Film:Mittal vs Mittal
Director: Karan Razdan
Actors: Rohit Roy, Rituparna Sengupta
It’s a room full of disturbed wives. A woman lawyer (Suchitra Krishnamoorthi) takes class. Each battered hen is meant to spell out her problems. One of them can’t make hers public. She whispers instead into a volunteer’s ears, which is kind of pointless, given the volunteer announces to everyone thereafter: The husband sodomises her; uses instruments; even urinates in her mouth.” Ugh.
Another woman (Sengupta) in the same room is daughter-in-law of a certain industrialist Laxmi Mittal. Her husband (Roy) has been raping her incessantly since they got married: a sight we’re constantly made privy to, each night, as he attacks her in bed. Her mother, hearing the daughter complain, worries she may be frigid instead.
How the couple met, or later got married, appears an equal mystery. The rich brat, starting out as friend, had in fact forcibly felt up the girl before marriage as well: “Your morality is all fudged up, babe. You’ve come all the way for overnight stay with me.” He molests her, disappears for months, lands up again, asking to marry her. Everyone jubilantly agrees. He’s from the “Mittal khandaan” (dynasty). The girl’s family loves him, because he thinks their home is full of “art and culture.” Yo!}
She moves in to a second-rate hotel lobby for a bedroom: of the Mittal khandaan! She sits at home during day, following discussions on abusive relationships on a funny news programme called RKB show. The hilarious anchor RKB (a show you've got to catch on a channel called Sahara Samay) notices ironies (with a silent ‘r’), and throws around statistics like “700 per cent more rapes are taking place (sic) in this country now.” The night is reserved again for the wife’s own.
This movie is basically B-grade version of a common emotional pornography. In Hollywood the genre is termed the “fem jep” (females in jeopardy). This is where audiences get off on feminine marriage ordeals, rape, battering, domestic violence. The viewer feels goodness in the heart than guilt, given the images are overtly meant to repulse you, not titillate. The disgust is made public. The delight remains secret. If only all this were filmed better, the movie would’ve actually found enough repressed takers.
“Shayad isliye (That’s probably why),” suggests a line in this film: “Poore Mahabharat mein, Draupadi ke vastra haran ka chapter logon ko sabse interesting lagta hai (People find the Mahabharat chapter on the attempted rape of Draupadi the most interesting).”
I don’t know who're these people, who find that Mahabharat chapter the most interesting.
I know the makers of this film. I know legalising genuine pornography in this country will find them a more legit job in the business. About time we did.