English Vinglish was a significant change of pace from
previous films we have watched, taking place in a much more contemporary setting.
However, its themes connect it to the older India we’ve seen so far in that
English Vinglish focuses on exactly such a transition between old to new. Represented
in Shashi is a complicated and nuanced relationship between two cultures that
exists on a societal scale, not just the family level. To Gauri Shinde’s
credit, none of the characters come off as too morally incorrect, let alone
evil, in their assertions and the cultural implications backing them – an
indication that when it comes to the modern intersection of Western and Indian
culture, it is difficult to draw distinct lines to which people should adhere.
Satish’s and Sapna’s disrespectful regard for Shashi’s lack of English ability
is definitely to be frowned upon, but their valuing of the English language and
the worldly advancement they attribute to it is certainly difficult to deem
incorrect. Similarly, though in the beginning Shashi certainly does come across
as isolated and unempowered in an increasingly open world, her conservative
focus on traditional Indian culture contrastingly comes across as wholesome,
charming, and still important in such a world.
One
might question, in fact, how much of Shashi’s unhappiness is a result of her
own dissatisfaction with herself and how much of it is from others’ dissatisfaction
with her. Had her family not expressed so much derogatory feeling toward her
inability to speak English, would Shashi have remained content knowing only
Hindi? Even if she would be happy that way, would she be equally content as she
seems to be at the end of the film? I argue no, she could not have reached the
same contentment any other way. Shashi’s time in New York is just as much about
learning to be confident in herself as it is about learning English or making laddoos
for the wedding. Regardless of how she feels about the matter herself, before
the trip Shashi simply accepts her husband’s and daughter’s unkind remarks
about her linguistic ability, never standing up for herself.
Though
it is a reoccurring issue that causes tension, Satish treats his wife less than
admirably in other ways having nothing to do with English as well, disregarding
her aspiring business practices and doing simple things like demanding tea. He usually
seems to at least partially recognize his error and try to make up for it with
a kind gesture or comment, but that doesn’t change the fact that Shashi so
passively chooses to go along with the grand majority of what Satish says. By
the time of her departure from New York, her English has put an end to the
ridicule. It is her new-found confidence that truly repairs her relationship
with her family though. This idea is emphasized by Shashi’s desire for a Hindi
paper at the very end – one could easily imagine that she will still speak
Hindi throughout most of her average day back in India. It is her ability to
speak English if she chooses, rather than her actual choice to do so, that makes
the difference.
In
drawing analogs to larger-scale cultural mixings between Western and Indian
culture, perhaps one of Gauri Shinde’s points is that regardless of the extent
to which people choose to adopt or hold onto different cultural aspects and
traditions, it is being able to make those choices in the first place that is
beautiful and empowering. Every heritage carries with it strong suits and
less-strong suits, and the best way of life may often be found in the merging,
such as Shashi’s strong, loving, Indian sense of motherhood combined with her newfound,
Western, feminist confidence. When cultures collide, people will adopt what
elements they believe to be the best for them, and the more options and choices
they have, the more empowered they’ll be to truly better their own lives.
No comments:
Post a Comment