Subhash K. Jha speaks about Land Gold Women

 

There is a nip in the British air...The verdant tranquillity of Birmingham is torn apart by the kind of domestic violence that we read about and talk only in Subhash K. Jha speaks about Land Gold Women

 

hushed whispers, and that too when references are made to supposedly primitive practices in the psychologically-undeveloped section of North India.

 

But honour killing in 'civilized' England? Nah! This one has got to be just one of those exaggerated dramas of the damned that come along to shock us in the

 

movies.

 

It's astonishing how quickly and expertly writer-director Avantika Hari does away with our cynical reading of the volatile subject. The script approaches its

 

gentle characters, a cultured Muslim family keeping its head high (and veiled, of course) in a super-cosmopolitan society that constantly threatens to blow

 

the lid off the conservative core of the family nucleus.

 

Nazir Khan (Narinder Samra, astonishingly gentle and sensitive) is the patriarch of this family. He listens to old film songs ('Aaja Sanam Madhur Chandni

 

Mein Hum', 'Jalte Hain Jiske Liye') and takes keen interest in his daughter and son's growth, and chooses to get flirty with his shy conservative

 

wife (Neelam Parmar) when the kids are not home.

 

Then love happens. To the daughter of the family, played by Hassani Shapi. It strikes her when the family is not looking. She falls in love and the family

 

falls from grace with her...to the lowest depths of familial crime.

 

 

Land Gold Women weaves with absorbing dexterity and disarming simplicity a tale of a father who must kill his own daughter to save the family's

 

'honour'. The izzat that he strives and struggles to preserve with disconcerting self-clarity is remarkably reified by the principal actor, and full

 

marks to Narinder Samra for making a character so complex in its cultural contradictions, look so at ease with its angst and turmoil.

 

But there is more at work here than just a convincing central performance. There's warmth, brevity and a disarming absence of any kind of a value-judgement

 

from the film's authors. Indeed, Avantika Hari leaves all the questioning on the 'honour' killing to a couple of public prosecutors, one of whom ironically

 

happens to be a half-Pakistani woman struggling to answer the questions on purdah and honour that the legal case poses.

 

For a work so austere and straightforward, Land Gold Women is remarkably rich in tonal resonances. Much is said about patriarchal highhandedness

 

towards the emotional sexual need of women. The silences are frequently allowed speak to speak in unmistakable voices of coded dissent. And here's where Anil

 

Mohile's lucid background music works its potent magic.

 

The film does suffer from conveying stereotypical images of bullying machismo taken from traditional renderings of Muslim families. The uncle, you feel, is

 

blamed squarely by the script for the nauseating subversion of family-honour that happens in the idyllic Khan family.But surely the rot goes deeper?

 

What we finally carry away from the film is a message against intolerance in societies built on impatient prejudices. The father-daughter relationship which

 

lies at the heart of the bleeding narration is beautifully done. The sequence in which Nazir steps gently into his daughter's room in the night and recites a

 

poem he wrote for her during her childhood, just chokes the breath out of the viewer. Yes, he actor's Hindi diction is questionable. But then he lives in a

 

land far away from home (along with his baggage of home-grown cultural prejudices).

 

 

Without resorting to manipulative sentimentality or shock value, Land Gold Women makes the viewer acutely conscious of the fissures and aberrations

 

that continue to corrode conservative families even when placed in apparently-liberal countries. Films on honour killing have ranged from the brutal Love

 

Sex Aur Dhokha to the banal Aakrosh. Land Gold Women opts for the tool of gentle persuasion. It mediates our senses from a point of detachment to

 

involvement without making the characters beg and scream for our attention.

 

There is indeed no honour in honour killing. But there is certainly an intrinsic honour in cinema that depicts the damned and the doomed with restrain grace

 

and dispassion. A must-see film for all those who believe cinema can still have its heart at the right place.

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