On the face of it, the news might seem strange. Spanish filmmaker Carlos Suara Atares, the neo-realist great who had cocked a snook at the Franco regime and had amassed prizes at Cannes, Venice and Berlin, is planning to make an Indian film. Not one but two; a documentary and a feature film.
But a closer understanding of Suara's massive body of work from the early sixties will make it clear that nothing could be more natural than Suara making an Indian film. He is more Indian than any of the European filmmakers in the way he has explored the cinematic possibilities of rhythm.
In nearly ten out of his 44 films, Suara, like Indian filmmakers, has used dance forms to push his narrative forward. Suara's films are electrified by the rhythms of Flamenco, Tango and Fado. He has also made a documentary on all these three dance forms. Even the violence in some of his films has been distilled, but made more evocative, using rhythmic and vigorous dance moves.
Suara's documentary film is about Indian dances. It is an extension of Suara's obsession with dancing, especially flamenco. First, his Spanish Flamenco team will be performing live with Indian dancers. "For this we are exploring the length and breadth of India to identify dancers," Suara said. "My visit to Kerala too is part of this process," he added.
It is widely believed that Flamenco's expansive and airy movements have strong links to Kathak, a north Indian dance form developed during the Mughal period. The documentary will explore this East-West cultural fusion in the sphere of dance.
As for the film project, he said that the basic planning is ready. "It depends on getting a producer," Suara said. He was reluctant to disclose more. However, the Spanish great's understanding of Indian films is limited to Satyajit Ray and Mrinal Sen. Ray's 'Music Room' ('Jalsa Ghar') is Suara's favourite Indian film.
He has seen a little of Bollywood, too. Saura seemed to have found these films very dainty and exotic. He had a warm impish smile on his face when he spoke about the little he had seen of them. "The love story, the songs, the passions, the presence of good and bad… I love it very much," he said.
At first look, the 81-year-old filmmaker might look like an ordinary old man; bald, even a tad tired in a crumpled full-sleeved shirt, like someone pulled up from his siesta, the kind of person one would never suspect to be a dance enthusiast.
But all that changed dramatically once he took the podium for the 'In Conversation' session on Sunday and started talking. His entire body seemed suddenly electrified. His eyes twinkled, his long bulbous nose shone, the chin became more prominent, the hands made elaborate gestures, even his legs did not stop moving. He seemed to grow and tower over the audience.
Though he smiled easily, and frequently touched the person sitting by his side, there was a forbidding air of authority about him. He looked fit to be cast as a domineering but eccentric scientist. In fact, he has an uncanny resemblance to the adorable Dr Emmet 'Doc' Brown played by Christopher Lloyd in the 'Back to the Future' series.
