All language subtitles for Phantom India - 02

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PHANTOM INDIA
Reflections on a Journey

March 1 1, 6.:00 a.m.

A festival at the Kapaleeshwar temple
on the outskirts of Madras.

Once a year, this immense chariot
is taken from the temple

and solemnly paraded around
the temple walls and reflecting pool.

It takes five hours
to cover the half-mile circuit.

These chariots,
found in all the temples in the south,

are made of carved wood.

They're extremely heavy
and have neither steering nor brakes.

They're also ageless,
unchanged for centuries.

Pieces are replaced
as they wear out.

Priests ride inside the chariot.

At each stop, they bless
offerings hoisted up in baskets,

offerings of coconut and fruit.

There's a large peace-keeping force.

Police, soldiers, and some of the
faithful too, dressed up like Boy Scouts.

From the upper floors of residences,
the parade is doused with water.

It's both a ritual
and a welcome refreshment.

Hundreds of the faithful pull the chariot,
an exhausting and dangerous task.

It takes a lever and several men
to get it rolling.

To stop it, they throw
wedges under the wheels.

The chariot slides for 20 yards
before stopping,

threatening to topple over
at any moment.

At first, we're afraid. :
afraid of the screaming crowd,

afraid of this colossus
that threatens to demolish a house

or crush a crowd of believers.

The hellish, suffocating, humid heat

reinforces the sense
of collective trance,

where everything can be released,
where rich and poor mingle,

where castes no longer exist,

all abandoning their individuality
to blend into one mass,

a single body without name or face.

We got caught up in the madness.

We became part of the crowd,
shooting reel after reel,

jostled like them,
drenched like them, joyous like them.

For a moment
I forgot who I was.

I was part of something else.
I belonged.

I gave myself up to it,
heart and soul.

Obviously, sitting here in Paris,
these images seem different.

They can be seen as illustrating
medieval India, obscurantism,

the exploitation of the gullible,

fetishism and the opium
of the people.

But that morning we followed
our instincts, our senses, our feelings,

not our ideas.

We left the crowd at noon,
exhausted, completely drained.

For five hours we'd experienced life
differently, at a different rhythm.

In the tireless repetition of gestures,
in the sea of faces,

time had disappeared,
completely ceased to exist.

Sunday, March 3.

We saw a comedy in Tamil,
the language of Madras.

It was a scathing attack
on the New Delhi government,

politicians,

and the bureaucracy, criticized
for its corruption and inefficiency.

Bureaucracy is truly
the scourge of this country.

A legacy of the English,
a state within a state,

it terrified us at every encounter.

Entire days lost in the shuffle
from office to office,

countless underpaid employees,

polite smiles, vacant looks, refusal
to take the slightest responsibility,

waiting lines filling hallways, piles of
paper everywhere, misplaced documents. :

It constantly reminds us of Kafka,

and we wonder why the Indians don't
have their own Cultural Revolution

and send the bureaucrats
out into the fields.

The playwright is named Cho.

It's his 13th play,
written in two days.

He plays the lead, the Mongolian
emperor Mohammed Bin Tughlaq,

renowned for his despotism,
who ruled India three centuries ago.

Cho's play tells of Tughlaq
returning to India today,

demanding his throne
and being named prime minister.

At the end of the play,
we realize he's an impostor

out to show Indians
the absurdity of their politics.

A few years ago a new political party
was formed here, the DMK.

It campaigned for independence
for Madras from the rest of India.

In the '67 elections,
the DMKcame into power in Madras.

For the moment, they've laid aside
their separatist claims,

but the facts are telling. :

India, as large as Europe,
is a mosaic of populations

with only religion
and the caste system in common.

The Indians in the south,
especially the Tamils,

are aware of their regional identities.

They're convinced
they're the "real" Indians,

those who best resisted
foreign influences

and preserved the customs, religion,

and culture of the past.

Descendants of the first inhabitants
of India, they have little Aryan blood.

They're very dark-skinned, which draws
the contempt of the northerners.

They accuse the northern Indians
of colonialism and exploitation.

One of their major problems
is language.

The government plans to replace English
as the official administrative language

with Hindi,
the main language of the north.

The southern Indians absolutely refuse,

provoking bloody riots and street fighting
in Madras and elsewhere.

The students lead the struggle.

One of their leaders,
T. R. Janarthanam,

an activist who led
a school strike of several months,

explains his viewpoint.

"Just 30% of the population
speak Hindi.

70% do not.

I can't accept the idea
of a minority language

replacing an international language
like English.

We've spoken
English for over 200 years.

It's become the Indian
national language.

It's unfair to impose
one of the 40 native languages

as the official language.

We, the Tamils, are against Hindi
and will not accept it in any form.

We'd be forced
to learn a third language

in addition to English and Tamil,

putting us at a disadvantage
to native speakers of Hindi.

The central government
should realize this

and understand our problem.

Otherwise, it will lead
to the disintegration of India. "

The Indian government makes
a colossal effort at population control.

Everywhere one sees billboards
showing a happy Indian family of four-

two parents, two children -

even in the most remote villages.

We visited the family planning exhibit
at the Madras fair.

A mixed crowd files
past pictures and statistics

while being brainwashed
by loudspeakers.

What is this loudspeaker saying?

"Did you know that in our country,
a child is born every 1.5 seconds?"

55,000 every day,
2 1 million each year.

India represents
only 3% of the world's landmass

but contains 1 4%
of the world's population.

In 30 or 40 years,
there will be 1 billion Indians.

Until now, population control
hasn't achieved the anticipated results.

According to the latest statistics,

the population continues to grow
faster than production.

Yet the campaign
doesn't lack imagination,

offering a free radio

to any man who agrees
to be sterilized.

This is a demonstration booth.

A young man explains
how to use an IUD,

using 3-D models of sexual organs
and not sparing the slightest detail.

Now he's speaking to the men.

"If you want to have intercourse
with your wife, don't forget to use this. "

After the demonstration,

he distributes Russian-made condoms
by the handful.

The audience scrambles for them,

especially a 10-year-old boy
who lays in a good supply.

Whose fault is it
if India is overpopulated?

Indians answer. : England.

"They exploited our country,
bilked our peasants,

raped our economy, and at
the same time brought medicine. "

So they lowered the infant mortality rate
and suppressed epidemics,

which means they disrupted
the demographic balance

without ever developing
the country's economy

to allow it support
this excess population.

Movies are a real industry in Madras.

In this city alone,
there are 15 major movie studios,

producing over 200 films every year. :

musicals of three or four hours,

historical epics,
detective films set to music,

anything that draws an audience.

Comparing these billboards
to the people in the streets,

we always wonder. :

In a country with such beautiful,
delicate people,

why are most of the movie stars
short, fat and thick-featured?

They wear heavy white and pink makeup,
making them even uglier.

Once again, it's the racist prejudice
about skin color. :

To be beautiful,
you must be white.

A movie studio in Madras
resembles one in Paris or Rome,

except for the garland of flowers
on the camera.

No one's in a hurry.
Here, a film can take a year to shoot.

This is a blockbuster,
a story of thwarted love

between a handsome musician
and a well-bred and chaperoned girl.

This is the scene
of love at first sight.

The film stars Sivaji Ganesan,
the Tamil Belmondo,

a superstar in southern India.

His career began on the stage
at the age of five.

He shoots several films simultaneously
and earns astronomical fees.

Indian intellectuals highly disapprove
of the cinema of Madras and Bombay.

They condemn its poor taste,
stupidity and excess,

calling it a synthesis of the worst
of Indian and western vulgarity.

But terrible as these films may be,

they're the means of expression
and sole entertainment for the people

in a country in which TV
is practically nonexistent.

I admit I liked some of these films,

with their incoherence, dramatic plot
twists, one-dimensional characters

and constant intervention
of magical forces.

Thursday, March 16.

Like obedient tourists
hungry for Indian culture,

we treat ourselves to a
performance of Bharatanatyam,

the classical dance
of southern India.

We're a bit surprised
by the chubbiness of the dancer,

and also by the cabaret-like
presentation.

Though treated like tourists,

we're still moved
by the extreme grace of the gestures

and the beauty of the singing.

Monday, March 1 1.

We're a few miles outside of Madras
at the Kalakshetra School,

conservatory for
the traditional dances of the south.

The school day here
begins with prayer.

Teachers and students sing to God.

The religion and rite don't matter.

God has many names,

but there's only one God.

This dance school was an offshoot
of the famous Theosophical Society,

founded more than 50 years ago
by Annie Besant,

a European who dreamt of bringing
India and the West closer.

It's a well-protected world.

It was difficult
to get authorization to film.

The directors of the school
kept hesitating,

questioning us
with slightly scornful suspicion.

Finally, they grudgingly agreed.

There are several courses.

We visited a class in Kathakali,
a dance from Kerala,

which has a different cultural heritage.

Kathakali is more realistic,
closer to mime, and restricted to men.

It's a kind of religious pantomime
with many characters.

The young dancers illustrate for us
how situations and feelings

are expressed in the symbolic language
of Kathakali.

This is a bee gathering pollen
from a lotus.

Climbing a mountain.

Fear.

Classes begin in the early morning,
before the heat becomes overwhelming.

Bharatanatyam is a woman's dance,

more stylized
and purer than Kathakali.

To be skilled at it,

one must train from the earliest age
and possess great patience.

These girls will train
for 10, 15 or 20 years

before giving a public performance.

The movement of the wrist, the nuance
of expression, the position of the foot -

each has a specific meaning.

Bharatanatyam is a code,
an encrypted language

that must be known to the audience
as well as the dancer.

Otherwise they can't follow the story.

Westerners watching the dance

are incapable of understanding,
incapable of participating.

From outside, we judge
its aesthetic qualities as a performance,

when in fact it's a ceremony.

Moving from class to class,

nonbelievers lost in a sacred world,
burdened by our equipment,

we noticed something quite striking. :

No one paid us
the slightest attention.

All were extraordinarily concentrated
on their exercises.

To them, we didn't even exist.

It almost hurt our feelings.

Bharatanatyam is the mother dance
that gave birth to all the others.

It's said to have originated at Tanjore,
great temple of the Chola dynasty.

The dancers belonged to the temple
and danced only for worship.

Even today,
despite its secular appearance,

to dance is to relive a tradition,
regain a heritage,

reestablish contact between
the present moment and eternity.

The school gives performances
throughout India and abroad.

The students perform major ballets
with many characters,

but each dancer dreams
of becoming a soloist.

Few will succeed.

Others will pass on the tradition,
becoming teachers at the school.

There is currently
a Bharatanatyam renaissance,

which almost died out 50 years ago.

Perhaps this means
India is sliding towards folklore.

Perhaps this renaissance is
a death knell for the dance,

like everywhere that ancient traditions
are artificially recreated.

If India forgets Bharatanatyam,

there will always be
foreigners to dance it.

These two were admitted
to beginning classes at the school.

Their touching but pathetic efforts
are a bit embarrassing.

The American and the Japanese girl
have learned a little of the technique,

but it's obvious
something is missing.

There is neither truth nor grace
in their dancing.

It's a caricature.

Watch them carefully.

They demonstrate in striking fashion

how impossible it is for foreigners
to fit into Indian culture.

The failure is particularly striking here
in its physicality,

but it's the same in all domains.

The dancer must forget her body,
which is immensely difficult,

because perfection is achieved
only through absolute control of gesture

and memory.

But these dancers
have gone beyond technique.

These images clearly show dance
as language, or better yet, dialogue.

The gestures are a prayer,
an invocation.

The dance is one of the yogas,

meaning a path to transcendence,

a bridge between here
and the beyond.

We filmed tirelessly,
several days in a row,

as if the dancers were elusive images
that would fade away.

There was something uncertain
and unreal in the air

that tore at one's heart.

This grace, this beauty,
this perfect harmony of body and mind

is like the idealized vision of India,

one that I'd so rarely encountered
that I questioned if it really existed.

Mystical India,

India that transcends appearances
to achieve unity.

The southern Indians like to represent
their great god Shiva

in his incarnation as Nataraj,
the cosmic dancer,

he who orders
the movements of the universe.

Dance is the supreme expression
of Hinduism.

This is India. :
a worldview we don't understand,

a social hierarchy that puzzles us,

an economic reality that shocks us,

but also the hesitant, fragile grace
of two girls conversing with God.

We have to practice every day.

From 9.:00 to 1 1.:00 a.m.,
and often in the afternoon.

She's from Hassan,
on the other side of India.

She's light-skinned,
with slightly Asian features.

The other is from Madras,
a purebred Tamil.

I liked their laughs,
their expressions,

how natural they were,
and how serious.

I told them that classical dancers
in Europe also practice every day.

They answer sharply,
"We have to concentrate more.

If we're not completely concentrated
on what we're doing,

we can't express our faith,
our love of God.

We must think and concentrate. "

"The heroine is the main character
in solo Bharatanatyam performances.

She always venerates the hero,

and the hero is always
one of the gods in our religion.

Each god is attached
to a specific temple,

like Tanjore, for example.

The dance we rehearsed yesterday
was dedicated to the god Krishna.

Today's is to the god Shiva.

Songs always address
one god at a time.

We don't seek innovation.

We don't believe in it.

What we do
comes from the distant past,

and we always choose
traditional songs. "

These are the stars of the school,
the best and the brightest,

or they will be when they finish,
for they still have much training ahead.

Now we've begun
to distract them a little.

We're keeping them from attaining
the total concentration needed

to attain perfection.

We keep filming.
We watch them endlessly.

Time has stopped.
We don't want to leave.

We can't tear ourselves away.

Then we're suddenly thrown out,

like slightly suspect characters
come to disturb their perfect order.

They sensed something fishy
about our presence.

When I think back on it now,
I think they were right.

We were indeed thieves,

intruders in a world
to which we didn't belong.

Translation by LYNN MASSEY
for SUBTEXT SUBTITLING

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