Postcolonial
Reading of Indian Jesus' Film Karunamayudu
On
the day of Ramadan, when our kids were at home enjoying a holiday due
to teachers' training day at school in Manchester, we as a family
watched the revised version of the film Karunamayudu on
our Xbox at home. Both me and my wife remembered watching this film
as children in our childhood in local cinema theatre in our town in
its longer version, and also watched it when the film was screened on
a 16mm screen on the streets of our locality in India. The film had
made an indelible impact on us as children, for visualization of the
gospel narratives came alive for us from this film.
Now watching this film after a long
time helped me to review this film from the perspectives of
postcolonial theological positioning. The film becomes an important
theological resource for those engaging in postcolonial enterprise,
for the plot of the film, the characters of the film, the content of
the film and the ethos of the film all depict a new flavour and genre
to the gospel narratives in the Bible. The film was produced and
released 38 years ago in 1978, the year I was born and has had a wide
reception ever since then for it was dubbed in to several Indian
languages and was screened on several village and remote streets of
India over the years. The film is popular in Hindi as Dayasagar,
in Tamil as Karunamoorthy and has been used for
evangelistic purpose, though the intention of the film makers was
commercial in character. The film locates Jesus story in a culturally
contextual setting to India with Indian professional film cast
performing the roles. The film brings out several postcolonial
pointers, of which I will mention just two for our discussion here.
Allow me to mention that film is a 'public text' that calls the
audience to engage publicly in reviewing and interpreting it without
limiting it with any conditions. The film is reviewed subversively
and subjectively to screen theology. A profound theology is screened
in this film, for this film becomes an important factor in the
construction of faith.
- A Subversive Postcolonial Hermeneutics:
The
film's script provides a directive for subversive postcolonial
hermeneutics, for the plot of the film was positioned in a colonial
setting of Rome, where Palestine was subjugated to Roman oppression
with Barabbas and Judas fighting for liberation through revolution.
It was into that setting that Jesus sets his mission through love,
justice and peace in order to establish an alternative kingdom called
Kingdom of God in opposition to the Kingdom of Rome. Unlike most
Jesus films in the West, which tries to film Jesus story from the
written gospels with less or no relation to his own context,
Karunamayudu brings in
the message of the gospel more powerfully, for Jesus' story was
located into his own context and was reinterpreted into the world
views of the audiences in India. The film makers were bold to read
between the lines and behind the lines of the gospel narratives and
have used hermeneutics of imagination, hermeneutics of translation
and hermeneutics of indigenization. “Where in the Bible did Jesus,
Judas and Barabbas ever met?” asked my son as we were watching the
film, and I thought that was the strength of the film for it
courageously knitted the plot of Jesus story with subversive
imagination. The film no doubt became a 'visual gospel' for many
people, it became a 'visual Bible' for many people of different
faiths who did have the luxury of reading Bible, appropriated the
content of this film as 'scripture'. The film did play a role in the
formation of faith in Jesus Christ. Cynics contested that the film
did not hold the accuracy of the gospel texts and even questioned the
authority of the extra canonical narrative plot of the film. On the
whole the film employed a subversive postcolonial hermeneutics of
interpreting the texts of the scriptures, particularly Jesus story,
with a visual difference, helping the audience to revisit the
Eurocentric notions of 'scriptures', and also calling the audience to
enjoy the freedom of liberative hermeneutics embedded into the
context and content of the film. Indian music, song and dance as
projected in the film all bring Jesus' story nearer to the Indian
audience. This Jesus' film in a way contests the authority of 'print
tradition of texts' and helps to recover the tradition of 'oral
texts' of the Scriptures which were forgotten and even erased.
Another important character in the
film, my younger son's favourite character was Malachi, who was blind
man but with profound theological perspectives, for a song has been
filmed with him where he questions 'if God ever existed let him come
down now to meet to the needs of the people.' He was eventually
healed by Jesus and gets back his vision, and recognizes and
acknowledges the political messiah in Jesus. There is a deep
subaltern epistemology that was expressed through his character, for
his non-conformist theological positioning reflects the goals and
aspirations of the subalterns of Jesus times. This Indian Jesus' film
provides new vistas in screening theology, which takes form and shape
beyond written-ness of theology.
- A Subjective Postcolonial Christology:
Unlike
the titles of many Jesus films in the West, which carry the
triumphalist titles like 'King of Kings' or popular titles like
'Passion of Christ', this 1978 Telugu film was titled as Karunamayudu
which
means 'Compassionate Man', projects a subjective postcolonial
Christological title to the film. No where in the Bible is this title
used for Jesus like the Son of God, Son of Man, Son of David, Lord,
Master etc. though he was understood as a man full of compassion, and
to entitle the plot about the life of Jesus in such a way, projects
the subjectivity of the Indian understanding of Jesus. In a colonial
context, where the whole Palestinians were longing for freedom, the
longing for a political messiah was well projected in the film, for
Jesus comes as Karunamayudu,
whose
politics are counter-cultural to the Roman empire and also to
Barabbas-Judas duos violent strategy. Such a counter-cultural
Christology suits to the Indian context, for there has been a
yearning for such a political messiah who is an embodiment of
compassion, who comes from among the community in addressing the
unjust situations of our times. Jesus' portrayal as a carpenters son
is to communicate that he is a boy living next door to the audience.
Jesus' mother Mary teaches to read scriptures to him as boy, and when
Jesus meets her he bows down to touch her feet, his meek outfit and
body build up, all project the subjective Indian Jesus. Such a
portrayal contests all forms of the macho- Jesus, who is all mighty
and all powerful.
Dwight
H. Friesen in his PhD dissertation on “An
Analysis of the Production, Content, Distribution, and Reception of
Karunamayudu (1978), an Indian Jesus Film”1
expounds 'hybrid Jesus' in the film and argues that the cinematic
Indian Jesus was so visualised to suit and meet the expectations of
the audience of multiple religious traditions of India. He further
expresses that this Indian portrayal of Jesus story is to 'diffuse
his reputation of foreign God.' However the subjectivity has been of
the Indianness, but which Indianness? According to Dwight's analysis
the film reflects a resonance to the Hindu mythological portrayals,
for example the ascension episode was projected with Jesus becomes
bigger and bigger, dwarfing the human community. A Dalit assertion of
Jesus would have been even more appealing to the audiences to express
Indian subjectivity in the context of postcolonial theological
enterprise. One has to be aware that the film has been produced and
filmed by a commercial film company who were predominantly Hindu in
1978 to attract popular Indian audiences. Dwight's analysis of Jesus
in the film as 'Indian guru' meets to the theological expectations of
the inter-faith theological genre in India, but such a portrayal
excludes the indigenous communities spiritualities and their
aspirations for liberation.
The passion narrative of the film
was also dealt with so much care, though there has been an element of
over-romantisization of his suffering. Jesus was brought as a
criminal to Pilate, where the religious leaders accuse him of
religious crimes for which they demand crucifixion, and ultimately
the release of Barabbas instead of Jesus, suggests the political
naivety of the plot.
On the whole, the Indian film
Karunamayudu provides a new terrain for postcolonial
theological engagement, for it opens up a new conversation on texts,
hermeneutics, epistemology and theology and encourages to construct
theologies beyond mere written-ness or words. The hard questions that
comes to the fore are, if such Jesus' films are projected as 'visual
scriptures' how will people with visual disabilities receive and
understand it? Does other films not carry and communicate the values
of the gospel? There are some conservative Christians in India who
deem watching films as something 'sinful' needs to understand that
films are texts that have loads of meaning embedded in them and there
is nothing unchristian about watching films.
After 1978, there are several other
Indian Jesus' films that were produced and several English films were
dubbed into Indian languages, however hardly any of them carried this
postcolonial tenor of Jesus' ministry into their plot and contents.
Bible ki Kahaniya (Stories of Bible) was an Indian television
programme that was televised during 1993 to 1995 in Hindi language
with huge Bollywood cast based on Bible. This programme received a
huge response from Indian audience for it was televised on the
national TV channel Doordarshan. However, it was stopped abruptly for
several reasons and did not carry this postcolonial context into its
plot.
This review is merely invitational
for a more engaged conversation on film and faith. Faith and film
should not be seen as opponents but be viewed as complimentary to
each other, for there creative convergences between them that
evolves and emerges. Faith certainly comes from hearing, and film
provides that hearing aid with audio-visual effects. This Indian
Jesus' film Karunamayudu opens up new horizons to construct
Jesus' story and his gospel relevant to our Indian context, specially
from Dalit and Tribal perspectives, for a post colonial lens of
reading and re-reading of film, theology and religion from subaltern
standpoints becomes immanent and necessary.
Rajbharat Patta
11th July 2016
Full Length Film can be viewed at https://www.youtube.com/watch?v=gEhJxsAulx4
1https://www.era.lib.ed.ac.uk/bitstream/handle/1842/5805/Friesen2010.pdf?sequence=1
4 comments:
Interesting observation indeed. Perhaps the notion of Jesus Christ being a western caricature was broken through that film and I remember watching it and connecting my-self from an Indian perspective.
Keep sharing your insights anna.
Thank you Vishal for ur feedback n u r rt many of us could relate to that Indian Jesus.
Dear Bharat, Happy to see your blog. All your observations are true and many of us may not know all these till today. May God bless you abundantly. Amen.
Thank you Ranjith Kumar Terram for your comment, and it is our turn to keep talking about these concerns to our communities.
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