{"id":2773,"date":"2016-03-28T00:00:34","date_gmt":"2016-03-27T18:30:34","guid":{"rendered":"http:\/\/learningandcreativity.com\/silhouette\/?p=2773"},"modified":"2018-08-12T10:22:38","modified_gmt":"2018-08-12T04:52:38","slug":"shivendra-singh-dungarpur","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/shivendra-singh-dungarpur\/","title":{"rendered":"‘Films Must be Restored Like a Work of Art’: In Conversation with Shivendra Singh Dungarpur"},"content":{"rendered":"
\"PK<\/a>

PK Nair with Shivendra Singh Dungarpur (R)
Pic courtesy: Dungarpur Films<\/p><\/div>\n

Shivendra Singh Dungarpur, founder of Film Heritage Foundation (FHF) and the director of the National award-winning film Celluloid Man<\/em>, has been steadfastly working on film preservation and restoration initiatives in India, emphasizing urgent need for policy framework and awareness and trying to save and salvage the fast disappearing vintage film heritage. Buying original negatives from the flea market, salvaging films from film producing families, preserving and restoring damaged films in association with reputed foreign institutes, holding training workshops for high-end restoration \u2013 Shivendra Singh Dungarpur and FHF are tapping every avenue to preserve India\u2019s enviable wealth of cinema.<\/p>\n

In a conversation with Silhouette Magazine<\/em>, Shivendra speaks about the current state of film preservation and restoration in India, the hurdles and the roadblocks, the initiatives needed moving forward and of course, the film closest to his heart, Celluloid Man<\/em>.<\/p>\n

Antara: <\/strong>Please tell us about Celluloid Man. How did the idea take shape in your mind and how was the experience of making a documentary on a person PK Nair Saheb<\/a> who spearheaded documentation, preservation and archiving of films when there was no such initiative to talk about?<\/em><\/p>\n

Shivendra:<\/strong> I first met Mr. Nair at the Film Institute. For us students, he was an almost intimidating figure, as we all knew about his role in building the Archive and his encyclopaedic knowledge of cinema. He would sit in a particular seat at every screening, with a little torch and a notebook making meticulous notes about the film. We hardly spoke to him, except to approach him during Holi celebrations and request him to screen particular songs from various films.<\/p>\n

\"Such<\/a>

Such a long journey: PK Nair in a still from Celluloid Man
Pic courtesy: Dungarpur Films<\/p><\/div>\n

In 2010, I read an interview with Martin Scorsese where he spoke about a festival of restored films called \u201cIl Cinema Ritrovato\u201d<\/strong> in Bologna. I was fascinated by what he said and I decided to go and see for myself. I started realizing the importance of preservation and restoration of cinema.\u00a0 Bologna was a revelation. I visited the labs and met restorers, film academics, film critics and cinephiles from all over the world that were so committed and passionate about preserving and restoring films.<\/p>\n

I returned from Bologna with just one thought in mind \u2013 what was the current state of our film heritage now that Mr. Nair had retired? I decided to travel to Pune to see the archives for myself and was surprised to find Mr. Nair still living across the road from the Archives like a watchdog, even though he was long retired. I asked Mr. Nair to come to the Archive with me, but the authorities at the time did not allow him in. This upset me deeply to witness a situation where the man who had founded and built this institution, was now being barred at the door.<\/p>\n

\"PK<\/a>

PK Nair and Shivendra Singh Dungarpur at the NFAI
Pic courtesy: Dungarpur Films<\/p><\/div>\n

I wanted to do something about this and that\u2019s how the idea for my documentary Celluloid Man<\/em>\u00a0was born. I wanted to show the immense contribution of Mr. Nair in building the Archive and influencing generations of filmmakers as well as highlight the importance of preserving and restoring our national film heritage before its too late.<\/p>\n

Celluloid Man<\/em>\u00a0was shot over a period of almost three years and was a journey of discovery. I rediscovered the history of Indian cinema during the many hours I spent with Mr. Nair and also the heartbreaking loss of our cinematic heritage.<\/p>\n

Nairsaheb was never keen that I make a film on him. He kept saying that if it is a film on preservation, then he could be a part of it. I never told him during the shoot that the film is about him. It is only when he saw the finished film that he realized that the film was about him.<\/p>\n

We showed him the first copy of the 35 mm print. He had driven down from Pune. He was already worried about the length of the film which was 2 hours 40 minutes. But after watching the film, he cried. I have never seen him so emotional. He is a man of very few words and rarely praises any work. He came to me and told me, \u201cI am fine with the length.\u201d That itself was high praise.<\/p>\n