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In the article, Rajadhyaksha aims to depict the essence of an epic melodrama within the scope of the Indian film industry. To achieve this goal, the author applies an in-depth analysis of this industry mostly throughout the period from the early to mid 20th century – when the substantial process of political shifts was occurring. The investigation makes an accent on the phenomenon of realism via analyzing the place and meaning of it in the Indian films of the period. In this essay, Rajadhyaksha’s reflections on the concept of epic melodrama, as well as the approach used by him, will be discussed.
Rajadhyaksha considers the issues around the concept of epic melodrama as crucial and substantial, which is evident from his following claim. According to Rajadhyaksha, the epic melodrama cannot be perceived as a typical genre – it is rather a “mode of cultural production/assimilation” (59). It might be assumed that Rajadhyaksha rationally argues that the epic melodrama played a significant and unique role in the development of Indian culture, as well as in political struggles, via realism. He provides a notable discussion on the way realism could be defined in the framework of the Indian film industry.
First, the author explores the core of the idea of why realism is used in Indian epic melodramas and gives a noticeable assumption. Rajadhyaksha determines realism as a “borrowed tool” that represented the aspirations of a dependent colonial bourgeoisie that was dependent on British order (56). Here, the author means that the convincing reality in Indian films that depicted these aspirations was founded on borrowed paradigms and conflicts from the Indian village. The evidence for such an argument may be found in Mother India in which Radha (rural representative) struggles against a money-lender – the embodiment of capitalism.
Then, it is claimed that realism may be perceived from the angle of technology. The cinema picture, provided by the camera that is famed for objectivity, contributes to realistic and comprehensive visualization. Rajadhyaksha grounds this statement on the fact that “the ‘objective’ filmic visual allows for a more freewheeling but extraordinarily effective political/cultural redeployment of its narrative subject,” which is evident from Einstein’s “depictive” and “denotative” (57). Thus, realism appears due to camera technology and emphasizes all the critical cultural processes that are characteristic of the epic melodrama.
Furthermore, Rajadhyaksha describes the issue of realism through the prism of symbolism that continuously appears in Indian films. He sees realism as a “subterfuge” because “actual reality” is being constantly depicted with the help of various symbols, which obscures a message and makes a viewer think about what is meant (59). Keeping the latter in mind, it might seem that realism becomes quite politized and demonstrates diverse cultural clashes and contradictions of the period. For instance, in Haqeeqat, “the war movie was dedicated to Nehru,” the scene in which “an Indian soldier bayoneting the Red Book” is the symbol of contempt for Mao Zedong’s policy (70). Then, in Mother India, India is symbolically represented as a nation during a harsh period after gaining independence with a robust national identity and idea.
In conclusion, it seems reasonable to suppose that Rajadhyaksha perceives the epic melodrama via the triple understanding of realism implemented in such kind of movies. He assumes that realism is borrowed from Indian rural oppressed reality; its objectivity comes from convincing visualization by a camera; realism is founded on symbolism and is a subterfuge that indirectly depicts political struggles. It might be presumed that the harmonious combination of three mentioned factors forms what is called the epic melodrama that comprehensively reflects the state of culture.
Work Cited
Rajadhyaksha, Ashish. “The Epic Melodrama: Themes of Nationality in Indian Cinema.” Journal of Arts & Ideas, no. 25–26, 1993, pp. 55–70.
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