by Shreyas Bhide
My father does not know of any cult films. Ask him and he quips ‘Sholay’. But then Sholay is a national cult film. Infact, Sholay should be declared our national film. Yes, Sholay is a part and parcel of India’s popular culture - from the poshest alleys in Juhu to the narrowest lanes in Jaunpur - Sholay runs in our veins. But that does not a cult film make. A cult film, originally supposed to be a film that makes headway into all forms of popular culture, has now changed radically. Cult films these days are usually box office duds, that (or so their hardcore fans believe) were treated unfairly by the general public.
India’s cult film directory is new and only evolving, but it already has some impressive titles listed. Headlining them is Anurag Kashyap. Kashyap’s unreleased Paanch, is a Youtube and Torrent blockbuster. The film has gained such a huge fan following without a release, that Kashyap has declined reconsidering the film’s release. His explanation - most who would have seen it, have already seen it. Bejoy Nambiar’s half-hearted, but technically superior attempt inspired by Paanch, Shaitan, too is a cult favorite. The film’s inerrant camerawork, impactful performances, and avant-garde filming techniques (a shootout juxtaposed with remixed Khoya Khoya Chand, ultra slow-mo camerawork, subsuming chase sequences) have found an audience that is ready to revisit the film at the drop of a hat.
In addition to Paanch, Kashyap’s released and even successful works such as Dev D, Black Friday, Gulaal, and Gangs of Wasseypur (in that order) enjoy a cult following. One of Kashyap’s most underrated works, No Smoking, has become a topic of discussion on online forums. The film, which according to many is hard to get a grip of, has at least 3 different interpretations of its story floating around. Many agree that probably no one except Kashyap knows how the film is supposed to unfold, but Kashyap’s slick storytelling and the film’s absurd narrative has rendered it a massive repeat value.
In addition to Paanch, Kashyap’s released and even successful works such as Dev D, Black Friday, Gulaal, and Gangs of Wasseypur (in that order) enjoy a cult following. One of Kashyap’s most underrated works, No Smoking, has become a topic of discussion on online forums. The film, which according to many is hard to get a grip of, has at least 3 different interpretations of its story floating around. Many agree that probably no one except Kashyap knows how the film is supposed to unfold, but Kashyap’s slick storytelling and the film’s absurd narrative has rendered it a massive repeat value.
The subject of cult films was ploughed again in late 2013 owing to the release of a film institute circles’ cult favorite - Om Dar-Ba-Dar. The film, directed by Kamal Swaroop, was denied release when it was made (1988), but has over the years become a darling among upcoming directors and film institute students who consider the film a nonsensical masterpiece - much on the lines of Kashyap’s No Smoking. Infact, its the other way round. Infact, Kashyap attributed a song sequence from Om Dar-Ba-Dar as the basic inspiration behind the wedding sequence based ‘Emotional Atyachar’ from Dev D. A similar example is Aamir Khan's actual debut film (which fortunately saw release but not much appreciation back in 1988), Raakh. The film is hard to find, but those who have laid their hands on the film swear by its intense and gripping storyline.
This love for the outlandish is not new. Most who worship Satyajit Ray’s works, are almost always classified as a cult film lackey by the classic Bollywood buff(on). Among many retro works to have entered public minds - Kaagaz Ke Phool, Pyaasa, Agneepath, Jaane Bhi Do Yaaron, etc. have entered the cult conscience very late after their release. Almost all of these were box office washouts when released, even panned by traditional critics. Their merits and superiority have come to the fore much later, and have spread purely by word of mouth. Jaane Bhi Do Yaaron remains a classic example of this phenomena. The hilariously discomforting Mahabharat scene in the climax, often rated as one of the finest climax sequences in the world, has gained legendary status three decades since the film was originally released, so much so that the film saw a re-release on its 30th birthday last year.
Raj Kapoor’s Mera Naam Joker, a box office bomb, was an ambitious attempt to be a classic. To its credit, it did become a classic, but only some 20 years post its release. On its release, the film was merely termed an opulent failure. Mithun Chakraborty, at his prime in the 80s, delivered a string of films considered to be cult favorites amongst his fans - Disco Dancer, Dance Dance, Karate, Kasam Paida Karne Wale Ki,
But India’s cult film fondness does not necessarily harp on the eccentric. Some cult classics, such as Rehna Hai Tere Dil Mein, Sooryavansham, Daud, or Andaz Apna Apna have gained a fan following over repeated TV broadcasts. Some films have gained a cult status because they are so trashy that they are fun to watch - the Yashraj turkey Tashan (yours truly is a fan!), Mimoh Chakraborty’s debut film Jimmy (yours truly passed out while watching the film), and Manoj Kumar’s Clerk (yours truly thinks if an ill Ashok Kumar can get out of bed and march to Kadam Kadam Badhaaye Jaa, all doctors better go on permanent leave), and yours truly shall now stop referring to yours truly as yours truly.
The best cult films although remain the ones that are ignored, banned, or are protested against - Anurag Kashyap’s Paanch and Black Friday, Q’s Gandu, or the exemplary Om Dar-Ba-Dar, being some of the best examples of the same. The reason being that the liberal inside you fiercely wants to fight against the imposing compulsions to not let that work of cinema have its own breathing space. One revolts, defies, and watches the film over and over again to prove the suppression wrong.
With directors like Anurag Kashyap, Dibakar Banerjee, and Q in its ranks, the Indian film industry is ready to serve films worth a cult on a much more regular basis.
With directors like Anurag Kashyap, Dibakar Banerjee, and Q in its ranks, the Indian film industry is ready to serve films worth a cult on a much more regular basis.