The landmark Indian film, Do Bigha Zamin, directed by Bimal Roy, is set to make its world premiere with a 4K restoration at this year’s Venice Film Festival, specifically within the festival’s Classics section. Directed by Shivendra Singh Dungarpur, who leads the Film Heritage Foundation, this restoration underscores the film’s significance nearly seven decades after its original release in 1953.
Dungarpur reflects on the monumental effort involved in restoring this classic, emphasizing its enduring relevance. He cites Satyajit Ray‘s praise for Roy’s work, noting that Roy was able to “sweep aside the cobwebs of the old tradition and introduce a realism and subtlety that was wholly suited to cinema.” For Dungarpur, the film resonates today due to its exploration of humanism and the struggles of marginalized communities, themes that remain pertinent in contemporary society.
The restoration process, conducted in collaboration with Criterion Collection and Janus Films, faced significant technical challenges over three years. Dungarpur explained that the original camera negative at the National Film Archive of India was incomplete and deteriorated. They turned to the British Film Institute, which provided a complete 35mm dupe negative from 1954-1955, which was crucial to the restoration.
Sound restoration presented its own set of difficulties, with many segments missing audio and others affected by distortion. Dungarpur noted, “A lot of work had to be done to restore the sound.”
Inspired by Vittorio De Sica’s classic, Bicycle Thieves, Do Bigha Zamin tells the poignant story of a poor farmer who becomes a rickshaw-puller in the city to save his land from a greedy landlord. The connection between Italian neo-realism and Indian social cinema is important to understand, as Dungarpur points out. He explains, “The Italian neo-realist movement grew out of the ravages of the Second World War, while Indian social realism emerged after Partition in a newly independent India grappling with issues of migration, displacement, urbanization, poverty, and corruption.”
This film marked a significant departure from the conventional studio-bound traditions of Indian cinema at that time. Dungarpur recalls, “Till Do Bigha Zamin, the films of the time were usually shot in studios, and melodrama and mannered acting were the order of the day. With this film, he showed his contemporaries that films could be shot on location in the streets.”
The restoration of Do Bigha Zamin aligns with the broader mission of the Film Heritage Foundation, which aims to preserve endangered Indian cinema across various languages and regions. Other recent restorations include Maya Miriga (1984), Ishanou (1990), and Manthan (1976). Dungarpur expresses a strong commitment to restoring Bimal Roy’s films, stating, “Each of his films, whether it’s Madhumati, Bandini, or Devdas are milestone films in Indian cinema.”
The partnership with Criterion and Janus is poised to ensure that Bimal Roy‘s legacy reaches international audiences with the proper context and presentation. Dungarpur emphasizes the importance of their involvement, stating, “Criterion Collection/Janus Films play a crucial role not just in restoring films, but they celebrate the works through the quality of their restoration, special features, and outstanding packaging, inviting new audiences and making them accessible to future generations.”
At the Venice Film Festival, the film will be presented by Roy’s family, including his daughters Rinki Roy Bhattacharya and Aparajita Roy Sinha, as well as his son Joy Bimal Roy and Dungarpur himself.
Looking ahead, the Film Heritage Foundation has an ambitious schedule for upcoming restorations, including John Abraham‘s Amma Ariyan (1986), Pradip Krishen and Arundhati Roy‘s In Which Annie Gives It Those Ones (1989), Pattabhirama Reddy‘s Samskara (1970), and Kamal Amrohi‘s Pakeezah (1972).
The restored Do Bigha Zamin, which won the Prix International at Cannes in 1954, serves not only as a historical artifact but also as a contemporary reflection on society. Dungarpur encapsulates its essence: “At the heart of both the neo-realist films and the social realism in Indian cinema is a humane and compassionate view of humanity and its frailties.”
Founded in 2014, the Film Heritage Foundation is a Mumbai-based non-profit organization devoted to film preservation and restoration, boasting a growing collection of 700 films and 200,000 pieces of film-related memorabilia.
