{"id":2704,"date":"2016-06-15T07:42:27","date_gmt":"2016-06-15T02:12:27","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2704"},"modified":"2026-07-17T20:10:28","modified_gmt":"2026-07-17T14:40:28","slug":"dibakar-banerjee-shanghai-politics","status":"publish","type":"post","link":"https:\/\/www.arre.co.in\/?p=2704","title":{"rendered":"Why We Need Films Like Shanghai in the Age of Hyper-nationalism"},"content":{"rendered":"\n

I<\/span>n one of the early scenes of Dibakar Banerjee\u2019s terrific <\/p>Shanghai<\/em>, a stone is hurled at Dr Ahmadi (Prosenjit Chatterjee), an activist, while he is mid-speech on a makeshift stage. Ahmadi brushes off the attack lightly, jokingly calling it \u201chail\u201d. Applause ensues and his convincing speech about the heavy price of development<\/a> continues. Except, it\u2019s merely the calm before the storm. Once he steps down after finishing his speech, Ahmadi is mercilessly mowed down, which the police justify as an unfortunate drink-driving case.\n\nThe setting had all the expected ingredients for unrestrained and continuous drama, yet the film chose to leave it muted, forcing the audience to let it affect them sans any decoration. This scene is a classic example of films provoking you to feel, instead of telling you how to feel. It\u2019s a rarity in the Hindi film industry, where the currency is always overdoing and every frame is overloaded with profound dialogues. You don\u2019t go \u201cLess is more\u201d when you sit through an elaborate two-hour long Yash Raj Film<\/a>, do you?\n\nBut some of the greatest films are often marked by the directors leaving just their visual signature on frames. Take Dibakar Banerjee and what he pulled off with Shanghai<\/em>, for instance. The film, which completes six years this week, was one of the most politically astute Hindi films and an anguished cry at the state of our society<\/a>. Yet, this underrated gem wouldn\u2019t have worked had the film not maintained an adequate cloud of silence in every frame through its laborious pacing, taut writing, and strained lighting. It is effectively a masterclass in minimalism.\n\nDimly lit frames, dark alleys, tight spaces, and underdressed characters make for an uncomfortable viewing experience. And, the best part is that Banerjee doesn\u2019t even pretend to ease you in and familiarise you with its universe. The audience is instead, expected to be nothing more than a distant viewer, for they are witnessing nothing less than the death of their civilised society.\n\nOne of Shanghai\u2019s <\/em>strongest points is its accurate delineation of Delhi\u2019s bureaucratic culture. That the system is rotten to the core is common knowledge. But Banerjee eschews painting the officers in broad strokes. TA Krishnan (Abhay Deol<\/a>), is an IAS officer, whose righteousness doesn\u2019t come in the way of wielding power over Dr Ahmadi from speaking out against his pet project. Granted, he is flawed, but the film refuses to paint him as evil. As a result, Banerjee successfully conveys a refined understanding of the culture of corruption<\/a> where even though individuals and the system feed off each other, not all of them are corrupt. As Shanghai<\/em> illustrates, people and their actions are coloured by their circumstances and what the system coerces them into being. It\u2019s a nuance that\u2019s been rarely depicted in pop-culture that chooses to be reductive.\n

In the film\u2019s opening scene, a mob backed by the ruling party vandalises a bookstore and blackens the owner\u2019s face for stocking copies of Dr Ahmadi\u2019s book, which is critical of their big-scale project.<\/blockquote>\nIt\u2019s also how the film sees its other characters. There\u2019s the dispirited Shalini (Kalki Koechlin), who is impossible to like even though you can\u2019t help but empathise with her. She\u2019s a bundle of contradictions \u2014 inexplicably stubborn yet instantly vulnerable. On the other hand, there\u2019s Jogi (Emraan Hashmi), a devious man who is adept at emitting disgust every time he\u2019s in the frame. Yet, despite his unabashed raunchiness and complete lack of morality, it\u2019s Jogi who makes the most telling metamorphosis in the film. (It is probably the only time a filmmaker envisaged Emraan Hashmi for a part that didn\u2019t involve a testosterone overdrive \u2014 and boy did he deliver.) For, in the world of Shanghai<\/em>, life happens only while dealing in the grey.\n\nIn doing so, the film actively thwarts the audience from taking a moral position. Even as it delves into the politics of development. In the film, opulent projects are often comfortably sold to the public in the name of progress and the vanity that accompanies them distracts people from pondering over their social costs. Shanghai<\/em> takes it a step forward by proving how easy it is for the state machinery to conveniently label those who resist this celebration of grandeur as enemies of growth. In the film\u2019s opening scene, a mob backed by the ruling party vandalises a bookstore and blackens the owner\u2019s face for stocking copies of Dr Ahmadi\u2019s book, which is critical of their big-scale project. Doesn\u2019t sound very unfamiliar, does it?\n\n\"shanghai\n
\n

Despite its characters meeting their logical ends, the film doesn\u2019t go out of its way searching for closure.\n<\/p>\n

Image Credits: Dibakar Banerjee Productions<\/p>\n<\/figcaption>\n<\/figure>\n\nIn the film, the ruling party\u2019s loyalists \u2013 overcommitted at demonstrating their devotion toward the chief minister \u2013 have adopted \u201cPragati\u201d (development) as the buzzword for routine parlance. Party members \u2014 without an iota of irony \u2014 greet each other with a chucklesome \u201cJai Pragati\u201d while exchanging pleasantries. It is confounding to discern how accurate Shanghai<\/em> was in foreshadowing the country\u2019s future. In less than a year of the film\u2019s release, \u201cPragati\u201d translated to a more masculine \u201cVikas\u201d<\/a>, that doesn\u2019t just thrive but also continues to dominate the Indian political discourse. And, as the past weeks have taught us, those unwilling to be swayed by the embrace of Vikas meet the same fate as the Sterlite protestors<\/a>.\n\nWhat also makes Shanghai<\/em> stand out even more, is its abject abandonment of false hope. Despite its characters meeting their logical ends, the film doesn\u2019t go out of its way searching for closure. No character attains anything significantly better than where they\u2019d started from. In fact, one might suspect that they are actually left in despair; their struggle amounting to nothing. The system though, against all odds, reaches where it aimed for: Pragati does take over. But, it comes at a staggering cost.\n\nReality is seldom laid out this bare on the celluloid and that\u2019s the beauty of Shanghai<\/em>.\n\nEven though Shanghai <\/em>makes for an uncomfortably visceral viewing experience, it could have easily have been adapted into a political potboiler with countless twists, item songs, and stereotypical portrayals of the bureaucracy. But, Banerjee refuses to let go of his conviction, and instead manages the impossible: humanising the dealings in the grey.\n\nIt\u2019s precisely what most Bollywood political thrillers<\/a> fail to do, instead going the predictable, verbose, and OTT route.\n\nShanghai<\/em>, on the other hand, pledges its commitment to a minimalist experience from the get-go and is ultimately an exercise in restraint. In a way, it can be looked as a balm for the hyper-nationalistic age<\/a> we live in. Nearly every Banerjee film has had political undertones in varying degrees. But with Shanghai<\/em>, he pulled off something so disturbingly evocative that it makes for an authentic account of the murky waters lying underneath the veneer of development. For that alone, it is one of the most important films of our times.\n","protected":false},"excerpt":{"rendered":"

Dibakar Banerjee\u2019s Shanghai could easily have been adapted into a political potboiler with countless twists, item songs, and stereotypical portrayals of the bureaucracy. But, Banerjee refuses to go down the OTT route. Shanghai is an exercise in restraint. In a way, it can be looked as a balm for the hyper-nationalistic age we live in.<\/p>\n","protected":false},"author":251,"featured_media":2707,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[141,5469,5470,5471,5472,3660,33,5473,1201],"class_list":["post-2704","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-bollywood","tag-emraan","tag-hashmi","tag-kalki","tag-koechlin","tag-party","tag-politics","tag-ruling-party","tag-shanghai"],"yoast_head":"\nWhy We Need Films Like Shanghai in the Age of Hyper-nationalism<\/title>\n<meta name=\"description\" content=\"Dibakar Banerjee\u2019s Shanghai could easily have been adapted into a political potboiler with countless twists, item songs, and stereotypical portrayals of the bureaucracy. But, Banerjee refuses to go down the OTT route. Shanghai is an exercise in restraint. In a way, it can be looked as a balm for the hyper-nationalistic age we live in.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arre.co.in\/?p=2704\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why We Need Films Like Shanghai in the Age of Hyper-nationalism\" \/>\n<meta property=\"og:description\" content=\"Dibakar Banerjee\u2019s Shanghai could easily have been adapted into a political potboiler with countless twists, item songs, and stereotypical portrayals of the bureaucracy. But, Banerjee refuses to go down the OTT route. Shanghai is an exercise in restraint. 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