Manto lives again… this time in Cannes

Nonika Singh

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“And it is also possible, that Saadat Hasan dies, but Manto remains alive.”
—Saadat Hasan Manto

In the last century (11 May 1912 – 18 January 1955) lived Pakistani writer Saadat Hasan Manto, acclaimed as one of the finest Urdu short story writers not only in his homeland but the entire subcontinent. Now Manto’s writing, as hard-hitting as controversial, as provocative as realistic, as acerbic as insightful, lives again in a film called Mantostaan. Directed by Jammu and Kashmir-based Rahat Kazmi…call it the power of Manto’s ink-laced with his sheer genius or the stellar vision of Kazmi, the film finds a pride of place at the prestigious Cannes Film Festival.

To be shown few days (May 14) after Manto’s birth anniversary, it brings together four of his stories, tales of which will run parallel to each other. Disparate yet not disjointed, bound together by the common underlying thread harking back to Partition. The writer who proclaimed both India and Pakistan are not free even after independence certainly portrays the angst, pain and even perversity of those early times. Kazmi insists that he has mirrored his potent ideas as well as dialogues as authentically as possible. Not only has he followed the storylines to the T, but even dialogues are from Manto’s stable.

Reasons for choosing Manto are not far to seek. Being a student of Urdu literature Manto was (is) Kazmi’s favourite author as he has been of millions. While tomes have been written about what makes Manto stand apart Kazmi likes his straightforward forthrightness, the gumption to say it the way it is. After all he had no qualms admitting: “A hardworking woman who spends peaceful sleep at night cannot be the heroine of my story. My heroine would rather be a harlot who lies awake at night and whose day-time rest is often disturbed by nightmares of impending old age.”

However, the man who was charged for obscenity several times in his life time can’t be an easy author to adapt onscreen. Kazmi had to be on guard at every step especially when dealing with stories like Khol Do and Thanda Ghost. Known for rather volatile (some would say scandalous) content these two popular stories have since stirred many a hornet’s nest.

Kazmi, however, can’t see why people took umbrage. Yet while translating the same in the visual idiom he had to ensure that the film doesn’t turn vulgar. The climax of Khol Do where the sexually exploited woman unties her salwar in front of her father at the mention of the words Khol Do in particular was a tough one to can. His friends in theatre– Manto has been widely adapted on stage – were a great help. Actors too pitched in valuable inputs. Azmi would constantly show them the monitor and elicit feedback. Actually it was one of his actors Raghubir Yadav of his previous film Identity Card who sowed the seed for Mantostaan. As it turned out Yadav is even a greater admirer of Manto’s writing. In a way the film is not just a tribute but also a gift to all of Manto fans and perhaps a befitting answer to his vile detractors too.

Selection at Cannes is a reaffirmation that he is on the right track. Being part of festival’s Le Marche du Film category is an honour and a triumph. Says Kazmi, “Cannes Film Festival is not only one of the biggest platforms but also one that opens doors for a diverse market.” The feedback that mere selection is generating is phenomenal. Already he is getting feelers from Hollywood distributors. And guess what, known actress Canelle Hoppe is especially flying down from London to watch Mantostaan. Some salute to the film that also includes Manto’s story Aakhri Salute set in Pir Panjal. Hailing from Poonch his last film was about the piquant Identity Card issue that mandates every resident of the Valley to carry their identification papers. Parts of Identity Card were shown in European parliament while discussing the Kashmir issue.

Cause and cinema are flip sides of the same coin for Kazmi. Commercial razzmatazz is almost a no no for him. Next on the agenda is HG Wells’ The Country Of The Blind and another one starring Naseeruddin Shah about which he is tightlipped. But on Manto he can go on and on and provides insight into his ever agile mind by reiterating his thoughts. “How can I undress civilization and unclothe society for they are already naked – I don’t try and cover up or dress them up either for dressing up is the trade of tailors and I am not a tailor – people call me a black pen. But I don’t use a black pen on a blackboard. I use a white chalk so that the blackness of the blackboard stands out.”

And it’s this philosophy of Manto that will emblazon the screens at Cannes. Hope or despair….what message the film gives out Kazmi can’t say but rest assured Mantostaan will be Mantoseque for sure.

nonikasingh@tribunemail.com