Deewar, which
is most notable for having introduced the “angry young man”, Amitabh Bachchan
to Indian cinema, is a very interesting follow-up to Mother India, as it compares numerous issues – not just the
evolution/devolution of motherhood and its portrayal in Indian cinema, but also
the elements of good versus bad through fraternal lenses. The narrative, which
supposedly has roots in the realities of Bombay in the 1970s, is shot and depicted
very vividly – Bombay comes alive on the big screen, as RD Burman’s score is a
solid complement to the fast-paced action on the screen. The costume design
appears to be very elaborate and well-thought of (including the reference to
the 786 “billa”), and are integral to the development of the characters – the white
saree representing the widowed mother, the double-breasted suits representing the
prodigal but well-off son Vijay, the khakhi uniform representing the police
officer Ravi, and the Western outfits representing the modern-day liberated
woman, Anita. However, beyond the cinematography and direction, the key themes
that stood out for me were:
·
Law and Order in the 70s in India
·
The Anchor of Motherhood in the Indian
Household
Law
and Order in the 70s in India
The 1970s were a turbulent time for post-colonial India,
as it was reeling through an emergency that imposed by Indira Gandhi. Additionally,
India was not only battling post-colonial integration, but was also fighting
wars with China and would soon wage one with Pakistan as well – the country was
in major turmoil, and this was reflected in the national sentiment best
channeled through the youth of the nation, and highlighted by the student protests
and movements of the era (depicted in other Bollywood movies like Hazaaron Khwaishein Aisi. The
frustrations with the lack of growth and progress, is seen in Vijay (and to a
smaller extent Ravi) as they struggle to reconcile with the nepotism,
corruption and lack of governance and transparency in the country, particularly
as middle-class or lower-middle class members of the society. What is
interesting to see is how both Vijay and Ravi take different paths to deal with
this dilemma, the dichotomy of which keeps getting reflected in Indian cinema,
but within different eras and different contexts.
The
Anchor of Motherhood in the Indian Household
While Mother India
was the primary movie that propelled motherhood to on-screen relevance in Indian
cinema, Deewar solidified the role of the mother as the anchor of the Indian
household, where decision-making powers and true unwavering principles really
rested. The mother continued to become, and even strengthened, as the symbol of
resilience, of loyalty and of virtue (almost embodied by Plato’s Cardinal
Virtues of fortitude, justice, temperance and wisdom). Sumitra Devi, as someone
who bore the brunt of the estranged, shamed, failed nature of the household
brought upon by weak husbands, does not shun her responsibilities like her
other half, but perseveres. Eventually, she’s able to construct a stable household
for her children, but even once she’s reached her goals of “giving a good life”
to her children, she continues to play a major role in their lives as they grow
up and start crafting lives for themselves. It becomes most evident when she
condemns Vijay to a life of misery, and authorizes Ravi to follow the course of
law and kill Vijay if needed – a precursor to this action coming true, as Vijay
dies in her arms in the temple that he swore never to visit.
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