Auteur Par Excellence: Remembering Shyam Benegal Who Brought Social Realism to Indian Cinema

‘The plot is not important, but the characters are; how they transform, how they change is important. The process of change is very difficult to register. That is what I find most fascinating.” — Shyam Benegal

Shyam Benegal’s filmography remains an enduring testament to conscious storytelling in Indian cinema. His works, particularly “Ankur” (1974) and “Manthan” (1976), left an indelible impact on me as a young adult, shaping my understanding of Indian society. Growing up in a loving, secure home, educated in convent schools and a small medical college, Indian cinema brought entertainment, music, melody and comedy from Hrishikesh Mukherjee films. 

However, it was Shyam Benegal who passed away in December at the age of 90, opened my eyes to the deep-seated inequalities of society in India and the world at large. His storytelling left an impact before I knew who he was and how he used cinema as a vehicle for change. 

Benegal’s films in the 1970s spearheaded the Indian parallel cinema movement, deviating starkly from mainstream Bollywood’s song-and-dance formula. His debut feature, Ankur, laid the foundation for his thematic preoccupations—social realism, class struggle, and gender oppression. 

Watching “Ankur” was an unsettling yet eye-opening experience. The film’s portrayal of a feudal India, where power imbalances dictate human relationships, made me more aware of the systemic injustices that persist even today. 

Shabana Azmi’s authentic performance as Lakshmi, a woman trapped in a cycle of servitude and exploitation, left me both moved and disturbed. The film’s raw style only amplified its emotional resonance, making it impossible to look away from the harsh realities it depicted. 

Equally profound was “Manthan,” a film that showcased the power of collective action through the lens of India’s dairy cooperative movement. Crowd-funded by 500,000 dairy farmers, “Manthan” was not just a film—it was a revolutionary statement. 

The story of Dr. Rao (played by Girish Karnad), an idealistic veterinarian working to empower rural farmers, struck a deep chord with me. The film’s commitment to realism, from its documentary-style cinematography to its use of non-professional actors, made its impact even more potent. 

Watching “Manthan” with my classmates was an inspiring experience, one that reaffirmed the power of hope and collective resilience. I loved “Junoon” (1979), an adaptation of Ruskin Bond’s novella, “A Flight of Pigeons,” set against the backdrop of the Indian Rebellion of 1857. 

Benegal started his career as a copywriter and made his first documentary film, “Gher Betha Ganga” (1962). His breakthrough came with “Ankur” (1973), followed by “Nishant” (1975).

Produced by Shashi Kapoor and directed by Benegal, “Junoon” was a departure from his social realist films but remained deeply rooted in historical and emotional authenticity. The film explored themes of obsession, colonial conflict, and human emotions amidst the turbulence of war. 

Shashi Kapoor’s portrayal of Javed Khan, a feudal chieftain consumed by love and duty, was both powerful and poignant. The simmering tension between Javed and Ruth (played by Nafisa Ali), the cultural clashes, and the ultimate recognition of subjugation by the protagonist made the film a deeply moving experience. 

Junoon’s visual storytelling, backed by Govind Nihalani’s cinematography and Vanraj Bhatia’s evocative music, cemented its place as one of Benegal’s most compelling works. Shot in candlelight, with long takes showcasing a languid pace of life, Benegal emphasized the characters rather than the plot.

Benegal’s cinema did not merely depict reality; it provoked thought and demanded introspection. His storytelling was never heavy-handed, didactic, or conventional, yet the messages he conveyed were profound. His work was a masterclass in subtlety, where silences often spoke louder than words, and human emotions were laid bare without any pomp or show.

Shyam Benegal passed away on December 24, last year, from chronic kidney disease. Indian cinema has lost one of its most respected visionaries. However, his films will continue to resonate across generations, serving as both artistic masterpieces and social commentaries. His legacy will endure, reminding us that cinema, at its best, is not just entertainment but a force for change.

Benegal started his career as a copywriter and made his first documentary film, “Gher Betha Ganga” (1962). His breakthrough came with “Ankur” (1973), followed by “Nishant” (1975), “Manthan” (1976), and “Bhumika” (1977), which established him as a leading figure of the new wave film movement. 

He also founded the Hyderabad Film Society, fostering a culture of meaningful cinema appreciation. His Muslim Women Trilogy— “Mammo” (1994), “Sardari Begum” (1996), and “Zubeidaa” (2001)—all won National Film Awards. 

Smita Patil’s compelling transformation in “Bhumika,” from a vivacious teenager to a deeply wounded middle-aged woman, is a testament to Benegal’s mastery in character-driven storytelling. 

Similarly, Karisma Kapoor’s performance in “Zubeidaa” captivated me. I have watched these films so many times and loved them—now I understand why. That’s Benegal’s hallmark. 

He also made several TV series: “Bharat Ek Khoj” (1988), based on Jawaharlal Nehru’s “Discovery of India,” remains a landmark in Indian television. His later works included biopics such as “The Making of the Mahatma” (1996), “Netaji Subhas Chandra Bose: The Forgotten Hero” (2005), and “Mujib: The Making of a Nation” (2023), a biopic on Sheikh Mujibur Rahman. I want to watch these biopics to study the artistry of Benegal. 

Benegal is widely considered one of the greatest filmmakers of the post-1970s era. He received numerous accolades, including 18 National Film Awards, a Filmfare Award, and a Nandi Award. In 2005, he was honored with the Dadasaheb Phalke Award, India’s highest award in cinema. In 1976, he was conferred with the Padma Shri, the fourth-highest civilian honor of India, and in 1991, the Padma Bhushan, the third-highest civilian honor, for his contributions to the arts. His passing marks the end of an era, but his legacy will continue to inspire filmmakers and global audiences alike, ensuring that his vision of cinema as a tool for social change lives on.

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With one foot in Huntsville, Alabama, the other in her birth home India, and a heart steeped in humanity, writing is a contemplative practice for Monita Soni. She has published hundreds of poems, movie reviews, book critiques, and essays and contributed to combined literary works. Her two books are My Light Reflections and Flow through My Heart. You can hear her commentaries on Sundial Writers Corner WLRH 89.3FM.