Lajja

I saw Lajja on opening night August 31,2001 at a theatre in nearby Diamond Bar. I was drawn to the movie by Rajkumar Santoshi's name, because generally he makes fairly good movies. Anu Malik's name as the composer was also an attraction. Rajkumar Santoshi did not disappoint me. He presented the subject in a fairly compelling way and did not deviate too much to accommodate "entertainment". Once again he did not use all the songs that featured on the film's audiocassette and CD, which will adversely affect the movie at the box-office.His father,P.L. Santoshi who was himself a famous lyricist before he became a film director, knew the importance of songs in an Indian movie. Rajkumar Santoshi, ever since his Ghayal became a hit without the support of music, has tended to ignore music and not give it the centrality it deserves in the Indian cultural context. He could not take advantage of even Nadeem- Shravan in Damini or of A.R. Rahman in his last movie Pukar. At least in the latter he took eminent lyricist Majrooh Sultanpuri and also Javed Akhtar (for one number). Here he relies on overworked and mediocre Sameer.The music department(with even the theme song cut out), therefore,is nothing to write home about. Will someone urge him not to repeat the same mistake over and over again?

But despite these drawbacks, which are quite serious, the movie works because of its laudable theme, Rajkumar Santoshi's good direction and some good writing too. But here too one fails to understand why a good director of Santoshi's calibre should take upon himself the added burden of writing the screenplay and the dialogue. Bollywood has plenty of good writers who would be happy to work for a director like Santoshi.

Overall, it's a good movie.That's why I am giving it an 8 out of 10.

Now a word about the advertising.It is publicised as a movie with three heroes and three heroines whereas the story concerns only one pair played by Manisha Koirala and Jackie Shroff. The rest just come and go.It should have been advertised as just a Manisha Koirala-Jackie Shroff starrer. There should have been no mention of the other famous names who are just guest stars in the movie. Like Salman Khan was not mentioned in the advertising of Kuch Kuch Hota Hai and that worked great for the movie.Lajja could have benefited tremendously from the presence of Madhuri Dixit, Anil Kapoor, Rekha and Ajay Devgan if their names had not been advertised and the public discovered them for the first time in the theatre on opening night.

The Hindi directors are brilliant in depicting gory authenticity that an ordinary viewer is horrified to see on the screen, when even the thought of the same is difficult to fathom. The rape scene of the character of Rekha is something that will haunt any one with a conscience, not only her true portrayal but the ugliness and heinout extent of the crime. The movie has several parts to it each with its own pathetic ending. Madhuri Dixit, Urmila Matondkar have done a formidable job. But the ace is Rekha, whose perf. is truly to the core of the character. She is shown her true potential here. If you have a long day and looking for pure entertainment in the nature of Song&Dance number, this is a movie to avoid, since the brute violence is baffling and lingers and lasts long after the movie.

I must admit I expected more from Raj Kumar Santoshi. While this film is being praised in some circles, I found it tedious and sermonizing. The acting is over-the-top, barring some fine work by Ajay Devgun. The actresses are all good woman oppressed by an unjust society. Almost all the male figures (barring our three heroes) are vicious caricatures. The scenes at Mahima's wedding are almost too much to bear. I understand the social value of such films, but surely they shouldn't be THIS black and white. Madhuri shines in a brief appearance and makes the proceedings partially palatable.

Overall 3/10

This movie is very gripping and strong. It portrays a sense of loneliness yet unity among women. In other words, a woman (Manisha) feels neglected and goes on a journey to escape it. On the way, she finds women in similar situations and Manisha sees how they handle it. The woman Manisha portrays wants to prove that all women are united and just don't know how to express their feelings of neglect in a way that men and society will not condemn them. The characters in this movie are totally independent albeit linked. Manisha was a little unbalanced at first but as the movie continued her character became stronger and more patriotic. She seemed to be in search of self identity and whether she can escape prying eyes of men. Rekhaji was the most dominant character. She showed that even elder women are subjected to harassment. Her part left the audience wondering if there is any justice for women. Maduri was really interesting. Her role was vivacious yet serious. Mahima was also wonderful. She was given a small role yet powerful. Ajay Devgan balanced the movie. He wanted to show that not every man wants women to be treated like this. The movie is a little slow but the direction was well rounded and beautiful. It is a little biased but when Ajay Devgan enters he balances the equation. A couple of the songs were melodious and it was integrated with the story making it hard to fast forward some of the slow parts. Each scene tends to take some time to come to the point but the climaxes were well done.

In many ways, Lajja is a knock-out. As a mainstream Hindi film, it is highly theatrical but also quite powerful, intense, and fascinating, even if like many films of the genre, it's melodramatic, overlong, has some bad action sequences, and not always rings true. The film tells the story of a runaway wife who flees her cruel husband. It turns into a road movie of sorts which unfolds in three chapters, each presenting the story of a woman. Strong women, powerful women, the sort of women who were feminist before the term feminism was coined, and before some people started dealing with nonsense in the name of it. For the kind of style the film adopts, the dialogue is exceptional, and each chapter is gripping and involving. It just works like a very good quality play.

The first chapter is generally very enjoyable. It is a witty and humorous commentary on the Indian wedding system, providing a great glimpse into the weddings of ultra-traditional Indian families, exploring in minute detail the truth behind the glamour and celebration. The groom's father is awaiting to obtain the dowry, and the bride's father is anxiously nervous, checking that everything is intact and making sure his daughter's price is ready until the ceremony begins, in worry that if it is not done in time, his daughter will be abandoned right before the ritual for everybody to see, and his own honour will be trampled to shame. This segment, while resorting to sentimentality in some portions and having far too many attempts at comedy which at times do not flow well with the story, is funny and sad in equal parts, and is ultimately inspiring, for its way of showing how someone could summon up the courage and stand for their family's dignity without fear of losing their own. The second chapter tells the story of a racy theatre actress who has an affair with a married man and who lives her life according to her own terms. The third story, which is said to have been based on the true story of a woman from Assam, is set in a very primitive village where Ramdulari, the mother of all villagers, whose son makes the fatal mistake of falling in love with the landlord's daughter and actually dating her, with Ramdulari's story culminating in the film's most terrifying scene.

Santoshi presents us with a list of female characters, all of whom are modern-day versions of Hindu mythological goddesses, and their characters, in chronological order are, Maidavi, Maithili, Janki and Ramdulari. Each character is presented in an episode of its own and is related as seen through the eyes of Manisha. Each episode aims to convey critical messages of feminism, celebrating the existence of women and addressing their empowerment. Each sequence shows a transformation in which the protagonist decisively makes a place in the sun in a brave act of demanding to be respected. Yes, it sounds very shallow and formulaic and, indeed, Santoshi does tend to go a little bit too far in his attempt to make his feminist point, but as frankly stated by Santoshi himself, Lajja is aimed at the wide Indian audience. He adds the most familiar commercial ingredients of Hindi cinema, including item numbers and typical action scenes which take away from the film's realistic mood, and yet the movie works for its intensity and brutally honest depiction of so many of the issues it deals with that they are easily forgotten and forgiven. Even the most melodramatic sequences are true to the context and seem more or less appropriate. The film's flaws are easily recompensed by proceedings that are equally realistic and powerful, by fantastic dialogues, by great songs, by several comic sequences which lend comic relief, and most importantly by superb acting.

And speaking of acting. The film's main protagonist is Manisha Koirala, who is very good but, in a way, serves as the background for the more interesting stories of the other players. The three players are Mahima Choudhry, Madhuri Dixit, and Rekha, each leading her respective chapter. The supporting cast includes Jackie Shroff, surprisingly not in his element as Koirala's husband, although the role is a caricature so not much could have been done. Anil Kapoor, however, is an absolute hoot in a highly enjoyable comic performance which provides fantastic relief in a most tense first chapter. Ajay Devgan is similarly excellent, and his action sequences are quite fun even if not very realistic. Mahima Chaudhry is impossibly beautiful but she also matches her gorgeous looks with a lively act and a very convincing monologue at the end of the chapter. It's too bad she never got her due. Madhuri Dixit, in one of her best and most mature roles, does a stupendous job as the feisty actress who bravely defies tradition and stands for what she believes and fights for justice. Dixit's charismatic screen presence is indeed one of the film's prime assets.

But the main thing that will tug at your heartstrings and remain with you after the show is over is the powerhouse performance by Rekha, whose fiery, heartfelt portrayal is so indescribably amazing that no words would do it justice. In less than 30 minutes of screen time Rekha delivers one of the finest performances of her career, capturing every bit of her character's essence and making it hard to believe it's an actress playing a role. She just becomes Ramdulari. At first, she provides comic relief with her usually brilliant comic timing, but it is the latter portions of her part that leave you wordlessly disturbed. She plays some of the most difficult scenes with such unsettling intensity that anyone watching would have chills down their spine. Her emotional outbursts show acting at its deepest expressive level; they are so real and horrifying that I'm sure many viewers would prefer to look away to avoid witnessing such heartbreaking pictures. This is one of the best performances I've seen in any film of any time, delivered by a lady who once again proves she is an acting legend in a league of her own and one of the best actresses in India's cinematic history.

Lajja is overlong and watching it in one go will require patience. As said above, several attempts are made to relieve the tension. A sensuous number with the sexy Urmila Matondkar, and a graceful traditional wedding song with Sonali Bendre, are very effective, but unsurprisingly, the best dance number is Madhuri's "Badi Mushkil". The film's biggest flaw may be the ending, which is disappointing. It may be relieving, but it looks awfully contrived and sugarcoated. That being said, much is forgivable in view of the film's great advantages and entertainment value, and especially the great acting.