Supermen of Malegaon: It's more than just a film

‘Supermen of Malegaon’ is a 2008 documentary directed by Faiza Ahmad Khan that explores the world of filmmaking in the small town of Malegaon in Maharashtra, India. In a place where people work at power looms because means of livelihood are limited, Malegaon also holds a unique position in the cultural sphere for its low-budget, grassroots parody films. The documentary primarily focuses on the making of ‘Malegaon ka Superman’, a local parody of the global superhero franchise ‘Superman’. It is both a tribute to the indomitable human spirit and a commentary on the socio-economic conditions of small-town India, weaving humour, pathos, and an undeniable love for cinema.

The film follows Malegaon’s Nasir Sheikh as he makes his very own feature film titled Malegaon ka Superman. When we first meet him, Nasir has already tasted success with Malegaon ka Sholay for which, he proudly tells us, tickets were even sold in black in the town. Like that film, his latest too will be a comedy, a spoof on a classic because, as we are told early on in this documentary, the poor people of Malegaon need a form of escapism from their monotonous labour and that escape is cinema. Nasir’s passion for storytelling and filmmaking acts as a beacon of hope, giving him and his team a purpose beyond their routine struggles.

At its core, Supermen of Malegaon is a film about the power of dreams. Malegaon is a town fraught with social and economic challenges. The film is populated by weavers, factory workers, and labourers, many of whom live in poverty. Despite this, the town boasts a rich tradition of cinema-making, albeit on a shoestring budget.

It is a film about Nasir, who dreams to create films that can truly represent his dwelling and life and mix a bit of Bollywood and Hollywood into his cinema and art. It is a film about Shafique – a loom worker who takes leave from work to act in the film; one who dreams of playing an Amitabh Bachchan in an entire film someday. It is a film about Akram Khan, (who plays Superman’s opponent) the computer graphics expert on the crew – and despite the successful little shop he runs in Malegaon, he also wants to go to Bollywood. It is a film about the poor people of Malegaon that need a break from their hard lives when they enter a theatre, they need a fantasy in which they can imagine themselves.

Supermen of Malegaon is a smack on the head to everybody who has ever complained about funds as an excuse for mediocrity.

What Malegaon lacks in funds and expertise, they make up with sheer ingenuity and passion. The localisation of the story – how Superman is suffering from cough because he flies in the polluted air, his fears while jumping into a pond to save a child, and the songs he dances to with his lady love in a garden – there are moments of sheer brilliance.

The absurdity and humour inherent in their filmmaking process—like making a Superman film where the superhero is seen riding a bicycle, flying on wires, and being hoisted by a crane in lieu of CGI—are deeply symbolic. It reflects a sense of resilience, where the people of Malegaon, despite their lack of resources, refuse to be held back from creative expression. The parody nature of their films highlights how cultural products, no matter how grand or commercialized on a global scale, can be localized and adapted in ways that make them resonate more intimately with regional audiences.

The documentary also shines a light on the importance of storytelling in human life. The Malegaon filmmakers are determined to tell their stories their way, which is why ‘Malegaon ka Superman’ becomes not just a film but a form of cultural resistance. It’s about taking ownership of a narrative, of representing their lives and realities in a way that’s both comedic and deeply personal. Their films, while humorous in tone, reveal a layer of poignancy, particularly when juxtaposed with the filmmakers' real-life struggles.

Faiza Ahmad Khan’s direction is intimate and observational, allowing the audience to witness the filmmaking process without interfering. She skilfully balances humour and empathy, never mocking her subjects but instead highlighting the absurdity and joy inherent in their process. The use of handheld cameras, natural lighting, and raw sound enhances the documentary’s authenticity, making the audience feel as though they are part of the filmmaking crew.

Khan also makes brilliant use of pacing. The documentary is light-hearted and humorous in tone but intersperses moments of reflection that lend depth to the narrative. These reflective pauses are often conversations between Nasir and his team about their dreams, their frustrations, and the larger significance of their work. Through these moments, the documentary transcends its premise of being a ‘making-of’ film, instead becoming a meditation on the intersection of art and life in a small town.

Visually, the film is well-crafted, capturing the essence of Malegaon and its people with sensitivity and authenticity. The editing is also impressive, seamlessly weaving together interviews, footage from the film shoot, and archival footage to create a compelling narrative.

‘Supermen of Malegaon’ is an inspiring and heartwarming documentary that transcends its subject matter. While it is ostensibly about the making of a low-budget Superman parody, it is ultimately about the power of dreams, creativity, and human resilience. It shows that even in the most unlikely places, the passion for storytelling can thrive and that filmmaking, in any form, can be a powerful tool for self-expression and community building.

Through its candid portrayal of Malegaon's filmmakers, the documentary emphasizes that cinema, in all its forms, has the ability to connect, inspire, and offer solace—even when the world around you seems bleak.