ARDH SATYA / HALF TRUTH (Dir. Govind Nihalani, 1983, India)
Govind Nihalani’s directorial debut in 1980 with the award winning Aakrosh (Cry of the Wounded) was inevitable. As an ace cinematographer, Nihalani collaborated closely with Shyam Benegal on many formative semi-realist critiques including Ankur, Nishant, Junoon and Bhumika. Benegal’s scepticism of social institutions and his sensitive representations of women, often victims of patriarchal oppression, would determine the equivalently leftist ideological machinations of Nihalani’s films as a director in the 1980s. Benegal tended to work with the same cast and crew for many of his early films including Shabana Azmi, Naseerudin Shah, Smita Patil, Om Puri and Amrish Puri, many of whom would be shared across with Nihalani in his own films.
Ardh Satya was only Nihalani’s third feature as a director and probably the one that he is best remembered for. It is also another key film from the second wave of Parallel Cinema. In some respects the use of melodrama which Benegal and Nihalani both relied on as a means of narrative storytelling raises the continuing question of the relatively undecided status of films like Ardh Satya; were they Middle Cinema or Parallel Cinema, or were they in fact both. Or was Middle Cinema a completely separate mode of categorisation and approach to filmmaking. Furthermore, the police/crime thriller moniker only adds to the complicated genre status of Ardh Satya. Because of this, Ardh Satya occupies a dubious status as an example of Parallel Cinema since the film has been claimed as critical to the development of the Bombay police/crime thriller. Though Ardh Satya marked a change in location for Nihalani with much of the film shot on location in and around the slums of Bombay (now Mumbai), thematically, the focus on the police as both a public institution and the officers who struggle to retain a sense of moral integrity in the face of corruption was a continuation of Aakrosh and would also signal a preoccupation with the police; Drohkaal and Dev would act as further evidence of Nihalani’s claim as an auteur of some considerable distinction.
The story of Ardh Satya, which means ‘Half Truth’, follows a young police officer, Anant Velankar (Om Puri in one of his most memorable roles), in the Bombay police department. Perceived as someone who is both upright and fair in his approach, Velankar discovers there are those who exist outside the law and have the political reach to manipulate the police for their own ends. One such person that Velankar tries but fails to arrest is Rama Shetty (Sadashiv Amrapurkar), a notorious local crime lord who reigns with a terrifying impunity while continuing to rule over the slum dwellers. Shetty uses his electoral support with the Bombay police and the slums to run for city council in the local elections. Velankar becomes increasingly disillusioned with the police as a potent institution for justice and his relationship with Jyotsna Gokhale (Smita Patil), a lecturer, offers respite from his doomed trajectory. Flashbacks recall Velankar growing up in a rural village in which his harsh, orthodox father, (Amrish Puri), also a police officer, humiliates his beleaguered mother. At the same time, Velankar is prevented from pursuing an ambition to become a professor, reasoning why he finds an emotional connection with Jyotsna’s intellectualism. Any attempts at Velankar confronting the lawlessness of Rama Shetty are undermined by the inherent corruption of his superiors, apathetic to the concerns of the ordinary slum dweller and more responsive to the demands of the middle class elite. Nihalani’s representation of a corrupt and complacent Bombay police acts as a wider condemnation of Indira Gandhi’s leadership and government.
Another significant element to the nightmarish tone is the substantial ideological contribution of Marathi playwright turned Indian art house scriptwriter, Vijay Tendulkar. Tendulkar was a regular collaborator with Shyam Benagal, having written the screenplays for Nishant and Manthan. The contempt for feudalism Tendulkar brought to the screenplay of Nishant is mirrored in the angry temperament of Ardh Satya. In the generational divide that opens up between the traditional values of the father (Amrish Puri) and the secular politics of the son (Om Puri), Velenkar’s rejection of his father’s marriage proposal extenuates his criticism of the way in which rural village life and its traditions simply perpetuate a status quo that aids those in positions of power, namely the ruling elite. Velankar finds it problematic to escape the shadow of his domineering father. But by taking the law into his own hands Velankar inadvertently shatters the social order, censuring his father for failing to question his own frailties as both an inadequate father and a benign police officer.
While the second wave of Parallel Cinema under the auspice of the NFDC was somewhat less angry, political and iconoclastic then the foundational years, many of the later films continued to adopt endings with a striking degree of disillusionment and fatalism, an idea of non-closure that was unconventional for Indian Cinema. Indeed what remains germane about Ardh Satya today is the urban topography of Bombay, an aesthetic motif that would leave its imprint on the Indian crime genre including Parinda, Satya and Black Friday.
Ardh Satya will be screening on Zee Classic: Sat 20 Aug 10pm