Shyam Benegal in Postcolonial Perspective: A Cinematic Chronicle of Representation and Resistance

Abstract

This paper examines the films of Shyam Benegal through a postcolonial lens, highlighting his role as a prominent filmmaker in Indian cinema who amplifies marginalized voices and critiques socio-political structures. As a key figure in the Indian New Wave, Benegal’s work addresses themes of identity, class struggle, gender oppression, and the complexities of post-independence India, reflecting the legacies of colonialism. The analysis focuses on his early films, such as Ankur, Nishant, and Manthan, which engage with subaltern studies and portray the struggles against feudal oppression, as well as later works like Bhumika and Mandi, which interrogate gendered nationalism and the role of women in shaping cultural narratives. Additionally, the paper explores Benegal’s satirical critiques of the postcolonial state in films like Welcome to Sajjanpur and Well Done Abba, alongside his biographical narratives that challenge dominant historical discourses in The Making of Mahatma and The Forgotten Hero. Ultimately, this study underscores Benegal’s contributions to Indian cinema as a site of critical engagement, offering a nuanced representation of India’s pluralistic identity and advocating for the voices of the oppressed within the broader context of postcolonial discourse.