New Wave Cinema: Parallel tracks between 27 Down and Ashad Ka Ek Din
Awtar Krishna Kaul’s life was cut short at 34. His only film, ‘27 Down,’ has resonance of the cinematic sensibility of Mani Kaul, a pioneer of the Parallel Cinema movement
Any discussion on the Parallel Cinema movement or the New Wave in Indian cinema would be deemed incomplete without the mention of Mani Kaul (1944-2011). Kaul’s enduring legacy is a testament to his singular and exemplary body of work that brought him several national and international accolades. The New Wave was also witness to another prodigious Kaul, but unfortunately his brightness was ephemeral like that of a shooting star.
Awtar Krishna Kaul was only 34 years of age in 1974, when he drowned in the Arabian Sea while trying to rescue a friend. When the hospital authorities pronounced him dead, only a few hours had passed since the official announcement of two National Film Awards for his ground-breaking debut film, 27 Down (1974). Had Awtar survived the tragic accident, would he have created many more landmark films in his career? Did he possess the potential to scale greatness like Mani in the realm of avant-garde cinema? These are some questions left unanswered due to his untimely death.
The hope of a reunion
Beyond the common surname, there was no link between Mani and Awtar. Yet, there appears to be some resonance of the former’s cinematic sensibility in the sole film of the latter. Perhaps this can be attributed to the major influence of French director Robert Bresson (1901-1999) on both filmmakers. Also, given that Awtar was heavily inspired by the work of experimental filmmakers like Maya Deren (1917-1961) and Jonas Mekas (1922-2019), it is highly likely that Mani’s avant-garde work might have made an impression on him.
Interestingly, Mani’s second feature film, Ashad Ka Ek Din (1971), based on Mohan Rakesh’s eponymous play, shares many similarities with 27 Down. The conspicuous ones common to both are — B&W cinematography and the casting of Om Shivpuri and Rekha Sabnis. Additionally, it is the screenplay of 27 Down (based on Ramesh Bakshi’s novel Athara Sooraj Ke Paudhe) that runs parallel to Ashad... till the very end.
In 27 Down, the protagonist Sanjay (M.K. Raina) is characterised by his indecisiveness. The legendary poet-playwright Kalidas (played by Arun Khopkar) in Ashad... also goes through a conundrum, when in the first act he is unable to make up his mind about moving to Ujjayini from the Himalayas, thereby leaving behind his lover Mallika (Rekha Sabnis). The second act of both films finds the male protagonists deserting their lovers to reluctantly marry someone else.
The third act of 27 Down sees Sanjay escaping to Varanasi from Bombay in the eponymous train to find solace. On Ashad’s parallel track, Kalidas has also renounced his princely life in Kashmir and fled to Varanasi in search of salvation. Towards the ending of both films, the guilt-ridden men return to their former lovers in the hope of a reunion.
Lost in time
It is rather amusing that even the climax of 27 Down and Ashad... mirror each other. Sanjay decides to leave his wife (Rekha Sabnis) and reunite with Shalini (Rakhee) but backs out in the final scene. Parallelly, Kalidas, who returns to meet Mallika at her home, leaves abruptly on learning that she is married with a child. Another interesting coincidence can be noticed in the semi-antagonistic roles played by Om Shivpuri who acts as a hindrance between the union of lovers in both films. In 27 Down, he plays the father of Sanjay, who gets him married against his will. Whereas in Ashad..., he essays the role of Vilom, the nemesis of Kalidas, who eventually marries Mallika in the absence of Kalidas.
A still from Ashad Ka Ek Din
Both these National Film Development Corporation of India-produced films continue to remain relatively obscure and neglected gems of Indian cinema as they were immediately bracketed into the art-house category upon their creation. Additionally, the conscious decision to film in monochrome in the age of colour meant closing the door on mainstream audiences. This resulted in poor distribution and limited accessibility. Thus, it doesn’t come as a surprise that many avid moviegoers from the 1970s are completely oblivious to the existence of these films.
Fortunately for us, in this digital age, the burgeoning OTT landscape has made it possible to gain access to content from any era of Indian cinema. 27 Down, Ashad Ka Ek Din and many other hidden gems of Parallel Cinema can be traced on the World Wide Web. Like Awtar Krishna Kaul, there are more one-film wonders who deserve to be celebrated for their superlative artistic achievement. Artists might perish but their art remains timeless.