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Private screenings have been organised for powerful people. But not for her. They hadn't bargained for this. She was supposed to be safely in jail. She wasn't supposed to matter. She isn't supposed to have an opinion. "Right now", the Sunday Observer says, "Bobby Bedi is more concerned about the Indian Censor Board than a grumbling Phoolan Devi."

Legally, as things stand, in U.P. the charges against her haven't been dropped. (Mulayam Singh has tried, but an appeal against this is pending in the High Court). There are several versions of what happened at Behmai. Phoolan denies that she was there. More importantly, two of the men who were shot at but didn't die say she wasn't there. Other eye- witnesses say she was. Nothing has been proved. Everything is conjecture.

By not showing her the film, but keeping her quiet until it's too late to protest (until it has been passed by the Censors and the show hits the road), what are they doing to Phoolan? By appearing to remain silent, is she concurring with the film version of the massacre at Behmai? Which states, unequivocally, that Phoolan was there. Will it appear as though she is admitting evidence against herself? Does she know that whether or not the film tells the Truth it is only a matter of time before it becomes the Truth. And that public sympathy for being shown as a rape-victim doesn't get you off the hook for murder? Are they helping her to put her head in a noose?

What is she to them? A concept? Or just a cunt?

One last terrifying thing. While she was still in jail, Phoolan was rushed to hospital bleeding heavily because of an ovarian cyst. Her womb was removed. When Mala Sen asked why this had been necessary, the prison doctor laughed and said " We don't want her breeding any more Phoolan Devi's."

The State removed a woman's uterus! Without asking her .Without her knowing. It just reached into her and plucked out a part of her! It decided to control who was allowed to breed and who wasn't.

Was this even mentioned in the film?

No. Not even in the rolling titles at the end. When it comes to getting bums on seats, hysterectomy just doesn't measure up to rape.

I've tried. But I'm afraid I simply cannot see another point of view on this whole business. The question is not whether Bandit Queen is a good film or a bad film. The question is should it exist at all?

If it were a work of fiction, if the film-makers had taken the risk that every fiction writer takes, and told a story, then we could begin to discuss the film. Its artistic merit, its performances, its editing, the conviction behind its social comment. If this had been the case, I, as the writer of films that have been infinitely less successful, would not have commented.

The trouble is that Bandit Queen claims nothing less than "Truth". The film-makers have insured themselves against accusations of incompetence, exaggeration, even ignorance, by using a living human being.

Unfortunately, to protect themselves from these (comparatively) small risks, they had to take one big one. The dice were loaded in their favour. It nearly paid off . But then, the wholly unanticipated happened. Phoolan Devi spoilt everything by being released from prison on bail. And now, before our eyes, in delicious slow-motion, the house of cards is collapsing.

As it folds softly to the floor, it poses the Big Questions. Of Truth. Of Justice. Of Liberty.

A man who read my essay of last week, came up to me and said "She's scum. Why are you getting involved with her?" I'm not sure I know how one defines scum. But for the sake of the argument, let's assume that she is. Phoolan Devi (Scum. ) - like a degree from an unknown University. Does Scum have Civil Rights?

It took a Salman Rushdie to make the world discuss the Freedom of Expression. Not an Enid Blyton. And so, to discuss an individual's right to Justice, it takes a Phoolan Devi. Not the Pope.

In yesterday's papers, the Chairman of the Censor Board defended the delay in clearing some films on Rajiv Gandhi. "The trouble with political films", he said, "is that they are about real people. They must be absolutely true." In the eyes of the Law, are Rajiv Gandhi and Phoolan Devi equally real? Or is one a little more real that the other?

As we watch the drama unfold in the press, one thing has become absolutely clear. The most elusive, the most enigmatic, the most intangible character of all, is the "Truth". She hardly appears. She has no lines. Perhaps it's safe to assume that the play isn't about her at all. If so, then what are we left with? Versions. Versions of the story. Versions of the woman herself.

We have the version of her in the film: Poor Phoolan. Raped and re-raped and re-re-raped until she takes to crime and guns down twenty-two Thakur Rapists. (Forgive her, the film says to us ) We have the version of her painted by the producers now that she's protested about their film : Manipulative, cunning, trying to hit them for more money. (Look at the greedy bitch!) We have the version of her that appears in the papers: Ex-jailbird. Flirting with politics. Trying to adjust to married life, manipulated by her husband and her French Biographers. And these are only some of them.

We have versions of her story. Phoolan's version. Mala Sen's book that claims to be based on Phoolan's "writings". This film that claims to be based on Mala Sen's book. And these are only some of them.

As always, when we cannot agree, we must turn to Law. Study contracts. Examine promises. Scrutinize signatures. What does Phoolan's contract say? Or, more accurately, what do Phoolan's contracts say?

They say quite simply, all three of them, that the film was to be based on Phoolan's writings, i.e. The film was to be Phoolan Devi's version of her story. Not Mala Sen's version. Not Shekhar Kapur's version. Not your or my version. Not even the "True" version (if such a thing exists), but Phoolan's version. You see, it turns out that Mala Sen's book was published long after the first contract with Phoolan was signed.

The first agreement for the purchase of the rights to Phoolan's version was with Jalal Agha's company called ANANCY FILMS. It was signed in 1988. The contract clearly states (under-lined right across the top) that it was to be a Documentary film "relating to Indian banditry and your role therein." Having made this clear, the contract refers to it as "the Film" Another agreement was signed in 1989 informing Phoolan that the rights to her "writings" now belonged to Channel Four. The third letter was issued in 1992 bv B V Videographics, S.S. Bedi's company, affirming the agreement between Phoolan Devi and Channel Four, and informing her that they were the latest in the line of succession to the rights of her story.

The contracts, smuggled in and out of prison by Phoolan's family in tiffin carriers, are vague and cursory. Couched in this vagueness there is a sort of disdain. Of the educated for the illiterate. Of the rich for the poor. Of the free for the incarcerated. It's like the attitude of a memsahib getting her ayah to undertake to vacate the servants' quarter in the event that she's sacked. Essentially, Phoolan Devi seems to have given Channel Four the rights to film her version of the story of her life. In return for the sum of a little over five thousand pounds. Less than one percent of the six hundred and fifty thousand pound budget of the film. (What was that about her being greedy?)

Anyway, let us assume that it all started out in good faith. That they intended to make a Documentary Film. Somewhere along the way it became a Feature film. They took care of that in the small print. Okay. In the last clause of the agreement(s), they gave themselves the right to:

Cut, alter and adapt the writings and use alone or with other material and/or accompanied by editorial comment.

Herein (they believe) lies their salvation. What did they mean by this clause? What did they intend when they included this in the contract? To me, as a writer of films, it seems fair enough. You must have the right to cut, alter and adapt your source material. Of course you must. Unless you want to make a film that is exactly as long as the life of your subject. But does "cut, alter, and adapt" include Distort and Falsify?

The Producers' (by now public, and written) refusal to show Phoolan the original version of the film (the one that has been seen and reviewed and is now on its World Tour) suggests that they know they have done her a terrible injustice. But they say they are not worried because they have a "fool-proof" (India Today, August 21st) contract with her. What does this imply? That they deliberately set out cheat and mislead her? That they conned an illiterate woman into signing away her rights? I don't know. I'm asking.

Surely the fact that they were dealing with an illiterate woman only increases their obligation to her? Surely it was up to them, to check and counter-check the facts with her? To read her the script, to fine-tune the details, to show her the rough-cut before the film was shown to the rest of the world?

Instead what do they do? They never meet her once. Not even to sign the contracts . They re-invent her life. Her loves. Her rapes. They implicate her in the murder of twenty-two men that she denies having committed. Then they try to slither out of showing her the film!

"Cut, alter and adapt"? -- is that what it's called?

Could it be that the film's success, and the Producers' (and Director's) blatant exploitation of this person, both have to do with the same thing? That she's a woman, that she's poor, and illiterate, and has (they assume) no court of appeal? Which is why she became a bandit in the first place? What they haven't got yet. The point that they seem to keep on missing (in the film, and otherwise), is that she's no victim. She's a fighter. Unfortunately, this time she's on their territory. Not hers.

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