Starring Neha Dhupia, Sachin Khedekar, Sonu Sood
Directed by Ashwini Chaudhary
Death & The Maiden....not again! We saw a female director Kannika Verma do an interpretation of a
rape and justice in Dansh. Now a male director, and a fairly sensitive director who did the tender
and moving Dhoop, goes at the Roman Polanski film with a zeal that careens between staged
drama and filmed melodrama.
Done mostly on a set representing a Muslim couple's well-appponted home Siskiyan recreates
the horror of the traumatized wife's rape during communal riots in Gujarat in the hands of a doctor
who comes visiting.
The night-long drama unfolds with considerable élan. Director Ashwini Chaudhary turns the original
material inside-out. While the Muslim woman's rape in the hands of Hindu doctor becomes the
fulcrum of the narrative's movement through a maze of exacerbated emotions, the film makes
space for some pungent dialogues on how the male gaze falls on feminist issues regarding tender
Celeverly, the director delays the inevitable inquisition of the rapist in the hands of his victim. A large
part of the film's earlier portions are devoted to a growing camaraderie between the husband
(Khedeker) and his mysterious guest (Sood).
As the journalist and the doctor drink into the night we are led to look at the masculine perception
as being incurably predatory.
In one way or another the woman gets constantly ravaged by the male gaze. This theme is
delivered like a splendid blow splattering across the frames .
Writer Sanjay Chauhan makes the verbal exchanges come alive blow by blow, until we are left with
the reality of the rape, and the victim trying to come to terms with her ravaged past by taking her
tormentor to task.
The pounding over-punctuated background score by Surinder Sodhi takes away the staginess of
the stage- play. The cinematography by Arun Verma is ripe and saturated. It spotlights the sense
of denuded nostalgia.
If only the narrative had averted the catastrophic utterly manipulated climactic outburst where, in a
hill-top confrontation, the doctor finally shows his rapist's claws . The climax is more akin to what
the producer Guddu Dhanoa does in his masala movies than what the sensitive director would do to
a story about a certain tragedy coming to catastrophic fruition.
Nonetheless the well-crafted play-on-film moves through a maze of melancholic hysteria, with
enough anguished energy to keep us watching.
Both the male actors play against each other with sparring splendour. Khedekar is acutely attuned
to the husband's character's opportunitic vanity. Sood is slightly too young and callow to pass off as
a jaded rapist. He looks specially unconvincing smoking the pipe. But is sufficiently whiny when
confronted by nemesis.
But the film belongs to Neha Dhupia. In a role that demands her to pull out all stops, speak ugly
venomous lines about male vanity and other vital organs, Neha just lets the ravaged character turn
into a smouldering mass of hurting pained womanhood. Her vocal descriptions of what rape
means to a woman are done with a frank sensitivity, bordering on a true confession of a woman who
can stand outside her body to look at her own violation.
Both the central performance and the storytelling devices used by the director make this a superior
version of Death & The Maiden than Dansh. Though understandably its arrival in theatres after
Dansh puts Siskiyan at a disadvantage.
That's fine. This is a film that isn't about comfortable positions and places in life.