One of the most respected filmmakers in Indian parallel cinema M. S. Sathyu is a man of many talents. Besides being a filmmaker, he is a writer, theatre director, stage designer, art director, social commentator, and activist. Sathyu will always be remembered for his socially relevant films like “Garm Hava,” “Kanneshwara Rama,” “Chitegu Chinte,” “Bara,” “Galige,” “Ijjodu,” and many more.
Early Life and Career
Mysore Shrinivas Sathyu was born on July 6, 1930, in Mysore, Kingdom of Mysore, Karnataka. He got his early education in Mysore before graduating from Bangalore’s Central College. He moved to Bombay in 1952 and started his career as an animator.
At the same time, he also joined the Indian People’s Theatre Association (IPTA), which remains a prominent part of his artistic life. Apart from IPTA, he worked with various theatre groups like Begum Qudsia Zaidi’s Hindustani Theatre, the Okhla Theatre of Habib Tanvir, Kannada Bharati, and other groups in Delhi.
In the Hindustani Theatre, where he met his future wife Shama Zaidi, together they worked on plays like Mitti Ki Gaadi (1958), Shakuntala (1959), Vasantasena (1960), Amrapali (1960), Khalid ki Khala (1962), Sufaid Kundali (1963), Mudrarakshas (1964), and Mera Naam Trufaldin (1965).
He also staged plays for IPTA, such as “Aakhri Shama (1969),” written by Kaifi Azmi. It was based on the life of legendary poet Mirza Ghalib, played by Balraj Sahni. Some of his other notable plays include the musical “Gul E Bakavali,” written by Sudheer Attavar; “Dara Shikoh,” written by Danish Iqbal; “Rashmon:” “Bakri” (“Kuri” in Kannada); “Girija Ke sapne;” “Mote Ram Ke Sathyagrah;” “Emil’s Enemies;” “Amrita;” among others.
M. S. Sathyu In Films
His breakthrough came when he landed his first salaried job as an assistant director to filmmaker Chetan Anand. His versatility shone through as he delved into various roles, including art director, cameraman, screenwriter, producer, and director, over the course of several decades. One of his most prominent works came in the 1964 movie “Haqeeqat,” where he was the art director.
His most acclaimed work, “Garm Hava (Scorching Winds, 1973),” is based on a short story by “Ismat Cughtai” about the complicated and often heartbreaking situations during and after the partition of India. The film brought to life through the screenplay by Kaifi Azmi and Shama Zaidi remains one of the last cinematic productions featuring the legendary Balraj Sahni.
The film’s impact was profound, earning several Indian national awards and a nomination for the Golden Palm at the Cannes Film Festival. It was also India’s entry at the Oscars and won the Filmfare award for best screenplay.
Important Work
His next “Kanneshwara Rama (1977),” delves into the life of a peasants and anti-British outlaws, set in the 1920s. The film stars Ananthnag, Shabana Azmi, Amol Palekar, and Tom Alter. It presents a narrative that intertwines folklore and history, painting a picture of the socio-political landscape of the time.
“Chitegu Chinte (1978),” a Kannada film, stands out as a political satire that comments on the Emergency period in India. Sathyu’s sharp commentary in this film showcases his courage to address sensitive political issues through the medium of cinema.
Another significant film by Sathyu is “Bara (1980),” which translates to ‘Famine’. Based on a story by U. R. Ananthamurthy, ‘Bara’ explores the plight of a drought-stricken district in northern Karnataka. The film’s poignant portrayal of the struggles faced by the people during a famine received critical acclaim. It’s Hindi version, “Sookha (1983),” won the Filmfare Critics Award for Best Movie. It also won the National Award for Best Feature Film on National Integration.
“Ijjodu (2009),” which translates to ‘The Incompatible’, is a film that explores the Devadasi practice of southern India. The film offers a critical look at the social and personal implications of this practice for women.
Sathyu’s filmography is a blend of over 15 documentaries and 8 feature films in Hindi, Urdu, and Kannada. Some of his other notable films include Kahan Kahan Se Guzar Gaya (Hindi, 1981), Galige (Kannada, 1994), and Kotta (Kannada, 1999).
In recognition of his contributions, Sathyu was honoured with the Padma Shri in 1975. In 2014, his debut film ‘Garm Hava‘ was re-released after restoration, reintroducing his work to newer generations.
M. S. Sathyu The Activist
In 2013, M.S. Sathyu was seen in a viral ad. Remember the famous Google ad about reunion of two childhood friends. The ad was about an old Indian man who reunited with his childhood friend from Pakistan through a Google search. Sathyu played the role of “Yusuf,” elderly Pakistani man, and Vishwa Mohan Badola played the Indian man “Baldev.”
M. S. Sathyu is a filmmaker who has consistently used his craft to delve into complex and often controversial themes like psychological and emotional violence experienced by those uprooted due to man-made tragedies. He also highlights the subtler forms of violence, such as betrayal, economic disenfranchisement, and the failure of state machinery to protect the interests of its citizens.
Many of Sathyu’s films have political developments as their backdrop. He uses cinema to explore the difficulties of maintaining ideals in situations of strife and conflict. His works react to different political situations, reflecting his views on idealism and politics.
Legacy of M. S. Sathyu
He also explores cultural and social practices as well as natural calamities and their social and economic impacts. One of the recurring themes in his films is human relationships and emotions in various settings.
Through his films, M. S. Sathyu has provided a window into the realities of Indian society, often bringing to light issues that are otherwise overlooked. His commitment to addressing social issues and his ability to weave them into compelling narratives have made his work an integral part of Indian cinema’s history. His films continue to inspire and provoke thought, serving as a reminder of the power of cinema to influence and reflect on societal change.
M. S. Sathyu on IMDB
