There was a time when stories of mill workers made compelling cinema. Popular films such as “Deewar”, “Kaalia”, “Mazdoor” and “Arjun” voiced their discontent. But as cinema lost touch with reality, the workers lost their voice on celluloid as well. Now with “City of Gold”, actor-director Mahesh Manjrekar has given them a platform.
“It shows the ugly secrets of the shining city of Mumbai, which deprived lakhs of workers of their livelihood on its march towards development.” Mahesh says once upon a time the city was defined by its cotton mills. Around three lakh workers earned their livelihood from these mills and around 10 lakh depended on them. “When real estate prices soared, the mill owners in collusion with the bureaucracy sold mill land leaving the workers in the lurch. I am not against development, but these poor workers who contributed to the growth of the city should get their share. And they are not asking for the world. In the '80s, the media was not so vociferous and the workers' voices went unheard. However, today's generation should know that the glitzy malls and high-rise apartments they frequent are built on the blood and sweat of poor people who have been denied their rights for almost three decades.”
Impact of development
Mahesh says the film also looks at the cultural and social impact of development on the city. “The workers did not earn much from the mills but at least they were able to sustain their culture and lived a life of dignity. When the doors were shut on them, their children took to crime and the workers and their families were forced to make various compromises.”
Also made in Marathi as “Lalbaug Parel”, this is Mahesh's second film in quick succession after “Me Shivajiraje Bhosale Boltoy”, which looks at the trials and tribulations of Marathi manoos from a different angle.
Is he trying to show how discontented people become fodder for political parties? “My films are not judgmental and I must say many of these mill workers were North Indians. Yes, parties do exploit discontentment but we should realise today there is little space left in Mumbai. Go to a middle class North Indian household; you will find that it is difficult for the family to accommodate an outsider. Also, as I pointed out in “Shivajiraje…”, somewhere down the line, the Marathi people are responsible for allowing the rot to set in. If you learn to say ‘no' to bribe and corruption, things will change.”
Mahesh has returned to the Hindi domain after five years. His last Hindi film was “Virrudh”, which could not make an impact at the box office, despite getting a thumbs-up from the critics. “I didn't get disillusioned. I've been far too long in the industry to know it's all in the game. Public posturing notwithstanding, when trash becomes a hit no filmmaker worth his salt takes it seriously. Similarly, when a good film fails to muster numbers at the box office, he doesn't lose sleep. I got busy with my acting assignments and then wanted to give youngsters who have been assisting me a break.”
Mahesh says he had the script for four years. “I was looking for a producer, who was as excited as I was about the project. I didn't want to dilute it with stars and song-and-dance sequences.” Mahesh says that is why he zeroed in on Satish Kaushik, Seema Biswas and Sachin Khedekar.
