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After the centrepiece, the film rushes through to its conclusion. Phoolan manages to escape from her captors and arrives at a cousin's house, where she recuperates and then eventually teams up with Man Singh who later becomes her lover, (though of course the film won't admit it). On one foray into a village with her new gang, (one of the only times we see her indulging in some non-rape-related banditry), we see her wandering through a village in a daze, with flaring nostrils, while the men loot and plunder. She isn't even scared when the police arrive. Before she leaves she smashes a glass case, picks out a pair of silver anklets and gives it to a little girl.
Sweet.
When Phoolan and her gang, arrive in Behmai for the denouement, everybody flees indoors except for a baby that is for some reason, left by the well, The gang fans out and gathers the Thakurs who have been marked for death. Suddenly the colour seeps out of the film and everything becomes bleached and dream sequency. It all turns very conceptual. No brutal close-ups. No bestiality.
A girl's gotta do what a girl's gotta do. The twenty-two men are shot The baby wallows around in rivers of blood. Then colour leaches back into the film. And with that, according to the film, she's more or less through with her business. The film certainly, is more or less through with her. Because there's no more rape. No more retribution.
According to the book, it is really only after the Behmai massacre that Phoolan Devi grows to fit her legend. There's a price on her head, people are baying for her blood, the gang splinters. Many of them are shot by the police. Ministers and Chief-ministers are in a flap. The police are in a panic . Dacoits are being shot down in fake encounters and their bodies are publicly displayed like game. Phoolan is hunted like an animal. But ironically, it is now, for the first time that she is in control of her life. She becomes a leader of men. Man Singh becomes her lover, but on her terms. She makes decisions. She confounds the police. She evades every trap they set for her./ She plays daring little games with them. She undermines the credibility of the entire UP police force. And all this time, the police don't even know what she really looks like. Even when the famous Malkhan Singh surrenders, Phoolan doesn't.
This goes on for two whole years. When she finally does decide to surrender, it is after several meetings with a persuasive policeman called Rajendra Chaturvedi, the SP of Bhind, with whom she negotiates the terms of her surrender to the government of Madhya Pradesh.
Is the film interested in any of this?
In the film, we see her and Man Singh on the run, tired, starved and out of bullets. Man Singh seems concerned, practical and stoical.
Phoolan is crying and asking for her mother! The next thing we know is that we're at surrender. As she gives up her gun, she looks at Man Singh and he gives her an approving nod.
Good Girl! Clever girl!
Phoolan Devi spent three-and-a-half years in the ravines. She was wanted on 48 counts of major crime, 22 murder, the rest kidnaps-for-ransom and looting.
Even simple mathematics tells me that we've been told just half the story.
But the cool word for Half-truth is Greater-truth. Other signs of circular logic are beginning to surface.
Such as: Life is Art ; Art is not Real
How about changing the title of the film to: Phoolan Devi's Rape and Abject Humiliation: The True half-Truth?
How about sending it off to an underwater film festival with only one entry?
What responsibility does a biographer have to his subject? Particularly to a living subject?
None at all? Does it not matter what she thinks or how this is going to affect her life?
Is he not even bound to shovv her the work before it is released for public consumption?
If the issues involved are culpable criminal offenses such as murder and rape - if some of them are still pending in a court of law -- legally, is he allowed to present conjecture, reasonable assumption and hearsay as the unalloyed "Truth?"
Shekhar Kapur has made an appeal to the Censor Board to allow the film through without a single cut. He has said that the Film, as a work of Art, is a whole, if it were censored it wouldn't be the same film.
What about the Life that he has fashioned his Art from?
He has a completelv different set of rules for that.
It's been several months since the film premiered at Cannes. Several weeks since the showings in Bombay and Delhi. Thousands of people have seen the film. It's being invited to festivals all over the world.
Phoolan Devi hasn't seen the film. She wasn't invited.
I met her yesterday. In the morning papers Bobby Bedi had dismissed Phoolan's statements to the press -- " Let Phoolan sit with me and point out inaccuracies in the film, I will counter her accusations effectively, " (Sunday Observer, August 21st [1994]). What is he going to do? Explain to her how it really happened?
But it's deeper than that. His story to the press is one thing. To Phoolan it's quite another. In front of me she rang him up and asked him when she could see the film. He would not give her a definite date.
What's going on?
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.
Phoolan Devi and Man Singh after their surrender.
Go on. Take a wild guess.
God Clever Girl.