The birth of ‘Bearywood’

[email protected] (SAFIA NAEEM)
June 14, 2011

With the first ever Beary language movie - ‘Byari’, Director Suveeran, has employed his own techniques to butter popcorn with the landmark movie, which opened simultaneously in Prabhat and Big Cinema in Mangalore.

 

In Suveeran’s own words: “Althaf Hussain, who is producing the film under the banner of Thanneer Films, needs real appreciation for venturing into Beary film-dom,” even though he took up the task, after the Tulu cinema traversed several milestones.

 

Mr Hussain, who is confident that the movie would surely win accolades at national level, says that ‘Byari’ has already received overwhelming appreciation from the audience as well as from the cine-experts when it was screened at International Film Festival of Thrissur (IFFT) and Habitat Film Festival in New Delhi.

 

Moreover, the involvement of renowned actors of South India such as Mamu Koya of Mollywood and ‘My Autograph’ famed Maillika of Kollywood, has naturally raised the eyebrows of the Beary cine-lovers.

 

However, the birth of what could be termed as ‘Bearywood’, is not free from the labour pain, as the controversies remained inseparable from the much vaunted movie, even before it could become a milestone in the robust and rich Beary cultural history.

 

But the filmmakers appeared to be the firm believers in the maxim no publicity is bad publicity.

 

The controversy is all about the central plot of the movie, which, according to renowned Kannada litterateur Sara Aboobaker, is a rip off from her most popular but controversial novel ‘Chandragiriya Theeradalli’.

 

“The same people, who attacked me when I wrote the novel nearly 27 years ago, now stole the story from the same novel to produce a cinema for their own benefit,” fumes Sara. “No other word can be suitable for these people than ‘thieves’. Yes, they are thieves. But they cannot go ahead doing whatever they want, as I have already launched a legal battle against them” the 75-year-old writer thunders.

 

However, Irfan Chokkabettu, the script writer of the film, denies Sara Aboobakar’s claims. He says the entire story of the film is based on a real-life story of a woman who still resides at Chokkabettu near Surathkal. “I was a witness for what happened in that woman’s life during 1998, when the coastal region was rocked by communal riots. The woman is still happily living with her husband and two children in Chokkabettu” he says.

 

“I was familiar with the name Sara Aboobakar. But, I never knew that Sara Aboobakar is a female and she has written a novel called ‘Chandragiriya Theeradalli’,” says Irfan, adding that he came to know the story of her novel only after the shooting of the film had been commenced.

 

The film Byari has a strong message for those who seek divorce on flimsy gounds. If veteran actor Mamu Koya, who is a prominent character in the film, was right, the concepts like Talaq and Iddath are at the centre stage of this film too.

 

Mr Koya also stunned his own team by claiming in a television interview that the story was indeed based on Chandragiriya Theeradalli.

 

The story revolves around Nadira, a young girl whose marriage was fixed with an elderly male as soon as she reached puberty. After initial period of anxiety and apprehension, she settles down with her husband who is thrice her age.

 

In a sudden turn of events, Nadira’s father, for his personal gains, forces her to break her relationship with her husband and brought back to her parental house.

 

It is in this backdrop, ‘Byari’ movie revolves around the sufferings of Nadira and finally the film has a happy ending as she once again unites with her husband.

 

Even though Nadira, is a familiar character for those who have read ‘Chandragiriya Theeradalli’, Mr Irfan questions how could Islamic systems such as ‘Talaq and Iddath’ and a popular name of a girl be a copyright issue for a writer like Sara Aboobaker?

 

Clarifying that the storyline of ‘Byari’ is not against the Holy Qur’an and Shariath law, Mr Irfan says, “We have only picturised the sufferings of a woman who got ‘Talaq’ due to her father’s whims and fancies. The film contains a warning for those who misuse Talaq or Iddath system, unlike Sara Aboobaker’s book that portrays Muslim women as being shackled by religious norms.”

 

The one hour 40 minute-long movie has only one song and has been shot at different localities in and around Mangalore namely Jokatte, Surathkal, Mukka, Bajpe and Thokkottu.

 

Mr Hussain, who claims that he has invested no less than Rs 55 lakh for ‘Byari’, says that the movie, uses a lot of techniques in the scenes now and then to get the message across.

 

The award-winning artistes have also contributed to the quality of the movie with their brilliant acting, he adds.

 

 

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Crew

 

Apart from Mamu Koya and Mallika most of the actors in the movie are local Beary amateur artistes. Producer Hussain himself has stood before camera mingling with fellow actors like Rahim Uchil, Ambika Mohan, Majeed, Riyaz Ashraf, Ashwathi, Prajeesh, Sudarshan, KTS Padanna, Shareef Katipalla, Roopa Varkadi, Asha, Altaf Krishnapura, Samshuddin Paradise, Baby Shatha and Shazin, Asfiya, Annath, Bathisha Puttur and Kabir Katipalla and others. Murali Krishnan is the camera-man.

 

Litterateur’s stance

 

Sara Aboobaker, who has won the highest literary award in the state namely Nadoja, claims that she has gathered sufficient proof to establish that the whole story of the film is based on her novel ‘Chandragiriya Theeradalli’.

 

“The copyright of the novel will exclusively be with the National Film Development Corporation (NFDC) until 2015 and nobody can reproduce it until then,” says Sara, accusing the ‘Byari’ team of using her name and fame for their publicity.

 

“I am aware that during the screening of ‘Byari’ in the International Film Festival of Thrissur (IFFT) in March this year, the crew had announced to the media that the film was based on the storyline of my celebrated novel,” she says.

 

“I have produced the documents of the actor Mamu Koya’s claim, which was aired in a local TV channel, as well as my novel, before the court. I am confident that I would win the battle,” she says.

 

The matter is in lower court and will be moved to district court if needed before releasing the movie in Mangalore, says litterateur.

 

Unforgettable experience

 

Mallika who played the role of Nadira, says that she cannot forget her experience during the shooting of ‘Byari’.

 

“I was so excited when I was approached for ‘Byari’, knowing that it was the first Beary movie. I am so happy that I too have become a part of a history through the first ever film of a regional language”, she says adding that the experience while shooting the movie was unforgettable.

 

“There is a scene where I fight with my father over my marital life. The scene has come so naturally and I always cherish the moments throughout my life”

 

Mamu Koya loves Beary!

 

The national award winning Malayalam comedian Mamu Koya, who has played the role of Nadira’s (Mallika’s) father in ‘Byari’ says that he cultivated love for Beary during the shooting.

 

“I enjoyed the shooting and loved Beary language too”, says Koya, who has already acted in more than 500 Malayalam films.

 

He says “Though my role in ‘Byari’ is quite opposite to that of ‘Perumazhakalam’, where an aging father who was helpless in his daughter’s fight against the odds to save her husband’s life, it gave me opportunities to emote as in ‘Perumazhakalam’”

 

Recalling that ‘Perumazhakalam’ had bagged National Film Award for Best Film in 2005, he says, that you cannot expect awards all the time.

 

However, Mr Koya never forgets to add that the Mangaloreans are so progressive and cooperative. “Yes, I would love to act in Beary language, which is similar to Malayalam, and would not miss opportunities in future also.”

 

Interview

 

Suveeran, an award-winning playwright and director of plays and short films, has made his debut in feature film direction with the very first film of Beary language- ‘Byari’. A product of the School of Drama, Thrissur, and the National School of Drama, New Delhi, the Kerala based director’s first love remains theatre though.

 

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Q: Being a Malayalam director, why did you experiment your first feature film in Beary language?

A: It is just technical. I have already directed almost five short films in Malayalam. When ‘Byari’ project came to me, I initially denied to do it because it was nothing related to me at all and I am basically from theatre. However, my producer, who is a sensible gentleman, gave the script and asked me to rethink on it.

 

Q: How did you feel the transition from theatre to film?

A: Film is just a mechanical production, and it can exist even after my life while drama, which has a life, is a live performance. And, of course like every drama-cum-film director, I too prefer working in drama than film. But I know it is difficult to get an audience to communicate my ideas through the medium of theatre.

 

Q: Would you like to work in Beary language again?

A: I will certainly work if a project like ‘Byari’ comes up again, but so far there is no other project in Beary language.

 

Q: ‘Byari’ bagged appreciation in Film festivals in Thrissur and New Delhi. To whom should the credit go?

A: To everyone who worked for it. The whole team has given 100 per cent for ‘Byari’

 

Que: How does the film appeal the audience in terms of cinematic aesthetics?

Ans: ‘Byari’ is an art movie. An art is just a self-expression. I don’t care about the reaction of the audience, as they are independent. Whether ‘Byari’ appeals you or not is dependent of how you see the life or the world or any other thing.

 

 

 

 

 

Comments

Kraig
 - 
Sunday, 4 Jun 2017

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 - 
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Ram Puniyani
February 4,2020

As democracy is seeping in slowly all over the world, there is an organization which is monitoring the degree of democracy in the individual countries, The Economist Intelligence Unit. As such in each country there are diverse factors which on one hand work to deepen it, while others weaken it. Overall there is a march from theoretical democracy to substantive one. The substantive democracy will herald not just the formal equality, freedom and community feeling in the country but will be founded on the substantive quality of these values. In India while the introduction of modern education, transport, communication laid the backdrop of beginning of the process, the direction towards deepening of the process begins with Mahatma Gandhi when he led the non-cooperation movement in 1920, in which average people participated. The movement of freedom for India went on to become the ‘greatest ever mass movement’ in the World.

The approval and standards for democracy were enshrined in Indian Constitution, which begins ‘We the people of India’, and was adopted on 26th January 1950. With this Constitution and the policies adopted by Nehru the process of democratization started seeping further, the dreaded Emergency in 1975, which was lifted later restored democratic freedoms in some degree. This process of democratisation is facing an opposition since the decade of 1990s after the launch of Ram Temple agitation, and has seen the further erosion with BJP led Government coming to power in 2014. The state has been proactively attacking civil liberties, pluralism and participative political culture with democracy becoming flawed in a serious way. And this is what got reflected in the slipping of India by ten places, to 51st, in 2019. On the index of democracy India slipped down from the score of 7.23 to 6.90. The impact of sectarian BJP politics is writ on the state of the nation, country.

Ironically this lowering of score has come at a time when the popular protests, the deepening of democracy has been given a boost and is picking up with the Shaheen Bagh protests. The protest which began in Shaheen Bagh, Delhi in the backdrop of this Government getting the Citizenship amendment Bill getting converted into an act and mercilessly attacking the students of Jamia Milia Islamia, Aligarh Muslim University along with high handed approach in Jamia Nagar and neighbouring areas.  From 15th December 2019, the laudable protest is on.

It is interesting to note that the lead in this protest has been taken by the Muslim women, from the Burqa-Hijab clad to ‘not looking Muslim’ women and was joined by students and youth from all the communities, and later by the people from all the communities. Interestingly this time around this Muslim women initiated protest has contrast from all the protests which earlier had begun by Muslims. The protests opposing Shah Bano Judgment, the protests opposing entry of women in Haji Ali, the protests opposing the Government move to abolish triple Talaq. So far the maulanas from top were initiating the protests, with beard and skull cap dominating the marches and protests. The protests were by and large for protecting Sharia, Islam and were restricted to Muslim community participating.

This time around while Narendra Modi pronounced that ‘protesters can be identified by their clothes’, those who can be identified by their external appearance are greatly outnumbered by all those identified or not identified by their appearance.

The protests are not to save Islam or any other religion but to protect Indian Constitution. The slogans are structured around ‘Defence of democracy and Indian Constitution’. The theme slogans are not Allahu Akbar’ or Nara-E-Tadbeer’ but around preamble of Indian Constitution. The lead songs have come to be Faiz Ahmad Faiz’s ‘Hum Dekhenge’, a protest against Zia Ul Haq’s attempts to crush democracy in the name of religion. Another leading protest song is from Varun Grover, ‘Tanashah Aayenge…Hum Kagaz nahin Dikhayenge’, a call to civil disobedience against the CAA-NRC exercise and characterising the dictatorial nature of the current ruling regime.

While BJP was telling us that primary problem of Muslim women is Triple talaq, the Muslim women led movements has articulated that primary problem is the very threat to Muslim community. All other communities, cutting across religious lines, those below poverty line, those landless and shelter less people also see that if the citizenship of Muslims can be threatened because of lack of some papers, they will be not far behind in the victimization process being unleashed by this Government.

While CAA-NRC has acted as the precipitating factor, the policies of Modi regime, starting from failure to fulfil the tall promises of bringing back black money, the cruel impact of demonetisation, the rising process of commodities, the rising unemployment, the divisive policies of the ruling dispensation are the base on which these protest movements are standing. The spread of the protest movement, spontaneous but having similar message is remarkable. Shaheen Bagh is no more just a physical space; it’s a symbol of resistance against the divisive policies, against the policies which are increasing the sufferings of poor workers, the farmers and the average sections of society.

What is clear is that as identity issues, emotive issues like Ram Temple, Cow Beef, Love Jihad and Ghar Wapasi aimed to divide the society, Shaheen Bagh is uniting the society like never before. The democratisation process which faced erosion is getting a boost through people coming together around the Preamble of Indian Constitution, singing of Jan Gan Man, waving of tricolour and upholding the national icons like Gandhi, Bhagat Singh, Ambedkar and Maulana Azad. One can feel the sentiments which built India; one can see the courage of people to protect what India’s freedom movement and Indian Constitution gave them.

Surely the communal forces are spreading canards and falsehood against the protests. As such these protests which is a solid foundation of our democracy. The spontaneity of the movement is a strength which needs to be channelized to uphold Indian Constitution and democratic ethos of our beloved country.

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Wafa Sultana
April 4,2020

Over the last couple of days when the world was occupied with unifying efforts to fight the deadly Covid19 pandemic, sections of Indian media provided viewers a familiar scapegoat – the Indian Muslims – who are often stereotyped as a community being constantly at loggerheads with the citizenry and the State. Biased media channels were quick to resort to blaming the entire Muslim community for the spread of the disease in the country, thanks to an ill-timed Tablighi Jamaat gathering at its international headquarters in Delhi’s Nizamuddin. Unsurprisingly, the opprobrium was also marked by a sudden spike in WhatsApp forwards of videos with people wearing skullcaps licking spoons and performing Sufi breathing rituals, suggesting some sort of wild conspiracy on the part of the community to spread the virus.  Some media channels were quick to formulate, hypothesize and provide loose definitions of a newly discovered form of Jihad i.e. ‘Corona Jihad ’ thereby vilifying the Islamic faith and its followers.

While the investigation on the culpability of the organizers of the Nizamuddin event is still ongoing, there is enough information to suggest that the meeting was held before any lockdown was in force, and the problem began when there was no way of getting people out once the curfew was announced. Be that as it may, there is little doubt that organizing a meet of such a scale when there is a global pandemic smacks of gross misjudgment, and definitely the organizers should be held accountable if laws or public orders were defied. Attendees who attempt to defy quarantine measures must be dealt with strictly. However, what is alarming is that the focus and narrative have now shifted from the unfortunate event at Nizamuddin to the Tablighi Jamaat itself.

For those not familiar with the Tablighi Jamaat, the organization was founded in 1926 in Mewat by scholar Maulana Mohammad Ilyas. The Jamaat’s main objective was to get Muslim youth to learn and practice pristine Islam shorn of external influences. This is achieved through individuals dedicating time for moral and spiritual upliftment secluded from the rest of the world for a brief period of time. There is no formal membership process. More senior and experienced participants typically travel from one mosque to other delivering talks on religious topics, inviting local youth to attend and then volunteer for a spiritual retreat for a fixed number of days to a mosque in a nearby town or village to present the message to their co-religionists. Contrary to ongoing Islamophobic rhetoric, the movement does not actively proselytize. The focus is rather on getting Muslims to learn the teachings and practices of Islam.  This grassroots India-based movement has now grown to almost all countries with substantial Muslim populations. Its annual meets, or ‘ijtemas’ are among the largest Islamic congregations in the world after the annual Haj. One of the reasons for its popularity and wide network in the subcontinent and wordwide is the fact that it has eschewed the need for scholarly intervention, focusing on peer learning of fundamental beliefs and practice rather than high-falutin ideological debates. The Tablighi Jamaat also distinguishes itself from other Islamic movements through its strictly apolitical nature, with a focus on individual self-improvement rather than political mobilization. Hardships and difficulty in the world are expected to be face through ‘sabr’ (patience) and ‘dua’ (supplication),  than through quest for political power or influence. In terms of ideology, it is very much based on mainstream Sunni Islamic principles derived from the Deobandi school.

So, why is all this background important in the current context? While biased media entities have expectedly brought out their Islamophobic paraphernalia out for full display, more neutral commentators have tried to paint the Tablighi Jamaat as a fringe group and have tried to distance it from 'mainstream Muslims'. While the intent is no doubt innocent, this is a trap we must not fall into. This narrative, unfortunately, is also gaining ground due to apathy some Muslims have for the group, accusing it of being “disconnected from the realities of the world”. Unlike other Muslim organizations and movements, the Tablighi Jamat, by virtue of its political indifference, does not boast of high-profile advocates and savvy spokespersons who can defend it in mainstream or social media.  The use of adjectives such as 'outdated' and 'orthodox' by liberal columnists to describe the Jamaat feeds into the malignant attempt to change the narrative from the control of the spread of the pandemic due to the Nizamuddin gathering to 'raison d'etre' of the organization itself.

A large mainstream religious group like the Tablighi Jamaat with nearly a hundred-year history, normally considered to be peaceful, apolitical and minding its own business is now suddenly being villainized owing to unfortunate circumstances. Biased media reactions filled with disgust and hate seem to feed the Indian public conscience with a danngerous misconception - to be a nominal Muslim is okay but being a practicing one is not.  For those committed to the truth and fighting the spread of Islamophobia, the temptation to throw the entire Tablighi Jamaat under the bus must be resisted.

The writer is a lawyer and research scholar at Qatar University. Her research interests include Islamic law and politics.

Comments

zahoorahmed
 - 
Saturday, 4 Apr 2020

great article! provides a great perspective on tableeg jamat

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Ram Puniyani
August 9,2020

Contrary to present impression that Muslims are separatists due to whom the partition of India took place, the truth is that Muslims contributed to freedom movement and upheld India’s composite culture in equal measure. The partition process, mainly due to British policy of ‘divide and rule’ well assisted by Hindu and Muslim communalists is being hidden from the popular vision in India and Muslims in general are held responsible for the same. Not only that the communal historiography introduced by British to pursue their policies has become the bedrock of communal politics and worsening of the perceptions about Muslims is in progress in India.

Yet another example of this has been a series of tweets by the bureaucrat, who is close to retirement, K. Nageshwar Rao. Contrary to the service rules he has made statements, through his tweets which are appreciative of RSS-BJP and demonise the stalwarts Muslim leaders who not only contributed to the freedom movement but also later gave valuable service in laying the foundation of Independent India. As per Rao, his tweets he accuses Maulana Azad and the other Muslim Education ministers of “deracination of Hindus”. After naming “Maulana Abul Kalam Azad — 11 years (1947-58)”; “Humayun Kabir, M C Chagla & Fakruddin Ali Ahmed — 4 years (1963-67)”; and, “Nurul Hassan — 5 years (1972-77)”, he posts: “Remaining 10 years other Leftists like VKRV Rao.”

He points out that their policies were meant to “1. Deny Hindus their knowledge, 2. Vilify Hinduism as collection of superstitions, 3. Abrahamise Education, 4. Abrahamise Media & Entertainment, 5. Shame Hindus about their identity!  and 6. Bereft of the glue of Hinduism Hindu society dies.”

Then he goes on to praise RSS-BJP for bringing the glory back to Hindus. These statements of his on one hand promote the Hate and on the other tantamount to political statement, which civil servants should not by making. CPM politburo member Brinda Karat has written a letter to Home Minister Amit Shah to take suitable action against the erring bureaucrat.

Rao begins with Maulana Abul kalam Azad. Surely Azad was one of the major leaders of freedom movement, who was also the youngest President of INC, in 1923 and later between 1940 to 1945. He opposed the partition process tooth and nail till the very last. As the Congress President in 1923 he wrote a remarkable Para, symbolizing the urge for Hindu Muslim unity, “If an angel descends from heaven and offers me Swaraj in 24 hours on condition that I give up Hindu Muslim Unity, I will refuse. Swaraj we will get sooner or later; its delay will be a loss for India, but loss of Hindu Muslim unity will be a loss for human kind”. His biographer Syeda Hamid points out “He spoke without an iota of doubt about how debacle of Indian Muslims has been the result of the colossal mistakes committed by Muslim League’s misguided leadership. He exhorted Muslims to make common cause with their Hindu, Sikh, Christian fellow countrymen.” He was the one who promoted the translation of Hindu scriptures Ramayan and Mahabharat in to Persian.

Surely Mr. Rao, neither has read Azad or read about him nor knows his contributions to making of Modern India. While today, the ideological formation to which Mr. Rao seems to be pledging his commitment is critical of all that happened during Nehru era, it was during this period when as education minister Azad was shepherding the formations of IITs, Academies of Science, Lalit kala Academies. It was during this period that the efforts to promote Indian composite culture were undertaken through various steps.

The other stalwarts who are under the hammer have been outstanding scholars and giants in their own field of education. Humayun Kabir, Nurul Hasan, Dr.Zakir Husssain gave matchless ideas and practical contributions in different fields of education. One can say that contrary to the accusations, India could match up to the Computer era, software and associate things, due to creation of large manpower in these areas mainly due to these foundations which were laid down particularly in the field of education during this period.

The charge that these ‘Muslim’ education ministers white washed the bloody Islamic rule is a blind repetition of the offshoot of communal historiography introduced by British. While Kings were ruling for power and wealth, their courts had Hindus and Muslim both officers. The jaundiced vision sees this as a bloody Islamic rule but as a matter of fact the syncretic culture and traditions developed precisely this period. It was during this period that Bhakti Traidtion with Kabir, Tukaram, Namdeo, Tulsidas flourished. It was during this period that humane values of Sufi saints reached far and wide. It was during this period that poets like Rahim and Raskhan produced their classic literature n praise of Hindu Gods.

We also need to remind ourselves that large number of Muslims participated in the freedom Movement. Two scholars Shamsul Islam and Nasir Ahmad have come out with books on the myriad such freedom fighters, to recall just a few names. Khan Abdul Gaffar Khan, Zakir Hussain, Syed Mohammad Sharfuddin Kadri, Bakht Khan, Muzzafar Ahmad, Mohammad Abdir Rahman,, Abbas Ali, Asaf Ali, Yusuf Mehrali, Maulana Mazahrul Hague.

These are just a few of the names. The movement, led by Gandhi, definitely laid the foundations where composite Indian culture and respect for all religions, others’ religion was paramount and this is what created Indian fraternity, one of the values which finds its place in the preamble of Indian Constitution.

This blaming of Education ministers who were Muslims is an add-on to the process of Islamophobia in India. So for there have been many actions of Muslim kings which are selectively presented as being bloody, now the post Independent History, where glorious contributions have been made by Muslim leaders are being used to further deepen the divisive process. We need to pay respects to builders of modern India, irrespective of their religion.

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