The Mahatma on Celluloid

Similar to that of mass politics, the towering predominance of Gandhi's persona was capable enough to create sensation on silver screen. K. Subramanyam's Thyagabhoomi (1939) was one of the few Tamil films from the 1930s which relayed Gandhian nationalist propaganda with provocative visuals. It represents one of the rare occasions in India, when a film was banned after its release.

Netaji Subhas Chandra Bose's admittance for violent struggle often conflicted with Gandhi's ideas of non-violence. In Hemen Gupta's Netaji Subhas Chandra Bose (1966), such encounters appear blended with Gupta's personal experience of working as the secretary of Bose during the 1930s.

Regarded as one of the authentic biopics of the Mahatma, Richard Attenborough's, Gandhi (1982) won Academy Awards in different categories.

Ketan Mehta's Sardar (1993) highlights the last few years from the life of the nationalist leader Sardar Vallabhbhai Patel. The film presents a generic trend initiated by Gandhi (1982). Patel's character, as a close associate of Gandhi, presents the dilemma and conflicts that the Mahatma had to encounter during the last phase of his life.

The film was scripted by the eminent playwright Vijay Tendulkar.

Shyam Benegal's Gandhi biopic explores the leader's two decades of struggle in South Africa. With a carefully woven narrative, Gandhi Se Mahatma Tak (1993) looks back at his experiments with life and truth, which eventually led him to reach political sainthood.

The first Indian film to face the wrath of colonial censorship, Bhakta Vidur (1921), juxtaposed the mythological character Vidur to that of Mahatma Gandhi while producing a politically subversive allegory. The film stands as one of the contemporary renditions of Indian mythological tales by the director Kanjibhai Rathod.

Set against the backdrop of historic Dandi Salt March of 1930, V. Madhusudhana Rao's ambitious project Padandi Munduku (1962) showcases people's participation in the struggle against British economic monopoly. Valorising Gandhi's leadership in nationalist struggles, the film also underscores the aspect of Gandhian self-dependence as a fundamental prerequisite for freedom.

Assamese patriotic leader Piyoli Phukan was among the first to organise an uprising after the Treaty of Yandabo (1826), ceding Assam to the British Empire. The film blends Assamese nationalism with a pan-Indian patriotic impulse. Piyoli's characterisation in Phani Sharma's Piyoli Phukan (1955) presents an example of the influences of Gandhian iconography in Indian popular cinema.

K. Subramanyam’s reformist film Balayogini (1936) produces the saga of struggle of a Brahmin woman and her child in the backdrop of the Self-Respect Movement. Made during the heydays of Gandhian nationalism on a pan-Indian landscape, the film also records popular appeal of the emergent Dravidian consciousness in Madras.

Seva Sadan highlights Gandhian practice in critiquing the conservative rituals. It questions the social order which valorises dominance over women in the guise of 'tradition'.

Inspired by Telugu social reformer Kandukuri Veeresalingam's ideas, B.N. Reddi's Sumangali (1940) narrates a realist tale of widow remarriage. Made a couple of years after Mala Pilla, the film presents one more example of Gandhi's influence on existing reformist ideas and their manifestations in popular culture.

Loosely based on practicing Gandhian values in social life, Homi Wadia’s Ekta (1942) also marks the beginning of Sindhi cinema. Dedicated to the “Glorious cause of Hindu Muslim unity”, the film trivialises inter-communal relationship.

Eminent nationalist Sane Guruji’s novel was made into the film Shyamchi Aai by P.K. Atre. The film incorporates nationalist symbolism associated with the mother, a devoutly religious person with an earthy philosophy, as well as the depiction of her relationship with her son. Gandhi's political ideas about duties and rituals find expression in the characters of the mother and patriot Shyam.

One of the most popular contemporary cinematic appreciation of Mahatma Gandhi, Rajkumar Hirani's Lage Raho Munna Bhai (2006) presents a don's eccentric journey with 'Baapu', the Father of the Nation. The film's rendition of Gandhian practice as 'Gandhigiri', evoked much interest amidst criticism and appreciation.