| 1 | '''Hamara Shaher''' |
| 2 | |
| 3 | |
| 4 | aka Bombay Our City |
| 5 | 1985 82’ col Hindi/Tamil/English/Marathi |
| 6 | d/p/s/co-c Anand Patwardhan co-c Vijay |
| 7 | Khambati, Pervez Mehrwanji, Venugopal |
| 8 | Thakker Hindi voice-over Deepa Arora, Rita |
| 9 | Bhatia, Supriya Pathak, Om Puri, |
| 10 | Naseeruddin Shah, Rahul Varma |
| 11 | |
| 12 | |
| 13 | Patwardhan’s most acclaimed documentary, |
| 14 | made on 16mm, tells of Bombay’s millions of |
| 15 | pavement-dwellers. Throughout the early 80s |
| 16 | there were several brutal efforts to evict |
| 17 | families who lived in illegal tenements and on |
| 18 | pavements although they provided the city |
| 19 | with the casual (esp. construction) labour |
| 20 | crucial to its economy. The film looks at the |
| 21 | culture of Bombay’s elite, often contrasting |
| 22 | what they say with the physical conditions in |
| 23 | which they say it: the former municipal |
| 24 | commissioner bemoans the lack of space in the |
| 25 | city while his pet dog trots around his spacious |
| 26 | garden; the Police Commissioner Julio Ribeiro, |
| 27 | in a speech at the Advertising Club, talks about |
| 28 | the poor as ‘low-quality, low-intelligence’ |
| 29 | people. The pavement-dwellers work in the |
| 30 | construction industry in the city’s expensive |
| 31 | Nariman Point area on land reclaimed from the |
| 32 | sea, while massing clouds on the horizon |
| 33 | evoke the possibility of an unbalanced |
| 34 | environment which may cause tidal waves to |
| 35 | wash away their seaside huts. The film |
| 36 | achieves epic dimensions in three remarkable |
| 37 | sequences. Street urchins sell the Indian flag on |
| 38 | a rainy Independence Day, keeping their |
| 39 | precious commodities dry while the huge |
| 40 | Gothic facade of the Victoria Terminus presides |
| 41 | over a police march-past; in the thick of the |
| 42 | monsoon, a child in one of the homeless |
| 43 | families dies; a woman pavement-dweller’s |
| 44 | angry outburst at the film-makers, all highlight |
| 45 | the issues involved in the making of this type |
| 46 | of documentary. |
| 47 | |
| 48 | [[Film]] |