A recipient of six National Film Awards and five Filmfare Awards, Govind Nihalani is one of the greatest living filmmakers of India, especially known for his hard-hitting social dramas like Aakrosh, Ardh Satya, Party, Drohkal, Hazaar Chaurasi Ki Maa, Takshak, Deham, Dev, and many more.
Particularly revered for his groundbreaking work in the parallel cinema movement in the 1980s and 1990s. Nihlani is also known for his work as a cinematographer and screenwriter. His films are celebrated for their social relevance, powerful storytelling, and innovative cinematography.
Early Life
Govind Nihalani was born on December 19, 1940, in Karachi into a Sindhi family. Following the partition of India in 1947, his family migrated to India. Nihalani graduated in cinematography from the Shree Jaya Chamrajendra Polytechnic (now the Government Film and Television Institute) in Bangalore in 1962. His early career saw him working as an assistant cinematographer to the great V. K. Murthy.
Nihalani’s career began as a cinematographer. Early in his career he worked with Shyam Benegal, another great of parallel cinema in India. Nihalani’s work as a cinematographer on films like “Ankur” (1974), “Nishant” (1975), “Manthan” (1976), and “Bhumika” (1977) earned him critical acclaim. He also worked in Richard Attenborough’s Oscar-winning period biographical drama “Gandhi (1982)” as a cameraman.
It Start With Aakrosh
Govind Nihalani made his directorial debut with the 1980 drama “Aakrosh,” starring Om Puri, Naseeruddin Shah, Smita Patil, and Amrish Puri. This film explores themes of social injustice and corruption. Om Puri portrayed the role of a mute tribal man accused of murder with a raw intensity.
The film’s brutal depiction of systemic oppression and the helplessness of the common man is a tough watch. The film, scripted by noted Marathi playwright Vijay Tendulkar, won the Golden Peacock for Best Film at the International Film Festival of India in 1981.
Nihalani’s next was Ardh Satya, based on a story written by S D Panwalkar, which proved to be a path-breaking film in Indian film history and enjoyed immense commercial and critical acclaim. The film is a gritty cop drama that delves into the moral dilemmas faced by a police officer. Om Puri’s performance as Sub-Inspector Anant Velankar earned him widespread acclaim. The film’s exploration of power, corruption, and personal integrity made it a landmark in Indian cinema.
He then directed “Party (1984),” based on a play by Mahesh Elkunchwar, which critiques the hypocrisy of the urban elite, and “Aghaat (1985),” which addresses the exploitation of workers and the power dynamics within trade unions.
Govind Nihalani’s Tamas
In 1998, he directed Tamas (1988), based on a novel by Bhisham Sahni; this television series explores the horrors of the partition of India. The series, featuring Om Puri, Deepa Sahi, and Bhisham Sahni, stands out as one of the most profound depictions of the partition on screen. Offering a glimpse into the heart of darkness, this gritty and somewhat unsettling work is the artistic zenith of the Nihalani.
The Bombay High Court initially halted the screening of Tamas, but the Supreme Court overturned the stay shortly after. Filmmaker Govind Nihalani described Tamas as an “act of faith,” inspired by personal memories of fear, panic, and bloodshed during the Partition, which his family and countless others experienced firsthand while migrating from both sides of the border.
Tamas received immense critical acclaim for its unflinching portrayal of communal violence and human suffering and won the Nargis Dutt Award for Best Feature Film on National Integration.
Continuing Journey
Nihlani explores the issues of marital life in “Drishti (1990),” starring Dimple Kapadia, Shekhar Kapur, Irrfan, and Mita Vasisht. The film delves into the themes of extramarital affairs, morality, infatuation, and love in an urban setting. He directed “Pita” in 1991, an adaptation of August Strindberg’s The Father (1887). The next was “Rukmavati Ki Haveli (1991),” based on Federico Garcia Lorca’s Spanish play The House of Bernarda Alba. In 1996 came “Sanshodhan,” dealing with the issue of reservation of women’s seats in local self-government. “Deham (2001),” was based on playwright Manjula Padmanabhan’s play Harvest.
In 1994, he directed “Drohkaal,” starring Om Puri and Naseeruddin Shah, which explores the psychological impact of counter-terrorism operations on police officers. The film’s intense narrative and powerful performances made it a critical success. The script was later adapted by Kamal Haasan for its Tamil remake, “Kuruthipunal.”
Later Work of Govind Nihalani
His next venture, Hazaar Chaurasi Ki Maa in 1998, was based on a novel by Mahasweta Devi. The film stars Jaya Bachchan as a mother grappling with the loss of her son, a Naxalite revolutionary. The film, a modern classic, explored the themes of political ideologies, exploitation, and personal loss.
In 1999 he made his first commercial film, “Takshak,” an action drama starring Ajay Devgn, Tabu, and Rahul Bose. The film explores the nexus between business and crime and delves deep into the themes of love, friendship, and guilt.
Dev (2004), featuring Amitabh Bachchan, Om Puri, Fardeen Khan, and Kareena Kapoor, addresses communal tensions and the role of law enforcement in maintaining social harmony. The film’s nuanced portrayal of complex social issues resonated with audiences. More recently, he directed the Marathi film Ti Ani Itar in 2017 and the direct-to-video film Up Up and Up in 2019.
Awards and Accolades
Govind Nihalani’s contributions to Indian cinema have been recognised with numerous awards and honours. Nihalani has received six National Film Awards, including Best Cinematography for “Junoon (1979)” and Best Feature Film in Hindi for “Aakrosh (1980),” “Ardh Satya (1983),” “Drishti (1990),” and “Hazaar Chaurasi Ki Maa (1998).”
Filmfare Awards: He has won five Filmfare Awards, including Best Cinematographer for “Junoon” and “Vijeta” and Best Director for “Aakrosh,” “Ardh Satya (1984),” and Best Movie (critics) for “Dev (2004).” He gets the Padma Shri in 2002 for his contributions to Indian cinema.
The Craft of Govind Nihalani
Govind Nihalani’s filmmaking is characterised by its intense realism, deep political undertones, and stark visual style. Nihalani’s films often feature a minimalist approach, focusing on the raw emotions of the characters and the harsh realities of society. Nihalani’s use of natural lighting, handheld cameras, and long takes adds to the authenticity of his films, creating an immersive experience for the audience.
Govind Nihalani’s films often explore the complex social issues and human emotions. One of the recurring themes in his films is division: communal, class, gender, or political, or, on a bit more personal level, division between friends, lovers, or married couples. Nihlani has a penchant to show the various divisions of human society and their impacts.
Nihalani’s films often highlight the plight of the marginalised and the corrupt systems that oppress them. “Aakrosh” (1980) and “Ardh Satya” (1983) are prime examples of his exploration of social injustice and the moral dilemmas faced by individuals within corrupt systems.
Nihalani’s “Tamas” and “Dev” explore the religious divide in society and its harmful impact on the lives of people. Films like “Party” and “Hazaar Chaurasi Ki Maa” delve into the impact of political ideologies on personal lives, while “Drishti” and “Pita” explore the lives of married couples and their problems.
Personal Life
Nihalani never married. In an interview, when asked about marriage, he said, “I have been involved with my work, but I have not been uninvolved with life. It’s just that some things are not destined to happen. I have lived a fulfilling life and have no regrets.”
Govind Nihlani’s brother, Dayal Nihlani, is also a film director. Shatrughan Sinha’s wife Poonam is Nihalani’s cousin.
Nihalani is a pivotal figure in the parallel cinema movement in India. His realistic storytelling, minimal use of music and glamour, and focus on social and political issues make him unique.
Govind Nihalani on IMDB
