Deewana

A few years before Hum Aapke Hain Koun…! was released, there was Deewana (1992), a film which reminds me of nothing so much as the Old Testament book of Ruth, a personal favorite. Deewana has everything- women helping other women, women defending themselves, broken social taboos, love at first sight, the poor and weak triumphing over the strong and wealthy, arguments for Hindu widow re-marriage and against marital rape, and several epic dance numbers. I particularly enjoy this one: 

Im pretty sure I had a Barbie with that outfit. Maybe all the outfits. Who doesn’t love a dance-on-mountain-top sequence? But to the real reasons I love this film:   

1) Kajol (Divya Bharti). The subtitles on Netflix are uninspired and Kajol appears far less assertive and sarcastic in English than in the original Hindi. Which is distressing, as much of the glory of this film is Kajol’s no-nonsense attitude toward the men in her life. She fights off a would-be rapist. She publicly shames Raja (Shah Rukh Khan) on two separate occasions: first on the street in front of a sea of on-lookers, and later in a temple full of worshipers. Kajol stares Raju down when he stalks and then plans to kidnap her, and he loves her for her strength. Kajol later follows her heart to new love rather than remaining chastely devoted to the memory of Ravi, her first husband, as expected of Hindu widows, and it is Kajol who makes the first physical move in her new marriage.

2) Laxmi Devi. Kajol's Naomi-like mother-in-law, Laxmi Devi (Sushma Seth) bravely does what needs to be done in the face of tremendous grief, fear, and loss. She also puts Kajol’s needs as a woman and as a human being before society’s expectations of a good Hindu widow, which is extremely unusual in Hindi-language cinema. Relationships between mothers-in-law and daughters-in-law (sasas and bahus) are notoriously difficult (and not just in South Asia) and often shown in cinema to be nasty, competitive, and jealous. In contrast, the women of Deewana have men in their lives, but they turn first and foremost to one another. The love stories are peripheral to this, the most important relationship in the film.

3) No marital rape. It is worth noting that although Raja initially considers abducting the widowed and disinterested Kajol, after the wedding he sleeps elsewhere, declaring that he won't touch her until she wants him to. Given that marital rape is again legal (or rather, an impossibility) in India, and wasn't a crime everywhere in the United States until 1993, this is quite a declaration. Which is not to suggest that all husbands were rapists before marital rape became illegal, or that making marital rape illegal made it stop. However, the decision to include this particular scene was a deliberate move in a deliberately progressive film. Now- Raja's transition from stalker to husband is obviously problematic, and the transformation of his character from deewana (a man crazy with love) to perfect husband and son-in-law is jarring and inexplicable. But in a film that acknowledges that sex is about power and consent, the scene matters.   

4) No victim blaming. After Kajol fights off a would-be rapist, husband Ravi and Laxmi Devi believe her without question. They then summarily banish her attacker, their own blood kin. In addition to establishing villainy, the attempted rape highlights Kajol's fighting spirit and the love between Laxmi Devi and her new bahu. Moreover, the refusal of Kajol's new family to engage in any sort of victim blaming cements this as a decidedly pro-woman (pro-human-being) film. For an important account of victim blaming in India, please read my amazing friend Vaidehi Joshi's post about her own experience in Mumbai. Important: victim blaming is by no means limited to India.

5) Economic transformation. Released in 1992 as India’s economic liberalization policies were taking effect, the film shows tentative forays into consumer culture while maintaining old-fashioned film tropes. Raja may have Rocky and Top Gun posters hanging in his room, but the language of villainy is English. The young women on the beach in swimsuits wear modest one-piece suits and look like real women wearing swimsuits. This is not “Dard-e-Disco”. The limited product placement is also noticeably different from the consumer-oriented Hum Aapke Hain Koun…! When compared to SRK’s 2011 RA.One, the difference is glaring. 

6) SRK's film debut. The film also shows that SRK is one to watch- his on-screen charisma is remarkable, even when he is doing ridiculous things like carving Kajol’s name into his arm and dancing on a motorcycle.

For viewers interested in gender, or Hindu widow remarriage, Deepa Mehta's Water (2005) is required viewing. Water is visually spectacular, with over-saturated colors, phenomenal performances, and near-perfect direction. But it is also deeply, deeply depressing, so much so that the rest of your day will probably be shot. Watch Water, by all means. But don’t plan on getting anything else done that day. Or watch Deewana and be happy instead.

Film: Deewana (1992)
Director: Raj Kanwar

Writer: Sagar Sarhadi

Runtime: 185 minutes

Language: Hindi

Country: India

Lagaan: Once Upon A Time In India

Lagaan (2001) is an over-determined, light-hearted, patriotic good time. It is not unexpected or challenging, and there is a massively long cricket game towards the end- but it is sufficiently thoughtful and more than sufficiently fun to warrant viewing, reviewing, and frequent re-viewing. A.R. Rahman’s music is phenomenal as always, the village setting is lovely, the costumes are spiffy, and lets face it- the idea is something we can all get behind. Indian villagers beating the British at a game of cricket in exchange for three years without having to pay taxes? Obviously never happened. But to take a deadly serious idea- the human impact of agricultural and economic policies imposed by an occupying foreign power (please see the famine in Bengal circa 1943)- and make it a musical about cricket, national unity, romance, and the resilience and creativity of the every-man is pretty nifty. 

Now, western women in Bollywood films are annoying. All of them. If nothing else, they all speak fantastic Hindi without having to put forth any obvious effort, which sets a bad precedent. Nevertheless, I confess: I have, on occasion, been the white girl in Lagaan. Put out in some nature and given a little too much free time, I formed doomed romantic attachment(s). I also maybe sang about my mini-melodramas. There was maybe dancing. So my heart goes out to Elizabeth (Rachel Shelley). I feel your train wreck. I also recommend urban living and a job. 

Dancing in Nauky

And who doesn’t feel Gauri (Gracy Singh)? I love the song "Radha Kaise Na Jale" (sung by the incomparable Asha Bhosle) - how can Radha not burn with jealousy when she sees Krishna cavorting with those other gopis, or in this case, Bhuvan, (Aamir Khan) making nice with that leggy colonial oppressor? One of the rewards of watching foreign films is enjoying the universal human experience- in this case, watching the other girl smile and absolutely hating her. The baul-inspired "Mitwa", which features several men crying and embracing (patriotism is on) is also fantastic. "Chale Chalo" is about Aamir Khan running up and down hills without a shirt on. 

I know there are sarcastic souls out there wondering why Indian villagers spend so much time singing and dancing- surely not? Now, my experience may not be typical, but when I lived in Naukuchiatal, a village in Uttarakhand, I spent a lot of time singing and dancing. A lot of time. Not every day, but several times a week- excluding Holi, during which week I went to parties with singing and dancing every single day. So just leave the sarcasm at home, buddy. People like singing and dancing. 

There is also cricket in Lagaan. A lot of it. Despite having lived in India for over a year, I know nothing about cricket. I probably never will because I just dont care. I suspect the Academy felt much the same- Lagaan was nominated for an Academy Award for Best Foreign Film in 2002, but failed to bring home the statue. I suspect the Academy was not ready for a 45-minute game of cricket in the middle of their 3.5+ hour musical extravaganza.

I am also not really ready for a 45-minute game of cricket in the middle of my musical extravaganzas. I usually fast-forward to the inevitable dramatic ending in which the villagers, who have overcome religious and caste prejudices to unite as one team in a few short weeks, are inevitably, gloriously victorious. (over-determined!) But do not let the ponderous length, cricket, or annoying white woman deter you- Lagaan is worth the investment in time and energy. I have watched it more than once, and I don’t even like sports movies. I absolutely recommend Lagaan to anyone who likes sports movies. I also recommend Lagaan to anyone who likes fantastic music, and to anyone who doesn't want to worry about the ending- who just wants to enjoy the ride.

To the fashion! The outfits worn by Gauri are called ghagra choli, and are made up a a long, full skirt tied at the waist called a lehenga or ghagra, a short blouse called a choli, and a long, wide scarf called a dupatta or orna.  The polka-dots on Gauri’s outfit, most often found on fabrics found in western India and eastern Pakistan, and famously in Rajasthan, are traditionally created by wrapping cloth around lentils, tying twine around the fabric, and then dying the fabric-twine-lentil bundle. I haven't seen it done, but having seen sari drying in the sun, I suspect the process is beautiful. Also, I suspect, a whole lot of work. 

Film: Lagaan (2001)

Writer/Director: Ashutosh Gowariker

Runtime: 224 minutes
Country: India

Language: Hindi

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