The acclaimed 1953 film “Do Bigha Zamin” (Two Acres of Land), directed by the legendary Bimal Roy, is set to make a significant return with a 4K restoration, premiering at this year’s Venice Film Festival in the Classics section. The restoration effort, spearheaded by Shivendra Singh Dungarpur, director of the Film Heritage Foundation, underscores the film’s enduring relevance and impact on cinema.
Reflecting on the restoration process, Dungarpur emphasized the film’s historical significance, noting, “Bimal Roy made ‘Do Bigha Zamin’ two years before Satyajit Ray’s ‘Pather Panchali.’” Dungarpur highlights Ray’s praise for Roy, stating that he “was able to sweep aside the cobwebs of the old tradition and introduce a realism and subtlety that was wholly suited to the cinema.” This sentiment captures the essence of Roy’s work, which continues to resonate with audiences today.
The restoration journey, conducted in collaboration with Criterion Collection and Janus Films, faced numerous technical obstacles over three years. Dungarpur explained that the original camera negative housed at the National Film Archive of India was incomplete and in poor condition. “We checked with the British Film Institute and found that they had a 35mm combined dupe negative from 1954-1955 which was complete,” he noted, showcasing the international cooperation involved in the project.
Audio restoration posed further challenges, with significant portions of sound missing and disturbances present. “A lot of work had to be done to restore the sound,” Dungarpur added, highlighting the meticulous attention paid to preserving the film’s integrity.
“Do Bigha Zamin” tells the poignant story of a poor farmer who relocates to the city as a rickshaw-puller, striving to save his land from an exploitative landlord. Dungarpur pointed out the deep influence of Italian neo-realism on the film, particularly referencing Vittorio De Sica’s “Bicycle Thieves.” He stated, “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 migration, displacement, urbanization, poverty, and corruption.”
The film marked a transformative shift in Indian cinema, moving away from studio-bound productions. Dungarpur noted, “Till ‘Do Bigha Zamin,’ the films of the time were usually shot in studios, melodrama, and mannered acting was the order of the day. With ‘Do Bigha Zamin,’ he showed his contemporaries that films could be shot out of the studio and in the streets.”
The restoration project aligns with the broader mission of the Film Heritage Foundation to safeguard endangered Indian cinema across diverse languages and regions. Recent restorations by the foundation include Maya Miriga (1984), Ishanou (1990), and Manthan (1976). Dungarpur expressed his commitment to restoring Roy’s films, stating, “Each one of his films, whether it’s ‘Madhumati,’ ‘Bandini,’ or ‘Devdas,’ are milestone films in Indian cinema.”
The partnership with Criterion Collection and Janus Films ensures the film will reach global audiences with appropriate context and presentation. “I am glad that Criterion Collection/Janus Films agreed to come on board to restore and distribute the Bimal Roy films,” Dungarpur remarked. He praised the partners for their approach, emphasizing that their quality of restoration and packaging would attract new audiences and ensure accessibility for future generations.
At the Venice Film Festival, the restored “Do Bigha Zamin” will be presented by members of Roy’s family, including daughters Rinki Roy Bhattacharya and Aparajita Roy Sinha, son Joy Bimal Roy, and Dungarpur himself.
Looking ahead, the Film Heritage Foundation plans to undertake additional restorations, including John Abraham’s Amma Ariyan (1986), Pradip Krishen and Arundhati Roy’s In Which Annie Gives It Those Ones (1989), Samskara (1970), and Pakeezah (1972).
The restored version of “Do Bigha Zamin,” which won the Prix International at Cannes in 1954, serves not only as a historical artifact but also as a contemporary mirror reflecting ongoing social issues. Dungarpur encapsulated its essence, stating, “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 dedicated to the preservation and restoration of film, boasting a growing collection of 700 films and 200,000 pieces of film-related memorabilia.