Powerful themes hog the limelight

``KAIREE'' is my best film,'' Amol Palekar said in a matter-of fact tone, ``And what's important, even the producer is hundred per cent satisfied, which is seldom so.'' After hearing this magnanimous statement coming from a man I have known to be severely critical of his work, my curiosity to watch ``Kairee'' was aroused. Premiered at the newly launched Gossip theatre, one of Mumbai's chain of mini-theatres, the function was hosted by Manoj Desai, proprietor of the seven-theatre (Gaiety/Galaxy/ Gemini/Gem/Grace/ Glamour/Gossip) complex.

Speeches over, the screen lit up with a touching tale of a 10- year old girl who comes to live with her aunt, Taani maasi, in a village. In the process, she and her aunt discover life and each other. Lyrical and sensitive with haunting images, ``Kairee'' is based on a short story written by C. A. Kulkarni and is scripted by Amol and Chitra Palekar. The frequent mention of the fleeting peacock that the child never sees but craves for, is a metaphor for unfulfilled dreams.

Along with extraordinary performances from debutante Shilpa Navalkar and child star Yogita Deshmukh, Atul Kulkarni as a stammering school teacher is first rate. ``Kairee'' which means raw mango, is delicious, but definitely not Amol Palekar's best. In fact, it is difficult to select Amol's best simply because every film directed by him is distinctive and insightful. Be it ``Thodasa Roomani Ho Jaaye'', about a rainmaker reviving hopes in a lonely woman's life or ``Ankahee'' dwelling on the conscience crisis of a man torn between desire and duty, the widely written about ``Bangarwadi'' or the internationally acclaimed ``Daayra''.

* * *

Los Angeles-settled Jagmohan Mundra's new film ``Bawandar'' (``Sandstorm'') is inspired by a real life incident, the controversial gang rape of Bhanwari Devi in the village of Rajasthan.

Nandita Das in the lead role of Sanwari is supported by Raghuvir Yadav, Deepti Naval, Rahul Khanna and Laila Rouass. Bawandar tells the story of a low caste woman, working with the Rajasthan Government's women development programme, `Saathin'. Trouble begins when Sanwari voices protest against the prevalent custom of child marriage in the village. The upper caste leaders gang- rape her in the presence of her husband to teach her a lesson.

They expect her to flee the village in shame after the humiliating experience, but Sanwari, in a rare glimpse of courage and determination, decides to fight back. Supported by her husband, activist Deepti Naval and other village women, Sanwari fights oppression and moves the legal system to seek justice.

It is a long journey of heartbreaks. For in the process, she encounters corruption, chauvinism and feudalism where she is turned into a pawn in the hands of the political opportunists. The issue gains international focus and Sanwari is caught in a media storm, leaving her further disillusioned and desolate. This is not what she had set out for...

Time passes but Sanwari retains her dignity, rising from the position of a rape victim to a rape activist. With sterling performances by Nandita playing the protagonist and the rest of the cast including a cameo by Lillette Dubey, it is probably the first film where actors speak in three languages: English, Hindi and Rajasthani.

Set amidst the picturesque sand dunes of Rajasthan, ``Bawandar'' is fondly photographed by Ashok Kumar, with music by Vishwa Mohan Bhatt. It is a Vinod Doshi presentation.

After a late night screening of the film at Sumeet Preview Theatre in Juhu, I chat up with the director Jagmohan Mundra, who has also written and edited the film.

``So what attracted you to the subject?'' I ask. ``A couple of years ago, I came across an article in a London newspaper, titled, ``The Courage of Rural Indian Woman''. It carried the photograph of a Rajasthani woman in her traditional veil, looking straight into the camera. The steely determination in the woman's eyes piercing through her transparent veil was appealing. I was intrigued by this seemingly contradictory image of feminism. Days after reading the interview, the face in the photograph haunted me... Your reactions to your surroundings have a lot to do with your mind frame. For me it was the perfect visual at the perfect time. I had just completed my last film and was on the lookout for a subject based in Rajasthan, the land of my ancestors. I felt the subject had potential and the fact that it was controversial was even more challenging.''

``What was more tempting, the fact that it was controversial or that it was set in picturesque surroundings?'', I wanted to know.

``Attraction does not come in tight compartments,'' emphasised Mundra. ``It is a combination of multiple factors. The picturesque setting was a huge tempation, I admit, but equally important was the strong message of the film. My intentions as a film maker cannot be doubted.

I could have glossed over the rape but on the contrary, I have underplayed the tragedy. In fact, the issue in my film, which could be called a docu-drama, isn't the rape. It is the cause of the rape. Sexual harrassment is all about power, exploitation.''

``Bawandar'' is my interpretation of what could have transpired on that day. The suffering of the victim and her changing relationships.''

``Bawandar'' is a story of hope. It inspires courage and most important, ends on an optimistic note,'' Mundra muses philosophically. As I leave, I cannot resist asking Mundra what a Ph.D. in marketing, M.A. in advertising, B.E. in electrical engineering and MBA like him is doing in films? ``Weaving dreams,'' he says, ``For myself and for my audience.

BHAWANA SOMAAYA

Editor, `g' Magazine

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