'Laapataa Ladies' review: Kiran Rao's sharp satire takes down patriarchy
Kiran Rao's sophomore directorial outing Laapataa Ladies is a sharp, scathing satire on the deeply-rooted, pervasive, and unescapable patriarchy in our society, and how education and awareness are its only antidotes. Bolstered by first-rate performances, it's intelligently written, mostly non-preachy, inventive, ingenious, and firmly rooted in the Indian background. With a script that sings and a cast that roars, nothing can go wrong.
This is what happens in 'Laapataa Ladies'
LL sheds the spotlight on Deepak (Sparsh Srivastava), who is overjoyed at his arranged marriage to Phool (Nitanshi Goel). However, since Phool draws a long veil, and the train they're traveling in also has several similar couples, confusion and chaos ensue, which leads to Deepak deboarding the train with another newlywed, Pushpa (Pratibha Ranta). A hapless Phool eventually gets down at a different station.
The performances are its pulse
Performances make up LL's spine. Set in the early 2000s in rural India, it demands characters do not seem artificial or mechanical, and everyone—despite the lengths of their character—achieves exactly that. At no point do we feel anyone is putting on an act, and everyone is so immersed in their parts that you wonder where the actor ends and the character begins.
More on its performances and actors
Take, for instance, Srivastava—he turns in such a superior performance that his pain becomes your own, his search for Phool draws you in, and his pain at repeatedly failing to find her makes you upset, too. Geeta Agrawal Sharma, who is insanely perfect in rural roles, is a sight here too, and Ravi Kishan is an absolute delight as a paan-chewing daroga.
Non-preachy films always have an edge
The kind of film that doesn't need to shout "feminism!" from the rooftops to make its voice heard, LL consistently makes smart narrative choices, so even when a dialogue or two seems forced or out of place, you're willing to let it slide. The persistent subjugation of women, their internalized misogyny and regressive conditioning, and their infuriating infantilization—Laapataa Ladies hits too close to home.
Sharp dialogues help makers achieve their objective
LL doesn't feel bloated, hits as many roadblocks as other films, and is neither too bloated nor stretched thin. Wrapped in its seemingly simple dialogues are some hard truths and jibes about patriarchy; for instance in the scenes when Pushpa is labeled "ajeeb" for her progressiveness or when brides are taught to "look down, not up" in their ghoonghat.
The protagonists' storylines might remind you of similar characters
Though LL doesn't make any direct reference to religious figures, it's not tough to see the similarities Phool and Pushpa's lives sometimes draw with Ramayana's ill-fated Sita. Phool is worried about what the villagers might say if she goes back sans her husband, and if he finds her, whether he'll "accept" her. Many women crave male acceptance because unfortunately, they don't know any better.
Doesn't needlessly wage a war against all men
LL finds much of its footing in its locations and settings, and the attention to detail is laudable. It gives space to the representation of folk songs, and characters' accents lend them a layer of authenticity (everyone pronounces station as tation). Also applaudable are its underpinnings of female solidarity and its decision not to unnecessarily bash men in their pursuit of a feminist narrative.
Watch it in the theaters! It gets 3.5/5 stars
Laapataa Ladies might be termed a niche film, but it doesn't have to be this way. It might not be led by major A-listers, but does that really matter if the craft is so superlative? LL might drag a bit toward the end of the first half, but it quickly makes up for lost time. Don't let this film get laapataa in the crowd.
