"Heaven On Earth" is not a film that offers easily digestible solutions to the complex problem of domestic violence. It neither takes sides nor allows the bride to turn into a pitiable victim. Preity standing supremely dignified at the centre of the conflict furnishes the theme with amazing grace. She's the only known face in the crowded Punjabi home of patriarchs, matriarchs, victims and perpetrators of bitter violence. But Preity never lets it known she's a star.
Spousal abuse as a theme is not new to cinema. What sets Deepa Mehta's "Heaven On Earth" apart from
other films like "Provoked" is the fusion of unspoken unexpressed terror with mythological elements all packed with sardine-like compactness into a small apartment in Ontario, Canada, where Chand arrives fearful and hopeful after her wedding.
What she brings with her is her mother's tales and homilies, songs and mythology that follow the bride into her chamber of horrors. What follows in Chand's new life is a nightmare that could claim the life of any Indian bride transported into a foreign country after marriage.
Absolute authenticity is the hallmark of Deepa Mehta's vision. Her permanent cinematographer Giles Nuttgens enters Chand's adopted Canadian home with her and remains by her side, living her pain, experiencing her humiliation and agony, as within no time Chand becomes that nightmarish entity whom we all read about in crime sections of the papers: the abused wife.
The film's greatest triumph is its economy of expression. The tightly-wound tale of the tormented wife is never allowed to have loose moments. Ironically, outwardly we see a warm home filled with a Sikh family half of whom seem to have absolutely nothing to do. Within their abject nullity lies the secret to the violence that claims, possesses and tries to smother Chand's domestic dreams.
comments
0 comments:
Post a Comment