Friday, November 10, 2006

MOTHERS AND DAUGHTERS

Earlier this week I was invited to attend the release of a book called ‘Janani – Mothers, Daughters, Motherhood’ edited by Rinki Bhattacharya. As I sat at a suburban branch of Crossword Bookstore, I wondered about whether such a book was relevant or necessary at a time when women of my generation are trying to dispel the so-called ‘aura’ around motherhood that has been preserved so carefully for centuries, stoked by stories of sacrifice, selflessness and servitude. Fortunately, the book offers space for diverse voices – some echoing my sentiments on the subject of motherhood, many insightful and touching individual testimonials. For instance, Shashi Deshpande’s essay on how she often wondered if she was fit to be a mother at all and how none of the popular myths she had heard about the ‘maternal instinct’ proved to be true. Or Deepa Gahlot’s contention that the desire to become a mother isn’t naturally built into the female psyche, and many women don’t really think about why they have babies.

Perhaps the reason why Deshpande’s and Gahlot’s views appeal to me the most is because I have frequently questioned the forces that propelled me towards motherhood and how unprepared I actually was to take on the responsibility it entailed. It is ironic that I, who had a tempestuous relationship with my mother through all my growing years, felt compelled to have a child within two years of getting married. The decision was largely mine (the timing certainly was) and news of my conception was greeted with general euphoria. Nobody told me that it would be painful (physically and emotionally), irritating and even torturous at times.

Childbirth is a horrifying experience and let nobody try to eulogise it. Nine months of pregnancy and five hours of labour pains were enough to put me off every warped paean to motherhood I’d heard all my life. Yes, the experience of looking at my newborn’s tiny, wrinkled face was indescribable. But now, when I think back, I still cannot dispassionately determine how much of that joy was fuelled by a misplaced sense of achievement and the pride of creation. Nor did I know then that the euphoria would soon be dampened by the realisation that the infant I was tenderly nestling in my arms was already an individual in her own right whom I would have to gradually, painstakingly learn to let go of sooner than later. She didn’t belong to me, although she was born of me.

Her arrival brought several amendments in my life, some I willingly imposed on myself. Like the decision to quit my job as a programming consultant in a television channel and ‘take a break’ from my career. It was my belief that a newborn must have at least one parent around for the first couple of years of her life and although my husband tried to dissuade me from taking this drastic step, I was adamant. I wasn’t prepared to abandon my child to the care of maids or crèches and refused to saddle my 70-year-old mother-in-law with the task of tending yet another baby.

This decision was clearly driven by the childhood angst of missing my mother, who, unlike me, didn’t have the luxury of choice, and had to juggle her duties at home – cooking, cleaning, supervising our homework, managing temperamental maids, entertaining a steady flow of relatives and guests -- with a regular 9 to 5 job to supplement the family income. I spent most of my growing years resenting my mother for not being around and constantly sought comfort in other maternal figures – teachers, aunts, friends’ mothers etc. For a long time I didn’t understand this desperate need for attention. Perhaps it was born of the stereotype of the angelic, devoted, self-sacrificing mother who always put her child’s needs before her own. Today, if I try to imagine myself in my mother’s shoes, I don’t think I would have conducted myself any differently from the way she did. Only I would have been far more neglectful, irritable and discontented than she ever was.

Nor do I imagine, my daughter will be terribly appreciative of the upbringing I give her. It is impossible for me, or any other mother, to live up to her child’s expectations. More importantly, I don’t even want to try and become an ‘ideal’ mother. For, I am not prepared to compromise every other aspect of my life to chase the mirage of perfect motherhood. I know that I need to create my own private space, my time away from my family to pursue my own goals. I have done so, from time to time, leaving my daughter behind with her father for weeks on end. When I see my husband interact with our daughter, it strikes me how much more ‘maternal’ he is than I am – patient, compassionate and giving.

I grew up on a staple diet of Hindi film melodrama. Yet, the one film that I have intensely disliked for as long as I can remember is Mehboob Khan’s ‘Mother India’. While it is universally acknowledged as a classic, I see it as a male director’s vision of Indian womanhood – a dutiful daughter-in-law, devoted wife, sacrificing mother whose identity is entirely determined by her devotion to the men in her life and the values they represent. Radha doesn’t spend a single moment thinking about herself, her dreams, her individual needs, divorced from those of her husband, her sons, her village.

Perhaps books like ‘Janani’ and the works of other Indian writers provide a more authentic representation of the way women perceive their own roles as individuals trying to strike a balance between the subconscious stereotypes deeply embedded into a patriarchal society and their personal aspirations.

‘Janani – Mothers, Daughters Motherhood’ is edited by Rinki Bhattacharya and published by Sage Publications.

Deepa Gumaste

Saturday, November 04, 2006

THE DEPARTED: Brilliant

It's raining remakes in Bollywood and despite the unfavourable reviews both 'Don' and 'Umrao Jaan' have received, the tide is unlikely to ebb in months to come. Meanwhile, Martin Scorsese, one of Hollywood's biggest daddies too has re-worked a Hong Kong action thriller called 'Infernal Affairs' into 'The Departed'. The difference is, while one hasn't watched the original film to make a fair comparison, given Scorsese's mastery over his craft and the spectacular performances he has drawn out of his sterling cast, the fact that he's done a remake, becomes an entirely irrelevant aside.

'The Departed' is a brilliant film in itself. Period. It has the pulsating quality of a spectacular thriller punctuated by razor sharp cuts, witty dialogues, heart-stopping action and innumerable twists to the splendid screenplay. Writer William Monahan transports the Hong Kong story to the Boston underworld where the bawdy, foul-mouthed Irish-American kingpin Frank Costella (Jack Nicholson) rules the streets. His opening salvo – "I don't want to be a product of my environment, I want my environment to be a product of me" – sets the tone for the drama to follow. His protégée –- one among a bunch of kids he's cultivated from a tender age -- Colin Sullivan (Matt Damon) grows up and joins the Boston Police's Special Investigative Unit, but continues to work as a mob informant.

Simultaneously, another young man, Billy Costigan (Leonardo Di Caprio) wants to shake off his family's shady past and joins the police force. But he's promptly sent undercover to infiltrate Costella's outfit and help nab him red-handed. Thus begins the cat and mouse game of two moles, struggling to survive on either side of the law. It takes a while for both sides to realise they're being compromised, but when the hunt for the rats begins, the tension assumes nerve-wracking proportions. What's worse, both men fall in love with the same girl, Madeleine (Vera Farmiga), a police psychiatrist who is oblivious to their secrets.

Scorsese's magic touch is in evidence all through – notice the stunning sequence where Costigan follows Sullivan through the dark streets or the long, excruciating pause when the rats finally find each other on either side of a cellular phone call and neither dares to speak first. One of the most agonising scenes has a wicked, almost demented Costella trying to gauge if Costigan (frayed at the nerves from the constant blood-bath he witnesses) is the traitor in his gang. In a film stacked with half-a-dozen memorable performances, this scene has by far the best display of screen acting.

Nicholson's delightfully devilish portrayal of Costella invokes as much terror as his vulgar dialogues and body language draw guffaws. He's a chilling villain, much like Robert De Niro's psychotic Max Cady in Scorsese's 'Cape Fear'. Damon's crisply dressed, smooth-talking Sullivan is efficient, but gets clearly overshadowed by Di Caprio's tremendous act as the edgy undercover cop bursting with nervous energy. Equally delightful is Mark Wahlberg's cameo as the quick-tempered, foul-mouthed officer, Dignan who plants Costigan in the underworld.

The film's superb soundtrack uses snatches from Pink Floyd's 'Comfortably Numb', The Rolling Stones and John Lennon to great effect, while Michael Ballhous's slick cinematography and Thelma Schoonmaker's impressive editing make every minute of this two and a half hour long film count.

'The Departed' has all the makings of a Hollywood classic -- a film that shows a master director at the top of his art.

Deepa Gumaste