MF Husain is celebrated as one of India’s finest artists, a figure whose work has evoked both admiration and controversy in almost equal measure. Known primarily for his vivid and often provocative paintings, Husain’s influence extends beyond the canvas and into the realm of filmmaking. At the pinnacle of his fame, Husain took a bold leap into the world of cinema, directing two feature films: Gajagamini and Meenaxi: A Tale of Three Cities. While Gajagamini had its own set of challenges, it was the making of Meenaxi that truly showcased Husain’s eccentricities and tested the resolve of his crew members.
Meenaxi: A Tale of Three Cities, which premiered in 2004, starred the talented actress Tabu in the lead role. The film also featured noteworthy performances by Kunal Kapoor and Raghubir Yadav. Aside from its compelling narrative and stellar cast, the film boasted a highly praised soundtrack by the renowned composer AR Rahman, with lyrics penned by the celebrated poet and lyricist Gulzar. Despite its artistic success and critical acclaim in international film festivals, the process of bringing Meenaxi to life was fraught with challenges, largely due to Husain’s unconventional approach to filmmaking.
In a masterclass session available on YouTube courtesy of Angenieux Lenses, the film’s cinematographer, Santosh Sivan, shared his experiences working with Husain. Sivan’s account offers a window into the unique and often turbulent world of Husain’s creative process. “I’ve not had any big confrontations, except with the painter MF Hussain. I shot Meenaxi with him. He was someone who would actually not even come on the shoots. He’d tell us the scenes in the morning, show us some sketches, and he’d say, ‘You can’t use these colours..’,” Sivan recounted.
Sivan revealed that Husain’s hands-off approach was coupled with moments of intense involvement.
. He recalled a particular incident that highlighted Husain’s erratic yet passionate nature. Disagreement erupted over a scene’s dialogue, culminating in Husain dramatically tearing up the script. “He was a very interesting person. I once said, ‘These dialogues are too much to be told on the road’. Then he looked at me and said, ‘The dialogues are too much?’ He took the paper, tore it up, and said, ‘No dialogues in this scene’,” Sivan remembered. This anecdote underscores Husain’s firm, if at times unpredictable, vision for the film.
Meenaxi was released in theaters across India on April 2, 2004, but its run was cut short due to controversy. The film featured a Qawwali song titled ‘Noor-un-Ala-Noor’, which incorporated verses directly from the Quran. This inclusion drew sharp criticism from the All-India Ulema Council, which deemed the song blasphemous. Responding to the uproar, several theaters pulled the film from their screens within a day of its release. Despite Husain’s son defending the film’s content, the growing protests compelled the renowned artist to withdraw the film from all remaining theaters within a week.
Despite the initial backlash, Meenaxi went on to achieve significant success on the international stage. The film was showcased in the Marché du Film section of the 2005 Cannes Film Festival, where it earned a standing ovation. Meenaxi also won the National Film Award for Best Production Design along with two Zee Cine Awards, further cementing its status as a noteworthy artistic work. However, the film remains Husain’s final directorial effort, as the legendary artist passed away in 2011 at the age of 95.
Husain’s foray into filmmaking, particularly with Meenaxi, stands as a testament to his fearless ambition and creative genius. Despite the myriad challenges and controversies that surrounded its production and release, the film managed to carve out a legacy of its own, much like the man who created it.
