In 1938, Mahatma Gandhi’s revolutionary philosophies spread across British India. A young girl named Chuyia, who is newly widowed, is forced to live with other widows in an ashram. She faces the harsh realities of widowhood, including restrictions on hobbies, food, and hairstyles. Despite her challenges, she begs outside the temple, and the surrounding widows curse her. Young widows become the protection and enjoyment of the local elite, reflecting the harsh realities of life in British India.
Although Chuyia is first treated well, the Ashram is a poor place that is self-supported by its earnings from prostitution and begging. Women of all ages have a strong sense of solidarity. The focus switches to Kalyani (Lisa Ray), the “jewel” of 9the Ashram, who begins seeing Gandhi-supporting young political activist Narayana (John Abraham).
Chuyia (Sarala), a lovely eight-year-old, just suffered from being widowed. Her relatives arranged her marriage—which she doesn’t even remember—because they needed the money. Whatever her circumstances, she is now required by Hindu law to leave society. So her parents bring her to a run-down ashram where widows of all ages coexist. The young girl is wearing a white robe and has her hair cropped. She shares a room with vulnerable and elderly ladies who have dedicated their lonely lives to abandonment, where they sleep on thin mats. They beg for money on the streets every day while singing religious hymns. People steer clear of widows like the plague because many Hindus think they would be contaminated and must do rituals of purification.
Shakuntula, a devout Hindu widow, takes Chuyia under her wings, guiding her through the dreary rhythms of her days. Chuyia’s heart aches for Patiraji, who remembers eating sweets at her wedding. Chuyia meets Kalyani, a widow forced into prostitution by Madhumati, the head of the ashram.h to visit the second floor. Through Chuyia, Kalyani meets Narayan, a law student from a wealthy Indian family who believes in Mahatma Gandhi’s civil disobedience campaign. Narayan is a beacon of hope for widows and outcasts, angering Hindu fundamentalists but bringing hope to the outcasts.
Narayan and Kalyani are two lovers who share a love story amidst the sacred Ganges water. Kalyani, a lotus, sees herself as untouched by the filthy water and dreams of a better future. Their romance unfolds against the backdrop of rainwater and the Ganges, where people bathe, ritualize, and send ashes. Shakuntala, a widow, learns about a law allowing widows to remarry. However, Kalyani discovers Narayan is the son of a man she has been pimping out on, and she demands his return. Narayan feels disgusted, so he decides to walk out on his father and join Mahatma Gandhi. He arrives at the ashram to take Kalyani with him but he finds that Kalyani has drowned herself.
Madhumati sends Chuyia to be prostituted as Kalyani’s replacement. Shakuntala discovers and saves Chuyia, who is traumatized and catatonic. She spends the night on the river shores, hearing Gandhi speak at the train station. Desperate, she asks people to take Chuyia with them and hands Chuyia over to Narayan. The train departs, carrying Chuyia away, leaving Shakuntala teary-eyed.
The Indian Censor Board did not approve of Anurag Kashyap’s controversial treatment of issues like ostracism and misogyny in Deeps Mehta’s movie ‘ Water’. The film faced widespread protests, with around 2000 fanatics destroying the sets and destroying cinemas. The Indian Censor Board faced complications with location permits, leading to 2,000 protesters storming ghats, destroying the main film set, and throwing remnants into the Ganges. Right-wing politician Arun Pathak also organized a suicide protest to stop the film production.
Through topic and character development, the movie’s freedom theme is clearly shown. Chuiya inspires the pursuit of independence, and while it requires sacrifice, some widows—if not all of them—achieve it. For example, Kalyani’s freedom comes from her death. Chuiya experiences freedom as the movie comes to an end when she boards a train with Narayan to leave the ashram.
Water reminds us that issues do arise and that many of them have their origins in our customs and beliefs, which we frequently misinterpret or alter to meet our needs.
To read more blogs like this, click here.
Writer,
Nupur Akter
Intern, Content Writing Department
YSSE