Sometimes, even in a hectic schedule, an old movie does a wonderful job—that of refreshing one’s mind, just like an old friend. That’s exactly what Astitva means to me, and below are some of the random thoughts and the review of what remains one of my all-time favourites.
.::THE PLOT::.
Aditi Pandit is a dedicated housewife in her 50s whose life revolves around the daily chores of the house, her husband (Srikant) and her son (Aniket). Aniket is recently engaged to Revathy, a modern broad-minded woman. The film opens up with Srikant being called by one of his old friends (Ravi and his wife Meghna) and invites them over to lunch. As everyone is chit-chatting about Aniket and Revathy, a letter arrives by the name of Aditi. Srikant gets hold of the letter and opens it. Inside is a will of a man called Malhaar who died a week ago and has left all his property and immovables for Aditi. The whole party looks stunned, and Aditi is questioned. Aditi reveals that Malhaar was Aditi’s music teacher some 27 years ago, when she had got married. Being over-drunk, Srikant takes the whole episode lightly, but a typical chauvinistic male that he is, can’t resist when his hangover gets away. He has had this impeccable habit of writing a daily diary which he has maintained since he has gathered some sense.
A suspecting creep that he is, he scans through all the pages of 1973, and finds out that Aniket was born 8 months after he had his first sexual encounter with Aditi. He goes home, and again questions Aditi, who after much reluctance, admits that Aniket is indeed Malhaar’s son. What happens thereafter—how Srikant ridicules Aditi, and how relationships suddenly take such a drastic turn that Aditi finds solace only in herself, is what forms the crux of the rest of the movie.
.::THE THOUGHTS CONVEYED::.
Astitva revolves around two basic themes: A woman’s identity and equality of sexes. It tells a story of a girl who gives it all to her family: her time, her strength, her thoughts, so much so that she just becomes a vulnerable, dependent individual who is at the mercy of her husband and even her son. And its when she’s openly exploited and ridiculed for a single mistake of hers, is when she realises her state. Its when the years of her life that she dedicated to her family, the moments she shared, the memories she lived with are snatched away just for a mistake, that was done in a lonely moment some 27 years ago is when she realises that she has lost her identity.
But does a woman have her own Identity? She comes into this world as a girl whose name gets plastered with her father’s family name to recognize her as one of the family members. Then she gets married, and the father’s family name gets replaced by her husband’s family name. She is also the mother, who nurtures the child in the womb for a full 9 months, but its the father’s family name that the child gets? Where does her name, her identity fit in... practically nowhere!!
Astitva also questions the equality between the two sexes. If a man has the right to satiate his physical thirsts, then why not a woman? Is she not human? Doesn’t she have human desires? Have you ever seen a man being ridiculed just because he slept with another woman? Then why a woman? Just because she gets pregnant?
.::THE DIRECTION AND THE SCRIPT::.
We have seen extra-marital affairs umpteen times played on the big screen, but it’s the man who is involved in the affair, a nd women are reduced to cry-babies. Astitva hails to be different as it displays the woman’s plight, and state of mind when she indulges into one such affair. And kudos to Mahesh Manjrekar for capturing that spirit in all its sensitivity. Emotions aren’t forced, and there’s no forced melodrama. The principal character, Aditi, is fully justified for her actions, her circumstances and her feelings.
The superb direction is supported by an even solid script that doesn’t leave any questions left to be answered. Aditi is a natural human being, and like all humans, she also makes a mistake and she confesses her guilt. Rarely has been a character so wonderfully written and presented. Some of the scenes that stand out are towards the end of the movie, when Aditi feels every single piece in her house and then spreads herself on the floor, crying. Her outburst towards the end and the whole climax will have you hooked and leave you overwhelmed.
.::THE TECHNICALITIES::.
If direction and the story were perfect, then even technically, the film is spot on. Cinematography is excellent and the film’s look is real and in-sync with the portrayal. Metaphors are used aplenty to suggest love, lust, guilt, and self-realisation of Aditi’s character. Watch the song “Chal Chal Mere Sang Sang” and you’ll know what I am saying. The song so excellently captures the young Aditi’s overwhelming physical desires and her confused mental state, that it leaves you stunned.
Editing is slick, with the film only lasting for 2 hours. Dialogues form the heart of the film. Superbly crafted in layman’s language, they are direct, punchy and devoid of oft-repeated lines. Special mention also goes to the make-up department which hasn’t used superficial wigs on characters to show the age difference. Rather dark skin-tones, spectacles and unkempt hairstyles are used to convey the dawn of age and experience. Background music is superb and so is the film’s score. Given by Rahul Ranade and Sukhvinder Singh, the songs bloom with a ‘fresh’ feeling, and even though there aren’t many “Chal Chal” is hands down the best ghazal in the recent times. “Zindagi Kya Baat Hai” is soulful while “Gaana Mere Bas Ki Baat Nahin” endears with its experimental tune, classical base and strange https://lyrics.
.::THE PERFORMANCES::.
Probably Astitva would have been way off the mark if Aditi’s character wasn’t played by Tabu. In an author-backed role, the actress sails through the sea of emotions with consummate ease, delivering dialogues with a straight face, living the role and practically carrying the whole film on her shoulders. A clapworthy performance to say the least. Sachin Khedekar as the self-centered, chauvinistic and pompous Srikant also fits the bill wonderfully. Namrata Shirodkar, though, in a special appearance as Revathy is impressive, and so is Smita Jaykar (as Meghna) and the rest of the cast.
.::ON AN ENDING NOTE::.
I titled this review with a question, and at the end of the film I had the answer. Astitva is all about self-realisation. It shows through a slice of life that till the woman herself doesn’t learn to be self-dependent, doesn’t keep her say, she’ll be at the receiving end of the opposite sex. She has every right to take her own decisions, listen to her heart and to explore herself after the marriage. Only then will she find her identity, her name intact.
Astitva isn’t one of those bra-burning, screeching-in-your-ear feminist movie. It imparts its message in a subtle, justified manner. Thought-provoking, taut, crisp and gripping is what sums up Astitva. Very Highly recommended.
......Thanx a zillion for reading my review....Do comment if time permits....
©Karan 2003