywood. They cajole, threaten, entice and bring over the stars and starlets who adorn the electoral rallies of the Trinamool Congress.
At least five of the Trinamool Congress’ MPs are from Tollywood. MLAs exceed half-a-dozen. Observers like veteran journalist Suman Chattopadhyay say that Mamata knows what attracts rural and womenfolk. She picks Tollywood faces to attract eyeballs and votes.
Actor and BJP leader Rudranil Ghosh says: “Didi knows everything about what is going on. She turns a blind eye to the activities of strongmen like Swarup Biswas and Aroop Biswas because it suits her.”
Theatre and film director Suman Mukhopadhyay says artists who do not play ball with Trinamool Congress bigwigs do not get bookings in the theatres in the city and in the towns across Bengal.
Avowed Leftist actor Chandan Sen says: “I need work to survive. That is why I have consciously cut down on my political work.”
Observers say that since her party’s rise to power in 2011, Mamata’s rule has profoundly influenced various aspects of Bengali life, including its rich cultural landscape. Mamata Banerjee’s politics has affected art and culture in Bengal, leading to concerns about cultural decline.
Since Mamata Banerjee’s ascent to power, her government has aimed to bolster its political base by intertwining politics with cultural patronage. While her administration has launched several cultural initiatives and festivals, there are widespread concerns that her political strategies have adversely affected the state’s cultural milieu.
Mamata Banerjee’s administration has been accused of appointing loyalists to key positions in cultural institutions. This has led to a perception of bias and a lack of meritocracy, stifling the independence and creativity of these institutions.
Cultural bodies such as the West Bengal State Academy of Dance, Drama, Music and Visual Arts, and Paschimbanga Bangla Akademi have seen increased political interference, which has affected their functioning and credibility. All of them have seen appointments of individuals closely aligned with the Trinamool Congress. These appointments ensure that the cultural narrative remains favourable to the party.
The state’s heavy involvement in organising and sponsoring cultural events, such as the Kolkata International Film Festival and Durga Puja celebrations, has led to concerns about these events being used as political tools. The emphasis on showcasing the Trinamool’s achievements has overshadowed the artistic and cultural essence of these festivals.
There have been instances where artists, filmmakers, and writers critical of the Government have faced censorship or difficulties in obtaining state support. This has created an environment of self-censorship and fear among cultural practitioners.
Despite the state’s sponsorship of certain cultural events, there has been inadequate and inconsistent funding for other cultural initiatives and institutions. This has hampered the growth and development of a vibrant cultural ecosystem.
The cultural infrastructure in Bengal, including theatres, auditoriums, and museums, has not seen significant modernisation or investment. This neglect has hindered the ability of artists and cultural organisations to thrive.
Cultural events often carry overt political messages, diluting the artistic integrity and turning cultural platforms into political arenas. This has led to a homogenization of cultural narratives aligned with the ruling party’s ideology.
The increased political control and interference has led to a decline in the independence of cultural institutions and practitioners. The fear of repercussions has stifled creativity and dissenting voices, affecting the overall vibrancy of Bengal’s cultural scene.
Noted film critic Swapan Mullick says that the emphasis on political loyalty over merit has led to a decline in the quality of cultural output. The lack of diverse voices and perspectives has resulted in a less dynamic and innovative cultural environment.
Mamata Banerjee’s politics has had a profound impact on the art and culture of Bengal. While her Government has made efforts to promote cultural activities, the heavy-handed political influence, censorship, and neglect of cultural infrastructure have overshadowed these initiatives. The resulting environment of fear and control has stifled creativity, diversity, and independent expression, leading to concerns about the decline of Bengal’s rich cultural heritage.
“Kolkata, often referred to as the Cultural Capital of India, has been renowned for its rich cultural heritage, intellectual vibrancy, and artistic contributions. For decades, the city was a beacon of literature, arts, theatre, cinema, and intellectual discourse. Now everything has gone south and politics is to be blamed,” says Biswajit Matilal whose family ties with the city go back 400-plus years.