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Le Simplegadi 42
Stefano Mercanti
In Deepa Water: Mehta’s latest elemental move.
Abstract I: Like the other films in Deepa Mehta’s elemental trilogy, Water
pushes the boundaries of India’s male-dominant cultural narratives
beyond patriarchal predicaments by questioning the religious
tradition and the constraints on widows in a male-dominant society.
The paper aims at showing how Mehta’s characters move toward
more salubrious scenarios by portraying a more nuanced world-view
in which human beings can live and interact fluidly and
unpredictably, thus overcoming the rigid discourses imposed by
dominator hierarchies.
Abstract II: Con Water Deepa Mehta completa la trilogia dedicata agli
elementi con l’intento di oltrepassare i confini di un’India animata da
sistemi di valori culturali patriarcali e mettere in luce le profonde
ingiustizie della condizione sociale delle vedove perpetrate in nome
della religione. Questo saggio intende mostrare come i personaggi
riescono a dar vita a scenari più ampi in cui i valori della cura
dell’altro e della cooperazione prevalgono su quelli imposti da
gerarchie basate sulla dominanza.
Following the audible uproar generated by the screening of her previous

controversial movies, Fire (1996) and Earth (1998), Deepa Mehta’s Water
debuted last year at the Toronto International Film Festival and posed yet
another unequivocal challenge to the dominant cultural narratives of
(neo)colonial India as well as of the world’s marginalized cultural spaces at
large.
Since the beginning of shooting in Varanasi in February 2000, the Indo-Canadian
director and her crew were attacked by religious fundamentalists who allegedly
read the script and deemed it anti-Hindu for it clearly questioned the religious
tradition and the constraints on widows in a male-dominant society. Pieces of
the set were thrown into the Ganges river and effigies of the director were
torched. As the protests intensified into death threats, the production was
forced to shut down, and the film-maker took a number of years before
considering the project again. Alarmingly, the Uttar Pradesh government
Stefano Mercanti. In Deepa Water: Mehta’s latest elemental move.

Le Simplegadi, 2006, 4, 4: 42-45. - ISSN 1824-5226
http://all.uniud.it/simplegadi
Le Simplegadi 43
withdrew the film’s location permits as right-wing RSS (Rashtriya Swayamsevak

Sangh) and Shiv Sena extremists stormed the ghats (sacred bathing areas)
along the Ganges. These auxiliary organizations, headed by the Bharatiya
Janata Party, jointly promote the ideology of Hindutva, an ideology that seeks
to establish a monochromatic Hindu state in India with its own fascist theory of
racial exclusivity (Sharma, 2003). However, the perpetrators were left
unpunished as many people involved in the protests were found to be party
leaders and relatives of government ministers. Mehta eventually went to Sri
Lanka to finish the filming in secret under the title Full Moon to avoid further
attacks.
Set in the 30’s during Mahatma Gandhi’s Independence Movement, Water

revolves around the life of Chuyia (Sarala), an eight-year-old child-bride who is
abandoned at a widow’s colony in Benares after her fifty-year-old husband
dies. According to a patriarchal reading of Hinduism, upon the death of their
husbands, Indian women - usually from the upper caste - must be forcibly
separated from their families and confined to a widow colony, where they
‘physically’ live out their days in a state of social and civil death (Chakravarty,
2003: 82). Mehta’s visual choice in coveying the cruelty of such an institutional
marginalization is powerfully portrayed in the opening scenes of Chuyia being
tonsured, her bangles violently smashed and then dressed in a long white
homespun cloth. Reminiscent of shorn Jews during Nazism, the close filming of
the razor being scaped across her scalp suddenly takes the viewer to Chuyia’s
abrupt descent into widowhood and sets the tone for the stringent existence in
which she must now live. The old woman, Madhumati (Manorama), sternly
reigns over the ashram with the help of Gulabi (Rajpal Yadav), a eunuch (hijra)
who arranges evening meetings between widows and rich men in order to
financially support the widow colony. Unwilling to resign to her fate, Chuyia
challenges the oppressive restrictions of the ashram and invariably creates a
change in the lives of other widows such as the beautiful widow–prostitute
Kalyani (Lisa Ray) and Shakuntala (Seema Biswas), a middle-aged widow who is
the only one capable of taming the old tyrannical Madhumati. Kalyani meets
Narayan (John Abraham), a young upper-class Gandhian idealist whose love
for the beautiful widow poses a threat to the social and moral order of the
ashram. Yet, despite the strict dissent the couple meets from both their
communities, they continue to meet until Kalyani discovers that she used to visit
Nayaran’s father as a prostitute and decides to end the relationship. This, and
the rejection from the ashram because of her disobedience, pushes her to
commit suicide. Madhumati finds a substitute for prostitution in Chuyia who is
taken away to a client by Gulabi. It is too late when Shakuntala finds out, yet,
knowing that Gandhi and his followers are visiting the city, promoting his ideas of
peace and a cast-less society, she courageously resolves to take Chuyia away
from the colony and gives her to Narayan as his train departs, confident that the
child will be taken care of.

Le Simplegadi 44
Like the other films in Mehta’s elemental trilogy, Water pushes the boundaries of
India’s male-dominant cultural narratives beyond patriarchal predicaments by
portraying a more nuanced world-view in which human beings can live and
interact fluidly and unpredictably, thus overcoming the rigid discourses imposed
by hegemonic hierarchies. The potential for expressing love and cooperation is
what moves Mehta’s characters toward more salubrious scenarios even though
some of the protagonists are left utterly defeated. Whereas Earth depicts a
tragic love story set against the backdrop of the violent Partition of India, Fire
examines the complex tensions within a stifling Hindu joint family fuelled by
spiritual queries, existential bitterness and ‘different’ sexual choices which led
many Hindu revivalists, along with many bigot viewers, to summarily label the
work as a lesbian movie. More convincingly, Water manages to deeply question
the stark misinterpretation of religious prescriptions framed to subjugate women,
especially widows, in order to fulfill the economic and sexual needs of a male
dominated society. Over this very inflammatory critique of enforced women’s
human degradation - and religious fundamentalisms at large - Mehta
ingeniously pours enough water to temper the liberal outrage that would
naturally emerge in front of such a debasing confinement. By choosing an
eight-year-old child as a pivotal character of the story, the blind logic and the
uniform static institution of enforced widowhood is passionately destabilized by
Chuyia’s innocent force and rebellious character from which the bonds of a
caring, almost motherly, relationship with Kalyani and Shakuntala develops.
Within this nurturing relationship, Chuyia subversively mediates between Kalyani
and Narayan, and gains the affection of Shakuntala who eventually sets her
free. As Gandhi's train passes through the city, the chance of overcoming the
punishing misguided Hindu traditions appears feasible and Chuyia is freed from
the bleak oppression of the widow colony. It is even more significant that the
movie is set against the historical rise of Mahatma Gandhi who not only led India
to independence, but also sought to improve the marginalization of many
alienated communities such as the widows and the untouchables. To this very
extent, the significance of the movie lies not so much in the mere representation
of a widow’s life in penitence, as it poignantly evokes the meaningful
emphathy, understanding and caring relationships that can develop between
human beings when the hope of a peaceful realization of the highest human
potentials is never lost even when confronted with the most demeaning
violence.
Water is also the latest novel written by Bapsi Sidhwa, a Parsi of Pakistani origins
and one of the finest South Asian fiction writers in English who has already
collaborated with Deepa Mehta in the 90s in Turning her novel Cracking India
(1988) into the movie Earth. This time, Sidhwa wrote her novel based on an early
script of Mehta’s Water and provides a further articulation of women’s
institutionalized oppression against Gandhi’s theology of Truth and non-violence.
Interestingly, her five novels share the same concerns about dominant cultural
discourses and the hidden strength of women summed up in Deepa Mehta’s

Le Simplegadi 45
cinematic trilogy: The Bride (1983), her first novel called The Pakistani Bride in
India, is based on the tragic story of a young girl who was married to a man of a
poor tribal community and then murdered as she ran away from her husband’s
home; The Crow Eaters (1978) is set during British rule, Cracking India (also
published as Ice-Candy Man) depicts the bloody Partition of India and the
Hindu, Muslim and Sikh violence that followed, as seen from an 8 year-old
Parsee girl’s perspective; An American Brat (1994) focuses on rise of Islamic
fundamentalism in the 70s.
The Hindi-language film, internationally distributed by Twentieth Century Fox, has
recently been released in Italy by Videa-CDE and Warner Bros. Pictures Italia,
following the bestowal of the Taormina Arte Award for Cinematic Excellence.
The dubbing have been directed by Ida Sansone for the International
Recording of Rome with whom I collaborated as script consultant.
BIBLIOGRAPHY:
Chakravarty, Uma. 2003. Gendering Caste. Through a Feminist Lens. Calcutta:

Stree.
Sharma, Jyotirmaya. 2003. Hindutva. Exploring the Indea of Hindu Nationalism.
New Delhi: Penguin Viking.
Sidhwa, Bapsi. 2006. Water. A Novel. New Delhi: Penguin Viking.
Stefano Mercanti completed his doctorate on Raja Rao’s short-stories at the

University of Udine (Italy) and is currently working on a funded research project
on partnership and multiculturalism in post-colonial literatures for the same
university. As an Indian Council for Cultural Relations scholarship recipient, he
has also obtained a further Ph.D. on Indianness in Raja Rao’s novels at the
University of Bangalore.


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Le Simplegadi 42

Following the audible uproar generated by the screening of her previous

Stefano Mercanti. In Deepa Water: Mehta’s latest elemental move.

withdrew the film’s location permits as right-wing RSS (Rashtriya Swayamsevak

Set in the 30’s during Mahatma Gandhi’s Independence Movement, Water

Stefano Mercanti. In Deepa Water: Mehta’s latest elemental move.

Stefano Mercanti. In Deepa Water: Mehta’s latest elemental move.

Chakravarty, Uma. 2003. Gendering Caste. Through a Feminist Lens. Calcutta:

Stefano Mercanti completed his doctorate on Raja Rao’s short-stories at the

Stefano Mercanti. In Deepa Water: Mehta’s latest elemental move.

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