In the backdrop of the struggles of the workers in tea plantations, Tapan Sinha’s Sagina Mahato explored the power struggles within the communist movement. HQ Chowdhury revisits this Dilip Kumar-Saira Banu starrer that was made in both Bengali and Hindi.
The end of the 19th century witnessed the growth of tea plantations stretching between the foothills of the Himalayas to the Assam valley. These plantations were structured around the offensive 1843 indenture system of the British Raj. The poverty-stricken workers were so controlled that they remained secluded from the rest of the world. Then, the workers, first individually and then collectively, began to protest through strikes and desertion which gained momentum albeit with the growth of trade unions and the impact of the Communist Party of India. Yet, the struggles of tea garden workers did not take the definite shape of a unified and organized labour movement, thanks to the repressive state machinery and the general indifference of the ‘swadeshis’.
It is against this background that Gour Kishore Ghosh, writing under the pseudonym ‘Rupadarshi’, created fictional characters to depict how communist leaders, lured by the greed for power, transformed into fascist autocrats. Ghosh was a family friend of the Sinhas, and Tapan Sinha began his third decade of film-making with Ghosh’s novel Sagina Mahato.
The film opens with the mock trial of Sagina Mahato (Dilip Kumar), a happy-go-lucky factory labourer and the first to fight the cruel and oppressive tea garden owners. He is wooed by Amol (Swaroop Dutta), a communist member of a little-known Calcutta trade union who moves to the hills to elevate the poor, the powerless and the subjugated. Some clever politicking makes Mahato a leader which also distances him from the masses. When Mahato agrees to become a labour welfare officer, he is transferred to Calcutta where he is caught in a power struggle that reminds one of the differences between Leon Trotsky and Joseph Stalin in the 1940s, or for that matter the various splits within the Communist Party of India. Then comes a twist in the story: the character of Anirudha (Anil Chatterjee) substantiates history that ‘ultranationalism’ can galvanize fascism, the classic examples being the rise of Mussolini, Hitler, Franco, Ceausescu, etc.
The film’s potency stems mostly from the box office draw of Dilip Kumar and Saira Bano, complemented by Anil Chatterjee, Swaroop Dutta and Sumita Sanyal. Sagina Mahato is Kumar’s second Bangla film after Paari and Saira Bano’s first.
Kumar portrays Sagina Mahato as a vulnerable, sensitive, resilient character who is emotionally attached to the beautiful Lalita (Saira Bano). Anil Chatterjee complements him with an effective performance as someone deliberately cruel.
There are moments of acting glory that allow Kumar and Chatterjee to go head-to-head with one another – the court scene, for instance. To quote Tapan Sinha, “There were situations when Dilip Kumar, after a shot was okayed, offered me variations of the same scenes and advised me to retain the one I thought was the best.” And to quote Dilip Kumar about Anil Chatterjee’s art, “There is no one like Anil Chatterjee in Bombay.” Kumar apparently saw Chatterjee’s notebook where the (Bangla-Hindi/Urdu) conversation was scripted in the respective languages for the appropriate articulation, stress and intonation. Quite simply, both Kumar and Chatterjee successfully carry the film with the strength of their acting.
Saira Bano is overdressed for a ‘beauty in distress’ in a poverty-stricken zone. As the female protagonist, she has little to offer but her gorgeous looks are an important contribution to the film’s success. Swaroop Dutta (earlier introduced by Tapan Sinha in Apanjan, and only in his third film) as Amol, the dedicated communist who befriends Sagina, is splendid. So is Sumita Sanyal who, as Vishaka, transforms Sagina into a more ‘civilized’ human being, changing everything from his attire (now Western) to his lifestyle. There are some very sensitive moments when Sagina and Vishaka exchange notes about their past. The factory manager played by Modi Kohen, the first male TV announcer of the erstwhile East Pakistan TV, is also noteworthy. Bhanu Bandopadhyay’s role is somewhat forced, obviously meant to break the monotony in the progression of the film.
What elevated Sagina Mahato to a near artistic triumph and a big financial success for the producers is the gripping storytelling – some of the scenes can be listed among the best of the Bengali films of that era.
Tapan Sinha’s films have always been attempts to blend art and craft with an eye for good commerce. His script is sprinkled with dialogues that make the characters grippingly real. In doing so, he is able to elicit fine portrayals from his cast.
Sagina Mahato was later remade in Hindi – Sagina (1974), made at Dilip Kumar’s request. Shot in colour, the film was a box-office failure despite the involvement of luminaries such as SD Burman, Majrooh Sultanpuri and Om Prakash.
From a technical viewpoint, the Hindi version is quite noteworthy. It reflected the care and competence that went into filming against the background of Darjeeling and Kurseong. Photographed by Bimal Mukhopadhyay and duly supported by the artwork of Sudhendu Roy, the visuals are spectacular. The film ends with snatches of Chhotey chhotey sapne hamaare in Sachin Dev Burman’s inimitable voice.
However, Sagina Mahato will always be remembered for good reasons. Calcutta, in the 1960s, was the centre of political upheaval and mass discontent. During this period, deindustrialization, flight of capital, asset stripping, etc., struck root, affecting the lives of an entire generation of Bengalis. Revolution was an antidote. Call it Maoism or the Naxalite movement, it served as a release for the curbed fury and emotions of West Bengal’s youth, traces of which were first seen in Sinha’s previous film, Apanjan.
Interestingly, Satyajit Ray’s Pratidwandi and Mrinal Sen’s Interview hit the screen a few weeks later, both depicting issues of unemployment, youth restlessness and anger, corruption, favouritism, nepotism, and middle-class cowardice. The films successfully served as instruments of social criticism as well as vehicles to present alternative values and institutions. But this was a brief detour. With the fall of the Naxalite movement, films with a leftist agenda returned to the fringe and mainstream films were back.
Produced by Roma Ganguly (Hemen Ganguly) and Mini Kapoor, Sagina Mahato is an interesting, entertaining drama on celluloid, packaged with skill. It has excellent music by Tapan Sinha, with lyrics by Hemen Ganguly and Shyamal Gupta. Indeed, a job well done!
Saala main to sahab ban gaya (Sagina Mahato, 1974) SD Burman / Majrooh Sultanpuri / Kishore Kumar
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The essay on Sagina Mahato is well written and is likely to create interest in this generation of viewers who can hardly imagine the time gone by. Therefore it would introduce them to the sociopolitical scenario of that period.
Sagina Mahato represents an era when revolutionary ideas were cherished to struggle for humanity without even worrying about suffering of working class at the micro level. The workmen suffered as they lost jobs due to closure of establishments. Myopic vision did more harm than good to workmen. The viewers of new generation may not be able to imagine the social upheaval in the name of class trouble.
But worker leaders like Sagina did exist who demanded welfare of those who invested their hard work in an organization that was their capital without worrying about any idealism to change the fate of humanity. Sagina emerges as a role model for the working class without nurturing any idealism for mass movement or political philosophy of that era. The model itself threatened the political aspirations of many.
We were very happy to read the story by Gour Kishore Ghosh as young people and praised him for being able to portray a character that challenged darker side of movement. It was a bold step considering sociopolitical scenario. To transfer the story on celluloid was even more difficult as that could challenge faith followed by some. It was a bold step to project Sagina who was visible as an honest leader rooted to the soil.
It was in the awareness of the filmmaker that establishment of such a truth may not be welcome by many. The essence of Sagina’s struggle is how he emerges as triumphant even when he was forced to change the path of his struggle but finally returned.
There was every possibility of melodrama during trial in Kangaroo court. The details of the court were well crafted as it happens in reality where all sorts of aberrations surface without caring for legal aspects of trial even failing to bring the charge while announcing the punishment. It might appear a dramatic sequence but it was so in reality and it betrayed the confidence of masses. So it was a great eye opener.
Sagina successfully emerges as a model who is driven by conscience, transparency, boldness and was ready to face any consequences for his objective of life and struggle. The model itself was a challenge to those who in the real world tried to wear the hat of Sagina.
While the story has many areas of entertainment including excellent songs composed by Sinha, everything was successfully integrated so that our attention is not deviated from the main character Sagina Mahato.
There was every possibility to cross the boundary but to keep everything within it is the magic wand Tapan Sinha used to contain it as far as Bengali version of the film is concerned.
It was an eye opener for many who were trying to follow the movement helplessly.
It is important to convey that the film was honoured in an International film festival in Moscow.