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"The Young Child
Sarala...Her Name Simply
Must Mean Light!" |
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Directed by Deepa Mehta
- Written by Deepa Mehta
Starring Sarala, Lisa
Ray, John Abraham, Seema
Biswas, Manorama
Distributed by Fox
Searchlight - 2006 -
117mins - Rated PG |
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A masterpiece... |
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Noted Author Salman
Rushdie, no stranger to controversy and extremist fury himself, has
noted about Deepah Mehta's "Water" that "The film has serious,
challenging things to say about the crushing of women by atrophied
religious and social dogmas, but, to its great credit, it tells its
story from inside its characters, rounding out the human drama of
their lives, and unforgettably touching the heart."
"Water" is a masterpiece. It is a masterpiece of artistry, and it is a
masterpiece of humanity. It is a masterpiece of determination, and it
is a masterpiece of courage.
"Water," quite simply, is a masterpiece.
Set in 1938 Colonial India during the time of Mahatma Gandhi's rise to
power, the story begins with this exchange of words between
eight-year-old Chuyia (Sarala) and her father:
Father: Remember when you were married?
Chuyia: No.
Father: Well, your husband died. You are a widow now.
Chuyia: For how long?
Father: (No response)
Young Chuyia is sent to an Ashram where Hindu widows must live
together, identified publicly by their white sari's that segregate
them from the rest of society. It is here, based upon ancient Manu
texts, that young Chuyia is destined to live out the rest of her life
chaste and in a state of self-denial so that she may remain pure
enough to avoid a horrid fate upon their death.
Thrust into this community of shunned women, Chuyia bursts into their
lives with a determination to "go home," a rebellious spirit that
refuses to entirely accept her destiny, and an ever so appropriate
childlike wonder and innocence that is utterly devastating and
beautiful to behold.
As Chuyia, Sarala offers a performance of tremendous depth, insight,
energy and focus. In many ways, she is the core on which the film must
build around. A weak performance by this first-time actress and this
film would have collapsed. Collapse it did not.
To further magnify the wonder of this young child's (she was
eight-years-old when cast in the film) performance, Sarala was
discovered in Sri Lanka, where the film was forced to move production
following a mob riot by 2,000 Hindu extremists that destroyed its
entire set in India. Sarala does not speak Hindi or English, and
memorized the script phonetically. To do this, and to do this
convincingly is nothing short of miraculous. Sarala's performance
nearly rivals that of the young Victoire Thivisol in "Ponette" for its
intensity and beauty.
The "system" in which Chuyia now finds herself is a system that even
Gandhi himself questions, a fact that is brought forth often
throughout the film. Gandhi believes no individual should be
imprisoned by their circumstances, and believes in freedom to live and
re-marry for all widows. Yet, in this system, the women live under the
watch of the Ashram's matriarch, Madhumati (Manorama). Madhumati,
known in the community only as the "fat one," runs the community as
both Ashram and brothel. With the aide of Gulabi (Raghuvir Yadav), a
eunuch and pimp, she supplies prostitutes to wealthy and respected
men, most notably the village's Brahmin (a spiritual leader who is
permitted such a privilege under their twisted interpretation of the
Sacred texts. It it deemed a "blessing" to the women).
The Ashram's "prize" is Kalyani (noted Bollywood/Hollywood actress
Lisa Ray), the only woman in the Ashram whose hair is not shorn. This
is, of course, because it makes her more of a prized "whore." Yet,
Kalyani is different. She, and her forbidden dog Kaalu, befriend the
young Chuyia. Indeed, their hearts and souls sing very similar songs,
and the scenes between Kalyani and Chuyia evoke both giggles and
tears.
The reason that "Water" is a masterpiece goes beyond the near
perfection of its ensemble acting. It goes beyond the miraculous
production design, set in Sri Lanka yet remarkably similar to India in
visual presentation. It goes far beyond recognizing the courage and
conviction of Deepah Mehta and her production's cast and crew. I have
enjoyed Mehta's previous films, "Earth" and "Fire," films that both
also received much praise and much controversy.
Ultimately, the reason "Water" is a masterpiece lies in the way it
interweaves seamlessly the political climate of Colonial India (which
is still largely present today) with the religious dominance of a
society that uses religion not as a way of being but as a weapon
against itself. Then, into this mix Mehta introduces heartfelt,
tender, powerful and evocative life stories that bring all of these
things to life with dignity, truth and absolute grace.
That Kalyani will begin to question her fate is inevitable. Her
meeting Narayana (John Abraham), a man with whom she falls into
forbidden love, sets in motion actions that will alter her destiny in
ways unimagined. Both Abraham and Ray, Bollywood stars, are utter
perfection in their roles as they travel down a road that their
culture has forbidden.
If there is, in fact, a cathartic role in "Water" it would be that of
Shakuntala Didi (Seema Biswas of "Bandit Queen"). "Didi" is, in many
ways, the caretaker of the women at the Ashram. Her many interactions
with Chuyia are challenging, funny and tender. Watching her as she
attempts to protect Chuyia, indeed, attempting to love her when she
has been denied love for so many years is heartbreaking. Biswas is
nothing short of brilliant.
"Water" is, quite simply, the crown jewel of Deepah Mehta's career. It
is a masterpiece of political insight and human drama. it is a film
that will make you think, make you feel, make you cry and make you
want to run out of the theatre and fight for the rights of humanity.
Of course, as we all know, Gandhi didn't advocate fighting. He
advocated peaceful resistance to the injustices of the world. He
advocated love.
Deepah Mehta has shared her love for all of humanity. It is called
"Water." |
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© Written by Richard Propes -
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