A casual surfing of TV channels brought me to Mirch Masala, almost halfway through by now. I had seen it long back. But the climax has always stayed with me. Only now did I realise that the movie is lot more than the climax. Watching such movies educate about the nuances of the craft of filmmaking, even to a novice like me. I could see how the script enhanced the story and how the dialogues enhanced the script. Movies which are backed by a strong story and script are always a treat. Backed by a director who can keep everything taut and minimal, one gets to experience how actors can become almost meaningless. Although in case of Mirch Masala, one makes such a statement after being spoint, since the acting is so effortless, by a cast which includes Smita Patil, Naseeruddin Shah, Om Puri, Suresh Oberoi, Deepti Naval, Benjamin Gilani, Dina Pathak, Supria Pathak, Ratna Pathak. This is a case where the cast is so good that it brings the story to the fore and thereby takes the focus away from acting.
Mirch Masala is apparently set in a village in Gujarat in colonial India. The bare bones story is such: Subedar is like an uncrowned king of the village where most men are usually either pandering to him or loitering. Subedar’s camp is near the river where village women come to wash clothes, and he ogles at them shamelessly. He is captivated initially by the beauty and later by the confidence of Sonbai. One day when he attacks Sonbai, she slaps him and hides inside the spice factory where she works with other women of the village. Abu Mian, the old guard of the factory shuts the gates and refuses entry to Subedar’s soldiers. Subedar tries all tricks but both Sonbai and Abu Mian refuse to yield. As the matter escalates, Mukhi convenes the village panchayat. The villagers are quick to condemn Sonbai and decide that she must turn herself over to Subedar. The schoolmaster opposes this view; once they give in for one woman, he says, there will be nothing to stop Subedar from demanding others, even perhaps Mukhi's own wife. (He is immediately thrashed for this.) The panchayat is dissolved and Mukhi reports back to Subedar that they will hand over Sonbai on the condition that Subedar will not make further demands of this nature. Subedar laughs off this condition and has the schoolmaster thrashed soundly again. He asks Mukhi to reason with Sonbai; threatening that her obstinacy is liable to bring trouble to the entire village. Mukhi brings pressure on Sonbai, but she stands firm. Within the factory, the women who once supported Sonbai now turn upon her. They fear that if she does not yield, Subedar may send his men to indiscriminately molest the women. Sonbai nearly relents, but is stopped by Abu Mian. Eventually, Subedar’s soldiers ram down the factory gate and shoot Abu Mian. As Subedar approaches to lay claim on Sonbai, in a sudden and swift attack, the women of the factory rush forward in pairs, holding sheets of chilli powder, and throw it at Subedar’s face. Subedar is incapacitated, on his knees, screaming in pain, his eyes and skin burning, while Sonbai looks on with a mysterious, determined, satisfactory gleam in her eyes, and a sickle in her hand.
Around this simple premise, the movie has many peripheral characters, each of which is well etched, and serves to deliver a message. The movie is so well and deeply written that it gives a detailed commentary on the society, and its numerous issues.
Time and place agnostic
The movie does not specify the location and the timeline. This is important to deliver the message that the issues that it raises can happen anywhere, and anytime. Themes of feudalism, power struggles, gender biases, moral corruption, suppression and rebellion, are parts of human behaviour. And despite all progress, no society is totally immune to them at all times.
Power structures between men and women
The strongest undertone of the movie is the sharp disparity in stature of men and women. Most men of the village are either gossiping, pandering to the Subedar, or politicking; while the women are doing all the hard work, including earning at the spice factory. Only exceptions are Abu Mian, and the schoolmaster. He is a reformer, and the only literate person in the village, insisting on educating the children, even girls (female education is considered worthless and scandalous). Most other men, including Mukhi, are shown to be extremely meek in front of power, personified by Subedar. But they are bold and cruel to women. This contrast is highlighted in case of Mukhi and her wife. She is bold and tries to stand up to Mukhi on many occasions - getting her daughter to school, refusing Mukhi entry into her room if he continues his philandering ways, and finally mobilising the women to march in protest against the decision of the men of the village to convince Sonbai to accept Subedar’s demand. On all occasions, Mukhi overpowers her brutally.
That the standards of behaviour are different for men and women is seamlessly woven in dialogues. Sonbai’s husband has gone to the city for a better job which can improve his family’s future. But repeatedly, doubts are raised on the likelihood of his return. Even Sonbai dreads that. Which means that it is almost expected by men to desert their wives (who in turn have to keep waiting), and possibly have another family in the city. Objectification of women is immense - even Mukhi is away from home most nights, hinting that he is sleeping with other women; Subedar is regularly supplied with women for his pleasure.
Seen impartially, this inequality feels bizarre and farcical when the matter of handing over Sonbai to Subedar is discussed. The very fact that the men of the village sit together to decide on the future of a women shows the extent of depravity. There is no concept of free will of the woman in question. The dialogues between Subedar and Mukhi, those during the village panchayat meeting, and finally those between Mukhi and Sonbai are especially stark. There is a possibility that Sonbai’s husband may not accept her when he learns that she has slept with Subedar (only he has the authority to accept or reject). The villagers try to convince Sonbai that they will persuade her husband to keep her or else the village will take care of her future. Subedar jovially suggests to Mukhi that Mukhi may ‘keep’ her.
Subedar and Feudalism
Feudalism is at the bedrock of the film, which also gives it a universal appeal. Subedar acts as lord and master of the village, with his soldiers running amok, plundering food and livestock as per their fancy. Unleashing his soldiers on the village is the primary threat of Subedar to get Sonbai. He is routinely cruel, unfair, and temperamental. The villagers are at the mercy of his moods, and he exploits his power in every possible way. He acts as the legislature, the executive, and the judiciary. He can decide on the taxes to be collected from the farmers. He rules on the case of a farmer not being able to return money to the moneylender.
He thrashes a villager for breaking his gramophone record, shouts at a grieving woman only because she is disturbing his morning return. Villagers are totally helpless, and discard even the thought of retaliating to the government, or for that matter any authority. Silent acceptance of any and all atrocities is hard wired into their psyche. They consider it to be predestined for their lot. In one scene, mukhi's younger brother even asks the school-master the meaning of the word swaraj.
Of course, Subedar has a roving eye, established very early on during the garba scene. Subedar’s only agenda during the dance is to assess and pick women. In fact he even shows a likeness for Mukhi’s wife. The pinnacle of his injustice and impropriety is reached when he declines to affirm that he would not make similar demands in future once Sonbai is handed to him
Social hierarchy
Mirch Masala brings out the prevalent social hierarchy. The spice factory owner, the Mukhi, the priest, represent the relative upper classes - amalgamation of economic, political, and caste supremacy. The villagers represent the lowest classes, who face the wrath not just of Subedar but also those of upper classes. Between the various classes, Subedar naturally sides with the powerful and the wealthy. There is a cross section of similar hierarchy among the women of the village, but it is less stark and acrimonious.
Weak men
The extent of weakness of men in the movie is almost shocking. Character of Mukhi’s brother is there only to epitomise this - he loves a girl working in the spice factory but is spineless to stand in front of anybody - the girl’s father or his own brother. Even when the girl he loves is trapped inside the spice factory, he is not able to do anything to save her. All throughout, the women try to help each other, and protect each other despite the pressures of men’s dictums. In the climax, all men are just trying to convince Sonbai to agree to Subedar because that is the easiest solution. As the gate of the spice factory collapses, all are just standing motionless with Mukhi’s brother crying weakly.
Women a self-sustaining ecosystem
In contrast to the men, the women are efficient, a self-sustaining society, epitomised by the spice factory. Women assemble every day, joke around, work hard, discuss family matters. A pregnant worker gets a fit and is taken care of by the other women, as they are stuck inside the factory. Mukhi’s wife clandestinely gets them food, to which one of them remarks ‘only a woman can think of feeding even in crisis’. Near the climax, they are able to deliver a healthy baby without any external help. And of course, in the climax, the women show that when pushed to a corner, they can protect themselves.
Feminism
Sonbai’s character unequivocally stands for feminism. She appears a bit anachronistic wherein everyone around her is submissive to the dictates of the society. She is no tomboy - she labours like other women, she is deeply rooted to her husband. But she stands out because of her independent thought. She will question societal norms, and test them on her sense of right and wrong. In the first interaction with Subedar, while other women flee, she stands firm. She is not afraid when he asks for water, in fact she gives it playfully. At other times, she is mostly content with her life, happy despite the difficult circumstances. And when Subedar attacks her, she does not demur, rather slaps him. She has the courage to stand for her rights and her freedom when the entire village is forcing her to yield. When villagers say that they would have asked her husband to convince her (again, the husband has absolute authority!), she retorts that she would not have acceded even if her husband had commanded (disagreeing to the husband is unthinkable in this society).
Sonbai apart, there are curious, and refreshing insights into women behaviour, something very few Hindi movies have depicted. The women are bitchy, jibing each other freely. Their conversations are free on the taboo topics of sex, and adultery (I think the writers could not be more explicit because of censor considerations). On being jovially heckled by others to have more children, one woman remarks that she will bear children only from her husband, indicating that adultery is not uncommon among women as well. One worker of the factory easily admits to Sonbai that she had spent a night with Subedar. Interestingly, that woman argues that Subedar is enamoured by Sonbai and would treat her and keep her well. A man who treats his woman well is a big fancy for these women who are used to physical, emotional abuse, and neglect by their husbands.
Most importantly, the movie pricks the notion of placing women chastity on a high pedestal. In Indian society, a woman’s purity is considered a hallowed ground, and any invasion is considered the biggest travesty for a woman. The movie shows that women take matters more casually. This is not to say that they are amoral but that virginal chastity is not the cornerstone of a woman’s existence - a rape or adultery does not take away their right to life. Such taboos are imposed by men who start associating their own pride with that of their woman. To break away from this tradition would be to allow breathing space to women, to give them freedom beyond their chastity.
Mukhi: most interesting character
Amongst a roster of interesting characters, I found that of Mukhi the most interesting and most complex. He is the village chief, but below Subedar in hierarchy. Thus we find him in various shades. He is powerful and authoritative, even cruel, to villagers, but is blunted when facing Subedar. Subedar and Mukhi share an interesting power equation. Mukhi he is not overtly subservient to Subedar like other villagers. He keeps a pretense of power in front of Subedar, although in essence he has no power. During the Garba dance, Mukhi is sitting majestically. When Subedar arrives, Mukhi keeps his position, barely acknowledging him. Even when they exchange glances, Mukhi maintains a demeanour to show that he is no less important.
Subedar is constantly insinuating that Mukhi also uses his power to subjugate women, but Mukhi keeps him at bay with lines like ‘Bhukhe nange gaon ka Mukhi hoon’, or ‘Yahan nazar par bhi nazar rakhni padti hai’. When Subedar says that he has not asked for Mukhi’s wife, Mukhi gives a firm retort to express his anger. There is a power tango between the two characters. Mukhi wants to keep Subedar happy, to be able to get some concessions from him, and yet maintain dignity of his position.
Mukhi makes earnest representation of villagers to Subedar, be it to ask for lower taxes, or to let go of his desire for Sonbai. Mukhi is tactful, persuasive, and insistent. On such occasions, he comes across as brave and commands appreciation. But eventually he is as weak as the other men, able only to subjugate the villagers and his wife. He ticks off the father who requests alliance of his daughter with Mukhi’s brother, as the two are in love. He may be well-meaning on many occasions but is not able to take a firm stand when matters come to head. On the matter of handing over Sonbai, despite failing to negotiate any concession from the Subedar, Mukhi walks with extreme pride at the head of the group of villagers, looking like a buffoon. He is a case study of how people behave in a power hierarchy.
Abu Mian - the hero
Abu Mian, the old, fragile guard with a solitary rifle is the hero of the movie. His character and dialogues are the only throwbacks to mainstream, pulpy Bollywood cinema. Along with the school headmaster, he is the only man who stands for Sonbai and the rights of women. He tries to show the mirror to villagers and Mukhi, that they are not man enough to face Subedar, leaving Abu Mian as the only one in the village who has the courage to back his convictions.
He neatly translates the difference between letter and spirit, when he says his job is not to follow the command of spice factory’s owner, but to protect each woman in the factory. Along with Sonbai, he stands firmly for what he believes in till the end, even when he knows that he will lose the battle if things come to head. But in his dying, he serves an important role. He unites the women to mount that attack. The attack was never planned in advance. It was stirred by Abu Mian’s death. It is a spontaneous response to the shock which is evoked by the brutality of killing an innocent man.
Why does Subedar not use force early on
Given the absolute authority that Subedar holds on the village, one wonders why does he not simply get Sonbai picked by his soldiers? Why does he scheme - asking the owner of the factory, then the Subedar and the entire village to convince Sonbai. To my mind, this is a display of how power works. Being able to have one’s way without an overt display of force only strengthens the mystery and power. A politician will try not to alienate anyone absolutely, still have his way. As Subedar says ‘mazaa to tab hai jab saanp bhi na mare aur lathi bhi na toote’. And by trying all means possible, Subedar gets the villagers to implicitly sanctify his last bit of aggression - he shows that he is using force only as a last resort.
There is another reason, associated with male sense of lust. Subedar comments to Mukhi, about Sonbai ‘apne aap aa jaye to zyada mazaa degi’. Instead of getting Sonbai to his bed through force, Subedar will enjoy the sexual encounter more if Sonbai submits to him willingly. That will pander to his male ego.
The Climax
The climax is stunning. Subedar is on horse outside the factory; there is absolute silence. After that: war cries of Subedar’s soldiers driving the battering ram into the factory gate. The gate collapses with a loud thud. A sharp retort of Abu Mian rifle. One soldier collapses. Subedar’s horse brays sharply and he is thrown to ground. Rifle shots by soldiers and Abu Mian collapses. One woman in the factory cries out ‘Abu Mian’. Absolute silence. The sharp sound of Subedar’s heels as he advances towards Sonbai. Now the war cries of women, similar to the cries of Subedar’s soldiers earlier, as they unload chilli on Subedar’s face. Finally, shrieks of anguish by Subedar. Unfolding of wave after wave of red chilli is a retort to the repeat movement of the battering ram. In the last shot, Sonbai looks resolutely, holding a sickle - initially taken for self defense and now a symbol of destruction, evoking the image of goddess Durga.
The childbirth scene
Near the climax, the movie shows one of the workers in the spice factory delivering a baby. All the women help with the delivery despite being under seige from villagers and Subedar’s soldiers. What was the need for this scene?
Despite the collective strength shown throughout by the women, at one point they weaken. Under seige of villagers and Subedar’s soldiers, and the pressure of being away from their families, they try to persuade Sonbai to relent. They jibe her bitterly. It is an important scene because it shows how self preservation is a strong human value.
To follow this with the climax wherein all women unite to protect Sonbai, a link was needed. Their collective effort in that childbirth was that link. The urgency of the event forced them to unite and start believing again in their collective strength.
Group Think
The movie repeatedly illustrates groupthink amongst the villagers, perpetrated by their ignorance and illiteracy. When the entire contingent is in front of Subedar, and Mukhi says that the village has agreed to hand over Sonbai, the schoolmaster looks to challenge this but is immediately silenced and shadowed by other villagers. But when Subedar asks who wants an assurance that Subedar would not make similar demands in future, all villagers point to schoolmaster.
As matter escalates, the arguments of villagers become increasingly preposterous. By the end, the entire village is persuading Sonbai to fornicate with Subedar, in a way approving a rape. The village priest is the most superficial character in the movie. He imparts religious sanctity to the proceedings by arguing that ‘sacrifice’ of one for the benefit of many is approved by Gods. This shows the ludicrosity of religious practices by priests, who can offer arguments for any end result desired by the wealthy and the powerful. The movie amply shows how in collectivism, things can change quickly, such that nothing is too absurd. If the masses are not alert, rational and conscious, anything can happen, with tacit or even explicit approval.
Fault (not) in the eye of the beholder
As is a common practise even today, many a times women are blamed for acting in a manner that piques men’s interest. Here also, other workers in the factory blame Sonbai for having acted suggestively, which aroused Subedar’s interest. Indeed Sonbai was playful with Subedar when giving him water, but so what? Playfulness cannot be interpreted as a sexual demand. Subedar claims that Sonbai had invited his interest and is now acting hard-to-get. It is a classic case of men interpreting a female gesture as per their own desires.
Worse still, even if the female has acted and dressed properly, she can still be culpable for being beautiful. Someone comments ‘Galti tere roop main hain’. To which Sonbai retorts ‘uske dekhne main nahi’. The standard debate of whether the fault is with the object or the eye of the beholder.
The Obelisk
The most interesting symbolism in the movie is that of the stone obelisk near Subedar’s encampment. It is used by Subedar to mete out punishment - the guilty person is tied to it with an extended rope, hungry and thirsty under the bitter sun for hours. The villager who defaults to the money lender is the first person on it. There is a well-constructed shot where the villager is tied to it, on his knees, his grieving wife is sitting nearby on her haunches just looking at him, powerless to do anything. A sentry is standing on guard. The villager is under the sentry’s thumb and the wife is under her husband’s thumb. She has no option but to be with her husband, effectively serving the same punishment as him, without being tied by a rope.
When the schoolmaster is implicated by the villagers for making an outrageous suggestion to Subedar, he too is tied to the obelisk, where he joins two others. A satirical scene follows. The three pull on their ropes together and uproot the obelisk. They then look to use it to intersect the departing villagers party, headed by Mukhi. Crying in unison, they carry it down the slope. They are face to face with Mukhi who hits one of them on the head with his cane, and the small revolt crumbles. It is a semi-comical scene with much depth.
How science can control
In a display of how colonialism and feudalism works not just through brute power but also because of its ability to mystify and take advantage of ignorance, the Subedar impresses his subjects by playing a gramophone. The villagers are ignorant and easily awed when sound emanates from the gramophone. Those in power have the influence and the money to buy the most advanced technology which adds to their aura. This impact becomes more pronounced when even the access to information and knowledge is controlled by those in power.
Barot
This is a small but strangely interesting character (‘Barot’ is also a clan in Rajasthan and Gujarat). He is a vagrant and does not necessarily belong to the village. Yet he is part of the panchayat meeting called by Mukhi to discuss Subedar’s demand for Sonbai. Apart from the schoolmaster, he is the only one who opines that the village should stand for Sonbai. He is summarily thrown from the meeting, to which he just bows and departs, as he had little at stake. When Subedar sees Barot leaving, he forcibly seeks an explanation. In a subtle and mystical reply, Barot says ‘Iss gaon ka paani kharab hai’, possibly hinting to the impurity infused by Subedar to the village water, as his encampment is adjacent to the river. He then bows and goes onwards.
Milieu of the movie
The ambience of Mirch Masala is true to its title. It is earthy, and rustic. Right from the titles, which show close-ups of red chilli crop and folk song playing in the background, to the end credits, the film keeps the mood perfect. Sceneries of the village, of Subedar’s camp, of spice factory, of homes of villagers, all are realistic. Costumes, and mannerisms of all the characters are pitch perfect. Expanse of drying chilli, and background music fill the senses.
