Book Review — Amol Palekar’s ‘Viewfinder’: An Untraditional Memoir By Indian Cinema’s Favourite Everyman
Amol Palekar’s ‘Viewfinder: A Memoir’ moves with the fluidity of memory, much like a film employing flashbacks and parallel stories.
Amol Palekar, the affable everyman of Indian cinema, steps beyond his cinematic persona in his memoir, ‘Viewfinder’. Published by Westland Books, the memoir is not merely a recollection of an actor’s journey but a deeply introspective meditation on art, cinema, and resistance. It is the chronicle of an artist/e who has long defied conventions as a painter, director, activist, and cultural commentator.
Born on November 24, 1944, Amol Palekar was raised in a Marathi-speaking middle-class family in Mumbai. He has been a towering figure in Hindi and Marathi cinema, theatre, and television. His films — Gol Maal, Chitchor, Rajnigandha, Gharaonda, Rang Birangi, and Chhoti Si Baat — have become cultural touchstones. On stage, his contributions include Shantata! Court Chalu Aahe, Pagla Ghoda, Hayavadana, Suno Janmejay, Julus, and Gochi.
As a film-maker, he has directed nuanced narratives in Kairee, Ankahee, Bangarwadi, and Paheli. His television directorial ventures, including Kachchi Dhoop, Mrignayani, Naquab, Paool Khuna, and Krishna Kali, remain landmarks in Indian storytelling. Returning to his first love, painting, in 2000, Amol Palekar has continued his artistic pursuits with an undiminished passion.
ALSO READ | Anand Teltumbde’s ‘Iconoclast’ Reimagines Ambedkar’s Life & Legacy
A Memoir That Defies Convention
Unlike traditional autobiographies that tread a linear path, ‘Viewfinder’ moves with the fluidity of memory, much like a film employing flashbacks and parallel stories. Nicely curated by his wife, writer-film-maker Sandhya Gokhale, this non-linear approach lends the book a cinematic quality — a deliberate, evocative framing of a life in art.
Amol Palekar’s prose is self-reflective, unpretentious, and deeply philosophical. Drawing from Zen philosophy, he sees writing as an act of letting go of nostalgia, regret, and the burden of the past. This intellectual depth sets ‘Viewfinder’ apart from the usual celebrity memoir, transforming it into a manifesto of artistic integrity.
Beyond The Screen: Artist And Activist
While the masses celebrate Amol Palekar as the face of middle-class, slice-of-life cinema, ‘Viewfinder’ speaks of his dedication to art beyond the silver screen. A trained painter from Sir J.J. School of Art, he began his career at the Bank of India before stepping into cinema. These diverse identities — a banker, a painter, an actor — are seamlessly intertwined by his dedication to artistic expression.
His multiple roles merge effortlessly. He remains a committed citizen, championing freedom of expression in all its forms. It should be mentioned here that his memoir is dedicated to “those who believe in the power of resistance”.
Politics, Cinema And Resistance
What makes ‘Viewfinder’ particularly compelling is Palekar’s unapologetic stance on politics and creative freedom. He recalls his participation in Rahul Gandhi’s Bharat Jodo Yatra and his legal battles against censorship. A vocal critic of Bollywood’s increasing deference to state narratives, he decries the industry’s reluctance to engage with politically challenging themes, contrasting it with the fearless storytelling of earlier films like Sujata, Mother India, and Garam Hawa.
A significant portion of ‘Viewfinder’ is dedicated to Amol Palekar’s admiration for parallel and regional cinema. He reflects on the era when content-driven stories flourished, and critiques Bollywood’s changing landscape, particularly the shift from the understated, realistic storytelling of his prime to the larger-than-life commercial spectacles of today.
His portrayal of ‘soft masculinity’ in the 1970s and 80s stood in stark contrast to the dominant action-hero archetype, a trend that, he observes, continues to shape mainstream narratives. However, he finds solace in the rise of regional cinema and digital platforms, where film-makers are fearlessly experimenting with socially relevant themes, offering fresh and authentic storytelling.
The 1970s witnessed the rise of auteurs like Basu Chatterjee and Hrishikesh Mukherjee, with whom Palekar collaborated on classics such as Rajnigandha and Chhoti Si Baat, and Gol Maal, respectively. These films, marked by their simplicity and depth, resonated with audiences seeking an alternative to formulaic Bollywood blockbusters. He laments the decline of parallel cinema under commercial pressures, where financial viability often dictates creative choices. Yet, he remains hopeful about the resurgence of meaningful storytelling in independent films and regional industries, where artistic integrity is still upheld.
‘Viewfinder’ is not merely a nostalgia-laden journey through Palekar’s illustrious career but a passionate call for a return to honest, content-driven film-making that values substance over spectacle.
ALSO READ | Book Review: Abhijit Banerjee’s ‘Chhaunk’ — Recipes For Life, Society And Economics
An Unconventional Life, An Uncompromising Artist
Amol Palekar’s defiance extends beyond his professional choices. He recounts his first act of rebellion, marrying Chitra Murdeshwar against his mother’s wishes. His resistance manifests in everyday choices — refusing to work multiple shifts, leaving banking for art, and rejecting political appeasement within the film industry.
His legal battle against producer B.R. Chopra, who withheld his salary of Rs 40,000, exemplifies his principles. Winning the case years later, he donated the sum to charity.
It is interesting to know that Palekar began his journey in Marathi experimental theatre with thespian Satyadev Dubey before founding his own group, Aniket, in 1972.
He writes about his relationship with Satyadev Dubey, “In 1972, Dubey decided to produce Girish Karnad’s Hayavadan with Theatre Unit, casting Puri saab and me. However, a significant event was unfolding in my personal life at the time — Chitra was expecting. As rehearsals began, I found it challenging to balance my time between the play and supporting Chitra during her pregnancy. I would often receive urgent calls from a sympathetic neighbour during the rehearsals at Walchand Terrace, prompting me to rush to Chitra’s side at her parents’ home in Colaba. Observing my distraction and frequent mid-rehearsal departures, Dubey kindly offered a solution: ‘Let’s schedule the play’s premiere for the week after Chitra gives birth and Amol becomes a father.’”
A Cinematic Legacy And An Enduring Voice
Amol Palekar’s journey in cinema began in 1971 with Shantata! Court Chalu Aahe, a landmark in the Marathi ‘New Cinema Movement’. He gained prominence with Rajnigandha (1974) and Chhoti Si Baat, and established himself as the relatable middle-class everyman in films like Gol Maal (which won him the Filmfare Best Actor Award), Naram Garam, and Gharonda. His performances resonated with audiences, as he portrayed life’s everyday struggles with charm and authenticity.
The memoir’s title, ‘Viewfinder’, holds special significance as it refers to the film-making tool gifted to Palekar by Hrishikesh Mukherjee, originally owned by Bimal Roy. Like a director’s viewfinder, the memoir offers a sharp, introspective look at the defining moments of his life. Enriched with personal sketches and rare photographs, the book is more than an autobiography. It’s a vivid archive of Palekar’s artistic journey.
Book: Viewfinder: A Memoir by Amol Palekar
Price: Rs 999
Publisher: Westland Books
The writer is a Bengaluru-based management professional, curator, and literary critic
[Disclaimer: The opinions, beliefs, and views expressed by the various authors and forum participants on this website are personal and do not reflect the opinions, beliefs, and views of ABP News Network Pvt Ltd.]
Top Headlines
