Changes between Initial Version and Version 1 of Mukta


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Jul 3, 2012, 4:57:03 PM (7 years ago)
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  • Mukta

    v1 v1  
     1'''Mukta''' 
     2 
     3 
     4aka The Liberated Woman 
     51994 154’ col Marathi 
     6d/s Jabbar Patel pc Sarala Pics p Ashok Mhatre 
     7dial Sanjay Pawar lyr N.D. Manohar, Jonaci 
     8Patel c Shankar Bardhan m Anand Modak 
     9lp Sonali Kulkarni, Avinash Narkar, Shriram 
     10Lagoo, Reema Lagoo, Vikram Gokhale, Caleb 
     11Obura Obwatinyka, Madhu Kambikar, Prashant 
     12Subedar 
     13 
     14 
     15Wordy melodrama suggesting a link between 
     16the condition of Dalit ‘untouchable’ castes in 
     17Maharashtra and the lot of African-Americans 
     18(the Dalit Panther movement in 1970s-80s 
     19Maharashtra had expressed support for the 
     20Black Panthers). Mukta (Kulkarni), daughter of 
     21a US-based Marathi poet (Gokhale), returns to 
     22her ancestral village to complete her education. 
     23At university she joins a street theatre group of 
     24Dalit activists and falls in love with the group’s 
     25leader (Narkar). The group attacks 
     26governmental indifference to violence against 
     27Dalit women and Mukta’s participation 
     28severely embarasses her uncle, a State Minister 
     29in the ruling Congress Party. The ‘local’ 
     30problem, posed by Mukta’s Westernised 
     31liberatedness, escalates into a new dimension 
     32when her black American friend (Obwatinyka) 
     33visits her, leading briefly to a love triangle. In 
     34the end, the divides in the family as Mukta’s 
     35parents prefer to split the joint family rather 
     36than curtail her right to decide her own future, 
     37are mapped onto new political allegiences. The 
     38unusual twist in the plot comes when the 
     39American youth accompanies Mukta’s 
     40grandfather (S. Lagoo) on a pilgrimage to 
     41Pandharpur, recalling the Marathi Saint poets’ 
     42struggle against caste inequalities, and sings 
     43black songs while urging the old man to 
     44recognise the intensely contemporary nature of 
     45race and caste discrimination. 
     46 
     47[[Film]]