The 'Great Soul' Meets the Greatest Movie Review Ever

Clarice, that article on Gandhi brings to mind the greatest movie “review” ever written — Richard Grenier’s magnum opus “The Gandhi Nobody Knows” essay from 1983. This is merely a tiny sample:


On my second viewing of ‘Gandhi,’ this time at a public showing at the end of the Christmas season, I happened to leave the theater behind three teenage girls, apparently from one of Manhattan’s fashionable private schools. “Gandhi was pretty much an FDR,” one opined, astonishing me almost as much by her breezy use of initials to invoke a President who died almost a quarter-century before her birth as by the stupefying nature of the comparison. “But he was a religious figure, too,” corrected one of her friends, adding somewhat smugly, “It’s not in our historical tradition to honor spiritual leaders.” Since her schoolteachers had clearly not led her to consider Jonathan Edwards and Roger Williams as spiritual leaders, let alone Joseph Smith and William Jennings Bryan, the intimation seemed to be that we are a society with poorer spiritual values than, let’s say, India. There can be no question, in any event, that the girls felt they had just been shown the historical Gandhi–an attitude shared by Ralph Nader, who at last account had seen the film three times. Nader has conceived the most extraordinary notion that Gandhi’s symbolic flouting of the British salt tax was a “consumer issue” which he later expanded into the wider one of Indian independence. A modern parallel to Gandhi’s program of home-spinning and home-weaving, another “consumer issue” says Nader, might be the use of solar energy to free us from the “giant multinational oil corporations.”

AS IT happens, the government of India openly admits to having provided one-third of the financing of ‘Gandhi’ out of state funds, straight out of the national treasury–and after close study of the finished product I would not be a bit surprised to hear that it was 100 percent. If Pandit Nehru is portrayed flatteringly in the film, one must remember that Nehru himself took part in the initial story conferences (he originally wanted Gandhi to be played by Alec Guinness) and that his daughter Indira Gandhi is, after all, Prime Minister of India (though no relation to Mohandas Gandhi). The screenplay was checked and rechecked by Indian officials at every stage, often by the Prime Minister herself, with close consultations on plot and even casting. If the movie contains a particularly poisonous portrait of Mohammed Ali Jinnah, the founder of Pakistan, the Indian reply, I suppose, would be that if the Pakistanis want an attractive portrayal of Jinnah let them pay for their own movie. A friend of mine, highly sophisticated in political matters but innocent about film-making, declared that ‘Gandhi’ should be preceded by the legend: *The following film is a paid political advertisement by the government of India.*

“Gandhi”, then, is a large, pious, historical morality tale centered on a saintly, sanitized Mahatma Gandhi cleansed of anything too embarrassingly Hindu (the word “caste” is not mentioned from one end of the film to the other) and, indeed, of most of the rest of Gandhi’s life, much of which would drastically diminish his saintliness in Western eyes. There is little to indicate that the India of today has followed Gandhi’s precepts in almost nothing. There is little, in fact, to indicate that India is even India. The spectator realizes

the scene is the Indian subcontinent because there are thousands of extras dressed in dhotis and saris. The characters go about talking in these quaint Peter Sellers accents. We have occasional shots of India’s holy poverty, holy hovels, some landscapes, many of them photographed quite beautifully, for those who like travelogues. We have a character called Lord Mountbatten (India’s last Viceroy); a composite American journalist (assembled >from Vincent Sheehan, William L. Shirer, Louis Fischer, and straight fiction); a character called simply “Viceroy” (presumably another composite); an assemblage of Gandhi’s Indian followers under the name of one of them (Patel); and of course Nehru. I sorely missed the fabulous Annie Besant, that English clergyman’s wife, turned atheist, turned Theosophist, turned Indian nationalist, who actually became president of the Indian National Congress and had a terrific falling out with Gandhi, becoming his fierce opponent. And if the producers felt they had to work in a cameo role for an American star to add to the film’s appeal in the United States, it is positively embarrassing that they should have brought in the photographer Margaret Bourke-White, a person of no importance whatever in Gandhi’s life and a role Candice Bergen plays with a repellant unctuousness. If the film-makers had been interested in drama and not hagiography, it is hard to see how they could have resisted the awesome confrontation between Gandhi and, yes, Margaret Sanger. For the two did meet. Now *there* was a meeting of East and West, and *may the better person win!* (She did. Margaret Sanger argued her views on birth control with such vigor that Gandhi had a nervous breakdown.)


Oh to have been a fly on the wall for that meeting of the minds…


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