| 1 | '''SAINT FILMS''' |
| 2 | |
| 3 | |
| 4 | Genre of film biographicals of the medieval |
| 5 | Saint-poets. This Bhakti tradition emerged from |
| 6 | the proliferation of regional and lower-caste |
| 7 | cultures after the 7th C. when the Pauranic |
| 8 | texts and portions of the Mahabharata were |
| 9 | rendered in the Prakrit or demotic languages |
| 10 | spoken by the lowest castes of Shudra or |
| 11 | Atishudra. Starting with Shankara (8th C.) and |
| 12 | Ramanuja (12th C.), the movement expanded |
| 13 | into several sects: e.g. the Jaina, the Shaiva, the |
| 14 | Natha, the Lingayata, the Mahanubhav. It was |
| 15 | strongest in the South and the West, creating |
| 16 | the first major literatures in Tamil, Telugu, |
| 17 | Kannada and Marathi. Directly addressing the |
| 18 | peasantry and the artisans, the Bhakti tradition |
| 19 | was revived in several currents of 19th C. |
| 20 | nationalist and egalitarian reformism, e.g. by |
| 21 | Mahadev Govind Ranade (1842-1901) who |
| 22 | opposed a Vedantic revivalism by modelling |
| 23 | his own sermons on the verses of the 17th C. |
| 24 | Marathi poet, Sant Tukaram. In Telugu and |
| 25 | Kannada the movement is traced to the spread |
| 26 | of the Veerasaiva cult, pioneered by |
| 27 | Mallikarjuna Pandit and Basvanna respectively, |
| 28 | leading to the earliest reform movements |
| 29 | which, as e.g. with the educational activities of |
| 30 | the Lingayat Viratka monks in 19th C. |
| 31 | Karnataka, fed into the social reform |
| 32 | movement under British occupation (see |
| 33 | Social) Used for the first time to create a |
| 34 | political language in the banned film Bhakta |
| 35 | Vidur (1921), a tradition continued by e.g. |
| 36 | Prabhat's famous Saint films: Dharmatma |
| 37 | 0935) drew parallels between Gandhi and the |
| 38 | 16th C. poet Eknath; Sant Dnyaneshwar |
| 39 | (1940) made a call for peace in the context of |
| 40 | WW2. The theatrical version of the genre |
| 41 | emphasised miracle sequences in narratives |
| 42 | culminating in intense devotional emotions. |
| 43 | This approach found a natural extension into |
| 44 | filmic spectacle beyond the means of the |
| 45 | conventional mythological, best exemplified by |
| 46 | S.S. Vasan's big budgetAvvaiY.var 0953). In |
| 47 | Telugu the form is uniquely associated with the |
| 48 | star Chittor V, Nagaiah (Bhakta Potana, |
| 49 | 1942; Tbyagayya, 1946; Yogi Vemana, 1947 |
| 50 | et al.). Other classic Saint films are Chandidas |
| 51 | (Bengali, l934),Sant Tukaram (Marathi, |
| 52 | 1936), Bhakta Cheta (Tamil, 1940), Bhakta |
| 53 | Kabir(Hindi, 1942),Meera (Hindi/rami! |
| 54 | 1945), Bhakta Gora Kumbbara (Kannada, |
| 55 | 1949), etc. The last major film in the genre is |
| 56 | the Punjabi classic Nanak Naamjahaz Hai |
| 57 | 0969) although this is not strictly a |
| 58 | biographical. |
| 59 | |
| 60 | [[Glossary]] |