When I received an invitation to a special scree-ning of Deepa Metha’s eagerly anticipated film, Water, I couldn’t wait to see it. The film is the last part of a trilogy by Metha – after Fire in 1996 and Earth in 1998 – exploring difficult issues faced and experienced by Indian women.
Several years ago I saw the first of the series, Fire, starring Shabhana Azmi – one of India’s most iconic film stars, particularly known for portraying powerful images and issues of women. That film explored marriage and sexuality – in itself a topic normally ‘behind closed doors’. I felt Metha handled the intimate subject in a moving and challenging way.
Her latest, Water, has been long-awaited not only because of the anticipation the director’s fans feel, but in this case because controversy has delayed the film for more than a year, as it explores the situation of widows in India – another very touchy subject in Indian culture.
The film takes place in 1938 – a time when British rule didn’t look like ending, but Mahatma Gandhi’s social movement to overturn injustice for the oppressed was gaining the energy and attention of the common person. The main character is Chuyia (excellently played by Sarala), a seven-year-old girl who has already been married to a much older man. When her husband dies of illness, Chuyia becomes a widow and her parents and parents-in-law decide to send her to a house for widows in the sacred city of Varanasi, where she is meant to live out her life with other widows in the house.
In the widow’s house, Chuyia meets the angry and self-proclaimed ‘queen’ of the collective, Madhumati (Man-orma), the devoted Shakuntala (Seema Biswas of Phoolan Devi/Bandit Queen), the gentle Kalyani (Lisa Ray), and makes friends with the intelligent student lawyer, Narayan (John Abraham). The forbidden love that develops between Kalyani and Narayan becomes pivotal in the story.
Water is beautifully pieced together, in its visualisation as well as its story-telling. It carries depth, with both struggle and humanity shown throughout. Moreover, the cast and acting take you right into believing the experiences and struggles of the characters.
What impressed me most was Metha’s ability to handle very difficult issues, such as desolation and prostitution, without using either visual or emotional violence. Yet nothing is held back. It felt like Metha was consistently able to hold the perspective of a child – innocent, not explicitly understanding the horrors of everything, feeling fully the injustice, and always trying to move her attention away from the trauma that has happened and onto something more hopeful.
The controversy surrounding Water has involved protests by Hindu fundamentalists, including death threats to Metha and the burning down of the set in Varanasi. I admire Metha’s courage and resourcefulness to finish the film, eventually, in Sri Lanka.
I am told the same Hindu fundamentalists are opposed to the liberation of widows in Hindu culture – they must fear what others will think of India when they see a film on the topic.
Indeed, the controversy would make some Indians fear if the issue is being portrayed fairly. Sometimes we are afraid of what we might have to witness when looking into a painful issue.
I believe Metha’s writing and directing of the story is not only fair, but sincere, touching and beautifully done. Indeed, it is noteworthy that the voices of change and enlightenment in the film – Narayan and Gandhi – are indeed Indian. This is something we can be proud of.
n Water is playing at the IFI in Dublin until 21 June. The IFI will also show Earth on 9–10 June. Visit www.irishfilm.ie
