Ashok runs a family business that sells takeout food that also has a video rental store at the side. Ashok's extended family includes his wife Radha, his brother Jatin, their ailing mother ... See full summary »
It's 1947 and the borderlines between India and Pakistan are being drawn. A young girl bears witnesses to tragedy as her ayah is caught between the love of two men and the rising tide of political and religious violence.
The movie tells the story of the bandit queen Phoolan Devi who was sent to prison in 1983 and got free in 1994. During five years she was prosecuted by the Indian police and turned into a ... See full summary »
The boy Krishna is abandoned by his mother at the Apollo Circus and she tells him that he can only return home when he can afford 500 rupees to pay for the bicycle of his brother that he ... See full summary »
Says Noemi Weis, President of Filmblanc: "Deepa Mehta is a master of the exposé. As a documentary director, she has elevated the issue of domestic violence in such a way that we can no ... See full summary »
A thesis picture. In 1938, Gandhi's party is making inroads in women's rights. Chuyia, a child already married but living with her parents, becomes a widow. By tradition, she is unceremoniously left at a bare and impoverished widows' ashram, beside the Ganges during monsoon season. The ashram's leader pimps out Kalyani, a young and beautiful widow, for household funds. Narayan, a follower of Gandhi, falls in love with her. Can she break with tradition and religious teaching to marry him? The ashram's moral center is Shakuntala, deeply religious but conflicted about her fate. Can she protect Kalyani or Chuyia? Amid all this water, is rebirth possible or does tradition drown all? Written by
For the role of Chuyia, Mehta auditioned 50 girls. See more »
Kalyani's dog appears older in the scene in which it escapes than the next time it is shown. See more »
Why are we widows sent here? There must be a reason for it.
One less mouth to feed. Four saris saved, one bed, and a corner is saved in the family home. There is no other reason you are here. Disguised as religion, it's just about money.
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This beautiful and poignant film also packs quite a punch; the sorry plight of Hindu widows in traditional Indian society is made evident. Deepa Mehta has clearly set out to make a film with a message but she lets the story carry the message and she does not demonize the supporters of ancient oppressive practices, some of whom are motivated by faith rather than self-interest. Strangely the film's beauty undercuts to some extent the political message: I can imagine a devout Hindu seeing it as supporting the traditional view.
As explained in the film, according to ancient texts a Hindu widow had three choices; she could join her husband on his funeral pyre, she could marry his younger brother (if available) or she could go into an Ashram (refuge) with other widows and live a life of self-denial to atone for the sin of having lost her husband.. It is the third option Chuyia (Sarala) takes on the death of her husband in 1938. Chuyia however is only nine years old and scarcely remembers getting married.
The Ashram is a poor place, self-supported by the proceeds of begging and prostitution, but there is camaraderie amongst the women (who are of all ages) and Chuyia, initially, is not badly treated. The focus shifts to Kalyani (Lisa Ray) the Ashram's "jewel" who becomes involved with a young political activist Narayana (John Abraham), a supporter of Gandhi.
The film is not so much an attack on religion as on particular beliefs. I've no doubt one could live the life of a devout Hindu without believing that widows are responsible for their husband's deaths just as one can be a devout Christian without believing in slavery, or that the earth is flat, or was created in 4004BC. Although the film is set just prior to World War 2 there are undoubtedly many supporters of the ancient texts still out there Mehta was prevented from filming in India by some of them and "Water" was eventually filmed in Sri Lanka. I find it impossible to have any sympathy for their position because it really amounts to using the practices of a society which has long passed away to defend an economic interest, or rather to excuse the abandonment by her family of a woman who has had the ill-luck to lose her husband. As Chuyia asks, where is the Ashram for the widowers? Also, whatever could be said for child marriage on social or economic grounds 2000 years ago, there is no possible justification for it now.
It's a great pity the film was banned in India and Pakistan it is a film for the citizens of those countries rather than me, but it is striking to watch and I suspect, not easy to forget.
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