Water

Water is a compelling and emotive dramatic feature film, released in 2005, and directed by the talented Deepa Mehta. This powerful cinematic endeavour is set in the 1930s, during the heart-rending era of British colonialism in India. It constitutes the third and final instalment of Mehta’s avant-garde “Elements” trilogy, the other two being Fire (1996) and Earth (1998).

The story opens with the tragic circumstances of a precocious eight-year-old girl, Chuyia (Sarala Kariyawasam). She is abruptly widowed and, in line with the stringent traditions of the time, she is left to dwell in an ashram for Hindu widows to lead a life devoid of worldly pleasures and practically, any form of happiness.

Lisa Ray enacts the character of Kalyani, a young and beautiful widow, who resides in the same ashram. Her radiant beauty and grace make her the cynosure of all eyes. Despite the destitute conditions, Kalyani manages to maintain her spirit, bringing an aspect of hope into the despair-filled life in the ashram. Ray's performance was lauded for its delicateness, which resonated with the character's heart-wrenching plight, while also illuminating her resilient spirit.

John Abraham plays Narayan, a progressive and idealistic Brahmin law student, who is a follower of Mahatma Gandhi’s principles of equality and justice. Abraham brings a strong screen presence, making Narayan a pillar of strength and hope against the staunch backdrop of tradition and desolation. His character shines a light on the promise of a new era, one where the chains of oppressive traditions could be broken.

Seema Biswas brilliantly portrays the character of Shakuntala, an older widow confined in the ashram, who endures a constant struggle between her faith and her sympathy towards the young widows' predicament. Seema's superb ability to infuse her character with depth and resilience is crucial to the plot, and she manages to effectively depict a struggling soul torn between tradition and empathy.

The narrative weaves through the trials and tribulations that these diametrically opposite characters undergo, ultimately exploring the question of liberation, both in conventional and unconventional senses. Deepa Mehta encapsulates the complex intersection of religion, tradition, gender, and love in a tender yet robust and gripping storyline, using the Ganges as a representative symbol throughout the film. The spectacular cinematography by Giles Nuttgens offers a rich tapestry of vibrant colors juxtaposed against the bleaker shades of life in the ashram, magnifying the emotional landscape of the film.

The movie's strength lies in its sharp critique of the deeply entrenched societal norms that propagate gender inequality, denial of basic human rights to women, and the oppressive weight of ritualistic impositions. This is done without losing sight of the beauty of human resilience, the power of love, and the hope for reform. It also captures the inherently paradoxical nature of India - a robust blending of antiquity and modernity, of staunch customs and evolving ideals.

Water was met with critical acclaim globally for its spellbinding narrative, multi-layered characters, spectacular visuals, and its poignant portrayal of a troubling era. Despite the intense controversies that surrounded its production, the movie's overwhelming success transcended borders, earning an Oscar nomination for Best Foreign Language Film in 2007.

Embedded in the narrative are powerful performances, thought-provoking dialogues, spectacular visuals, and a potent storytelling prowess that immerse audiences into a world that reflects the brutal nature of regressive traditions and the undying spirit of individuals who dare to challenge these norms. Water is not just a well-crafted movie; it is a testament to the depths of humanity, the power of resilience, and the enduring hope for a brighter, more equitable future.