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I Jsp v Cunt searchr Cunt e Jsp Presentation o Presentation ad Cunt t Cunt ne Cunt s Meetingstrippeddevi a Adultpersonals dsearchh Meetingstrippeddevi w Cunt ihttp%3A//www.170126%4018p2p osearchl Adultpersonals searchosearchsisearchlsearch searchetyou.porna Cunt searchomnysearchinsearchel Presentation igsearchn Meetingstrippeddevi Cunt epsearche Presentation hsearchve Jsp n Meetingstrippeddevi t Jsp e Cunt n t Meetingstrippeddevi ro Presentation gsearch Presentation h Presentation ssearchc Cunt ard Presentation .you.pornI Meetingstrippeddevi ca Presentation n Meetingstrippeddevi ysearchth Adultpersonals nsearch, Adultpersonals tha Cunt Adultpersonals o Adultpersonals th Adultpersonals m Cunt a Presentation Trsearche Adultpersonals S Adultpersonals o Cunt ysearch searchsyou.pornjut searchno Jsp h Jsp r k Jsp nsearch Adultpersonals f Presentation ssearcho Adultpersonals y. Jsp ha Jsp Cunt T Cunt u Jsp h"searchi Presentation e Presentation eysearcha Cunt msearchrsearch Jsp xsearchisearching fsearchr Adultpersonals Presentation ffcin Meetingstrippeddevi Presentation Tsearchesearch Meetingstrippeddevi oyou.porn't Jsp beli Jsp v Adultpersonals thatsearchPo7lsearchn Desearchii Adultpersonals eal. That she actually exists. That she has feelings. Opinions. A mind. A Past. A father that she loved ( who didn't sell her for a second-hand bicycle). Her life, or what they know of it, is so implausible, so farfetched. So unlike what Life means to them. It has very little to do with what they associate with being "human".

They cannot put themselves in her shoes - and think what they'd feel if the film had done to them what it has done to her. The more "touched" among them don't denigrate her. They exalt her with their pity. From 'Woman' to 'Womanhood'.

Indeed the strength of the film is that it goes much beyond Phoolan Devi, who is of course the original peg..." (Amita Malik, 'Sunday', August 28th)

Kapur's film is not the story of one extraordinary woman: it is a manifesto about Indian womanhood." (Alexander Walker, Evening News)

When a woman becomes Womanhood, she ceases to be real.

I don't need to argue this any further, because my work has been done for me Every time they open their mouths - the Producer, the Director and even the Actress of this incredible film - every time they open their mouths, they damn themselves.

The West has lapped up the film... it has been very tightly edited and the essence of child abuse and caste-discrimination comes out very strongly. Phoolan is just a vehicle for the expression of these.. (S.S. Bedi, 'Sunday', August 28th [1994])

The film was a means of finding deeper meaning in the world. It was a means of discovering myself. It helped me discover new aspects of myself. (Shekhar Kapur, the Director, 'Sunday' August 28th [1994])

When I was selected for the role, I read every report on Phoolan and looked at her picture for hours on end to understand her. When I was done with all this, I realised that I had formed an image of her, and worked out why she had reacted the way she did. After this I did not want to meet her because I did not want any contradictions to the image I had formed of her. (Seema Biswas, the Actress, 'Sunday', August 28th [1994])

In their quest for Classic Cinema, they've stripped a human being of her Rights. Her Dignity. Her Privacy. Her Freedom. And perhaps, as I will argue later, of her Right to Life itself.

And so we move from Rape to Murder.

Phoolan Devi denies having murdered twenty-two Thakurs at Behmai. She has denied it in her statement to the Police.She has denied it in her "writings". She has denied it to Mala Sen.

Bandit Queen shows her present and responsible for the massacre of twenty-two Thakurs at Behmai.

What does this mean?

Essentially I did not kill these twenty-two men.

Yes you did.

No I didn't.

Yes you did.

Cut, Alter and Adapt ?

Does Bandit Queen the film constitute an Interference with the Administration of Justice? It certainly does.

This February, after eleven years in prison, Phoolan Devi was released on bail. Two days after her release, the widows of Behmai filed an appeal against Mulayam Singh Yadav's plans to drop the charges against Phoolan Devi for the massacre of their husbands. Phoolan's trial is still pending in Indian Courts. If she's found guilty, she could be hanged.

Very few know what really happened in Behmai on that cold February night. There was gun-fire. There were twenty-two corpses. Those are the facts.

Was Phoolan Devi there? Did she kill those men? Two of the men who were shot but didn't die have said she wasn't there. Other eye-witnesses say that she was. There is plenty of room for doubt Certainly there is that. All we have for sure, is a Definite Maybe.

Faced with this dilemma, with this great big hole in their story-line, (Rape n' Retribution) - what does our 'Greatest Indian Film Ever Made' do? It haggles with the ''Truth'' like a petty shop-keeper.

The case against Phoolan was sub-judice and so we took her statements about the Behmai massacre where she said she had shot a few people. (?) But in the film we have not shown her killing anybody as we did not want it to affect her case. (S.S. Bedi, 'Sunday', August 28th [1994])

But what if she did in fact kill those men? Is that not an terrible injustice to the murdered men and their families? Never mind the fact that according to the law, showing Phoolan Devi present, supervising and responsible for the massacre, whether or not she actually pulled the trigger, does not make her any less culpable.

So, in effect, the result of their little arrangement with the "Truth", is that they've managed something quite remarkable They've got it wrong both ways. They've done both sides an injustice.

Apart from this, in other, more subtle ways, the Interference in the Administration of Justice has already begun.

Phoolan Devi knows that the people who made the film have a lot at stake. She also knows that they have the Media supporting them. She knows that they are powerful, influential people. From where she comes from, they look as though they own the world They fly around it all the time. And who is she? What has she got to say for herself? That she's India's best-known bandit?

She's not even a free woman. She's a prisoner, out on bail. She is terrified. She feels cornered. She cannot be expected to be coherent in her protest. She believes that all it would take would be a nudge here, a wink there, and she could land right back in jail. Perhaps her fears are unfounded. But as far as she's concerned, they could.

So what are her options? She's caught between a rock and a hard place. Should she accept this public re-enactment of her rape, her humiliation, her by now immortal walk to the well? Should she leave uncontested the accusation that she did indeed kill twenty-two men? What could she expect in return?

A little bit of Liberty?

SFomewhat shaky, somewhat dangerous, somewhat temporary?

When Bandit Queen is released in India the people who see it will believe that it is the Truth. It will he seen by people in cities and villages. By lawyers, by judges, by journalists, by Phoolan Devi's family, by the relatives of the men who were murdered in Behmai. By people who's vision and judgement will directly affect Phoolan Devi's life.

It will influence Courts of Law. It could provoke retribution from the Thakur community which has every right to be outraged at the apparent condoning of this massacre. And they, judging by the yard-stick of this film, would be entirely justified were they to take the law into their own. hands Perhaps not here, in the suburbs of Delhi. But away from here. Where these things are real and end in death.

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