Society Shines in Pashupati Prasad

-          Bhim Prajol

Within sixty seven years of Nepali Film Industry has faced several upheavals. Nepali Film Industry was started with the production of Sattya Harischandra by D B Pariyar from Kolkata, India. Nepal has to depend upon India in many ways. From the civilization, culture, religion along with literary development is based in India. Easy access and availability of sources Nepal has adopted different things directly or in distorted form by India. We can find the influence of India dominantly in religion and politics. Literary writing, music and film industry is not safe from the Indian influence. Sattya Harischandra is the step stone of Nepali film industry. Ama (Mother) , the first Nepali film produced on 14^th September 1951 in Nepal. Later on Nepali Film Industry move gradually adopting the Bollywood and Hollywood's species in Nepali films.

The trend to imitate Hollywood and Bollywood films in to Nepali film industry are seems deflection in the present time. Arrangement of some dancing item songs, unnecessary and unusual fighting scenes, a hero, heroine, a villain and their flow was the excellent filmy formula in the past. Trained, educated and innovative film makers contributed less on such matter and focuses on local social realistic issues which normal people are facing day to day life in artistic quality. Social phenomenon are clearly addressed, artistic elements are fully used and more importance is given to establish the character rather than star with coherent story are seems the most accepted terms.  From the social points of view Nepali culture and tradition is virgin still to be recognized. There are several issues which need to be globalized in literary production.  Cultural prosperity and original Nepali flavor in literature is needed to be represented.

New generation Nepali audience prefer the originality in literature either it is printed material or audio visual. New innovation and adaptation in Nepali film industry is seen in those days. New generation moviemakers geared up to make cinemas with Nepali fundamental original entertainment rather than Bollywood inspired materials. Literature reveals the socio reality in different sorts. Underbellies of cities and its stories, bright and dark sides of culture, reality of tradition, plights of submissive which are rejected into common life can be revealed into literature. We should not roam around and bring the adoptive so called superiority for the uniqueness of literary creation rather there need skill to raise common things artistically.

Ashok Pyasi Rai writes in Annapurna Post," There seems competition basically in two things; technology and fundamentality (Maulikata) for the success of films in the world." We can find those two things in most of the successive films. It is true that we leg behind for advancement of technology. We have to borrow the ideas to think about the advancement in information and technology. Ashok further writes," There is no other option than own originality for those films industries which can't competition on technology." It is true for Nepali film industry to accept this social reality.

Khagendra Dhamala and Dipendra K Khanal gave their concern about the underbelly of Kathmandu city in their film 'Pashupati Prasad'. "Differentiating from the religious perspectives, neither focusing on Gods or religious preachers, nor their teaching, film tells the story of those people who spend their lives on such Gods".(Yagyash) The minor story about a boy who wants to make place in heaven for his demised parents on massive earth quake by repaying the debt. It is the common story of many film that a straight forward man comes in the city from remote area, struggles for livelihood or to fulfill certain and minor dreams. Being such common ideas, Pashupati Prasad wins the heart of audience for its strong storyline, actor's notable performance, credible dialogues and creditable cinematography.

Pashupati Prasad comes to Kathmandu to earn money, repay the debt faces several hardships on surviving in Kathmandu. He came in search of shelter and job for release the soul of his parents from the debt.  Til Bikram Baniya, who is suffered excessively by his unpleasant job of cremation fuss him to be recognized at beginning. Later he accompanied Pashupati and manage him job of collecting coins (Tila) and to collect logs. Syndicate of Bhasme affects him severely for his survival. The story moves round Pashupati Prasad and his living as well as earning and the relationship with other characters.

Son should repay the debt of his parents for the sake of heavenly rest to the souls of the parents. It is the Hindu religious concept of patriarchy. But this film is not based on Hinduism. Dipendra K Khanal has excellently represented social reality bringing all dimensions in to one. Prime concern of Pashupati Prasad is to earn money. It clearly deals with the capitalistic notion, but Pashupati Prasad goes away from capitalistic mode of production, distribution and regenerate surplus. Pashupati is the religious place of Hindus. Several people pass by neglecting the reality of those characters that have made the periphery of Pashupati as their way of living. Subaltern characters and their reality are represented well. Plight, isolation from the mainstream, biasness, and power hegemony is clearly represented in the film through several sparkle of social reality.

Powerful story line and the pleasant dialogue which is the soul of this film make audience to laugh and it mixes miseries upon the pleasure at same time. "It is difficult to survive the subaltern in our society and Kathmandu is cruel for them."(Luitel Gunaraj) Power holders make system for the benefits to themselves. There is no possibility subaltern to be represented. Unstable political system, growing of neo capitalist, decreasing on human morality, unsystematic urbanization, increasing market price etc give excessive torture to subaltern.

Pashupati Prasad hasn't raised only the story of subaltern, but it is the sharp satire of the society.  Capitalism is harshly criticized. Social status and its degenerating values of upper class people are seen through several scenarios. The middle class ambitious people should feel the character from their heart. Raising ambitions with the rising height of building should think from the level of our social reality. The simplest story gives multiple meaning in Pashupati Prasad.

Pashupati Prasad is one of the successful films in Nepali Film Industry. It is the best film of the year 2072. There are several causes to make the film successful. Subaltern are represented vividly. Social reality is the main them on which social relationship plays the pivotal role in the film. Director Dipendra K Khanal has declared the film is about the relationship of the protagonist. "The character builds multiple relationship as the film progress and basically, that's what the film is about relationship."(Khanal Depaendra K; Interview with Republica) Middle class people are kept in proper place. Pathetic condition of city dweller, plight, unemployment, state policy to support and protect capitalistic notion, greedy nature of upper class to earn money without concerning morality and humanity, neo capitalistic notion are presented clearly in the film within short duration. We have read made concept of entertainment by film. Prime intention of film is to provide entertainment is the shaped concept of audience. But Pashupati Prasad doesn't let audience divert from social reality. Pashupati Prasad is the Whole society itself. Another important secret is reveled the film that the formation of Nepali society. From ancient to modern, post modern social realities are gathered in Kathmandu.

For the character, Pashupati Prasad is unique on his role. Khagendra lamichhane, Bipin Karki, Prakash Ghimire, Barsha Siwakoti, Rabindra Baniya, Mishri Thapa have given justice to the characters they performed. Despite other the story basically moves around Pashupati Prasad. Without involved in dialogue Barsha Siwakoti has presented awesome expression in the film which is more powerful than several dialogues. Bipinn Karki, who is the best antagonistic character of the year 2072, has given justice to Bhasme. Unique vocal, realistic acting and transformation on positivity up to the ending wins the heart of audience. Audience irritates with Mitba while he is found to whip money but later his social behavior and humanistic work collect sympathy from the audience. Neither the characters reveal irritation on audience, nor do the adopted fight scenes where a normal man defeats a gang of powerful villain but the coherent struggle of the protagonist make audience speechless. Female characters are not seen on the trade of skin or intended sex but they are placed on the proper acts. Director Khanal has proved the matter of fundamentality should strong to get the love of audience. Expert and knowledgeable people should be given the task for its accomplishment of their excellences. So called established directors characters are not seen sustainable but the newly arrived director established the characters in Nepali Film Industry as well as on the heart of audience.

Audience can observe the quality of any peace of literary production. Imposed analysis of so called power holders cannot sustain longer. It is seen in Pashupati Prasad too. Actors are needed to represent any story rather than Stars. Casting of stars cannot represent the society well. Nepal is multi lingual, multi caste and multi cultural country. Actors should base according to the characters not to base on the stars.  Story and characters with the minor subject matter can carry meaningful lesson, which is purely represented in Pashupati Prasad.

Unexpected ending with the mute narrative climax is another important and notable experiment in Nepali films. Audience cannot think the cruel death of Pashupati Prasad as the upcoming ending. He has worked different sorts of work without concerning about the supremacy of work rather supremacy of labor. To earn money by hook or crook is the focus of Pashupati Prasad but we can't find him deviate from human morality. He has worked different sorts of work but he works and earns money liable. The cruel nature of city, irresponsible nature and immorality of higher class people for the sake of money. Comic ending which shows the victory of truth over false, justice over injustice isn't work in the context of Pashupati Prasad. It has properly highlighted the positive message from antagonistic force as well. Revenge turns into philosophical meaning while Bhasme reveals the truth that all should come here one day later or sooner. Being the pathetic and tragic ending it doesn't deviate audience towards the optimistic notion of life. It gives positive message to the audience.

The ending arouses hamartia to the audience. Despite the protagonist being from the higher class the film arouses Aristotelian term Hamartia. It is because of the change on its audience. Most of the audiences are from middle and lower classes. Heroism is the message not the articulate fight and unrealistic actions. Characters should represent the society and they have to speak the language of the society.

Cinematography, editing, sound, costume design and selection of the characters are perfectly matched with the story of the film. Supreme hero in the film is its dialogue. Greed, anger, laugher, miseries, conflict, love hate, pity, sympathy all are combined into one. "This film is the small window to peep the holistic life on which there is no heroism of the protagonist rather the defeated , frightened and deceived subaltern".(Sapkota Taranath) Despite being the successive and best  film of the year 2072 it has some drawback also. There arise several questions about the role of the gold merchant, college of Bunu and female identity.

Barsa Siwakoti is confined into minor role. How she became dumb? Why she reads in the college of normal student despite her disability? She is seen impressed on Pashupati Prasad with the dialogue" Why you stole money, If you can stole the heart of people." to Bhasme while she appears at the first time in the temple. The story reveals she is dumb at last. It is out from reality. Why the protagonist can't go beyond Pashupati area? He is well known about Kathmandu is the capital city and is confined inside Pashupatinath. Same scenarios are repeated time and again which can make audience boring. Audience need to see Pashupati Prasad struggling outside even out from Pashupati area. Similar conversation with the merchant who sells momo, chats in the cart, Mitbas room cutting chicken and washing dishes are the result of minimal characters and limited area. It is confessed by Khanal that Pashupati area is the sensitive area and if anything goes from the track it may arouse conflict. They have shot it with symbolic sign. Director has followed the trend of mute narration at the climax as it is used previously his film Jhole. Although the trend is repeated but the message of muteness is more powerful than the whole film.

These minor unanswered questions can't degenerate its beauty on cinematography, storyline, dialogue and its powerful feelings. It is the great achievement of Nepali Film Industry.  Pashupati area is the most important religious center for Hindus. If our government makes the specific law to develop Pashupati area and temple we can gain many things from here. We can make it as the center of religious research. We can open several schools, hospitals even university from the found of Pashupatinath. But it is being the way of earning for neo capitalist by mortgaging the subaltern who shelter in Pashupati area. Pashupati Prasad is the excellent film of Nepali Film Industry from the side of its artistic representation and the message it conveys. Excellency is needed for the artistic representation of minor story fundamentally which is proved through Pashupati Prasad.

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