The film opens with veiled brides traveling on a train with their newly wed husbands. The people on the train talk about the amount of dowry the brides bring. And one of the veiled brides follows her "new husband" to his home - it all sounds pretty normal. You wouldn't have an inkling about what happens next.
Sometimes, traditions for women can be leveraged by women to help their ambitions - that's what happens in Laapataa Ladies. Pushpa Rani (real name, Jaya), uses the veiling tradition to escape her circumstance, following another man, paying for her higher studies, and evading police scrutiny - when the police says, "It's a matter of a woman's honor," when Jaya refuses to unveil for an identifiable photo, we understand how smart she is in leveraging honor and tradition so he isn't caught and sent to her husband.
It's true that Jaya comes into Deepak's house to hide until she can leave to pursue further education. But she leaves her mark - from befriending Deepak's sister-in-law, his mother, and grandmother. Her talks with them are gentle and makes them reflect on themselves. Often, all women need are acknowledgement and enduring friendship. Jaya's effect is seen when Deepak's sister-in-law learns that her drawing talent can serve a purpose and his mother asking her mother-in-law if they can be friends.
The lost Phool Kumari however, is proud of her domestic skills and is in love with Deepak. Manju Maai gives Phool a much needed reality check until Phool gets the idea to do something and earn money instead of being completely dependent.
Manju Maai is the badass of this film. She's well worn out, fiercely independent, and doesn't handle things with kid gloves. Though she is abrasive with Phool, she molds the girl to not tolerate every sh*t she's put through. She recognizes Phool's culinary abilities and asks her to help around in the tea stall. And she compensates Phool's efforts. That was awesome. She made Phool realize that a woman's cooking skills is more than for cooking for the family - she can use the skill to bring in money.
Chottu and his faking it disabled friend prove that anyone can protect anyone - only intent matters, not masculine strength. Both of them help Phool find her feet and stick with her till the end.
They destroyed two religions in one frame in this scene. What's even more rib-tickling is the fact that theists from both religions cannot say anything against this scene/movie because ghoongat and burqa are practiced by them. 😂It's common knowledge that Hinjoos and Moselems are at loggerheads with each other - they also love to compete on who gives more rights for women. Both got WASTED under 30 seconds. 😅
"If being a good girl means following all the old ways without question, then being a bad girl is fine." I wrote this quote several years ago. Manju Maai's reiteration is more badass - Kiran Rao's filmmaking prowess is evident. However, since there's no item song, cleavage, navel, thighs, skimpy clothes, and bloody violence, the movie didn't get a blockbuster status.
Women have to be dishonest to achieve their dreams. Because people can't handle the truth and let women follow their passions. Jaya did explain honestly to her mom that she wants to study organic farming. Her mom married her off forcibly anyway. So, deception becomes necessary for Jaya to simply follow her dreams.
Inspector Manohar's change of heart toward the climax is so satisfying. Especially the way he deals with Jaya's husband using the law. When it comes to a girl's education, many people go out of their way to help the girl. But Indian men's rights activists shamelessly say that women's education is why men lost their "rights."
By being lost, Phool Kumari and Jaya found themselves. The genius weaving of this feminist tapestry left me with a warm heart and undying faith. 😌💪😍
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