![]() ![]() ![]() When we asked why, he said, ‘You’ve got a photograph of Ambedkar on a wall in the hero’s house. Just then a person from the producer’s office came and told us that the filming had to stop. The art director Ramalingam had got the hero’s home ready and in place.īook Cover of The Dalit Truth: The Battles for Realizing Ambedkar’s Vision For a while, things went smoothly, until the day when the crew was getting ready to shoot the protagonist’s ‘entry’ scene. We signed a contract and started filming with a totally new cast and technicians. When I was looking to interest a producer in my story, I met one who was taken with it, and he agreed to support the film. On the surface, it appears a comedy, but its background, that is the social context it features, has to do with Dalit lives and realities, and I had written the script in that manner. I would like to narrate here an incident that unfolded when I was filming my first venture, Attakathi. ![]() ![]() The problem was that producers and distributors did not think that this emergent new audience could guarantee commercial success. So, we had an audience, comprising critical-minded Dalit youth and those from non-Dalit communities who were committed to an anti-caste worldview. This was largely due to the political changes brought in by Dalit assertion, and also because the films we made were true and resonant in a way that could not be refuted. When I came to cinema, things had somewhat changed. ![]()
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