Chandraprakash Dwivedi's Pinjar (2003) takes a stance by narrating stories of partition and religion by not taking any side. The movie is a film adaptation of the novel by the same name written by Amrita Pritam, starring Urmila Matondkar, Manoj Bajpai in the main lead and others.
The story revolves around Puro, a Hindu punjabi girl, who is abducted by Rashid in a fit of revenge. The communal riots and its effect on family, women and children during the height of partition is shown underscored in the movie. Taking a stand for the exploitation of women during partition the film beautifully highlights various issues pertaining to gender and identity.
This is apparent from the gender-based discrimination by Puro's parents expecting a male child to considering a woman's virginity as a sign of honour and prestige. It becomes a sharp criticism of society as a whole on the treatment of its own fellow members. Puro who is engaged to Ramchand, is presented dreaming of a happy married life, when she gets abducted by Rashid in lust, avenging the generations long fight with the Hindus. It becomes clear when the tale of victimization of women unfolds. The audience gets to know that Rashid's aunts were taken away for three days by Puro's grandfather's brother.
At one point Puro she manages to escape and reaches her home only to be asked to return where she stayed for so long or to commit suicide for now there is little left for her. When she tries to kill herself,Puro is ultimately saved by Rashid.
Bereft of hope Puro submits to Rashid’s will and marries him. The poignant question of marriage being an institution and practicing its forceful actions on women's rights are raised and shown well, as now, after marrying Puro, Rashid can have some sort of authority over her being her husband. Puro is given a new name, Hamida. It is a new identity for her new life.
The movie conveys the miserable condition of women during the partition. Women are portrayed as objects of desire and revenge, as weaklings with a very vulnerable and changeable identity.
Puro, however, does not fall under depression but rises as a positive force ready to help other women. She is able to save Ramchand's sister and reunite them. She faces a moral dilemma now, as she has a chance to either go back to Ramchand or choose to return to Rashid, who loves her and supports her. This dilemma is resolved when she realises her position and her new identity with Rashid. This realisation of her position and identity can be identified as "Stockholm syndrome", as Puro now falls in love with her kidnapper and develops an emotional bond with him.
The movie ends on a positive note of Puro and Rashid being reunited as a couple.
Latika Thakur, Editor
The Redstockings Chronicle
Deconstructed is the column where scenes of films and pages of stories are broken down, rebuilt and broken down, yet again. From reviews to analysis, this is it.
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