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कला, स्त्री, नैतिकता, धर्म और ‘रंगरसिया’

‘रंगरसिया’ फिल्म रिलीज होने के बहुत पहले से चर्चाओं में रही है, उत्सुकताओं के केंद्र में रही है. आखिर रवि वर्मा के जीवन को केंद्र में रखकर बनाई गई इस फिल्म को केतन मेहता ने किस तरह बनाया है. जीवन, स्त्री, धर्म, नैतिकता से जुड़े कई सवाल हैं जिनके सन्दर्भ में आज इस फिल्म पर युवा लेखिका विभावरी का यह लेख- मॉडरेटर.
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एक ऐसे समाज में जहाँ न सिर्फ कला की स्वायत्तता बल्कि स्त्री की स्वतंत्रता भी हमेशा से बहस का विषय रही हो, बतौर महिला ‘रंगरसिया’ जैसी फिल्म देखने थियेटर जाना ही अपने आप में एक उपलब्धि जैसा है (फिर चाहे आप किसी पुरुष के साथ ही क्यों न गयीं हों)| सिर्फ इसलिए नहीं कि यह एक एडल्ट फिल्म है बल्कि इसलिए भी कि ऐसी फिल्मों को देखते वक़्त थियेटर में अनिवार्य रूप से फिकरेबाज़ दर्शक भी मौजूद होते हैं और इनके बीच अपना संयम बनाये रख कर फिल्म को खुद तक संप्रेषित होने देना भी किसी महत्त्वपूर्ण उपलब्धि से कम नहीं है| ऐसी स्थिति में यह देखकर बहुत आश्चर्य नहीं होता कि फिल्म जिस कथ्य को केंद्र में रखती है उसके रूपांकन के दौरान खुद भी विवादों का शिकार हो जाती है और करीब 6  साल की देरी से रिलीज़ होती है| इस सन्दर्भ में केतन मेहता का यह तर्क काफी हद तक सही मालूम पड़ता है कि यह देरी फिल्म के हक में ही काम करेगी क्योंकि आज ‘रंगरसिया’ जैसी फिल्मों का एक बड़ा दर्शक वर्ग तैयार हुआ है, जो 6 साल पहले तक कम से कम इस स्थिति में नहीं था|

फिल्म मराठी लेखक रंजीत देसाई के जीवनीपरक उपन्यास ‘राजा रवि वर्मा’ पर आधारित है| वर्तमान-फ्लैशबैक-वर्तमान फॉरमैट को फॉलो करते हुए फिल्म, आधुनिक कला के जन्मदाता कहे जाने वाले अपने ज़माने के मशहूर पेंटर राजा रवि वर्मा के जीवन से गुज़रती है| और अपनी पूरी ताकत के साथ  कला की स्वायत्तता, कला की जनोप्लब्धता और कला की प्रेरणा जैसे महत्त्वपूर्ण सवालों से टकराती है| इन तमाम प्रश्नों के आलावा जो प्रश्न इस फिल्म को महत्त्वपूर्ण बनाता है वह है कला और स्त्री के बीच के अंतर्संबंधों और उसके सूत्रों की तलाश! फिल्म इससे भी आगे जाती है और हमारी सामाजिक मानसिकता में रूढ़ हो चुकी स्त्री की ‘देवी’ और ‘दानवी’ की छवियों को ध्वस्त करती है| इसके साथ ही वह यह सवाल भी छोड़ जाती है कि क्या एक कलाकार स्त्री का चित्रण करते हुए यह समझ पाता है कि ‘एक स्त्री होना’ क्या होता है???  

राजा रवि वर्मा भारतीय कला जगत में एक ऐसा नाम हैं जिसने न सिर्फ अपने समय से आगे की सोच रखी बल्कि अपनी कला में उसे अभिव्यक्त भी किया| फिर चाहे वह ऑयल पेंट के प्रयोग की बात रही हो या फिर यूरोपीय यथार्थवादी शैली में काम करने की| राजा रवि वर्मा में भारतीय और पश्चिमी कला का अनूठा संगम देखने को मिलता है| अरस्तू का अनुकरण सिद्धांत कला को समाज की नक़ल न मानकर उसे समाज का ‘पुनर्सृजन’ मानता है, कई मायनों में राजा रवि वर्मा की कला इस पुनर्सृजन का अप्रतिम उदाहरण है|

फिल्म के केन्द्र में रवि वर्मा पर चला वह मुकदमा है जिसके तहत उन पर यह आरोप लगा कि देवियों के चित्र बनाते हुए उन्होंने एक वेश्या को मॉडल चुना, जो ‘अपवित्र’ होती है| और इतना ही नहीं उन्होंने इस मॉडल की नग्न तस्वीर भी बनायी|

‘प्यूरिटी और पॉल्यूशन’ सम्बन्धी अवधारणा की जड़े हमारे समाज में गहरे तक पैठी हुई हैं| इस अवधारणा का दलितों और आदिवासियों सहित सबसे आसान शिकार महिलायें रही हैं! मसलन स्त्री यदि ‘वेश्या’ है तो वह ‘अपवित्र’ है और ‘देवी’ है तो ‘पवित्र’! फिल्म इस बात को स्थापित करती है कि कला, समाज द्वारा बनाये गये इन खांचों को नहीं मानती| उसकी प्रेरणा कलाकार के सौन्दर्यबोध और कलात्मक नज़रिए से तय होती है| लिहाज़ा रवि वर्मा को सुगंधा (वेश्या) में ‘देवी’ दिखती है और एक नायर (‘अछूत’) स्त्री में सौंदर्य दिखता है|

फिल्म कला में श्लील और अश्लील के प्रश्नों से टकराते हुए इस बात पर बहस करती है कि कला में अश्लीलता के सवाल किन बिन्दुओं से तय होने चाहिए? नामवर सिंह कला में अश्लीलता के सवाल को मूलतः ‘गोपनीयता’ या ‘प्राइवेसी’ का सवाल मानते हैं| सेक्स, यौन-प्रसंग या स्त्री-पुरुष संबंधों से  इसका कोई सीधा सरोकार नहीं देखते और प्रो. राजेंद्र कुमार का मानना है कि अश्लीलता का सवाल दरअसल प्राकृतिक बनाम सांस्कृतिक अथवा प्रकृति बनाम समाज का है| समाज अपने लिए कुछ संस्कार निर्मित करता है जिसके आलोक में मनुष्य, सामाजिकता का निर्वहन करता है| बावजूद इसके मनुष्य की कुछ सहज वृत्तियाँ (instinct) होती हैं और इनका द्वंद्व अनिवार्य तौर पर सामाजिकता से  चलता रहता है| एक समाज के लिए श्लील स्थिति वह होगी जब मनुष्य की प्राकृतिक सत्ता का दमन किये बगैर सामाजिक जीवन चले| ज़ाहिर है इस प्रक्रिया में सामाजिकता के निर्वहन हेतु कुछ मर्यादाओं को निभाना भी ज़रूरी होता है| कई बार कलाकार मनुष्य की प्राकृतिक और सांस्कृतिक सत्ताओं के द्वंद्व को भी चित्रित करता है| रवि वर्मा के चित्र एक स्तर पर इसी द्वंद्व को रूपायित करते हैं|

फिल्म, उर्वशी और पुरुरवा की पौराणिक कथा पर आधारित राजा रवि वर्मा के चित्र द्वारा अश्लीलता के इस प्रश्न से दो-चार होती है| इस कथा का सन्दर्भ यह है कि देवताओं के छल के कारण उर्वशी को पुरुरवा उसकी प्रकृत अवस्था में देख लेता है जो एक शर्त है उर्वशी और पुरुरवा के साथ न रह पाने की! उस पौराणिक कथा के उस क्षण विशेष (जब उर्वशी नग्न है| ) की चित्रात्मक अभिव्यक्ति के लिए सुगंधा, मॉडल बनती है जिसके चेहरे को रवि वर्मा ने देवियों के रूप में चित्रित किया है| इस पेंटिंग को अपने समय में धार्मिक कट्टरपंथियों के कड़े विरोध का सामना करना पड़ा| इस पर अश्लीलता के आरोप लगाए गए! लेकिन यहाँ यह सवाल भी उठता है कि यदि उर्वशी और पुरुरवा की पौराणिक कथा अश्लील नहीं है तो वह पेंटिंग कैसे अश्लील हो सकती है जो इसी कथा की कलात्मक अभिव्यक्ति है? इसके साथ ही यहाँ नज़रिए का प्रश्न भी महत्त्वपूर्ण हो जाता है| उल्लेखनीय है कि फिल्म में जब यह दृश्य परदे पर आया तो इतने कलात्मक तरीके से आया कि लगभग एक मिनट के लिए थियेटर में स्तब्ध सन्नाटा छा गया! और वहां मौजूद उन तमाम शोहदों के उत्साह पर पानी फेर गया जो ऐसी फिल्मों को उनके ‘हॉट सीन्स’ की वजह से ही देखने आते हैं| उल्लेखनीय है कि राजा रवि वर्मा और उनकी इसी पेंटिंग को आधार बनाकर 2011 में मलयाली निर्देशक लेनिन राजेन्द्रन ने ‘मकरामंजु’ नाम की फिल्म बनायी जिसे कई पुरस्कारों से नवाजा गया जबकि 2008 में बनी ‘रंगरसिया’ आज 6 साल बाद रिलीज़ हो पायी है!

फिल्म का दूसरा महत्त्वपूर्ण सवाल धर्म को लेकर है| रवि वर्मा को अपने समय में ‘धर्म के रक्षकों’ के भारी विरोध का सामना करना पड़ा| इनका विरोध इस बात को लेकर था कि इन्होंने देवताओं की पेंटिंग्स को प्रिंटिंग प्रेस द्वारा छापकर उन अछूत लोगों के लिए भी सुलभ बना दिया जिनको मंदिर की सीमा के भीतर प्रवेश करने की इजाज़त नहीं थी| इस घटना को तीन दृष्टिकोणों से  देखे जाने की ज़रुरत है| पहला बीसवीं शताब्दी के पूर्वार्ध में चले अछूतोद्धार और मंदिर प्रवेश आन्दोलनों की पृष्ठभूमि के नज़रिए से| दूसरा तकनीक के आगमन और कला के साथ उसके समन्वय की दृष्टि से| और तीसरा सामाजिक विकास के मार्क्सवादी विश्लेषण के लिहाज़ से|

ईश्वर से सम्बंधित किसी मसले को बतौर नास्तिक देखने का एक फायदा यह है कि ईश्वर के विषय में बात करते हुए हम उसके ‘दिव्य’ प्रभाव से मुक्त होते हैं| राजा रवि वर्मा का दौर वह दौर है जब ‘आधुनिकता’ की अवधारणा पश्चिम के रास्ते हिन्दुस्तान को भी अपने आगोश में ले रही थी| फिर चाहे वह कला का क्षेत्र रहा हो या तकनीक का| सामाजिक सोच का सवाल रहा हो या उसके सुधार का|  एक ऐसे समय में जब ज्योतिबा फुले जैसे समाज सुधारक जाति व्यवस्था के खिलाफ आवाज़ उठा रहे थे, राजा रवि वर्मा ने तकनीक के माध्यम से अपनी पेंटिंग्स की पहुँच दलितों तक बनायी| इसके साथ ही वे जाति व्यवस्था के केन्द्र ‘धर्म’ और ‘ईश्वर’ के विकेन्द्रीकरण के भागी बने और उससे उपजे विरोध का भी सामना किया| प्रथम दृष्टया यह घटना धार्मिकता को बढ़ावा देने वाली लगती है लेकिन इसकी व्याख्या यदि मार्क्स के सामाजिक बदलाव सम्बन्धी सूत्र ‘वाद, प्रतिवाद और संवाद’ से करें तो यह घटना धार्मिक समाज के ‘प्रतिवाद’ के तौर पर उभरती है| जो सामाजिक बदलाव (संवाद) का वाहक है| अपने समय और समाज की मान्यताओं के हिसाब से देखें तो यह रवि वर्मा का एक क्रांतिकारी कदम था जिसमें न सिर्फ कला को आम जनता के लिए सुलभ बनाने की सोच शामिल  थी बल्कि धर्म और जातिवादी रुढियों और शुचितावादी नज़रिए का विरोध भी निहित था| फिल्म ‘गोबर्धनदास’ के एक संवाद ‘इस दुनिया में धर्म से ज्यादा कुछ नहीं बिकता’- के ज़रिये धार्मिक अंधविश्वास और पूंजीवाद पर उसके असर को रेखांकित करती है| बावजूद इसके कि पूँजीवाद का मूल वैज्ञानिक प्रगति है जिसका धर्म से छत्तीस का आंकड़ा रहा है| दरअसल राजा रवि वर्मा को तमाम धार्मिक कट्टरपंथियों के विरोध का सामना इसलिए करना पड़ा क्योंकि उनका यह कदम रूढ़ सामाजिक संस्कारों के विरोध में खड़ा था| उल्लेखनीय है कि फिल्म के अंत में ‘फ्रेनी’ का वह संवाद जिसमें वह रवि वर्मा से कहती है कि ‘जिस ईश्वर को चित्रित करने में तुम्हें इतने विरोध का सामना करना पड़ रहा है उसके चित्र बनाना तुम छोड़ क्यों नही देते! असली लोगों के चित्र बनाओ उनके दुःख-दर्द और तकलीफों को अपनी कला में अभिव्यक्ति दो’ कहीं न कहीं इसी सामाजिक बदलाव की ओर इशारा करती है जहाँ हमारी कला का रुझान यथार्थवादी हो रहा है जिसका प्रभाव निश्चित रूप से समाज पर भी पड़ेगा|

फिल्म का तीसरा और सबसे महत्त्वपूर्ण सवाल स्त्री को लेकर है| फिल्म में राजा रवि वर्मा का चरित्र शुरू से ही स्त्री को लेकर बेहद विरोधाभासी रहा है| एक तरफ वे अपनी कला की प्रेरणा ‘वेश्या’ और ‘अछूत’ स्त्रियों में पाते हैं, तो दूसरी ओर कई स्त्रियों के साथ प्रेम क्रीडा करते हुए रवि वर्मा क्षोभ पैदा करते हैं! एक तरफ वे मानते हैं कि स्त्रियों के साथ न केवल मनुष्यों ने बल्कि देवताओं तक ने छल किया है तो दूसरी ओर उन्हीं की बनायी हुई न्यूड पेंटिंग की वजह से समाज में रुसवा हुई ‘सुगंधा’ से वे कहते हैं कि मेरी कल्पनाओं से बाहर तुम हो ही नहीं! इस लिहाज़ से देखें तो फिल्म राजा रवि वर्मा को उनके तमाम विरोधाभासों के साथ विश्वसनीय रूप में प्रस्तुत करती है| इस लिहाज़ से देखें तो भले ही राजा रवि वर्मा एक कलाकार के तौर पर उन पितृसत्तात्मक मूल्यों से मुक्त है लेकिन अपनी सामाजिकता में वे एक ‘पुरुष’ ही हैं जो स्त्री को लेकर उन्हीं कमजोरियों और पूर्वग्रहों से घिरा है जिससे की एक आम पुरुष!  
स्त्री-दृष्टि से फिल्म इसलिए भी महत्त्वपूर्ण हो जाती है कि यह समाज के दोहरे चेहरे को बेनकाब करती है! पुरुषवादी समाज अपनी सुविधा के हिसाब से जब चाहे स्त्री को ‘वेश्या’ बना देता है और जब चाहे ‘देवी’! लेकिन अगर वही स्त्री खुद चाहे तो इन संरचनाओं को तोड़ नहीं सकती! यहाँ तक कि सामाजिक संस्कारों से अलग जाकर कोई पुरुष भी इन संरचनाओं को यदि आहत करता है तो उसे समाज के विरोध का सामना करना पड़ता है जैसे फिल्म में ‘सुगंधा’ और ‘राजा रवि वर्मा’ को करना पड़ा| ‘स्त्री होते हुए’, ‘चारित्रिक लांछन’ को झेलना और समाज के विरोध का सामना करना कितना मुश्किल है यह शायद एक स्त्री ही समझ सकती है| इस विरोध का सामना करती हुई सुगंधा, राजा रवि वर्मा के जीवन से उसी तरह चली जाती है जैसे हमारे पौराणिक कथाओं में उर्वशी, पुरुरवा के जीवन से चली गयी थी! कारण भी वही कि रवि वर्मा ने ‘सुगंधा’ को उसकी प्रकृत अवस्था में देख लिया था! तो क्या हुआ कि वह उनके कला की प्रेरणा थी! तो क्या हुआ कि उससे प्रेम करने के बावजूद भी वह, रवि वर्मा के लिए उनकी कल्पनाओं से बाहर थी ही नहीं! तो क्या हुआ कि शायद आज भी उनकी पेंटिंग्स में वह जीवित है…कभी उर्वशी तो कभी शकुंतला या कभी सरस्वती बनकर! पर वह जानी जायेगी एक ‘वेश्या’ के तौर पर ही! जिस पर एक सिरफिरे पेंटर का दिल आया!

इसके साथ ही ज़ेहन में कुछ सवाल अटके रह गये…कि ज़्यादातर कलाकारों की प्रेरणा महिला ही क्यों होती है और यह प्रेरणाएं अपनी अंतिम परिणति में दैहिकता या ऐन्द्रिकता जैसी स्थिति में क्योंकर पहुँचती है!!! कि क्या धर्म, विज्ञान और कला का एक साझा मुस्तकबिल संभव है!!! कि ‘रंगरसिया’ यदि मकबूल फ़िदा हुसैन या तसलीमा नसरीन जैसे किसी व्यक्तित्त्व पर बनी होती तो उसका हश्र क्या होता!!!                 
 
      

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तन्हाई का अंधा शिगाफ़ : भाग-10 अंतिम

आप पढ़ रहे हैं तन्हाई का अंधा शिगाफ़। मीना कुमारी की ज़िंदगी, काम और हादसात …

180 comments

  1. अदभूत, एक अरसा बिता ऐसी विस्तृत व वैज्ञानिक दृष्टि से फिल्म समीक्षा देखने मे नही आई, आपने फिल्म के प्रति रूची भी जगाई – हालाकि थियेटर से उतर चुकी है
    बहरहाल, हार्दिक बधाई

  2. जब किसी फ़िल्म की साहित्यिक समीक्षा की जाये तो बहुत सम्भव होता है कि उसके तकनीकी और कलात्मक पहलुओं की अनदेखी कर दी जाये । यहाँ फ़िल्म के सामजिक सन्दर्भों पर, उसके समाज और स्वयं फ़िल्म के पारस्परिक निहितार्थ पर टिपण्णी और गहन गंभीर विचार पठनीय हैं ।
    फ़िल्म की समीक्षा तो ख़ैर नहीं है, क्षमा सहित ।

  3. बहुत अच्छी समीक्षा!

  4. पत्नी सहित मोल में फिल्म रंग रसिया देखने गया. लगा सब लोग हमें देख कर स्तब्ध हैं. हाल में सब पुरुष , स्त्री कहीं भी नहीं. सब की नजरें हम पर. जैसे हम विचित्र लोक के प्राणी हैं. फिर भी फिल्म देखी .. लोगों की फब्तियों और फुसफुसाहटों को दरकिनार करते हुए. जिन दबावों के बावज़ूद फिल्म बनी और रिलीज हुई, इस नज़र से देखता हूं तो मुझे यह फिल्म बहुत अच्छी लगी. जिनकी कला और उससे जुड़े सवालों में गहरी दिलचस्पी है वे इसे ज़रूर देखें.
    हमने यह फिल्म देखि ,पर समाज की मानसिकता का जो स्तर है उसके चलते रंग रसिया का सन्देश कितने लोगो तक जाएगा. .. ? कला में दैहिकता और मांसलता को लेकर जो सामंतवादी और पूँजी केन्द्रित आवरण है उससे दूर कितने लोग हो पाते हैं ? फिर भी ऐसे प्रयास होने चाहिए और इनका स्वागत किया जाना चाहिए.
    आपका प्रयास इस दिशा में एक सार्थक कदम है. बधाई!

  5. Well written and film got criticized from every possible angle..
    Though at somewhere you too couldn't get rid of prejudices..
    Keep on

  6. सराहनीय समीक्षा ….हर कोण से इसका विस्तृत विश्लेषण इस फिल्म को देखने के मेरे निश्चय को और भी दृढ करता है ….धन्यवाद विभावरी जी !!

  7. बेहतरीन चलचित्र की उम्दा समीक्षा। लाजवाब प्रस्तुति । बधाई

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