Maharashtra, why just Marathi? Why not other regional cinema

If you have your tummies full of the "Misal pav versus Popcorn" debate, can we begin a sensible debate on why exactly Maharashtra government's move to book a prime time slot for Marathi cinema isn't that desirable? Although, now the norm has been relaxed.

First, at the outset, there is nothing wrong in supporting regional cinema. If, for once, we were to separate the BJP-Shiv Sena's hyper nationalism and regionalism brand of politics from the government's recent diktat, we would still see some sense in it.

In the past few years, Marathi filmmakers have made some path breaking cinema - Fandry (2013), Astu (2013), Tuhya Dharma Koncha (2013), Balak Palak (2012), Killa (2014) - partly Marathi, Court (2014), Yellow (2014) - the list can go on. For once, at least, these films deserve to be watched and enjoyed in a multiplex and not just in the festival circuit. That's true for all good cinema, which is usually sidelined by the Bollywood formula film we are force-fed. The whole purpose of having a multiplex culture was to make sure that film-lovers had more options to choose from. But, honestly, as a film enthusiast, I can only say that multiplexes have made film viewing a popcorn-munching weekend fixation, so much so that films like Happy New Year too end up doing great business.

It isn't a bad idea to counter the tyranny of big banners, which block all shows and carpet bomb theatres by leaving a tiny safe window to promote regional cinema. Documentary and independent filmmakers have been, for long, demanding one slot in a multiplex where their films could be played along with regular Bollywood films, and their tickets sold at competitive prices.

National award-winning Marathi filmmaker Ravi Jadhav was quoted by a Bollywood news website as saying, "On an average, at least two films release every week, but they get lost in morning shows. With prime time visibility guaranteed, Marathi filmmakers will be motivated to make better cinema. Our films have always been family friendly and now we are finally getting our due."

However, the question here is not just about promoting regional cinema. It's whether the state is entitled to make interventions, even if positive, in matters of art and culture.

The orthodox free marketers, who believe that the market is the most egalitarian of forces, would reject government intervention in anything - be it something as basic as food security, or as luxurious as getting a spa. But the reality is that the market is not all that egalitarian. Mediocrity can outdo creativity using the magic wand of advertisements.

The liberals, on the other hand, would argue why the government should decide what I watch. But then the reason is often the first casualty in the age of the 140-character discourse. Seriously, did no one notice that it's a multiplex? You still have a choice of not watching that Marathi film. Often, we do not have a choice of not watching a mind numbing Bang Bang because there is little else playing at the theatres.

Despite all these arguments, state diktats on matters of art and culture should make us uncomfortable.

For the state hasn't had a very great record in ensuring free speech and dissent through art. They have been the first in bowing down to pressure from religious groups in banning films and books - irrespective of its language. Actors and filmmakers are often treated as easy targets for scoring political points.

If we were to go back to Indira Gandhi's time, as the Information and Broadcasting Minister in Lal Bahadur Shastri's cabinet, her contribution in supporting new wave cinema was great. It was because of her encouragement that Film Finance Corporation (predecessor of the National Film Development Corporation (NDFC)) funded many upcoming filmmakers. A whole range of filmmakers, including the new wave cinema avant garde Mani Kaul, were supported by the FFC.

But soon, during her stint as the prime minister, she would turn the Films Division into propaganda machinery. We, the Indian film lovers, are yet to see a film on the Emergency. Will the all-encompassing state ensure our right to dissent and watch films that show us the ugly side of our country through cinema, just like it wants to ensure a level playing ground for regional cinema? If it cannot, the state can continue doing its daily business and spare the popcorn munching multiplex goers the pressure of increased choices.