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समकालीन सिनेमा की दुनिया में हाशिए की जिंदगी

युवा शोधकर्ता आशीष कुमार ने एक अच्छा लेख लिखा है जिसमें उन्होंने यह देखने की कोशिश की है कि हाल की फ़िल्मों में हाशिए के जीवन का चित्रण किस तरह किया गया है। पढ़ने लायक़ लेख है-

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मुक्ति कृपा से प्राप्त वस्तु नहीं है। वह यथास्थिति को तोड़ती है। कहा भी जाता है कि दासता अभिशाप है और मुक्ति वरदान। हर मुक्ति की अपनी एक चेतना होती है और चेतना का लंबा इतिहास। इतिहास समय का साक्ष्य होता है जिसमें मौजूदा समाज का चेहरा शक्लो-साबूत दिखायी देता है पर व्यक्ति इतिहास में नहीं, समय के स्पंदन को जीता है। हमारे समय के तथाकथित लोकतांत्रिक समाज में सामाजिक, आर्थिक तथा सांस्कृतिक कारणों से कुछ खास मनुष्यों और जातियों को उपेक्षा की नज़र से देखा जाता है। इन्हें कभी भी मुख्य धारा में आने का मौका नहीं दिया गया। ये सामाजिक इकाई में रहते हुए भी निस्संग भाव से रहने को अभिशप्त रहे हैं। एक बड़ी सच्चाई यह भी है कि इन्होंने भारतीय इतिहास के विभिन्न ऐतिहासिक मोड़ो पर सार्थक और सकारात्मक रोल अदा किया है। औपनिवेशिकता के ख़िलाफ़ प्रतिरोध के स्वर को बुलंद किया है। इनकी पहचान स्त्री, दलित, आदिवासी और अन्य पिछड़े समुदाय के रूप में हुई है। वास्तव में, भारतीय समाज का ढांचा दो तरह की व्यवस्थाओं से मिलकर खड़ा होता है।पहला,ब्राह्मणवादी व्यवस्था और दूसरा लोकवादी व्यवस्था। ब्राह्मणवादी व्यवस्था सत्तावाद और यथास्थितिवाद की पोषक है जबकि लोकवादी व्यवस्था शिक्षा, विज्ञान, कला और तकनीकी आदि सभी माध्यमों में जातिवाद के विरोध में संघर्ष करती दिखाई देती है। यह व्यवस्था भारत को लोकतांत्रिक रूप में देखने को इच्छुक है। आदिवासी, दलित और अन्य पिछड़ा समुदाय इसका आधार क्षेत्र है। वे सारे लोग जो एक बदनाम और कुटिल व्यवस्था में जीने को विवश थे, अब अपने सपनों को साकार करने और सदियों से जमे गुस्से और क्षोभ को व्यक्त करने की स्थिति में आ गए हैं। मेरी नज़र में यह एक शुभ-संकेत है। राजेन्द्र यादव इसी को’हाशिए की आवाज़’ कहा करते थे। ‘हाशिया’और ‘मुख्यधारा’ हिंदी-पट्टी में करेंसी के रूप में इस्तेमाल किए जाने वाले चर्चित शब्द हैं। साहित्य की दुनिया में विमर्शों की गूंज इन्हीं के मार्फ़त सुनाई देती है।चूंकि,यह समय विचारों के उन्मेष का है, तो कोई भी विधा इससे अछूता नहीं है। चाहे वह कला,साहित्य और सिनेमा ही क्यों न हो? जब हम सिनेमा की बात करते हैं तो एक नया दरीचा हमारे सामने खुल जाता है। मुझे लगता है दृश्य विधा का यह एक ऐसा माध्यम है,जिसकी पहुंच साधारण जनता तक है। संप्रेषण का यह एक सशक्त माध्यम है। जहां ध्वनि,संकेत और रंगों का भी उतना महत्व है जितना कि कथानक का। यह निर्देशक पर निर्भर करता है कि वह अपनी बात को किस प्रभावी तरीके से प्रस्तुत करता है। दरअसल,कंटेंट से यह स्पष्ट हो जाता है कि फिल्म किस तरह की है? इसके साथ ही यह भी सच है कि कुछ फिल्में किसी खास विचारधारा या राजनीति का प्रचार करती हैं। यहां एक सवाल यह भी उठता है कि क्या आज के सिनेमा का कथानक दर्शकों के दिलोदिमाग पर कोई प्रभाव छोड़ रहा है? वैसे, भारतीय समाज और सिनेमा का यह समय मेरे लिए खासा दिलचस्प है।इस दौर का सिनेमा प्रयोगधर्मिता और विविधता से भरा है। फिर भी बिना किसी मुकम्मल जमीन के कोई भी बात करना अंधेरे में तीर चलाने के जैसा है। यह किसी भी अराजक स्थिति को जन्म दे सकता है और जब बात ‘पिछड़े वर्ग’ पर करनी हो,तो बेहद सजग,सतर्क और चौकन्ने रहने की जरूरत है। हिंदी सिनेमा में ‘पिछड़े वर्ग’ का एक वृहत्तर दायरा है। जिसमें स्त्री,दलित,आदिवासी और अन्य पिछड़े वर्ग के साथ ही घरेलू नौकर, भिखमंगे,पागल जैसे तमाम बिरादरी शामिल हो सकते हैं। ये सभी लोग वर्तमान समाज की व्यवस्थाओं के बीच विकास की प्रक्रिया से दूरव्यग्रता, अपंगता, लाचारी और अजनबीपन के त्रासदी से भरे जीवन को जीने के लिए मजबूर हैं। शायद यही इनकी अति और नियति है। यदि ये परिस्थितियों से समझौता करके थोड़ा खुश होना चाहते हैं तो समाज की विद्रूपताएं और अव्यवस्थाएं इनको हाशिए पर लाकर पटक देती हैं। हालांकि,सिनेमा की दुनिया में पिछड़ा समुदाय को किसी निश्चित परिभाषा में बांधना कठिन काम है। क्या वे सभी वर्ग जो जाति-व्यवस्था के मार्फ़त दरकिनार कर दिए गए हैं, इसमें शामिल हो सकते हैं? या जो आर्थिक,सामाजिक और शैक्षिक रूप से पिछड़े हैं? जब मैं इस तरह के फ़िल्मों की सूची बनाने लगा तो सुजाता,अंकुर,दामुल,पार,समर,तर्पण,सप्तपदी,चमेली की शादी, मांझी, मसान और आरक्षण जैसी तमाम फ़िल्मे परदे से निकलकर मानो बाहर आ गई। हिंदी और भारतीय सिनेमा में अन्य पिछड़े वर्ग की स्थिति और भूमिका की जांच के लिए मेरे पास पर्याप्त संदर्भ नहीं है। यह अलग बात है कि विभिन्न समयों में बनी फिल्में एक फ्रेम जरूर खड़ा करती है। यह प्रारूप ही हमारे ‘टूल्स’ हैं, जिनके माध्यम से हम समकालीन सिनेमा की विस्तृत भूमिका को समझ सकते हैं, क्योंकि आज भी अपने मूल स्वरूप में सिनेमा सामाजिक व्यवस्था का ही एक हिस्सा है। इससे मुंह नहीं मोड़ा जा सकता है कि अपनी संरचना में व्यवस्था सदैव विषमताओं और विभाजनों से भरी हुई होती है। लेकिन क्या सामाजिक व्यवस्था में भागी हुए बिना उससे लड़ा जा सकता है? यहां मनुष्य श्रम के साथ भागीदारी तो करता है,लेकिन समाज में हाशिए पर है। दोयम दर्जे का शिकार है। यह भी सोचने का विषय है कि सिनेमाई दुनिया में पिछड़े वर्गों पर बनी फिल्मों की संख्या सीमित क्यों है? गंभीर मुद्दों को उठाने वाली फिल्में भी आखिरकार क्यों सामाजिकता से दूर हो गई हैं?

इक्कीसवीं सदी में बनी कुछ फिल्मों के जरिए यह जाना जा सकता है कि हिंदी सिनेमा के निर्देशकों ने पिछड़े वर्ग के प्रति किस तरह के रवैए को अपनाया है? कुछ साल पहले मंडल कमीशन और अन्य पिछड़े वर्ग के विषय को लेकर एक फिल्म आई थी-आरक्षण।(2011) निर्देशक-प्रकाश झा। रोचक है कि अंजुम राजबली के साथ मिलकर उन्होंने इसकी कहानी भी लिखी है।इस फिल्म में हमारे समय की ज्वलंत समस्या को दिखाया गया है।यह फिल्म मंडल कमीशन की सिफारिशों के बाद पिछड़े समुदाय के लिए लागू हुई आरक्षण व्यवस्था और उसके बाद के आरक्षण विरोधी आंदोलनों और इन परिस्थितियों में आरक्षित और सामान्य वर्ग के छात्रों के बीच घृणा,प्रेम और प्रतिद्वंदिता की पृष्ठभूमि पर बनी है।शिक्षा संस्थानों में जातीय भेदभाव का मामला भी सामने आता रहता है। आरक्षित वर्गों के छात्रों की योग्यता पर सवाल उठाए जाते हैं और उन्हें प्रताडना भी सहनी पड़ती है। इस फिल्म का मुख्य किरदार दीपक(सैफ अली खान) निर्भीक एवं विद्रोही है। वह अनुदान का हिमायती नहीं है। व्यवस्था से टकराने का हौसला उसके भीतर है।लगभग आग और ताप की तरह। वह कहता भी है कि -“हमारे पास आत्मबल है,जिसे कोई ताकत कुचल नहीं सकती।” लेकिन वह अंत तक अपने आत्मबल को बरक़रार नहीं रख पाता है।ऐसा क्यों है? हैरत की बात है कि ऐसा सिर्फ एक कैरेक्टर के साथ न होकर पूरी पटकथा के साथ होता है। फिल्म चैरिटी से शुरू होकर चैरिटी पर ही ख़तम हो जाती है। वंचितों और पिछड़ों का सारा संघर्ष, जिजीविषा और अधिकार सब कुछ एक ट्रस्ट के मालकिन की क्षणिक उपस्थिति से तिरोहित हो जाता है।

जबकि फिल्म के कुछ संवादों से विमर्श की जमीन तैयार होती है।मसलन,प्रभाकर आनंद (अमिताभ बच्चन )का पत्रकार को दिया गया बयान,जिसमें वे कहते हैं कि -“इस देश में दो भारत बसते है।सही मायनों में अगर हम पूरे समाज की तरक्की चाहते हैं तो इन दोनों के बीच का जो अंतर है उसे मिटाना ही पड़ेगा।अगर हम मानते आए हैं कि सदियों से शोषण जाति के नाम पर हुआ है तो उसका उद्धार भी तो जाति के आधार पर होना चाहिए।”लेकिन ये संवाद भी केवल तुरुप के पत्तों का महल ही खड़ा करते हैं।पूरी फिल्म में हमदर्दी का चोला ओढ़कर बड़ी चालाकी के साथ आरक्षण विरोधी नीतियों का समर्थन किया गया है। वास्तव में,हमारे समाज के जनप्रतिनिधि का चेहरा तो मिथिलेश सिंह (मनोज बाजपेयी ) जैसे लोग है।जब तक ऐसे लोगों की वैचारिकी जिंदा रहेगी,तब तक तरक्की का कोई भी रास्ता आसान नहीं होगा।क्या सदियों से चली आ रहे शोषण से मुक्ति का विकल्प सवर्ण समाज आसानी से स्वीकार कर पाएगा? शायद,नहीं!उनके लिए तो आरक्षण हक छीनने जैसा है।इस फिल्म के फिल्मकार का आरक्षण को लेकर दृष्टिकोण न्यायसंगत और संतुलित नहीं है।समझ नहीं पाता कि दामुल, लोकनायक, परिणति और मृत्युदंड सरीखी सार्थक और सामाजिक फिल्मों के निर्देशक से आखिर कहां चूक हो गई?’आरक्षण’एक ज्वलंत समस्या का भ्रामक हल प्रस्तावित करती है।बकौल, प्रियदर्शन,’भटकी हुई न, भटकाने वाली फिल्म।’ ( नए दौर का नया सिनेमा)

इस क्रम में दूसरी जिस फिल्म का जिक्र मुझे आवश्यक लगता है। वह इम्तियाज अली निर्देशित ‘हाईवे ‘ (2014)है।अच्छी किताबों की तरह पीछा न छोड़ने वाली इस फिल्म की कहानी लगातार सोचने को विवश करती है।मनोरंजक फिल्मों से अलग ढंग की यह फिल्म कथा के भीतर कथा का निर्वाह करने में पूरी तरह सक्षम है।यह फिल्म समाज के उन तबकों को आईना दिखाती है,जिसे सभ्य एवं सुसंस्कृत जैसे विशेषणों से नवाजा जाता है।ऐसे ही हाइप्रोफ़ाइल परिवार से उकता चुकी फ़िल्म की नायिका वीरा त्रिपाठी(आलिया भट्ट)अपने मंगेतर के साथ लॉन्ग ड्राइव के लिए जाती है और दुर्भाग्य से महावीर भाटी (रणदीप हुड्डा)द्वारा उसका अपहरण कर लिया जाता है।आगे की कहानी में सफ़र के दौरान नायक और नायिका एक-दूसरे की निजी जिंदगी से मुखातिब होते हैं।नायिका का नौ वर्ष की अवस्था में चॉकलेट के बहाने यौन-शोषण और नायक वंचित और पिछड़ा होने के कारण बचपन की त्रासदियों को स्मृतियों में कैद किए हुए है।यह फिल्म शोषितों के अनुभव से जिंदगी की कथा कहती है।यहां शोषक और शोषित के बीच संबंध तो है लेकिन एक विभाजक रेखा सदैव मौजूद है।हर वर्चस्वशाली व्यवस्था को यह यह भान होता है कि शोषक की हैसियत कभी भी अपने बराबर न हो जाए,इसलिए वे आपसी मतभेद का सहारा लेकर शोषितों को एक-दूसरे का ‘प्रतिद्वंदी’बनाकर प्रस्तुत कर देते हैं।सवर्णवादी व्यवस्था की यह कूटनीति है।’हाईवे’में भी सभ्य समाज के हिप्पोक्रेट दुनिया द्वारा मध्यवर्ग पर कटाक्ष किया जाता है कि,’हर विंटर में कहते हैं,बड़ी सर्दी है और हर समर में कहते हैं बड़ी गर्मी है।’

ये फिल्म अलग-अलग क्षेत्रों की जीवन स्थितियों का संघर्ष दिखाकर हाशिए के व्यक्ति की जद्दोजहद और अस्मिताओं के आपसी पहचान की कथा दर्शाता है।इस फिल्म के पात्र हाशिए के उस समाज से सरोकार रखते हैं,जिनके लिए हर दिन नए संकटों के साथ सामने आकर उनके जीवन की उमंगों और सपनों को ध्वस्त करता है। इस तरह देखा जाय तो यह पूरी फ़िल्म वंचितों और पिछड़ों के शोषण और गरीबी का शास्त्र रचती है।यह शोषित समुदायों के आपसी संघर्षों को अंडरटोन में उजागर करती है।

तीसरी महत्वपूर्ण फिल्म जिसे मै बहुत पसंद करता हूं और जो मेरे दिल के बेहद करीब है,उसका नाम’मसान’ (2015)है।बनारस की पृष्ठभूमि पर बनी इस फिल्म के निर्देशक नीरज घेवन हैं।दो समानांतर चलती कथाओं के माध्यम से निर्देशक ने जीवन के यथार्थ को दिखलाने की कोशिश इस फिल्म में किया है।यही वह फ़िल्म है जिसने भारतीय सिनेमा के कान महोत्सव को अविस्मरणीय बना दिया था।एक लंबे अरसे बाद भारतीय सिनेमा को कान के दर्शकों का स्टैंडिंग ओवेशन स्वीकार करने का गौरव प्राप्त हुआ था।इस फिल्म को कान में प्रोमिसिंग फ्यूचर अवॉर्ड और फिल्म आलोचकों के अंतरराष्ट्रीय महासंघ (FIPRESCI)के द्वारा सम्मानित किया गया। इस फिल्म की कहानी आम फिल्मों से अलग है। कथा में किरदारों की संख्या भी अधिक नहीं है।कुल मिलाकर चार लोगों की जिंदगी पर केन्द्रित है। फ़िल्म का नायक दीपक(विकी कौशल) है,जो जाति से दलित है।दीपक पढ़ा-लिखा है।वह इंजीनियर का कोर्स कर रहा है।उसकी मुलाकात शालू(श्वेता त्रिपाठी )से होती है। शालू सवर्ण जाति की है।यहां जाति-व्यवस्था का दंश देखने को मिलता है।दूसरी तरफ़ देवी पाठक(रिचा चडढा) जैसी जीवट और सशक्त स्त्री-पात्र है।जिसके अंदर अपनी गलती को स्वीकार करने की ताकत है।जिस विचार के साथ निर्देशक ने ‘स्त्री’और ‘दलित’ पात्र को गढ़ा है,वे दोनों मिलकर ‘हाशिए की अस्मिता’ का पाठ प्रस्तावित करते हैं। आज भी जातिगत विषमता कैसे मध्यवर्ग में कुंडली मार कर बैठी है। इसका सटीक जवाब ‘मसान’ है।यह फिल्म उत्तर-भारतीय समाज में जातिगत व्यवस्था,वंचितों,पिछड़ोंऔर स्त्री समस्याओं पर फोकस करती है। आज भी स्त्री के प्रति सामंती व्यवस्था को कायम रखते हुए,जो उसे गुलाम बनाए रखने की साजिश करते आए हैं। यानी देह और मस्तिष्क दो टुकड़ो में बांटकर देखने की कवायद। कात्यायनी के शब्दों में-

    देह नहीं होती है

    एक दिन स्त्री

   और उलट – पुलट जाती है

    सारी दुनिया

   अचानक।”

 ‘मसान’ स्त्री, दलित और पिछड़े समाज की भूमिका के साथ न्यायसंगत और तर्कशील दृष्टिकोण अख्तियार करता है।इस सोच के साथ कि देश की प्रगति का रास्ता सवर्ण और पिछड़े समाज को आमने – सामने रखकर नहीं, बल्कि बराबरी में रखने पर ही संभव है।

मुख्तसर,यह कि पिछले दशक की ये कुछ चुनिंदा फ़िल्मे हैं,जिसमें वंचितों समूहों एवं पिछड़े वर्ग की वास्तविक जीवन-स्थितियों का चित्रण किया गया है।यह एक बानगी है,जैसे पके हुए चावल को देखने पूरी हांडी नहीं,चावल का एक टुकड़ा ही काफ़ी होता है।फिर भी आखिर क्या कारण है कि सिने-जगत समाज के एक बड़े तबके को हाशिए पर दरकिनार करता रहा है।कही इसके पीछे बाज़ार का शास्त्र तो नहीं?मुझे लगता है कि सिनेमा इस चीज़ को देखा जाना चाहिए कि कहां पर व्यावसायिक दृष्टिकोण है और कहां पर सामाजिक-सरोकार? हर दौर का सिनेमा अपने समय एवं समाज का सबूत होता है। सिनेमा के सौ वर्षों का इतिहास साक्षी है कि फिल्मों ने अपनी सामाजिक,आर्थिक और राजनैतिक स्थिति का लेखा-जोखा प्रस्तुत किया है। इसमें कोई शक नहीं है कि सिनेमा ने बहुत सशक्त ढंग से भारतीय समाज और जीवन को प्रभावित किया है। फिर भी भारतीय जनमानस में यह धारणा/पूर्वग्रह है कि ‘सिनेमा देखकर बिगड़ गया है?’ ख़ैर!मेरे लिए समकालीन सिनेमा से होकर गुजरना कोने-अतरों में छुपे समस्याओं को खंगालना था,जिन कच्चे-पक्के रास्तों से गुजरकर वर्तमान के सिनेमा का भविष्य निर्मित होगा।आखिर कला,मूल्य,विचार,सौन्दर्य,संघर्ष,विरोध-कथा,संरचनाऔरअस्मिता को लेकर समाज के साथ हिंदी सिनेमा की जिस नई परम्परा का सूत्रपात होगा,उसका सामाजिक चेहरा-मोहरा किस मशरफ़ का होगा?

________________________________________

           (लेखक युवा आलोचक है।)

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