Grhadaaha

Grhadaaha

Suchitra Sen, Uttam Kumar, Pradeep Kumar, Sabitri Chatterji, Pahari Sanyal

Based on work of Sharatchandra Chattopaadhyaay.


Still remember reading this, about '68 or so, and it seems the film was fresh at the time, which one wasn't aware of then. Now, one comprehends various factors, much more, far better, than at that time. Then, one knew some things only in name.

Even then, though, it was obvious the story is about the confusion, of love and ego and more, which led to destruction of a home due to lack of restraint; now, it's clear that the lack of restraint, and more, active step taken of deception and opportunity to literally kidnap the object of passion, lies with one character.

Much still is a surprise, or at least new. For example the treatment meted to Brahmo Samaj people by the old traditionalists, almost on par with foreigners or those of other faiths, is so unlike that one is aware of for example accorded Aryasamaj in Punjab,  or similar other reformists elsewhere, but perhaps thats merely one's lack of awareness. Still, with time those things changed and perhaps literature like this was part of the change, in showing a mirror to society.

This work, like many others around the time, deal with the newly established Brahmo Samaj and it's adherents, with particular focus on the factor that was the most revolutionary - the educated, relatively modern way the daughters were brought up, and the turmoil caused when there was a love and marriage between such a young women and a man brought up in old traditions, particularly if the man happened to live in rural settings.

Here the additional factors are but natural - a wealthy, urban, urbane friend of the guy who falls in love with the woman at first sight, an old fashioned young woman in the village who grew up with the guy but was married not to him but to someone else and, as often in village social,life, is a familiar person in the household taking care of it along with her own. Rest, involving love vs ego and realities vs misunderstandings, is where the great author's skill comes in.

Credit must be given to the author for the choice of character at fault - not the Brahmo Samaj father and daughter, who follow ethics not for sake of tradition but for sake of ethics; not the rural traditional woman, who is goodness personified; not the young rural husband (of the urban Brahmo woman), who is somewhere between saintly aand Godly with his serene, good, giving self; but the wealthy urban friend of the husband, who decides at a critical juncture to take the step that hurls the two out of their safety zones, by literally kidnapping the young wife of his friend.

Some unexpected surprises - such as the huge difference between traditions of one region and another. For example, elsewhere Ekaadashie is a day of fasting, not enforced but of optional choice, and Hindus in most of India have most traditionally at least avoided non vegetarian food partaking this day. Other options vary from eating only once to consuming only fruits and dairy to fasting without water, and of course any of it, or treating it like any other day, are options. Here, the traditional young woman tells the Brahmo Samaj one, that it's Ekaadashie, and she as a married woman shouldn't fast but must go eat a meal of fish and rice, however small or otherwise quantity she can! 

How very appropriate this film's casting, is apparent right from the beginning - and so of course is how well they have each, all, done performing their roles.

https://m.youtube.com/watch?v=p6h1IYfEvHY

https://m.youtube.com/watch?v=oasmhTVhOGo

https://m.youtube.com/watch?v=5znmcZhaeOk