Uttar Pradesh

ARTICLE 15 - MOVIE REVIEW

“Hum Kabhi Harijan Ho Jaate Hai Kabhi Bahujan Ho Jaate Hai Bas Jan Nahi Ban Paa Rahe Hai, Ke Jan Gan Man Me Humari Bhi Ginti Ho Jaaye”

India is known for its prideworthy history, rich culture and the beauty of unity in diversity. This beauty is a façade that masks the hideous side of discrimination on the basis of caste which is so deeply embedded in the society that it has become a norm over time. Article 15 is a 2019 released crime drama film in the Hindi language directed and produced by Anubhav Sinha. It is based purely on casteism and its outcome faced for just being poor and belonging to a lower caste. It is inspired by several real-life incidents involving crimes backed by discrimination, two of which are the Badaun Case and the Una Case.

The plot revolves around three girls who were reported missing in the caste-ridden township of Laalgaon. The movie starts with a scene displaying two of the missing girls being raped in a school bus. In the next scene, the bodies of those girls are seen hanging from a tree while the third girl remains missing. When the investigation of this heinous crime is carried out, it unfolds aspects of deep-rooted caste-based discrimination that led to the occurrence of such crime. It again unveils many other facets supporting the growth of caste-based graded inequality in the village. The investigation leads the viewers through desolated fields, shabby swamps, and tall grown weeds ultimately making us face the harsh realities of society.

Ayan Ranjan (Ayushmann Khurrana) makes an effort to make people aware of Article 15 of the Indian Constitution, which forbids discrimination on the grounds of religion, race, caste, gender or place of birth.

The story of the movie focuses on the police's involvement in sustaining caste discrimination against the Pasi Dalit community of Bihar and Uttar Pradesh. It is demonstrated that the police are hesitant to look into crimes against Dalits and frequently work with upper-caste offenders to protect them. In Uttar Pradesh, where there is a prevalence of upper-caste police and a history of caste-related violence being unchallenged this is a frequent reality. The intricate caste dynamics that exist within Dalit groups are also explored in the movie. It illustrates the division of Dalits into smaller castes and the extreme violence and contempt that the upper castes within the Pasis inflict upon those beneath them in the social structure in order to keep them from becoming their target. This is a complex issue that is often overlooked in discussions of caste discrimination.

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Here are some specific examples of caste discrimination shown in the film that are unique to Uttar Pradesh:

During the movie, it is revealed that Dalit children are made to pick up trash and clean restrooms. Dalits are frequently compelled to perform risky and harmful manual scavenging in rural Uttar Pradesh, where this is a regular practice. In rural Uttar Pradesh, where they often face discrimination from Hindus of higher castes, Dalits are also frequently refused entry to public places like temples and tea shops. Across India, caste-based violence is most prevalent in Uttar Pradesh. Uttar Pradesh was responsible for 29% of all incidents of violence against Dalits and Adivasis in India, according to a 2020 study by the National Crime Records Bureau. The movie accurately depicts this reality, with scenes of Dalits being beaten, harassed, and even killed by upper-caste individuals. The police in Uttar Pradesh are often accused of being complicit in caste-based violence. The movie shows how the police in Laalgaon are reluctant to investigate the case of the missing Dalit girls, and even try to cover up the crime. This reflects the reality in Uttar Pradesh, where the police are often seen as being biased against Dalits and other marginalized groups. Uttar Pradesh is a politically important state, and caste plays a major role in state politics. Upper-caste politicians are often seen using their power to protect their own interests, even if it means sacrificing the rights of Dalits and other marginalized groups. Manual scavenging is a dehumanizing practice that is largely confined to Uttar Pradesh. The movie shows how Dalits in Laalgaon are forced to clean human waste manually, despite it being illegal. Caste-based panchayats are unofficial village councils that are often dominated by upper-caste individuals. The movie shows how caste-based panchayats in Laalgaon are used to uphold caste hierarchy and suppress Dalits. It portrays how Dalits in Laalgaon are confined to certain caste-based occupations, such as manual scavenging and cleaning toilets. This reflects the reality in Uttar Pradesh, where caste continues to dictate people's occupations.

The film shows how caste discrimination is not just a rural problem, but also exists in urban areas of Uttar Pradesh. The film shows how caste discrimination is not just a problem of the past, but continues to be a major social problem in Uttar Pradesh. Article 15 is a powerful and important film that sheds light on the dark reality of caste discrimination in Uttar Pradesh. It provides an overall realistic and unflinching look at the caste discrimination that Dalits face in rural Uttar Pradesh. The film is a valuable contribution to the public discourse on caste discrimination in India.

Author: SHUBHRA JAISWAL

MASAAN

The canvas of the grand old city of Varanasi is painted with several peculiar images, one among them being the Manikarnika Ghat. The riverfront is swelled up with dead bodies wrapped in clothes being taken for cremation ceaselessly, engulfing the spot with smoke and chants of grief. The legend posits that Lord Shiva gave the boon of eternal peace to the Ghat, making it sacred and bizarrely, a tourist destination. The cremation process is supervised by the Doms in the Ghat, giving them enormous ritual significance. It is said that unless a Dom lights the funeral pyre, the deceased cannot attain salvation1. Today, this community, traditionally earning their livelihood by making musical instruments, is among the Scheduled Castes and has been oppressed. Their importance in religious affairs cannot be understated, but it has not led to a rise in their status.

The Indian movie industry is overwhelmingly Savarna. A fair skin complexion being among the most vital requirements for achieving fame and acceptance has further reinforced this notion. Therefore, when Masaan was released in 2015 to critical acclaim, eyebrows were raised. The movie presents a lot more than the expectations from a 110-minute work. Neeraj Ghaywan, the director, is perhaps the only mainstream director who has acknowledged his identity as a Dalit.

Masaan (lit. meaning: crematorium) presents the heart-wrenching tale of two individuals in Varanasi. Devi Pathak and Deepak lead discrete lives, but the influence of their caste interweaves their state. Devi, a Brahmin, engages in sexual relations with Piyush, a Bania, in a cheap hotel. What follows is mayhem, as the cops intervene and Piyush commits suicide. The demand laid out by the police is that of ₹3,00,000, which her father Vidyadhar Pathak struggles to fulfil.

On the other side, Deepak Chaudhary, a Dom, tries not to let his caste mar his aspirations for a better life. He spends his time struggling to balance between discharging his functions as a Dom and an engineering student. Shalu Gupta, who belongs to an upper caste, appears like ointment to his wounds. He falls in love with her, eventually getting intimate, ignoring the

stigma of his lower social status. In a tragic occurrence, Shalu loses her life in an accident, leaving Deepak a shadow of his former self.

Masaan juxtaposes the lives of Chaudhary and Pathak in Varanasi, which is situated in one of the most casteist regions of India. Nevertheless, it presents their stories as being woven together. This might be a unique take on caste; Brahmin women remain oppressed, but their condition is often shrouded under the cloak of upper-casteness. Devi engages in a pre-marital affair, which attaches a stigma to her person. Her ‘Brahmin-ness’ and purity become hyper

visible, becoming a burden weighing down on her. For Deepak and the Doms of Uttar Pradesh, specifically Varanasi, a similar barrier exists. They are well economically, but that does not translate to social acceptance. They have a monopoly over the funeral rites and charge high fees for every dead body brought to them. The Dom Raja, the chief of the crematorium, would come among the upper classes of the economy and he resides in a palatial mansion. In stark contrast to the other regions of the country, it is not equipped by Sanskritisation or Westernisation to the expected degrees. No matter how affluent they are, they will never reach the social acceptance levels that their fellow Dalits do in different spatial contexts.

In the movie, Deepak yearns for greater achievements. He is conscious of his caste and the boundaries it imposes on him, but that does not deter him. Despite that, he has internalised his Dalitness and performs the cremation activities whenever he is called upon to do so. It might be plausible that his caste has marred his worldview to the extent that he cannot, no matter how hard he tries, leave those very rituals that make him ‘impure’. Some, like his elder brother, leave their homes in hopes of living a life without the weight of lower-casteness.

The movie strives to present itself as a patron for the cause of Dalits. Regardless of that, it fails to do that, falling prey to the all-powerful Savarna perspective. Jhonta, a Shudra, happens to be the servant of Pathak and assists him in his shop. Throughout the movie, Pathak exploits him, using him to gamble in diving competitions. However, towards the end, he builds a soft corner for him; Jhonta drowns in one of such competitions, and Pathak pays out of his pockets for his treatment.

A Brahmin cared about a Shudra, so much so that he paid for his treatment at a time when he was in urgent need of money.

Masaan thus posits Brahmans as father figures, which dilutes the essence of the movie. It fails to survive the dominance of the Upper-castes in the industry, The reason remains unclear.

Possibly, it might be due to the commercial aspects. Depicting the Brahmins in a negative light could have made way for a dismal financial performance, which irks the producers.

The holy city of Varanasi, despite being a spiritual centre and a place for salvation, shows the dire condition of the Doms, who facilitate the process of seeking salvation for millions. What sets the aforementioned community apart from other Dalit communities is the religious significance they carry. In fact, the final rites are considered to be incomplete without them. In a system based on ritual significance, the Doms of Varanasi are an anomaly. Despite economic affluence and the massive importance of rituals, they do not enjoy a higher economic status and remain downtrodden.

The cinematic brilliance of Masaan cannot be understated. The undertone set upon the breaking of the chains and the urge to let go of the barriers imposed by caste can be felt throughout. Whether a Brahmin or a Dom, caste in Uttar Pradesh burdens the lives of individuals in vital aspects. It would be more accurate to remark that being on the extreme end of the spectrum imposes restrictions and the weight of sanctity or impurity. The ever-lasting yearning for liberation from the burden of caste is what connects Deepak and Devi.

The lives of Doms are still dismal, with little to no improvement. On visiting the ghats of Varanasi, it would not be outlandish to see Dom children handling mortal remains. The level of education remains meagre, with students rarely going to higher educational institutions. According to a study, 48.89 per cent of the Doms of U.P. are illiterate, 33.33 per cent attended primary school, 11.11 per cent have completed secondary education and 6.67 per cent have completed their graduation2. The limited worldview they have inculcated has left them devoid of any hopes for a better future. Caste covers them like the coils of a snake and they can do nothing but wrestle with it. Being among the more economically well-off Dalits, it is difficult to formulate policies for their cause, as the image the society carries of them is deeply entrenched due to our traditions.

A Dom born today can only hope for a better future for himself, but growing up with the stench of dead bodies being burnt tends to suck every ounce of aspirations and ambitions out of the mind, rendering it soulless. On the journey towards salvation, where the Doms are the drivers, they themselves lose their souls and minds.

Author: Shoubhit Daftuar