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ring to Phoolan's version ( upto, this point, there is no other version), is engineered by Maiyadeen as a ruse to get her out of his hair.
Maiyadeen does not figure in the film.
FAlready some pretty big decisions have been made. What stays, what goes. What is high-lighted, what isn't. Life is Rape. The rest is just details.
We then see Phoolan in the ravines, being repeatedly raped by Babu Singh Gujar, the Thakur leader of the gang she has been kidnapped by. Vikram Mallah, the second-in-command is disgusted by his behaviour and puts a bullet through him. According to the book the killing happens as a drunken Babu Gujar is threatening to assault Phoolan. In the film he's actually at it, lying on top of her, his naked bottoms jerking. As he breathes his last, Phoolan blinks the blood out of her eyes and looks long into the eyes of her redeemer. Just so that we get the point.
After this we are treated to a sequence of after-rape-romance. The touching bits about the first stirrings of sexual desire in a much-raped woman. The way it works in the film is If-you- touch-me-I'll-slap-you-but-I-really-do-want-to-touch-you.
It's choreographed like a dusty dance in which they rub against each other, but whenever he touches her she swats his hand away, but nevertheless quivers with desire. It is such a crude, obvious, doltish depiction of conflict in a woman who is attracted to a man, but associates sex with humiliation. It's not in the book, so I'm not sure whose version Shekhar has used. From the looks of it, probably Donald Duck's.
Vikram Mallah and Phoolan Devi become lovers. While the book and the film agree that he was her one true love, the book does not suggest that he was her only lover. The film does. She has to be portrayed as a One Man Woman. Otherwise who's going to pity her? So it's virtue or bust. One lover (a distant cousin) is eliminated completely. The other (Man Singh), is portrayed as what used to be known in college as a rakhi-brother.
From all accounts, Vikram Mallah seems to have been the midwife of Phoolan's birth into dacoitdom. He supervises her first act of retribution against her husband Puttilal. The film shows him bound and gagged, being beaten by Phoolan Devi with the butt of her gun, whimpering and crying with remembered rage. In the retribution bits, she is allowed a little latitude. Otherwise, (as we shall see) none at all.
But there's a sly omission here. According to the book, according to Phoolan Devi herself, there were two victims that day. Not one. The second one was a woman. Vidya, Puttilal's second wife.
The film hasn't told us about a second experience Phoolan has with Puttilal. The time that Maiyadeen forced her to return to Puttilal. Phoolan arrived at her husband's house to find that he had taken a second wife. Vidya harassed and humiliated Phoolan and eventually forced Puttilal to send her away. Her humiliation at Vidya's hands is more recent in Phoolan's memory. Phoolan, in her written version says she wanted to kill them both and leave a note saying that this will be the fate of any man who takes two wives. Later she changed her mind and decided to leave them alive to tell the tale. She beat them both. And broke Puttilal's hands and legs.
But what nice woman would do that? Beat up another woman? How would you feel sorry for someone like that?
So, in the film, Vidya is dumped.
Phoolan's affair with Vikram Mallah ends tragically when he is shot. She is captured by his Thakur killers, gagged, bound, and transported to Behmai. The stage is set for what has come to be referred to as the "centerpiece" of the film. The gang-rape.
It is the scene by which the film is judged.
Not surprisingly, Phoolan herself is reticent about what happened. All she says is un logo ne mejhse bahut mazaak ki. She mentions being beaten, humliliated and paraded from village to village. She mentions another woman dacoit Kusuma -- who disliked her, and taunted and abused her. (Of course there's no sign of her in the film. It would only serve to confuse the woman-as-victim moral arithmetic.)
Since Phoolan isn't forthcoming, it is the vivid (vicarious) account in Esquire by an American, journalist, Jon Bradshaw that has been enlisted to structure this scene.
Phoolan screamed, striking out at him, but he was too strong. Holding her down, the stranger raped her. They came in one by one after that. Tall, silent Thakur men -- and raped her until Phoolan lost consciousness. For the next three weeks Phoolan was raped several times a night, and she submitted silently turning her face to the wall... she lost all sense of time... a loud voice summoned her outside. Sri Ram ordered Phoolan to fetch water from the well. When she refused, he ripped off her clothes and kicked her savagely...at last she limped to the well while her tormentors laughed and spat at her. The naked girl was dragged back to the hut and raped again.
Whatever Shekhar Kapur's other failings are, never let it be said that he wasn't a trier. He did his bit too. He (Pioneer Aug 14th, India Today August 21st [1994])locked himself up in a room - the door opening and closing as one man after another strode in - imagining himself being sodomized! After this feat of inter-sexual empathy, he arrives at some radical, definitive conclusions.
"There is no pain in a gang-rape, no physical pain after a while," he assures us. "It is about something as dirty as the abject humiliation of a human being and the complete domination of its soul."
Thanks baby. I would never have guessed.
It's hard to match the self-righteousness of a film-maker with a cause. Harder when the film- maker is a man and the cause is rape. And when it's the gang-rape of a low-caste woman by high-caste men .. don't even try it. Go with the feeling.
We see a lot of Phoolan's face, in tight close-up, contorted into a grimace of fear and pain as she is raped and mauled and buggered. The overwhelming consensus in the press has been that the rape was brilliantly staged and chilling.
That it wasn't exploitative.
Now what does that mean? Should we be grateful to Shekhar Kapur for not showing us the condition of her breasts and genitals? Or theirs? That he leaves so much to our imagination? That he gave us a tasteful rape?
But I thought the whole point of this wonderful film was its no-holds-barred brutality? So why stop now? Why the sudden coyness? I'll tell you why. Because it's all about regulating the Rape-meter. Adjusting it enough to make us a little preen-at-the-gills. Skip dinner perhaps . But not miss work.
It's us, we-the-audience, stuck in our voyeuristic middle-class lives who really make the decisions about how much or how little rape/violence we can take/will applaud, and therefore, are given. It isn't about the story. (There are ways and ways of telling a story) It isn't about the Truth. (There are ways around that too. Right?) It isn't about what really happened. It's none of that high falutin' stuff. It's good old us. We make the decisions about how much we would like to see. And when the mixture is right, it thrills us,. And we purr with approbation
It's a class thing. If the controls are turned up too high, the hordes will get excited and arrive. To watch the centrepiece. They might even whistle. They won't bother to cloak their eagerness in concern like we do. This way, it's fine, It's just us and our imagination. But hey, I have news for you - the hordes have heard and are on their way. They'll even pay to watch. It'll make money, the centrepiece. It's hot stuff.
How does one grade film-rapes on a scale from exploitative to non-exploitative?
Does it depend on how much skin we see? Or is it a more complex formula that juggles exposed skin, genitalia, and bare breasts? Exploitative I'd say, is when the whole point of the exercise is to stand on high moral ground, and inform us, (as if we didn't know), that rape is about abject humiliation. And, as in the case of this film, when it exploits exploitation. Phoolan has said (Pioneer, August 15 [1994]) that she thinks they are no better shall the men who raped her. This producer/director duo.
And they've done it without dirtying their hands. What was that again? The complete domination of the soul? I guess you don't need hands to hold souls down.
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.
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