The film is directed by Kiran Rao, unfortunately, popularly known more as Aamir Khan’s (also the film’s producer) ex-wife than because of her work. How pitiful yet widely and unconsciously accepted is this practice? To always treat women as secondary and as a support to the superior male (husband) is the real fight against rights that the majority of 18+ women are struggling to even ask for, let alone fight. In my limited understanding, this is one of the fundamental causes behind feminism, which mostly gets clouded in the high-end, impulse-driven narratives.
“A cinema is nothing but the mirror of society,” I remember reading in school. Kiran’s films thoroughly defend it. Her production PEEPLI LIVE (2010), a magnum opus on Bharat, is a must-watch in case you have not.
I will struggle to tell you the importance and beauty of LAAPATAA LADIES. I will keep it short with the purpose of persuading you to watch the film. Such films are the subject of discussion on cinema-making and the depth of societal coverage. Writing a critique on it is not the best utilization of my time. Similar reason why I did not review but spread the word about VVC’s 12TH FAIL, hands down 2023’s best film.
As evident from its amusing and engaging trailer, LAAPATAA LADIES is about finding a home for two newly-wed missing ladies. One goes the wrong home, and another jilted mid-journey. What follows is a comedy of errors and lessons that the veiled (ghoonghat / pallu) society does not want to see through or let the women do.
Kiran ensembles a cast that seems less acting and more being documented live. I must credit the top few. Nitanshi Goel as Phool (the deserted wife), Pratibha Ranta as Pushpa Rani/Jaya (the mistaken wife), Sparsh Shrivastava as Deepak Kumar (the tragedy-stricken husband), Geeta Aggarwal (Deepak’s mother), Chhaya Kadam as Manju Maai (Station shop-owner where Phool gets down), the real hero Ravi Kishan as Inspector Shyam Manohar and his right-hand Durgesh Kumar as Dubey Ji.
Most significant to Rao’s credit is bridging the gap between India and Bharat, which netizens get upbeat about with little clue about the latter’s reality, hardships, and aspirations. Understanding societal cancers is one thing, but conveying one to a larger audience without grossing them out, rather entertaining through it, is genius. This is Kiran Rao’s work.
Rao exemplifies post-pandemic filmmaking, where the audience is in continuous motion, with the attention span at its lowest. Running time kept at just 2 hours mark, it is a fine balance between one-liners and monologues, rage and composure, and many more. Control is the key here, where Kiran saves her film by going down the path of rebellious takes in the name of feminism.
LAAPATAA LADIES is a satire of the most elite category. It is a reminder of the FRAUD (look out for the explanation by Chhaya Kadam) that the country’s women are going through. It is as relevant as if “updated 3 hours ago”. I would like to give a couple of examples to give you a sense of it:
- When Deepak is looking for Phool in the market with her only photo (a veiled, face hidden, one), he gets advised by a Muslim shopkeeper on how the face is foremost and must never be hidden. In a minute comes his burqa-lad wife to serve him tea. This scene underlines how patriarchy is religion-neutral
- Deepak gets asked by his dad to change his new shirt into a torn one when filing a police complaint. The shirt helps the “police rate” to come down. It also saves him from any further exploitation in return for rendering public services
- Pushpa Devi’s Sambela village does not get recalled by anyone because the village has been renamed four times since four governments changed
- & many more…
The art direction is on point and the beauty of the hinterland is holding onto the background. Cinematography, too, covers the faces and frame beautifully, neither trying to ever experiment or impress. Ram Sampath’s music and background score act as a cherry on top.
Thanks to the state board curriculum, I have read my way through the likes of Munshi Premchand, Suryankant Tripathi “Nirala” and Ramdhari Singh Dinkar. Films like LAAPATAA LADIES felt like a deja vu for me, in the most commercially possible (read simple) sense.
Kiran will reflect the often discounted Bharat through her lens in a journey filled with laughs. And tears. I cried 10x. I cried in DUNKI’s climax, too, so never mind me. Go watch LAAPATAA LADIES with your family and loved ones. Spread the word. Exercise your rights.
PS – Neither was Rome built in a day, nor will we overcome patriarchy with a thrust or Coup d’état. There are small yet significant steps.
Director – Kiran Rao
Budget – INR 20 crores
Reviewed By Kettaan 