Long-time readers will have noticed, among
many other writing quirks that I should probably do away with, I am far less
confident when talking about issues that don’t pertain strictly to cinema. Even
when I try and make statements about my stone cold beliefs in certain areas,
it’s always been with my general willingness to admit to complete ignorance
behind it. Despite how I may come across, anything and everything written here
is posted under the impression that there are several thousand people out there
who could correct me on every little thing.
So, with all that said, it really
says something when I’m continuing with my journey into Bollywood and I have
found an old issue that brings a certain discomfort when it comes to the
prospect of talking about it. Of course, my self-admitted amateurism also comes
with a general lack of caring about what people think of my thoughts as well;
I’m an idiot, but then again, so is the rest of the world when you get right
down to it. Anyway, before this navel-gazing goes any further, let’s get
started with today’s film.
The plot: Debt collector and amateur match-maker Badri (Varun Dhawan), on a chance encounter, becomes enamoured with student Vaidehi (Alia Bhatt). However, no matter how he may try, Vaidehi refuses to hear him out and go out with him. After a series of events involving trying to find a husband for Vaidehi’s sister, Vaidehi eventually relents and agrees to marry Badri. However, when it comes time for the wedding, Vaidehi’s need for independence may outweigh her want to help her family.
If my pre-emptive sort-of warning at the start of this
review seemed a bit indulgent or unnecessary, which it likely is, then know
it’s mainly as a reaction to how this film started out. Before the film proper,
there’s a narrative spiel about how the scenes depicted concerning marriages,
dowrys and other such topics are not being done to offend people. Honestly, I
can see why they would start out on that note because this is a pretty complex
film in terms of themes.
It’s basically a feminist retooling of Taming Of The
Shrew, with the plot about two sisters being pressured to marry and one of
them, our female lead, being vehemently against it. I specify “feminist” here
not as a means to thrash the movie, given how lamentably it has become an
insult and/or punchline, but to highlight how this film genuinely has female
empowerment on its mind. Vaidehi’s attitudes are quite refreshing, even as a
Western viewer, and her choices and motivations are framed as someone worth
applauding rather than scorning. Compare this to Badri, who is equal parts
chauvinist and violent moron (rather redundant, but still) and as the film
pushes forward, it’s quite clear that we’re meant to be laughing at him.
I’ve talked before about characters who are intentionally
written to be hated, and how I hate the mindset behind it in turn, but I can
honestly see a deeper purpose behind it here. Namely, with how the film properly opens. The way this film views
marriage isn’t as a showing of love or even a transference of power, but as a
business. And sure enough, with the scenes where prospective partners are
interviewed like they’re applying for a job and the emphasis on wealth changing
hands as a result of couplings, you definitely get that impression. Again,
Western viewer, but it still manages to break through the culture barrier and
make sense within its own context.
As a result, the film may appear on the
surface to be along the same lines as Shrew, in that the woman must learn the
error of her ways, but it’s actually celebrating the agency of the Indian
woman. Even considering the fact that similarly-themed OK Jannu came out rather
recently, this is quite refreshing, especially considering how much War Room
has burned itself into my memory with its sickeningly sexist views and this
film out-and-out refutes it in many ways.
And yet, I still find myself somewhat reluctant to entirely
endorse this movie. I could bring up
how it pulls a third-wave feminist trick in downgrading the man in exchange for
building up the woman, up to and including the main cast laughing off an
incident where Badri gets violently and sexually assaulted in the street by a
gang of Chinese thugs. But since I’ve seen too many instances of people getting
lynched for daring to bring up such hypocrisies, I’ll instead focus on
everything else that feels off with this film. While the core message is quite
commendable, the way it is delivered isn’t always in the right place.
This
becomes more apparent once the mid-film tonal shift occurs, which ends up
turning Badri’s father from a chauvinist into an out-and-out monster by all
accounts. In the wake of this, Badri’s character goes into complete flux as he
just shifts almost at random in terms of mindset and intentions. This isn’t
helped by how, with the jarring shift into a darker mood, it can be difficult
to properly discern whether his ravings about how his feelings are all
Vaidehi’s fault and she should be accountable for them should be listened to or
not.
Then there’s the pile of small moments that add up before too long, from
the tonal issues to the not-sure-if-intentional sexual tension between Badri
and Somdev to an honest-to-god Mannequin Challenge scene in the middle of a
musical sequence. That last one makes me really
want to hate this film because, and I really shouldn’t need to write this,
shit like this does not belong on the big screen in any fashion. At all.
All in all, while this has quite a bit holding it back for
me, there’s just as much to like about it too. Through a worthy cast and
steadfastly feminist-tinged writing, this look at the importance that Indian
culture places on marriage and how it views the transaction is quite
fascinating even as a Western viewer. It may be too ambiguous for all of its commentary to stick, but when
it does stick, it makes for some quite poignant moments.
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