“Lights, Camera, Preservation: Monuments in Cinema”

BY – GAUSEE SHEKH, Miranda House

Monuments serve as more than mere preservers of our heritage, they are the vigilant custodians of our history and the eloquent narrators of our past. These architectural marvels act as bridges between bygone eras and our contemporary world, inspiring generations yet to come. Our cultural and archaeological heritage encompasses a rich tapestry of traditions, ancient structures, monumental gardens, and invaluable artefacts. This heritage defines our identity and holds universal fascination. State-protected monuments, religiously entrusted heritage buildings, historic cities, and archaeological sites are the tangible threads connecting us to our roots.

As architectural historian Brendan Gill astutely remarked: “Backgrounds that have been happened upon, rather than selected, have not only the authenticity but also the rarity of the once commonplace.” When filmmakers choose to capture their scenes against the backdrop of these historic and iconic structures, they embrace the authenticity and uniqueness that these locations offer. Filmmakers who opt for such backgrounds infuse their narratives with a sense of timelessness and connection to the past fostering depth and resonance to their storytelling, allowing audiences to immerse themselves in the world of the film.

Furthermore, monuments, once considered commonplace in their original context, have now become rare treasures due to the passage of time, urban development, or changing cultural landscapes. By featuring them prominently in films, filmmakers help preserve and celebrate these architectural gems, ensuring that future generations continue to appreciate their value. When the film Taj Mahal (1963) was being shot, Bina Rai and Pradeep Kumar, who played the roles of Mumtaz Mahal and Shah Jahan, were made to pause under the copper and bronze lamps at the Royal Gate entrance to get a feel of the monument of love and get inspired by it. The iconic sunset scene in “Yeh Jawaani Hai Deewani” (2013), where Kabir and Naina gaze at the setting sun, was beautifully filmed at Chittorgarh Fort. This showcases how shooting in monuments can capture the majestic beauty of historical sites, creating unforgettable cinematic moments that also promote these heritage locations.

In a speech delivered at the centenary celebrations of the ASI on 14 December 1961, Nehru said: “In this highly utilitarian age, how does one justify archaeology? There was a direct conflict between the claims of today in the sense of practical utility and the claims of the past…But it was inevitable that we should decide ultimately in favour of the present. And that turned out to be the best way of preserving the past also.” As Nehru recognized the need to balance practical utility with preserving the past, it’s important to acknowledge that filmmaking near monuments can contribute significantly to the local economy. It creates jobs, boosts tourism, and generates revenue that can be reinvested in the maintenance and restoration of these sites.

Revenue generation plays a crucial role in funding conservation efforts; however, the lack of rate revisions over the years has impacted the revenue potential significantly. The Archaeological Survey of India (ASI) primarily relies on various sources such as ticket sales, publication sales, cultural events, and revenue from film shooting permits. Regrettably, there have been shortcomings in their revenue generation endeavours. Between 2007-08 and 2011-12, ASI reported a revenue of 422.46 crore, while the Public Accounts Office System (PAOS) recorded 431.78 crore, highlighting a discrepancy that remains unaddressed. In 2011, during the audit period in Delhi Circle, ASI issued 87 film shooting permits, yielding a revenue of 2.64 crore.

However, the landscape began to shift significantly in the post-COVID-19 era. Both central and state governments started recognizing the importance of filming at monuments. ASI, in particular, took steps to expedite the granting of permissions, reducing the wait time from three months in 2010 to 15-20 days.

A June 2020 report by NITI Aayog underscored the substantial contribution of tourism to India’s GDP and employment, with expectations of further growth. In response to recommendations from the PAC (Public Accounts Committee), ASI expanded the list of ticketed monuments, raised entry ticket prices, introduced e-ticketing systems, and engaged private entities through the Adopt-a-Heritage Initiative. However, persistent issues in financial management continued to challenge the organization. ASI’s expenditure on excavation and exploration activities remained below one percent, and funds in the National Culture Fund remained unused. Since April 1, 2016, charges for film shooting by professional and other agencies have increased to one lakh per day for World Heritage Sites and 50,000 per day for other monuments.

Filming near monuments presents risks, including potential damage due to heavy equipment and pyrotechnics. Tragic incidents, such as the wall collapse at Rajasthan’s Amer Fort during the shoot of Salman Khan starrer Veer (2010), the blast on Historic Sevok Bridge for Bejoy Nambiar’s web series, etc., underscore these dangers. Questions about monitoring and safeguarding arise, emphasizing the need for responsible practices. Preserving cultural heritage, safeguarding the environment, and protecting local communities must take precedence over cinematic convenience. Also, clear guidelines are essential for filming at protected monuments. Charges for film shooting have been increased for World Heritage Sites, reflecting their unique significance.

In response to the report of the film ‘Bharat’ potentially endangering the infrastructure of Humayun’s Tomb, Najaf Haider, a professor of Medieval History at JNU, suggested that “third-party involvement, including scholars and conservation experts, can be instrumental on such occasions to assess the extent of the shoot or the potential damage that may occur. It’s not a dogmatic approach; rather, it leans towards caution.”

India’s monuments are confronted with a multitude of threats, such as the swift pace of urbanization and encroachment. It wasn’t until 1997, well into the late 20th century, that restoration efforts for Humayun’s tomb commenced. Prior to this, the revered Mughal gardens surrounding this tomb had been repurposed for agriculture. Leveraging filmmaking to promote heritage structures could effectively address the unfortunate neglect suffered by landmarks no longer deemed significant.

Balancing artistic and economic benefits with heritage conservation is complex but achievable. It is crucial to recognize that India’s monument heritage belongs to its entire population. The responsibility of preserving this heritage should be widely acknowledged and acted upon by both the government and the public. India’s architectural heritage is not static but continually evolves, absorbing new ideas and influences. It’s important to acknowledge that while there may be challenges in the world of filmmaking near monuments, let’s not throw the baby out with the bathwater. Instead, we should strive for a balanced approach that preserves both our heritage and the art of filmmaking.

REFERENCES

1. Monument conservation and policy in India by F. R. Allchin

2. Report of the Comptroller and Auditor General of India on Performance audit of preservation and conservation of monuments and antiquities, Ministry of Culture, Report no.18 of 2013.

3. Follow up on the Report of the Comptroller and Auditor General of India on Performance audit of preservation and conservation of monuments and antiquities, Ministry of Culture, Report no.10 of 2022.

4. JSTOR – City in Film by Michael Webb

5. Authenticity in Architectural heritage, the ask for Conservation of Indian Built form: Skills, Materials & The Philosophy of Repair, “A case of Humayun’s Tomb” by Ruma Kalla.