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Don't Enjoy 'It'. Just Suffer It !
Oct 09, 2003 10:15 AM 19246 Views
(Updated Oct 09, 2003 09:28 PM)

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The King of Malla (Anant Nag), is perturbed and restless. Tonight was the night it was to happen. He had agreed to it in absolute reluctance.


Since the King is incapable of having a heir, the Senate decides that the Queen, Rani Sheelavati (Sonali Bendre) must follow the then prevalent custom of ‘Niyog’ a - selection of a suitable mate for one night by the Queen, in case the King was impotent.


Rani Sheelavati’s consent wasn’t sought, she had to merely follow orders of the Senate, However, if it’s a consolation, she is given the freedom to select the one-night mate.


Rani Sheelavati, loves her husband, impotent or potent. As she mentions, she never even felt anything lacking in her husband’s unlimited and near devotional love.


To make matters worse for the hopelessly in love with each other Royal couple, the Senate orders the King to hand over a garland to the Queen, as a consent to spend a night with a male of her choice, before she leaves the palace for a night.


Rani Sheelavati departs in a daze, the King spends the night pacing up and down in his chamber, now angry, now helpless, pouring out his heart to Mahatrikka (Deepti Naval), the trusted maid in waiting common to him and Rani Sheelvati.


Rani Sheelavati returns early next morning, and then….


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Anaahat – The Eternity


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Director Amol Palekar’s Marathi feature film Anaahat is inspired by playwright Surendra Verma’s Hindi play Surya ki Antim Kiran se Surya Ki Pehli Kiran Tak.


Amol Palekar delves sensitively into debunking the popular definitions of sexuality, potency and the partaking of sexual pleasures. This is a tastefully bold and uncompromised screenplay keeping away all formulaic elements. The one night stand with the stranger is only refered to, keeping the movie suitably devoid of anything voyueristic. Handpicked, subtle, yet hard-hitting, metaphorical, dialogues also make the character interplay in Anaahat worth watching.


The 90 minute movie has languorous pace and an exotic ambience, in terms of picture perfect and majestic locales (Hampi, Karnataka), sets abounding in muted regalia (Nitin Desai) ornate and elaborate costumes (Jayoo Patwardhan), and Uday Bhawalkar’s dhrupad vocals.


Amol Palekar’s handling of crucial sequences is excellent. All characters maintain a subtle dignified presence at the same time bringing out their respective inner turmoil. However, the hurried and abrupt ending jars and leaves the viewer unsatisfied.


Deepti Naval as an actress gives a spark to even parts that are sidelined in a movie (Mirch Masala). As Mahattarika, the patient maid-friend to the Royal couple, she is impressive as ever. Anant Nag perfectly expresses the helplessness, turmoil and angst in his character most superlatively. The stunningly beautiful Sonali Bendre is the scene-stealer, with her first ever role of substance, giving a mind-blowing performance too.


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Issues pointed out in Anaahat:-


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~ A woman is not expected to be even aware of her sexual desires, forget vocalizing them


~ She must never discuss the pleasures of sex. And least of all, she dare not compare the sexual performance of two men.


~ Even if she enjoyed sex, she must behave like it had tormented her and was the worst time she ever had. Don’t enjoy it, just suffer it.


But, Anaahat certainly and thankfully not one of those vociferous, scream till you go blue in your face feminist movie. It is a well-balanced view that also delves into the male psyche:-


~ A man must consider himself primarily as a medium to provide sexual fulfillment to his wife


~ The man has to under any circumstances propagate his progeny to be considered a man


~ He will be at risk of losing his wife forever the moment she encounters a more sexually adept man in bed, and has to keep her under wraps and hidden.


Anaahat also asks how much importance does sexual pleasure hold in a life-long commitment of two lovers?


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Scenes that stand out


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# The King’s soliloquy before Mahatrikka on the night of Niyog


# Memories enlivened in the Royal couple, while he is handing over to her the garland to select the mate.


# Rani Sheelavati’s tearful dilemma on how can she, the Queen, someone brought up in a protectedly Royal manner, be expected to conduct an, intimate no-holds barred act with a complete stranger.


# Mahatrikka cautioning Rani Sheelavati about sexual pleasures and keeping up appearances.


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At a time when even the not so mainstream, niche, so-called meaningful Bollywood cinema is as meaningless as ‘Mumbai Matinee’, Anaahat is a film connoiseur’s delight.


Let Marathi language not be a deterrent to Non-Maharashtrians, as it is almost like watching a Hindi movie. The film has a limited release and is showing in two theatres in Bombay. At Plaza, and with English subtitles at Fame. Certainly not to be missed!


Official website:- https://saarth.com/


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