| 1 | '''Bandit Queen''''''' |
| 2 | |
| 3 | |
| 4 | 1994 119’ col Hindi |
| 5 | d Shekar Kapur p Ka-lei-doscope (India), |
| 6 | Channel Four Films (London) sc Mala Sen from |
| 7 | her biography of Phoolan Devi dial Ranjit |
| 8 | Kapoor c Ashok Mehta, Giles Nuttgens |
| 9 | m Nusrat Fateh Ali Khan, M. Arshad |
| 10 | lp Seema Biswas, Nirmal Pandey, Manoj Bajpai, |
| 11 | Rajesh Vivek, Govind Namdeo, Saurabh |
| 12 | Shukla, Raghuvir Yadav, Sunita Bhatt |
| 13 | |
| 14 | |
| 15 | The harrowing although in the end heroic story |
| 16 | of Phoolan Devi, previously filmed in the form |
| 17 | of a Hindi musical (Phoolan Devi, 1984), is |
| 18 | represented by Kapur in an intensely emotional |
| 19 | movie drawing on a wide variety of generic |
| 20 | elements ranging from socialist realist |
| 21 | posturing via action movies to lyrical and, at |
| 22 | crucial moments, impressively reserved and |
| 23 | elliptical scenes more commonly associated |
| 24 | with the art cinema. The story starts with the |
| 25 | young village girl (Bhatt), still a child, being |
| 26 | sold by her impoverished parents as a bride. |
| 27 | The ensuing rape of the child on her ‘wedding |
| 28 | day’, conveyed by an agonised scream, sets the |
| 29 | tone for much of what follows. The heroine |
| 30 | (Biswas) grows up under a regime of caste |
| 31 | banditry and terrorism, exercised mainly by the |
| 32 | local thakurs, backed up by police terrorism, |
| 33 | both involving the most brutish forms of sexual |
| 34 | terrorism as one gang rape (by the police who |
| 35 | arrested her for running away from a childmolesting |
| 36 | husband) is followed by another |
| 37 | perpetrated by the thakurs which lasts for three |
| 38 | days and is conveyed by way of a relentlessly |
| 39 | opening barn door as the upper-caste villains |
| 40 | file in, including a symbolic rape by an entire |
| 41 | village community who force her to strip naked |
| 42 | in the village square. However, instead of |
| 43 | allowing her cold fury to destroy herself, the |
| 44 | heroine teams up with an outlaw gang and |
| 45 | wreaks bloody revenge on her persecutors. |
| 46 | Chased by the police, she evades capture long |
| 47 | enough for the news of her exploits and ordeal |
| 48 | to spark a nationwide interest in her fate, |
| 49 | making it difficult for the local representatives |
| 50 | of power simply to kill her off. Political |
| 51 | expediency requires the government to |
| 52 | negotiate with her and she eventually |
| 53 | surrenders at a public ceremony to which |
| 54 | masses of people flocked from far and wide. |
| 55 | She is applauded by the assembled people, |
| 56 | suggesting her rebellion found a deep echo in |
| 57 | a population exploited and terrorised by the |
| 58 | politically powerful thakur caste in that region. |
| 59 | Predictably, the film became controversial, a |
| 60 | phenomenon acquiring additional complexity |
| 61 | when Phoolan Devi, released, remarried and |
| 62 | harbouring political ambitions but still liable to |
| 63 | prosecution for murder should the authorities |
| 64 | decide to press the matter, repudiated the film. |
| 65 | The newcomer Seema Biswas gives a |
| 66 | performance of great intensity and conviction |
| 67 | in the lead role. |
| 68 | |
| 69 | [[Film]] |