FroM kotwara to MUMbaI: coMMentatIng on the worLd oF gaMan (1978)

By Saad Siddiqui

Muzzafar Ali’s 1978 directorial debut Gaman (trans. Departure), is a skilful and authentic portrayal of an urbanised India. His film captures the nuances of city life with sincerity, delving into the intricate challenges faced by its internal migrants. With his vast experience of urban life in Mumbai, Ali’s ability to convey the complexities of modern living is evident. Overall, his work presents a masterful and noteworthy contribution to the migrant film genre. In Gaman’s case, the city depicted is Mumbai (previously Bombay). It is a city that has earned a reputation as both a land of opportunity, and a place of disappointment for many. It is widely considered to be a dynamic and complex metropolis, with a rich cultural heritage and a vibrant economy. However, it is also recognised as a city where many individuals struggle to achieve their aspirations despite their best efforts. Many people call it the city of dreams, but the harsh realities it embodies make it feel more like a city of shattered hopes. The notion of urban living, often idealised by those residing in rural areas of India, is emphasised by certain plot points. Specifically, the film tries to draw attention to the requisite skill and dexterity that eventually takes the shape of resilience, reflected through its migrants.

Gaman is the story of Ghulam Hussain (Farooq Shaikh), a resident of Kotwara (a small village in Uttar Pradesh)who decides to relocate to Mumbai in pursuit of a better quality of life. However, he is obliged to leave behind his ailing mother (Sulabha Deshpande), and wife, Khairun (Smita Patil). After his arrival, Hussain reaches out to his close acquaintance, Lalulal Tiwari (Jalal Agha), who assists him in obtaining a job as a taxi cleaner. Through unwavering dedication and perseverance,

Hussain acquires the skills necessary to operate a taxi and eventually becomes a driver himself. Regrettably, despite his persistent efforts, he is unable to accumulate sufficient funds to either visit his family back home or make a living. His friend Tiwari, a long-standing resident of Mumbai, faces his own set of challenges, having been unable to afford suitable accommodation for himself and his beloved, Yashodra (Gita Siddharth). As a result, they are forced to reside in a substandard tenement that is slated for demolition by the city’s Municipal Corporation. The film conceptualises the unified arc of the duality of struggles that migrant workers face through Hussain and Tiwari, the former having just started his journey, and the latter who has become tired of his.

Gaman effectively portrays themes of alienation, whilst also showcasing moments of solidarity. Despite coming from diverse backgrounds, the film’s individuals are united in their attempts to overcome the challenges of poverty and survival in the city. The narrative calls attention to the persistent economic disparity in cosmopolitan cities, and in particular the issue of housing affordability. It also highlights the relationship between Lalulal and Yashodra, who cannot marry due to societal expectations and financial constraints, thus effectively portraying the divisive political and economic challenges that many migrants in urban cities face. The use of ghazals (amatory poems in Urdu poetry), by the poet Makhdoom Mohiuddin also significantly contributes to the plot points, through which the audience is offered glimpses of the characters’ internal psyches. In the song/ghazal ‘Aapki Yaad Aati Rahi, Chashme-Nam Muskurati Rahi Raat Bhar’ (trans. ‘I remembered you all along, that smile never left my moist eyes the entire night’), Khairun grieves the distance between her and Hussain. These immersive cinematography methods capture Mumbai’s paradoxical nature. Gaman becomes a story of truth, an honest depiction of the migrant experience, that showcases real problems, quivers and depth.