Deepa Mehta’s Water: Let it Not Remain Stagnant

Water (2005) is a film that portrays the plight of widows in pre-independent India. It illustrates how they were trapped by rigid societal norms, much like stagnant water in a puddle. Deepa Mehta showcases the liberating effect of modernism on their lives during the Gandhian period.

A still from the movie showing Kalyani and Narayan I Image source: SBS movies

Deepa Mehta is a well-known name among cinephiles worldwide. Her exceptional determination to present Indian society on the global stage knows no bounds. The completion of the Elements Trilogy itself stands as proof of her unwavering resolve. The first movie in the trilogy, Fire (1996), faced tremendous backlash from various groups in India, primarily due to its exploration of homosexuality. Nonetheless, it proved to be a groundbreaking film that stood the test of time. In the film Water (2005), the last film of the trilogy following Earth, Deepa Mehta chose to shed light on another social anomaly that existed in pre-independent India – the plight of widows in Hindu society.

The film is set in the backdrop of Banaras and its ghats during the 1930s. However, the the film was shot in Sri Lanka to avoid potential attacks from extremist groups in India.

The story begins with a young girl named Chuhiya, a widow abandoned at an ashrama by her parents. The narrative explores the ashrama and its inhabitants through Chuhiya's eyes, offering a first-hand experience of widowhood from her perspective. Despite societal prejudices, Chuhiya continues to question and hold onto the hope of returning home.

She finds a motherly figure in Shakuntala (played by Seema Biswas), a middle-aged Brahmin widow who appears more mature than the rest. Shakuntala introduces Chuhiya to life at the ashrama **–**akin to asceticism, filled with singing songs, begging on streets, sleeping on mats, and devoid of any luxury in food or clothing. The widows don white sarees and have shaven heads, except for one **–**Kalyani (played by Lisa Ray), a young widow permitted to keep her long hair. As the story unfolds, the mystery behind this exception gradually unravels. Chuhiya befriends Kalyani.

While Kalyani's conversations with her lover Narayan (John Abraham) highlight the ongoing debate between ancient rituals and modern ideologies, Shakuntala’s discussions with her guru (played by Kulbhushan Kharbanda) reveal societal reforms like widow remarriage and the influence of modernity brought by the Gandhian movement. The film depicts how enlightened individuals can champion feminism, helping women break free from the chains of patriarchy and religious orthodoxy.

Narayan's statement, “One less mouth to feed, four less saris, and a free corner in the house. Disguised as religion, it’s just about money”, encapsulates the essence of the practice.

The film concludes tragically with Kalyani's suicide upon discovering that her lover’s father had sexually exploited her. Chuhiya, too, is drawn into prostitution by Madhumati (the ashrama's overseer) and a transgender pimp. The melancholic blue theme of the movie takes on a deeper meaning, depicting the perpetual despair that looms over the widows.

However, Shakuntala’s courage to defy ashrama rules and send Chuhiya to Bapuji (Mahatma Gandhi) in hopes of a better future provides a glimmer of hope. Regardless, women’s freedom should flow unrestricted, akin to the waters of the river Ganges, never stagnating under senseless and rigid religious regulations. This is likely the message Deepa Mehta aimed to convey.