09th of August 2010
Astitva

Story, Screenplay and Directed by: Mahesh Manjarekar
Lyrics and Music: Sukhvinder singh
Cast: Tabu
Sachin Khedekar
Mohnish Behl
Namrata Shirodkar

As per the usual categorization, a Hindi film has generally been either a typical masala entertainer or a bit hatke, ‘meaningful cinema’. I have always preferred the latter. ‘Astitva’ is one such thought-provoking work. Roughly speaking, it pertains to the oft-treated concept of illicit union or ex-marital affair. It highlights the subject of female adultery. However, the film does not confine itself to this. The maker of a realistic film like ‘Vastav’, Mahesh Manjarekar has raised an irrepressible voice to the age-old double standards of morality in male-female relationship.


Aditi (Tabu) was newly wedded to Shri (Sachin Khedekar) and wanted to spend more time with him but Shri’s new work required him to travel places. Completely lonely Aditi started learning music from Malhar Kamath (Mohnish Behl), but ended up having an affair with him and got pregnant. When she disclosed her pregnancy to Shri, he rejoiced and does not listen to the rest. Twenty five years later, an accident compels Shri to revisit his past. When Shri confronts truth to Aditi… Well, I must not reveal everything, right?

Let’s have a cursory glance at the constituent parts of the film. The crafty direction undoubtedly makes it an interesting watch. Considering the gravity of the theme, the dialogues are aptly striking. The two songs: ‘Chal, chal, mere sang chal’ and the ending piece ‘Main thi, main hun, main rahungi’ (How significant!), particularly add to the charm of the film.

Add to that, the performances by Namrata Shirodkar, Mohnish Behl, Smita Jaykar etc are commendable. Even Sachin Khedekar convincingly plays an archetypal chauvinist hubby. However, my ultimate temptation was the performer of The Namesake, Chandni Bar, and Maqbool, to name a few. Tabu is a perfect cast for such a challenging role. She virtually eclipses the rest of the performances. She is at her zenith, when she cries with an apologetic tone. For instance, she had one such cameo in ‘Saathia’. Some of the most appealing scenes of this film are the ones in which Aditi weeps and wails. She is tormented by her superego after being driven away by her id. However, the character displays a paradigm shift at the end when she takes the bull by the horns. Performing a mouthpiece of the filmmaker, Tabu points out the duality in the patriarchal Indian society and the resultant pangs and anguish faced by women.


A husband can easily forgive his own lechery as his birthright but what about his wife? No way, man! She’s a woman, after all! A man may have as many affairs as he wishes. He would enjoy the tag of being a Casanova or a playboy of the eastern world. A woman, on the other hand, would be considered as made up of a loose moral fabric or even a nymphomaniac. A husband can demand to satiate his carnal desires regardless of wife’s wish. A wife cannot expect the same if her husband is reluctant. So, what is the existence of a woman in an Indian marriage? The film is a female’s search for her Astitva (identity). Let me sum up with thematically significant words. In the end, Aditi retorts her husband:

“Shrimati Aditi Shrikant Pandit. Is naam me Aditi kahi kho gayi thi. Aaj khula aasman use bula raha hai. Main besabar hun apna astitva dhundhne ke liye.”

- Jay Mehta.
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