Bandit Queen Shekar Kapur

Material type: TextTextLanguage: Publication details: Mumbai 1994 Channel Four FilmsSubject(s): DDC classification:
  • CSCSVCDH00068
Contents:
119' col.<br>&nbsp;&nbsp;Seema Biswas, Nirmal Pandey, Manoj Bajpai, Rajesh Vivek, Govind Namdeo, Saurabh Shukla, Raghuvir Yadav, Sunita Bhatt<br><br>&nbsp;&nbsp;The harrowing although in the end heroic story of Phoolan Devi, previously filmed in the form of a Hindi musical (Phoolan Devi, 1984), is represented by Kapur in an intensely emotional movie drawing on a wide variety of generic elements ranging from socialist realist posturing via action movies to lyrical and, at crucial moments, impressively reserved and elliptical scenes more commonly associated with the art cinema. The story starts with the young village girl (Bhatt), still a child being sold by her impoverished parents as a bride. The ensuing rape of the child on her 'wedding day', conveyed by an agonised scream, sets the tone for much of what follows. The heroine (Biswas) grows up under a regime of caste banditry and terrorism, exercised mainly by the local thakurs, backed up by police terrorism, both involving the most brutish forms of sexual terrorism as one gang rape (by police who arrested her for running away from a child-molesting husband) is followed by another perperated by the thakurs which lasts for three days and is conveyed by way of a relentlessly opening barn door as the upper-caste villains file in, including a symbolic rape by and entire village commlunity who force her to strio naked in the village square. However , instead of allowing her cold fury to destroy herself, the heroine teams up with an outlaw gang and wreaks bloody revenge on her persecutors. Chased by the police, she evades capture long enough for the news of her exploits and ordeal to spark a nationwide interest in her fate, making it difficult for the local representatives of power simply to kill her off. Political expediency<br>requires the government to negotiate with her and she eventually surrenders at a public ceremony to which masses of people flocked from far and wide. She is applauded by the assembled people, suggesting her rebellion found a deep echo in a population exploited and terrorised by the politically powerful thakur caste in that region. Predictably, the film became controverial, a phenomenon acquiring additional complexity when Phoolan Devi, released, remarried and harbouring political ambitions but still liable to prosecution for murder should the authorities decide to press the matter, repudiated the film. The newcomer Seema Biswas gives a performance of great intensity and conviction in the lead role.<br><br>[Source : ENCYCLOPAEDIA OF INDIAN CINEMA/ Ashish <br>Rajadhyaksha & Paul Willemen,<br>II ed. British Film Institute & Oxford University Press, 1999.]<br>
Item type: Reviews from LibraryThing.com: List(s) this item appears in: Local Government 22/5/22 APU Blr
Tags from this library: No tags from this library for this title. Log in to add tags.
Star ratings
    Average rating: 0.0 (0 votes)
Holdings
Item type Current library Shelving location Call number Status Date due Barcode Item holds
Audio Visual Resources Audio Visual Resources Gulbanoo Premji Library of Azim Premji University, Bengaluru Ground Floor Available AV1258
Total holds: 0

119' col.<br>&nbsp;&nbsp;Seema Biswas, Nirmal Pandey, Manoj Bajpai, Rajesh Vivek, Govind Namdeo, Saurabh Shukla, Raghuvir Yadav, Sunita Bhatt<br><br>&nbsp;&nbsp;The harrowing although in the end heroic story of Phoolan Devi, previously filmed in the form of a Hindi musical (Phoolan Devi, 1984), is represented by Kapur in an intensely emotional movie drawing on a wide variety of generic elements ranging from socialist realist posturing via action movies to lyrical and, at crucial moments, impressively reserved and elliptical scenes more commonly associated with the art cinema. The story starts with the young village girl (Bhatt), still a child being sold by her impoverished parents as a bride. The ensuing rape of the child on her 'wedding day', conveyed by an agonised scream, sets the tone for much of what follows. The heroine (Biswas) grows up under a regime of caste banditry and terrorism, exercised mainly by the local thakurs, backed up by police terrorism, both involving the most brutish forms of sexual terrorism as one gang rape (by police who arrested her for running away from a child-molesting husband) is followed by another perperated by the thakurs which lasts for three days and is conveyed by way of a relentlessly opening barn door as the upper-caste villains file in, including a symbolic rape by and entire village commlunity who force her to strio naked in the village square. However , instead of allowing her cold fury to destroy herself, the heroine teams up with an outlaw gang and wreaks bloody revenge on her persecutors. Chased by the police, she evades capture long enough for the news of her exploits and ordeal to spark a nationwide interest in her fate, making it difficult for the local representatives of power simply to kill her off. Political expediency<br>requires the government to negotiate with her and she eventually surrenders at a public ceremony to which masses of people flocked from far and wide. She is applauded by the assembled people, suggesting her rebellion found a deep echo in a population exploited and terrorised by the politically powerful thakur caste in that region. Predictably, the film became controverial, a phenomenon acquiring additional complexity when Phoolan Devi, released, remarried and harbouring political ambitions but still liable to prosecution for murder should the authorities decide to press the matter, repudiated the film. The newcomer Seema Biswas gives a performance of great intensity and conviction in the lead role.<br><br>[Source : ENCYCLOPAEDIA OF INDIAN CINEMA/ Ashish <br>Rajadhyaksha & Paul Willemen,<br>II ed. British Film Institute & Oxford University Press, 1999.]<br>

There are no comments on this title.

to post a comment.