The trailblazers of Ambedkarite Cinema

“We need someone who looks a little more like Dalit.”  This line from Rajesh Ramani's The Discreet Charm of the Savarnas points to a truth absent in mainstream cinema.  Raja Harischandra by Dadasaheb Phalke is considered as the first Indian silent film based on Hindu mythology. It was made by a savarna man, a Brahmin Hindu and since then the stories that have been told have always been of the dominant caste from the dominant community.

From time to time there were attempts to represent the Other. In the  pre-independent era ‘Acchut Kanya’ (1936) was one of the first films of Indian cinema to claim  to try and address caste discrimination. The others in this rather small line-up include post-independence films such as  Sujata (1959), Ankur (1974), Bandit Queen (1994) or non-Hindi films Mukta (1994).  However it could not be said that they had deep insight into the lives of Bahujan. Right up to Lagaan (2001), we have had the Bahujan represented as Kachrya while the upper castes are the saviours. In general, if mainstream Bollywood considers caste at all, it is a Bahujan girl who falls in love with a savarna boy not vice versa

Fandry (2013) is one among the few films that explores the story of a Dalit boy falling in love with an upper-class girl. Apart from this, it  also talks about the menial jobs done by the community. The family lives on the outskirts of a caste segregated village. In the climax of the film, where the protagonist throws a stone at the camera, it symbolizes the protagonist's rebellion against the very system that  dehumanized him.  The filmmaker fearlessly portrays the true extent of discrimination faced by Dalits.

This 30-minute film called Ajeeb Dastans encapsulates the struggle of Dalit women in many ways.  A scene where a  character asked for her name, she takes a pause, lies about her surname, underscoring themes such as fear of rejection. This film boldly exposed the harsh realities faced by Dalit women, shedding light on their systemic oppression.

Jyoti Nisha is an academician and Ambedkarite filmmaker. Her documentary Dr. B.R. Ambedkar: Now and Then showcases the atmosphere of anti-caste movement in the past. The film took her eight years to make and embodies an Ambedkarite feminist frame of mind. 

Pa. Ranjith redefined the Tamil cinescape by incorporating Dalit insight into mainstream cinema. He is known for creating unapologetic characters such as Kaala Karikalan (played by Rajnikanth), Raghavan (played by Karthi) as well as the portrayal of  a Dalit boxer Kabilan in  Sarpatta Parambarai (2021) all his characters are presented  with pride, courage to cross the oppressive structures, in a dignified manner.

In conversation with Somnath Waghmare, an Ambedkarite documentary filmmaker

Somnath Waghmare’s film, ‘The Battle of Bhima Koregaon’ is a powerful documentary that dissects the historical significance of the Bhima Koregaon battle of 1818, a conflict fought between the Peshwa Maratha forces and the British East India Company. It saw the participation of Dalit Mahar soldiers who aligned with the British to challenge the oppressive caste hierarchy perpetuated by the Peshwas.              

Somnath’s film Chaityabhoomi received initial coverage an internationally well renowned news outlet, The Guardian. Subsequently, various Indian platforms, including regional language media, also reported on the film. He believes that this widespread coverage has contributed to a positive shift within Indian society. Waghmare also observed an interesting contrast in audience reactions. He noted that non-Indian audiences often have a more natural and unfiltered response to the film. Dalit communities had strong, stirring reactions while watching the films representing them on the big screen. Their reactions were profound and emotional. The collective viewing experience in a cinematic setting seemed to influence the impact of the film, leading to tears and a shared catharsis. This emotional response underscores the deep resonance of the film within the Dalit community, validating their experiences and struggles on a communal level.

When asked about his interest in making films and documentaries on other subjects, he consistently stated that his priority would always be caste-based films. He emphasized that Indian cinema still significantly lacks representation of Dalit and other marginalized caste experiences. 

He also shared the need for Dalit women stories to come to light in Indian Cinema as there is very less representation of dalit women stories. He argued that such stories should be told by Dalit women filmmakers themselves, ensuring authenticity and empowering marginalized voices.

The presence of Dalit and Bahujan filmmakers in the industry is crucial for depicting the deepest truths of society that are often ignored, distorted, or underrepresented by dominant-caste narratives. Indian cinema has traditionally reflected a world shaped by the myths, histories, and cultural values of the dominant caste, leaving little room for the voices of the marginalized. Their work is essential not just for representation but for creating a more inclusive and truthful cinematic landscape. Through their lens, the untold and often silenced stories of Bahujan communities are finally being shared with the world in all their depth, struggle, beauty, and resilience.