Through the Looking Glass

Nearly 40 years on, Govind Nihalani's memorable social and political satire Party unravels the hypocrisy of India's urban elite and raises vital questions about art

- Pranavi Sharma

In a pivotal scene in Govind Nihalani’s film 'Party' (1984), the air crackles with anticipation as Diwakar Barve (Manohar Singh), the enigmatic poet, stands before Damyanti (Vijaya Mehta), a prominent art patron in Bombay. Flickering candlelight casts shadows on his face, accentuating the lines etched by years of contemplation. Barve is about to unravel the very essence of his craft, challenging not only his own creations but the fundamental nature of artistic representation itself. Barve declares that his poetry is a mere cast-off of words (shabd ki kenchul). The statement, pregnant with meaning, leaves the audience suspended between confusion and revelation. He has disavowed the notion that his verses are windows into his soul or society’s collective consciousness. The very foundation of representation is shaken as he unravels the tightly woven threads connecting words to the tangible world. The paralysing bubble of individual experiences is punctured.