Manto is Life and Life is Manto


Direction: Nandita Das

Production Company: HP Studios, Film Stoc, Viacom 18 Motion Pictures, Nandita Das Initiatives Writer: Nandita Das

Cast: Nawazuddin Siddiqui, Rasika Duggal, Tahir Hussain, Rajshri Deshpande, Ila Arun, Rishi Kapoor

Cinematography: Kartik Vijay

Editing: R Sreekar Prasad

Sound: Resul Pookutty Music: Zakir Hussain

Hindi / Biography, Drama, History / 112 mins / India / 2018

Nawazuddin Siddiqui

Rating: 4.5/5

Saadat Hasan Manto was a writer far ahead of his times – at least 75 years ahead. But this measure is rather literal and I am saying this because the last seven decades are available to me in retrospection. For those who will remain sensitive to their times and the all-round state of affairs, Manto will become increasingly relevant in time to come. He was way ahead of his closest colleagues and competitors – even prolific contemporaries like Ismat Chughtai; a man for whom labels and cliques like Progressive Writers Association meant nothing; one who never allowed himself to be boxed in by convention and one who couldn’t care less when convention boxed him once in a while. A man who lived life divided between his heart and life’s reality, one who made his choices whether in story writing or life, exactly as he wanted them – even though and sometimes, the choice was out of his hands. And a man who was willing to pay the price for what he chose. A man who remained unsung in Indian mainstream literature – unfortunately confined to niche circles, till well into the 1980s. He remained unsung till lesser mortals began rediscovering him and found that his work was still holding a mirror to dysfunctional souls in society. Still does. Still is – holding up that mirror.

Nawazuddin Siddiqui

All this and more characterises Manto. And all this and more is what Nandita Das captures in her second outing as filmmaker. She remains focused on the man, the writer, his complexities while keeping on the periphery issues that surrounded him and defined his writings – Partition, his dynamic friendships and Hindi film industry and more.

With Manto, Das has gone where few have dared to tread before. For there is a reason why writers are hardly captured on screen – its difficult to capture their complex mindspace, times and writings all in one. Beyond the obvious of a life being lived in the real world – writers live in a world of their own. To translate that world on screen is not only difficult but can be intimidating. That is where Das succeeds. Not only does she interweave his short stories like Khol Do, Thanda Gosht and Toba Tek Singh et al into the narrative, she shuttles between reality within and without, effortlessly. The helplessness and hopelessness of the times he lived in, are replicated in his own life. The six trials that he faced on obscenity are more a testimony to the shallow and absurd thought processes of those who sat on judgment than the man himself. The chaos that the country finally slips into after 1947 and the manner in which Manto slipped slowly into insanity, are not very different from each other. In other words, Manto is life unfolding itself. They are inseparable - life and Manto.

Nawazuddin Siddiqui