Water

I saw this film on a Saturday afternoon in a theater with about 40 other people, split about 60/40, females to males. All ages although the younger viewers were mainly female. (late teens) Towards the end, as I was choking back tears and grabbing at Kleenex's, I looked around as there was total silence from the audience. It was AWED SILENCE, people! Every woman was bawling her eyes out and the men, without exception, were scrunched down into their collars, staring intently, holding back tears. This is Deepa's finest hour. She can retire now knowing she has made a worthy film. I would have voted 10 but there were a few technical glitches such as one moment were the color/lighting changed for about 3 seconds in an important scene and then snapped back. No blame to Deepa, though. I have sent several to see the film and all have raved about it, Can hardly wait to buy the DVD and see it again. The criticisms were political and should not be considered. Any film that criticizes aspects of a religion gets blasted from fundamentalists. This film is NOT a political statement. It is entertainment based on a political statement. It should not be missed. Brava!!!

WATER is delivered likened to a fable, yet the story told is not at all a fantasy. In fact, another film, "White Rainbow" by w-d Dharan Mandrayar, delivers a tale of four women with similar subject matter in a modern day setting vs. the 1930's Colonial India of Mehta's "Water." The deplorable deprivation situation of the widows of India with powerless means is real.

Check out the production notes on WATER, you'd learn of the travails and hurdles filmmaker Mehta has to go through, determined and dauntlessly she forged on. We are fortunate to be able to see the result (thanks to Fox Searchlight Pictures distribution). Perhaps the casting ten years after could very well meant to be: Seema Biswas as Shakuntula - the protective, courageous Didi with unyielding faith; Lisa Ray as Kalyani, the beautiful 'sole bread-winner' with lovely hair and a tender companion to young Chuyia; John Abraham as Narayan, the idealistic young man returning to the village after his law exam and smitten by Kalyani; introducing the talented 8 year old Sarala from a village near Galle, Sri Lanka playing Chuyia, the 'girl widow'- she sure captures the spirit of the story/film.

Seeing what these women had to endure/endured all these years, prompts us to think how lucky we are - not to assume/take for granted the goodness and abundance we so readily have. The struggles/problems we may have compared to their grievous hardship sure makes one rethink - putting things in perspective. The film is not preachy at all, in fact, it's dramatic with mystery and secrets, not depressive in spite of the storyline but contains dashes of hope, laughter and tender moments. An impressive production all round, with cinematography by Giles Nuttgens, who collaborated with w-d Mehta on her trilogy installments: FIRE 1996 and EARTH 1998; music complements from Mychael Danna, who participated with w-d Mira Nair in "Monsoon Wedding" and "Kama Sutra: A Tale of Love" and on fellow Canadian filmmaker Atom Egoyan's ventures.

The film, with its controversial political ripples 'at home', is a human story with much kindness at heart. It's intriguing and a tear-jerker for me - it's naturally emotional. Somehow WATER also reminds me of director Jag Mundhra's "Bavandar" (2000, India: Hindi title aka "The Sand Storm") - another worthwhile film from India.

One of the most powerful movies I have ever seen! The actors were fearless. The story was honest, raw and moving. I feel changed by it. Deepa Mehta' created something out of love, vision and fearlessness and it shows. I was brought to tears by the end of the film, not because of pity for the characters but rather out of pride. Though the film deals with heavy issues the actors carried it with dignity. The script articulates the tragedy and hypocrisy these women must bare but it also illustrates the quiet revolution we must all experience in order to grow, in order to change. I have seen Earth, Fire and now Water and Mehta has done justice to all of them.

This beautiful and poignant film also packs quite a punch; the sorry plight of Hindu widows in traditional Indian society is made evident. Deepa Mehta has clearly set out to make a film with a message but she lets the story carry the message and she does not demonize the supporters of ancient oppressive practices, some of whom are motivated by faith rather than self-interest. Strangely the film's beauty undercuts to some extent the political message: I can imagine a devout Hindu seeing it as supporting the traditional view.

As explained in the film, according to ancient texts a Hindu widow had three choices; she could join her husband on his funeral pyre, she could marry his younger brother (if available) or she could go into an Ashram (refuge) with other widows and live a life of self-denial to atone for the sin of having lost her husband.. It is the third option Chuyia (Sarala) takes on the death of her husband in 1938. Chuyia however is only nine years old and scarcely remembers getting married.

The Ashram is a poor place, self-supported by the proceeds of begging and prostitution, but there is camaraderie amongst the women (who are of all ages) and Chuyia, initially, is not badly treated. The focus shifts to Kalyani (Lisa Ray) the Ashram's "jewel" who becomes involved with a young political activist Narayana (John Abraham), a supporter of Gandhi.

The film is not so much an attack on religion as on particular beliefs. I've no doubt one could live the life of a devout Hindu without believing that widows are responsible for their husband's deaths just as one can be a devout Christian without believing in slavery, or that the earth is flat, or was created in 4004BC. Although the film is set just prior to World War 2 there are undoubtedly many supporters of the ancient texts still out there – Mehta was prevented from filming in India by some of them and "Water" was eventually filmed in Sri Lanka. I find it impossible to have any sympathy for their position because it really amounts to using the practices of a society which has long passed away to defend an economic interest, or rather to excuse the abandonment by her family of a woman who has had the ill-luck to lose her husband. As Chuyia asks, where is the Ashram for the widowers? Also, whatever could be said for child marriage on social or economic grounds 2000 years ago, there is no possible justification for it now.

It's a great pity the film was banned in India and Pakistan – it is a film for the citizens of those countries rather than me, but it is striking to watch and I suspect, not easy to forget.

This is perhaps one of the most gripping films I have ever seen. The theme of water is so beautifully intertwined with the story in the location shots, boats across a lake/river and the ever falling rain to deliver an impact upon the characters and their journey.

The treatment of these widows, and the intense life that these women are forced to live was eye opening.

John Abraham gave a good performance. Lisa Ray was decent. Chuiya was great. With its top-notch acting, cinematography and music, Water is definitely worth the watch. Excellent effort by Deepa Mehta. Awesome cinematography Giles Nuttgens. Nicely edited by Colin Monie. Screenplay by Anurag Kashyap was awesome so were his dialogues. Set decoration by Rumana hamied n Lal harindranath was brilliant. Good music by Mychael Danna n A.R Rehman. Roger Ebert of Chicago Sun-Times @ The film is lovely in the way Satyajit Ray's films are lovely and the best elements of Water involve the young girl and the experiences seen through her eyes.