Lajja

This movie is very gripping and strong. It portrays a sense of loneliness yet unity among women. In other words, a woman (Manisha) feels neglected and goes on a journey to escape it. On the way, she finds women in similar situations and Manisha sees how they handle it. The woman Manisha portrays wants to prove that all women are united and just don't know how to express their feelings of neglect in a way that men and society will not condemn them. The characters in this movie are totally independent albeit linked. Manisha was a little unbalanced at first but as the movie continued her character became stronger and more patriotic. She seemed to be in search of self identity and whether she can escape prying eyes of men. Rekhaji was the most dominant character. She showed that even elder women are subjected to harassment. Her part left the audience wondering if there is any justice for women. Maduri was really interesting. Her role was vivacious yet serious. Mahima was also wonderful. She was given a small role yet powerful. Ajay Devgan balanced the movie. He wanted to show that not every man wants women to be treated like this. The movie is a little slow but the direction was well rounded and beautiful. It is a little biased but when Ajay Devgan enters he balances the equation. A couple of the songs were melodious and it was integrated with the story making it hard to fast forward some of the slow parts. Each scene tends to take some time to come to the point but the climaxes were well done.

In many ways, Lajja is a knock-out. As a mainstream Hindi film, it is highly theatrical but also quite powerful, intense, and fascinating, even if like many films of the genre, it's melodramatic, overlong, has some bad action sequences, and not always rings true. The film tells the story of a runaway wife who flees her cruel husband. It turns into a road movie of sorts which unfolds in three chapters, each presenting the story of a woman. Strong women, powerful women, the sort of women who were feminist before the term feminism was coined, and before some people started dealing with nonsense in the name of it. For the kind of style the film adopts, the dialogue is exceptional, and each chapter is gripping and involving. It just works like a very good quality play.

The first chapter is generally very enjoyable. It is a witty and humorous commentary on the Indian wedding system, providing a great glimpse into the weddings of ultra-traditional Indian families, exploring in minute detail the truth behind the glamour and celebration. The groom's father is awaiting to obtain the dowry, and the bride's father is anxiously nervous, checking that everything is intact and making sure his daughter's price is ready until the ceremony begins, in worry that if it is not done in time, his daughter will be abandoned right before the ritual for everybody to see, and his own honour will be trampled to shame. This segment, while resorting to sentimentality in some portions and having far too many attempts at comedy which at times do not flow well with the story, is funny and sad in equal parts, and is ultimately inspiring, for its way of showing how someone could summon up the courage and stand for their family's dignity without fear of losing their own. The second chapter tells the story of a racy theatre actress who has an affair with a married man and who lives her life according to her own terms. The third story, which is said to have been based on the true story of a woman from Assam, is set in a very primitive village where Ramdulari, the mother of all villagers, whose son makes the fatal mistake of falling in love with the landlord's daughter and actually dating her, with Ramdulari's story culminating in the film's most terrifying scene.

Santoshi presents us with a list of female characters, all of whom are modern-day versions of Hindu mythological goddesses, and their characters, in chronological order are, Maidavi, Maithili, Janki and Ramdulari. Each character is presented in an episode of its own and is related as seen through the eyes of Manisha. Each episode aims to convey critical messages of feminism, celebrating the existence of women and addressing their empowerment. Each sequence shows a transformation in which the protagonist decisively makes a place in the sun in a brave act of demanding to be respected. Yes, it sounds very shallow and formulaic and, indeed, Santoshi does tend to go a little bit too far in his attempt to make his feminist point, but as frankly stated by Santoshi himself, Lajja is aimed at the wide Indian audience. He adds the most familiar commercial ingredients of Hindi cinema, including item numbers and typical action scenes which take away from the film's realistic mood, and yet the movie works for its intensity and brutally honest depiction of so many of the issues it deals with that they are easily forgotten and forgiven. Even the most melodramatic sequences are true to the context and seem more or less appropriate. The film's flaws are easily recompensed by proceedings that are equally realistic and powerful, by fantastic dialogues, by great songs, by several comic sequences which lend comic relief, and most importantly by superb acting.

And speaking of acting. The film's main protagonist is Manisha Koirala, who is very good but, in a way, serves as the background for the more interesting stories of the other players. The three players are Mahima Choudhry, Madhuri Dixit, and Rekha, each leading her respective chapter. The supporting cast includes Jackie Shroff, surprisingly not in his element as Koirala's husband, although the role is a caricature so not much could have been done. Anil Kapoor, however, is an absolute hoot in a highly enjoyable comic performance which provides fantastic relief in a most tense first chapter. Ajay Devgan is similarly excellent, and his action sequences are quite fun even if not very realistic. Mahima Chaudhry is impossibly beautiful but she also matches her gorgeous looks with a lively act and a very convincing monologue at the end of the chapter. It's too bad she never got her due. Madhuri Dixit, in one of her best and most mature roles, does a stupendous job as the feisty actress who bravely defies tradition and stands for what she believes and fights for justice. Dixit's charismatic screen presence is indeed one of the film's prime assets.

But the main thing that will tug at your heartstrings and remain with you after the show is over is the powerhouse performance by Rekha, whose fiery, heartfelt portrayal is so indescribably amazing that no words would do it justice. In less than 30 minutes of screen time Rekha delivers one of the finest performances of her career, capturing every bit of her character's essence and making it hard to believe it's an actress playing a role. She just becomes Ramdulari. At first, she provides comic relief with her usually brilliant comic timing, but it is the latter portions of her part that leave you wordlessly disturbed. She plays some of the most difficult scenes with such unsettling intensity that anyone watching would have chills down their spine. Her emotional outbursts show acting at its deepest expressive level; they are so real and horrifying that I'm sure many viewers would prefer to look away to avoid witnessing such heartbreaking pictures. This is one of the best performances I've seen in any film of any time, delivered by a lady who once again proves she is an acting legend in a league of her own and one of the best actresses in India's cinematic history.

Lajja is overlong and watching it in one go will require patience. As said above, several attempts are made to relieve the tension. A sensuous number with the sexy Urmila Matondkar, and a graceful traditional wedding song with Sonali Bendre, are very effective, but unsurprisingly, the best dance number is Madhuri's "Badi Mushkil". The film's biggest flaw may be the ending, which is disappointing. It may be relieving, but it looks awfully contrived and sugarcoated. That being said, much is forgivable in view of the film's great advantages and entertainment value, and especially the great acting.

I had been really apprehensive with all the hype suroounding this flick. I have seen mixed to great reviews and was wondering how it will balance so many actors in 3 hour 5 minutes. I was pleasantly surprised. Every actor had their shining moment. Regardless of the length of their individual roles, every character was well defined and performed well. The movie is definitely flawed especially the climax. What the hell was RKS thinking with ladies throwing chappal sequence at Danny at the end -absolutely cliche and a crap idea. "Back to NewYork" at the end was a terrible idea as well. But I did like Santoshi's handling throughout of drama and comedy blend. He has said the movie he made should entertain - if he hadn't approached the subject as such he would have made a very depressing high budget art movie specially with Ramdulaari portions. I had heard reviews that the first part was slow but I had no problems whatsoever with it. I think the audience in the theatre felt the same. The second half was excellent up until the last 5-7 minutes which I already mentioned. Performances: My pick of the lot: Ajay Devgan was absolutely fantastic. I have never liked this guy and his recent flicks (YRHPK, RC, HKiK, DKK) have made me detest his acting and selection even more. But he reminded me so much of Amitabh in his youger angry young man roles. Not to compare him with Amitabh but to emphasize Devgan's dialogue delivery, his screen presence, his anger, the action - he had the audience memerized. I think he should do more hard hitting roles.Madhuri Dixit looked divine and acted brilliantly. She has come a full circle and stepped into veteran position in my books. This lady is a world-class performer and desrves full marks for her work here. I think she surpassed Mrityudand 10 times in this film because what she has done in Lajja has put her into the all time great actresses list. After the high marks that Madhuri receives for her performance you would think there would be no room to go beyond perfection? right? Well this place is what Rekha has achieved with Lajja. This, in my opinion, is Rekha's glory to cinematic immortality along with Umrao Jaan. Her work in Lajja is as good as the finest performances of legendary female artistes in bollywood or Hollywood. Her breakdown on finding out about her son's relationship and her pleading sequence before being raped and burnt is in one word - eh there is no word to describe it - Superlative, Perfect, Excellent do not do justice. This must be seen to understand. Manisha and Mahima? They are pretty good and have sequences where they both show their talents. They will get more chances in the future to demonstrate their greatness - they definitely are very talented. Anil Kapoor was very funny and very good but any actor will lose in praise in front of high drama. Unfortunately, this is what happens to Anil in Lajja. Anil Kapoor is such a great actor he is taken for granted. He is very cool and performs comedy sequences with aplomb - audiences loved him but he'll not be the first to be remembered in this film. Lagaan is still the perfect movie this year.

This film about the plight of women in india is indeed deeply disturbing and angry.Shock value and ultra realism have been used to the max. The world needs to wake up and understand the plight of women in more conservative societies, and in general.The film has been well shot and the acting is of a high standard, though right from the scene where Madhuri dixit is shunned by all through to Rekhas brutal rape the film seems to leave a bad taste that sort of leaves you feeling very shaken up indeed. this film is not for the faint hearted or those who want as a close a look as they can at the plight of women in india.This movie wasn't enjoyable and I don't think it was meant to entertain even though there are some lighter moments in the film. I would give this a 7 out of 10. not bad not entirely brilliant either.

From the best movies I've ever seen, showing reality in some communities, or at least a fraction of reality, and how women everywhere are oppressed.