Back in the director’s chair after Dhobi Ghat (2010), Kiran Rao takes over the cinema by serving the right blend of simplicity, humor, and wit in a cup of gentle feminism.
Significantly departing from the typical Indian cinema landscape, which often perpetuates regressive and hypermasculine ideals, Kiran Rao’s film embraces a nuanced form of feminism, delicately highlighting the uncomfortable realities within society that often silence women and strip them of agency in various aspects of life. The film beautifully captures the journey of ‘Laapata Ladies’ (Lost Women) who ultimately discover their true selves and emerge empowered by the end.
Written by Sneha Desai, the story is set up in the fictitious central state of Nirmal Pradesh, where Kumar (Srivastava) is on his way back home after marrying Phool Kumari (Goel). Amidst the hurried chaos of changing trains at night, he mistakenly grabs Pushpa’s hand and rushes off the train with her. It’s only upon reaching the village that he realizes the bride swap, setting off a series of comedic and heartfelt moments. Throughout the movie, the ‘tamboo-jaisa ghoonghat‘ or veil remains a powerful symbol of societal constraints, yet it is not held accountable by the elders for the challenges it poses in identifying women, ultimately leading to the swap. As the story unfolds, Jaya finds herself in Deepak’s joint family by mistake, while Phool is left stranded at the charming Pateela railway station. Here, Phool forms a unique bond with the station’s residents, including the firm yet empathetic tea kiosk owner, Manju Mai (Chhaya Kadam).
The two brides, Pushpa and Phool, are portrayed with distinct personalities. Pushpa’s mysterious nature attracts suspicion from Shyam Manohar, who closely monitors her activities. On the other hand, Phool, feeling out of place at the railway station, forms friendships with individuals working at Manju Mai’s. Kiran Rao’s perspective in the film shines through in her portrayal of empowerment for women on both sides of the spectrum: those who venture out to study and pursue their dreams, as well as those who find empowerment and fulfillment in being homemakers, departing from the ideals of a bashing feminism that solely focuses on women stepping out.
Breaking away from the conventional narrative of “aurat hi aurat ki dushman hoti hai” (women are each other’s enemies), the film also beautifully showcases the power of women bonding and supporting each other. Whether it’s through Manju Mai’s direct conversations with Phool, Jaya’s determined efforts to bring her back home, or Jaya refusing to be lost in the monotony of daily life and helping to uncover the hidden artistic talent of Poonam’s drawing in the process, Kiran Rao skillfully explores the theme of women bonding in the film.
Beyond the female characters, it’s also the male characters that become the heart of the film. Shyam Manohar (Ravi Kishan), the village cop, delivers some witty one-liners and punchlines, keeping the audience laughing out loud throughout the film. It was even Kishan’s transformation depicted in the end who proved to be a greasy-police officer but also someone whose conscience has not been completely corrupted. Srivastav’s portrayal of Deepak in the perfect shades is flawless. Despite occasional fumbles, his profound English and responsible actions toward Pushpa, despite missing Phool, define him as a well-rounded character. His stellar performance adds up to capturing the audience’s hearts.
The film not only captures the lows of the village, highlighting pesticide-driven crops, corruption, and the sickened societal mindset, but also artfully captures the nostalgic essence and romanticism associated with railways. It portrays not only the trains and stations but also offers us samosas and chai. Additionally, it transports viewers to the charming aspects of rural life, spanning from the era of Nokia mobile phones in the early 2000s to Mai’s bread-pakoras, with a little scold on asking for extra green chutney again!
The beauty of ‘Laapata Ladies’ lies in its ‘addressal’ of various issues of gender dynamics, marriage, dowry, education, individual rights, agriculture, and scientific thinking, but without becoming overly preachy or trivializing the gravity of these concerns. The essence of Rao’s film is in its carefree spirit, playful and lively tone, and ability to approach serious topics with a light touch. Exemplifying a cinema that is astute and thoughtful yet spontaneous and genuine, “Laapata Ladies” is akin to a comforting chai-pakora experience. It tackles pertinent issues while also embracing the audience with a giant, warm hug.
Read Also: An Attempt at Feminist Validation: Animal
Featured Image Credits: Kindling Pictures/Aamir Khan Productions/Jio Studios
Dhairya Chhabra
Trending
