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Usually in films, when we get to the last of a trilogy, we don’t know what to expect. Is there enough of story to close out the franchise successfully? In most cases, trilogies are sequels to successful films. But in some cases, they are not. Take for example, “Water”. It’s the third film from Deepta Mehta’s Elemental films, with the other two films being “Fire” and “Earth”. Each film is different, yet they take a look at the lives of Indian women from different perspectives. It examines the duties and obligations that women are forced to live with and confront if they want to have a happy life. With “Water”, we get a look at the lives of widows and the impact it has on them. There are many issues raised here and Mehta explores them to a great degree.
Set in the 1930s during the rise of the independence struggles against British colonial rule, the film examines the plight of a group of widows forced into poverty at a temple in the holy city of Varanasi. Eight-year-old girl, Chuyia (Sarala) is awaken by her father one night and told that her much older husband has died and that according to custom, she has to spend the rest of her life in an ashram, a community for widows. Reluctant from the minute she arrives, Chuyia makes friends with Shakuntala (Biswas), and Kalyani (Ray). To strip the women of the beauty, their hair is shaven with the exception of Kalyani, who is used by Madhumati (Manorama), the head lady in charge, to seduce rich men for money. The money is used to buy food and clothes. When Kalyani falls in love with a Brahmin named Narayana (John Abraham), Madhumati sees a threat to her “money” and Narayana’s family opposes him marrying a widow. While Chuyia hopelessly assume her mother will come back for her, Shakuntala also wants to know if traditions can be broken, for she too wants to lead a new life.
The nature of forbidden love is examined in this film, as in the other 2 films, and Mehta does a good job in highlighting the effects it has on young women who want more in life yet are bound by traditions and politics. Because of their subject matters, Mehta’s films are often not shown in India, yet she was able to cast some strong women for her roles, including Biswas, who amazing in “Bandit Queen” a few years ago. That film also had it share of problems in India. Sarala is a just a natural. She carries the weight of the film though the plot moves from her to Ray midway. Credit cinematographer Giles Nuttgens for capturing such a gorgeous view of Sri Lanka, where filming took place. The river looks alive and also serves as a secondary character. “Water” is luminous, educational, and compelling. In the battle of love vs. tradition, one would like to say that love conquers all, but there’s always a heavy price to pay and this film show the effects of it.
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