A Subaltern Guide To Filmmaking (a Dissent on Shanghai)

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I had gone to watch Shanghai in Chembur with the residents of Bheem Chhayya, Chedda Nagar, Annabhau Sathe Nagar, and Sion Koliwada, with the same people who’d stand before bulldozers, who’d organize protest after protest, who’d be beaten by the police – to whom state repression and structural violence is an almost everyday reality, to whom the word ‘Shanghai’ itself has been oppressive to the bone, shattering home after home, with the memory of the 80,000 homes that disappeared one day alone in Mumbai, not far away from their memory.

After the film, when I ask if the film deals with the issues of the working classes and the protestors who face the brunt of state violence, of ‘development’ and bulldozers: The answer is a unanimous no.

They felt that it wasn’t just that there was absolutely no tension in the beginning, tension characteristic to state-people conflict in development projects – protests, evictions, police firings, the day to day violence of state functionaries, especially the police. It wasn’t just that the character of Dr.Ahmedi was as uninspiring as a doorknob, or that there were no working class organizers or ‘andolan saathis’, who are predominately responsible for strengthening every people’s movement and struggle, and who’re the first to be brutally attacked or killed. Or that there was no mention of how the mainstream media is co-opted into the fantasy of Shanghai, or that the daily trials and vulnerabilities of working class (except one character) and informal labourers is absolutely invisible. The filmmakers of Shanghai, are guilty of having done exactly what the state would want to do to resistance and people’s movements in the slums – they bulldozed them out of the film.

Development projects, have a very political purpose, not only to hand over prime real estate land to private parties, but to remove every possible centre of dissent and political activity that is always incipient in the slums and working class neighbourhoods. The film, by portraying only the hypocrisies and the futilities of a middle and upper class characters, whose so-called good intentions and attempts for justice are constantly thwarted by ‘the system’, betray the one place where inspiration is found: the protest in the people’s movement, when the hungry go on hunger strike.

Thus, all of those who once stood before bulldozers, would not send anyone to go watch the film. A sentiment repeated by all of them – from Annabhau Sathe Nagar to Sion Koliwada.

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