Cannes without India

CANNES WAS SWEPT off its feet by Asian cinema. At the recently- concluded International Film Festival in the French Riviera, nearly half the number of movies in the two main official sections - Competition and Outside Competition - was from that continent. And as many as four of them bagged the top awards, including the Grand Prize. There were certainly some marvellous works. If 20-year-old Ms Samira Makhmalbaf created a sensation with her second Iranian picture, ``Blackboards'', Mr. Aoyama Shinji from Japan presented a three-and-a-half hour dilemma of two children and a bus driver who were victims of senseless violence. The jury gave its Special Award to Ms Makhmalbaf, and she was perhaps the youngest to have been so honoured at Cannes. Period pieces that spoke of Samurai tradition and class barrier gripped audiences and critics alike at Cannes. Taiwan's Mr. Wong Kar-wai and Israel's Mr. Amos Gitai contributed to this wave in no small measure by offering stylistic interpretations of love and war. Mr. Wong Kar-wai's ``In the Mood for Love'' walked away with the Best Actor Prize for its lead star, Mr. Tony Leung.

But India remained conspicuous by its absence. A country that produces 600-odd films annually could either not rise up to Cannes' standards of cinematic excellence or was careless about promoting or showcasing its fare. There was not a single Indian entry. The Festival chief, Mr. Gilles Jacob, had once said that it was impossible for him to keep track of what was happening in India, unless the directors and producers there made an effort to involve him by sending him cassettes or literature. That those in charge of movies in India could not care less about participating in what is undoubtedly the queen of festivals seemed apparent this year when the National Film Development Corporation did not arrive at Cannes, despite having reserved a stall in the swanky new market. The Information and Broadcasting Ministry - under which the NFDC falls - reportedly decided to ignore Cannes, because no business was conducted last year! Surely, boycotting a major market is no answer for last year's zero performance; instead, a more determined effort could have been made this time by perhaps sending in a better-motivated team to tackle the plunging sales.

One can, of course, argue here that India does not need a Cannes to sell its wares, at least at this juncture. It has a thriving home market. But celluloid production has been steadily falling. From a whopping 900-odd some time ago, it now stands at about 600 a year, and most producers find that returns are seldom satisfying. There are several misses to a hit. Will it not be prudent, then, to try and think of new territories, especially now that there is such a phenomenal global interest in Asian films? Admittedly, India will face a stiff competition in the international arena from majors such as China and Japan. Even minor players such as Iran and Korea create artistically excellent stuff. Indian movies need to look ahead, get out of the rather stale Hollywood groove, if they are to make a mark on the world cinema map. But if that requires originality and recognition of talent, these have to be supported by an administration enlightened enough to understand the value of spreading a sensible culture. The NFDC is supposed to find and fund good work, is supposed to market it. There is little doubt that it has not been doing so, at least lately. Cannes proved this all right, especially when one saw small single-digit film- making countries marking their attendance with verve and vigour. Indian cinema needs far greater attention than what one would like to believe.

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