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One of the most significant phenomena of our time has been the development of the cinema from a mere art form to a potential subject for study in terms of the issues that it raises and the supposedly influences it has on the spectators. It is now conceived as a versatile art form. Cinema not only provides a site for entertainment, but also a platform to reinforce certain values and ideals. In the same vein, if we trace the history of Indian cinema, we would find that Gandhian values and ideals have made their presence felt, to some degree, in Hindi films. Any movie on the Indian independence theme or any biography on a real life historical character around the independence era is incomplete without the mention of Mahatma Gandhi. This is not to deny the fact that there has always been a shift in the themes of Hindi Cinema which has in turn kept the Gandhian principles out of focus. On the other hand, it should not imply the complete ignorance or disrespect for Gandhian values. The paper looks into one such film - Lage Raho Munna Bhai (LRMB), released in the year 2006, which locates Gandhian values in the contemporary setting. The film revolves around the virtues and values of Mahatma Gandhi, propagated through the narrative, without merely being reduced into didactic preaching. The Gandhian era is believed to have been evoked in the 21st century through this film.
Subsequently, Gandhi becomes Munna Bhai's mentor and advisor. With Gandhi's help, Munna manages to impress the elderly group, thereby consolidating his reputation as a great Gandhian. Thus begins Munna Bhai's journey of discovering the value of Gandhigiri as he embarks on solving all problems through non-violent means. Therefore, when Lucky Singh (Boman Irani), an unscrupulous contractor, deviously takes over the home of Jhanvi and the elderly inmates, Munna Bhai refuses to react violently. Instead, he stages a peaceful Satyagraha in front of Lucky's house and sends him flowers every day. However, Munna Bhai's conversion to this peaceful direct action does not last long. During his peaceful protest, Munna Bhai meekly takes in one big blow from the guard outside the villain's house, where he is camping. But on the second blow, Munna Bhai retaliates with a powerful blow that sends the guard flying to the ground, saying that Gandhi did not say what to do after receiving the second blow. This particular scene, according to Ganesh, is one of the contrarian theme of the movie because on the one hand, non-violence is being preached, but on the other it also conveys the message that one cannot hold on to Gandhian principles persistently. Munna Bhai no doubt makes use of non-violence whenever he wishes, but also displays equalstrength to retaliate thereby brushing all Gandhian values to the background. It is so because Gandhi believed, 'Satyagraha means fighting oppression through voluntary suffering. There can be no question here of making anyone else suffer.'
Ghosh and Babu, in response to Ganesh's article, argue that the Gandhi of Lage Raho Munna Bhai is represented not as a historical figure; rather, as an icon of popular culture. They believed that Munna Bhai's Gandhi was someone with whom the contemporary masses can relate to because it is more in the nature of the conscience personified than some distant historical figure. In this context, one is reminded of the compartmentalization of Gandhi made by Ashish Nandy in an essay 'Gandhi after Gandhi'. For Ashish Nandy, the first Gandhi is the Gandhi of the Indian state and Indian nationalism, the second Gandhi is that of the Gandhian who is not interested in politics. The third Gandhi is the Gandhi of the \"ragamuffins, eccentrics and the unpredictable\" and \"is more hostile to Coca-Cola than to Scotch whisky and considers the local versions of Coca-Cola more dangerous than imported ones\". Finally, the fourth Gandhi walks the mean streets of the world threatening the status quo and tackling the mean bullies in every area of life. Ghosh and Babu believe that Munna Bhai's Gandhi is closer to the fourth Gandhi. However looking at the responses of the students about the meaning of satyagraha and the relevance of Gandhi, one would come to the conclusion that, in some sense, perhaps all these versions of Gandhi, given by Ashish Nandy, are alive today, each with his own eccentricities. The real problem arises when college going youth are not sure of the use of Gandhian values in their everyday life even though they are familiar with it.
It has become a well-established truism that the spectators' engagement with film texts or any other cultural form is complex and unpredictable. The same was witnessed by the views of my respondents, who appreciated the effort of the movie to bring in Gandhian values in a contemporary setting, but they were quite apprehensive whether such values could really work in their daily lives. I would like to quote some of their responses, which were as follows: \"The movie gives a good message in a comical way; but in reality such things would never happen. Can we expect a local don (Munna Bhai in the film) to follow Gandhigiri If he follows Gandhigiri he won't be called don. The film has romanticized the notion of'don'.\"
\"The movie portrays the principles and ideals of Mahatma Gandhi which refreshes our sleepy minds to wake up. But it's a movie after all. We know good things will happen at the end. But is such a pattern of thinking possible\"
\"A commercial yet thought provoking movie. It led the United States Commissioner to grant citizenship rights to Indians after the latter started sending flowers to the Commissioner (an act from the movie that changes the mindset of the negative character). It showed people how these principles could be applied in their routine life. The question however remains to what extent can it be applied and in which situations.\"
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