Kiran Rao directed the film "Dhobi Ghat" in 2010, which received widespread acclaim. However, few might have anticipated that thirteen years later, she would create a film where every single scene seems essential. The announcement has been made that "Lapata Ladies" will represent India at the Oscars, and the film is gaining significant popularity on Netflix. The film showcases brilliant dialogues and precise expressions.
In Hindi cinema, it is often observed that whistles are blown only when big stars appear on screen. However, the way the director has skillfully selected and introduced new talent at the film's outset is what makes it special, indicating that this film will be a remarkable creation from the director's perspective. The camera captures the girl’s restless and frightened eyes, her face cloaked in a veil, signaling to the audience that the film will delve into the theme of women's freedom.
Biplab Goswami's story, complemented by Sneha Desai's superb script, is truly exceptional.
The film's narrative begins with a newly married couple who become separated on a train. The story then evolves around a missing bride, illustrating the status of women in Indian society. Additionally, the director sheds light on the workings of the Indian police and the political games played with the common man.
While the film brilliantly depicts the societal and self-imposed restrictions faced by rural Indian women, modern India is not untouched by these issues, as its roots lie in the villages.
Had it not been for Sneha Desai, this remarkable story might never have transformed into such an outstanding film. She has masterfully crafted the script, incorporating examples such as the reason behind Abdul’s name and Manju Mai's fondness for sweets. The excellent work on the script becomes evident when the act of covering faces between two different religions is creatively linked to the theme of identity concealment.
The selection of characters has been made with great mind.
Ravi Kishan delivers an outstanding performance as a corrupted yet kind-hearted police officer, and no one else could fit this role better.
Nitanshi Goyal, portraying the sweet and innocent Phool, fits perfectly as a girl stepping out of her village for the first time. As the film progresses, her character continues to evolve beautifully.
Sparsh Srivastav, who plays Deepak, the one searching for Phool throughout the film, displays significant potential for the future and he delivers strong performances in various scenes.
Chhaya Kadam shines as Manju Mai, who serves as a support system for Phool, embodying the role of a strong, independent woman.
Geeta Agrawal Sharma, in her role as Deepak's mother Yashoda, aptly encapsulates her character with the remark, "Dikhat to ee hai ki humko ab u bhi yaad nahi ki humko ka pasand hai."
One can consider Pratibha Ranta to be a discovery of the film, as her character compels the audience to ponder her secretive actions. She also appears remarkably beautiful on screen.
The film's dialogues have the potential to earn it an Oscar.
Director Sneha Desai has penned several brilliant lines, such as "Thane mein samasya batao, haisiyat nahi," effectively integrated into the film. Observing the gestures and expressions of the actors, viewers feel a deep connection with every scene.
In the initial minutes, there is a scene addressing dowry, where an unknown woman on the train asks the groom Deepak, "Shadi mein ka mila?" Everyone shares their thoughts on the subject, ultimately prompting Deepak to be asked again what he received. When Deepak evades the question, someone comments, "Zaroor ladka mein kaunh khot hoga." This scene illustrates the entrenched issue of dowry in our society, where accepting dowry is linked to a groom's social image.
The film also brilliantly depicts how women can act as obstacles to other women’s freedom. Even after witnessing herself with another groom, Jaya remains silent. When she opposes Deepak's father's statement by saying, "Theek hi to keh rahe hain," it is the women present who express the most surprise, questioning how a woman can respond to a man.
Even when Jaya mentions her husband's name, the other women look at her in shock.
Nearly every scene between Phool and Manju Mai in the film is exceptional. Manju Mai empowers Phool’s simple character by embodying the role of a guardian. Manju Mai's dialogue, "Budbak hona sharm ki baat nahi hai, budbak hone par garv karna, e sharm ki baat hai," not only opens Phool's eyes but also holds a mirror up to countless girls like her.
Phool's dialogue, "Paraya rasoi ko apna banana, yahi to sikhayi hai hamari amma," encapsulates the story of many girls in India. The director presents Phool as a simple bride while portraying Jaya as an educated woman, sending a powerful message. If parents educate their daughters beyond the confines of the kitchen, they can achieve greatness.
Phool’s question to Manju Mai, "Hum ladkiyon ko kahan moka nahi dete hain? Dadi, kahan humko itna lachar bana dete hain?" regarding making bread pakoras is a poignant moment that deserves repeated viewings of the film. Additionally, our society desperately needs films that offer alternative answers to such questions.
Himanshu Joshi.
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