A powerful mix of conflict, history, religious intolerance

SUSAN WALKER
ENTERTAINMENT REPORTER

Water is framed by two statements that open and close the film. One 
is from a Hindu text about the obligations of a wife to her husband. 
The other reports that there were 34 million widows in India as of 
the 2001 census, many of them living in horrible conditions.

The story that Deepa Mehta tells in Water concerns Hindu widows who 
occupy an ashram in a holy city, Rawalpur, on the banks of the Ganges 
River. The year is 1938. The ashram is like a convent, except that 
the devotees did not arrive there of their own accord. 

Chuyia is an 8-year-old who's informed of the death of her middle-
aged husband. "You do you remember getting married don't you?" her 
father asks. The child shakes her head. She cries when her father 
takes her to a walled-in house for widows where she's to spend the 
rest of her life.

In traditional Hinduism, a wife is considered to be half of her 
husband. When he dies, she is half dead. The 14 sequestered widows in 
Water range in age from 8 to 80-something. They wear white saris, 
their hair is closely cropped. On their foreheads they paint gold 
emblems that look like tuning forks. They eat one meal a day. 

A barber shaves off Chuyia's hair. The little girl, confidently 
stating that her mother is soon coming to take her home, does not 
adjust to life in the ashram. 

She does not accept the authority of Madhumati, the 70-year-old widow 
who is the mother superior. Chuyia calls her "Fatty" and grimaces 
when she's giving the old broad a massage by walking on her back. 
Madhumati doesn't deprive herself; she eats extravagantly and gossips 
daily with a eunuch, Gulabi, who dresses like a woman and acts as a 
pimp.

A pimp's services are required because Madhumati earns money by 
prostituting one of the widows, the beautiful Kalyani. She wears her 
hair long, lives in quarters apart from the others, and befriends 
Chuyia. 

All of the women suffer, but none so much as Shakuntala, who in 
addition to enduring poverty and imposed silence is a devout Hindu 
trying to make sense of her life through her religion. She is the one 
who takes on the tutelage and care of Chuyia, a stubborn student who 
wants to know "Where is the house of Men-Widows?"

Across the river lies a mansion where two adult brothers live with 
their parents. One is Rabindra, an anglophile, who likes the English 
for their whiskey and their poetry. His lawyer brother Narayan is a 
follower of Mahatma Ghandi, whose campaign to liberate India from the 
English is just gathering steam. 

Walking down the street one day, Narayan meets Kalyani and is 
immediately stricken by Kalyani's beauty. There can be little 
question of her status, one that his wealthy parents would of course 
shun. 

Told in Hindi with English subtitles, it's a story that pulls at the 
heart like the moon over night waters. Mehta has concocted a potent 
mix of politics, historical conflict, religion and philosophical 
questioning.

Water is the third and final film in a series that began in the 
present with Fire and proceeded to Earth, in which she related a 
family saga showing tensions that gave rise to the partition of India 
in 1947. As in those works, she weaves a compelling tale with 
cinematic beauty and spoken wit: There are moments for laughter even 
in Water.

Lisa Ray gives a subtle performance as Kalyani opposite John Abraham 
as the serious-minded Narayan. Sri Lankan child actor Sarala captures 
the camera in her first acting role, with eyes like deep pools of 
emotion. Seema Biswas, who stunned Toronto festivalgoers in 1994's 
Bandit Queen, excels in the complex part of Shakuntula, the ultimate 
central character in the film.








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