AKA Hinglaj, The Desert Shrine
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DIRECTED BY: Bikash Roy
FEATURING: Uttam Kumar, Sabitri Chatterjee, Anil Chatterjee, Pahari Sanyal, Bikash Roy
PLOT: A young man and woman are rescued in the desert by a group of pilgrims of various castes and faiths.
COMMENTS: Movies about religion run similar dangers to those from any long-running franchise. Built as they are around a deep canon embraced by a particularly ardent regiment of hardcore fans, the producers must satisfy the expectations of devotees while extending an outreach to any potential converts. It’s hard to be all things to all people, especially when you’re relying on the moral rectitude of the universe.
Marutirtha Hinglaj, however, is not concerned with appealing to the unenlightened, and that’s honestly to the film’s benefit, because we heathens can appreciate the pilgrims’ passion and determination at face value. An understanding of the apparent tolerance between the Hindus and Muslims on the dangerous trek, familiarity with the unique powers of redemption granted by the goddess Durga, and even the finer points of why highborn girls aren’t supposed to run away with street-rat boys are all concerns you can set aside with this movie. Hinglaj is perfectly legible as a study of the human quest for forgiveness and emotional peace, no matter how much turmoil is required to achieve it. Christian travelers to Lourdes or even rock fans making the trip to Jim Morrison’s grave can relate.
The film was based on a popular travelogue of the time, and if we were just following this group as they made their way through the desert, it would be a fairly straightforward accounting of the journey. Director Roy’s major contribution to the narrative is the introduction of the forlorn couple whom the marchers rescue from the wastelands. Thirumal is a poor fortune teller tasked with predicting the future for well-off bride-to-be Kunti. They fall madly in love (the initial transgression) and then elope (compounding the problem), which is when tragedy finds them. Roving bandits attack the couple, robbing them and assaulting Kunti, a crime that they view as punishment for their earlier wrongdoing (a frustrating instance of culturally approved victim-blaming that is probably the most inexplicable belief for a 21st-century audience). It’s a lamentable fate, not least because Roy crafts a charming montage of the illicit pair’s moneymaking ventures on the road, demonstrating their overwhelming charm as he plays music while she dances. Thirumal beams with rapturous love for his wife, but we also start to see his palpable jealousy at onlookers’ attention, which foreshadows the madness that will soon overtake him as he pivots between passion and faith.
It is difficult but essential to understand the moral code on display here. The conditions for the march across the Indian wasteland are maddeningly difficult, but of course the challenge is what ennobles the effort. They have been promised complete forgiveness for their mistakes—some of which are revealed to be quite severe—but the future looks to be as bright as the present is dark. Even Kunti, who believes herself to be unpure as a result of both her actions and the cruelties forced upon her, comes to hope for the deliverance that reaching Hinglaj will bring. By contrast, Thirumal’s mania isn’t because he doesn’t believe in the possibility of healing, but because he’s certain that he doesn’t deserve it. His struggle is balanced by the kindness and sympathy of the traveling company. The weight of this conflict lifts Marutirtha Hinglaj out of the real world and into an elevated plane of moral debate. It’s a little strange to watch these intensely earnest travelers, and when shot against Roy’s dramatic backdrops, which deftly combine imperiously vast locations in the Makran desert with unusually authentic soundstage filming, the whole proceeding takes on a surreal quality.
Marutirtha Hinglaj isn’t out to convert anyone. It’s perfectly acceptable to look at the whole enterprise as proof of the madness of religious belief. Yet there is a beauty in the purity of these travelers’ moral code, and a dramatic correctness in the way that the story metes out an appropriate justice. The film makes a weird gamble on the drama of the mystery of faith, and seems to have earned a nod of approval from the gods.
WHAT THE CRITICS SAY:
(This movie was nominated for review by Debasish, who called it “a very existential movie with spiritual and surreal undertones.” Suggest a weird movie of your own here.)
Murnau is particularly proud of his in-camera effects, and he deploys these techniques with Zemeckisian fervor. An early scene in which the devil looms over a small medieval town like the most imposing mountain would have justified recalling the film a hundred years hence, but 
