Examining Bulbbul (2020): A Tale of Revenge in the Supernatural Realm
Anushka Sharma’s Bulbbul is a dramatic critique on the embedded patriarchy and the age-old vices which prevailed in the 18th century Indian society and continue to fester till date. Set in 1881 colonized India, the film follows the life story of the namesake protagonist Bulbbul who as a child, was married to a man more than 5 times her age. The incidental life events that happened to her in the due course of her journey eventually lead her to becoming a ‘chudail’ (witch). Standing at the periphery between supernatural, magical realism and realism domain, the film boasts of immaculate cinematography and a proficient cast.
Intended to make a larger statement on the turpitude of human beings, the film focuses on the issues of inherent flaws, jealousy, and deep rooted regressive ideas of patriarchy, women morality and honour, with the central theme being women empowerment. Contrary to what some viewers might believe, Bulbbul (the film) never tried to conceal who the witch was. Time and again, there are instances where the filmmakers haven’t shied away from giving in to the secret. In a conversation with Satya Thakur, Choti Bahu talks about who could possibly be the ‘chudail’. This question is immediately answered by a caller who says ‘Badi Bahu’. Although the context is different, it is enough for the viewers to get the hint.
Another theme which the film advocates is that both angels and demons lie within us, and that comes out well. Bulbbul (the character) is condemned as a ‘witch’ by some but is also hailed as ‘devi’ by the others. The film follows a very distinct and impressive red and blue cinematography to somewhat distinguish these elements. But the lack of an adept narrative makes it impossible to establish empathy, relatability or understanding with any of the characters. It’s almost like the writers have imagined the characters to be unearthly, devoid of any human feelings who fail to evoke any emotion in the viewers. Besides, it goes back in the times with its themes- the heroine needs to be pure to become empowered later on. There are no layers to the conniving, entrapped character of Choti Bahu, Satya doesn’t have compassion or even passion for his love, Thakur Moshai’s character has no depth and his intentions are unclear (except being jealous ofcourse).
The rape scene is the one part which is especially bothersome. It’s gruesome, it’s grotesque, it’s bloody, it’s just WRONG. The bigger question here is why do people always associate rape with virginity or blood or accidents. A rape could happen as quietly in a bedroom, without there being any blood or any dramatic screams. And yet, it will still be a rape. Still one of the most heinous crimes! Something really, really terrible to happen to anybody in the world. So when, Bulbbul attempts to invoke empathy by somehow trying to manipulate the intensity of a woman’s misery by showing her as a virgin who was raped, the idea is condemnable. Even if we do not exclude the possibility of a rape in the narrative, it didn’t had to come toppling over a million other mishappenings in her life right then. Especially not when she was a virgin. Also, we do not need to go back to the rape-revenge-bloom age of the Indian cinema. We have come too far to indulge in such regressive and long past ideas.
Another element that did not work in favour of the film is it’s supernatural aspect. Bulbbul tried to base its premise of a witch on three particular features which are a combination of different mythologies- killing people just by a neck bite (vampire), having back to front feet (Indian mythology) and appearing out of thin smoke (supernatural) which are later justified and attributed to Bulbbul (the character). So whether Bulbbul was actually a witch (cause in a particular scene, she did come back to life after she died), the lucidity of the fact is left for judgement by the viewers. The central reasoning gets stuck somewhere on the middle ground where it’s neither entirely drama nor entirely supernatural.
Even before half the duration of the film, one can easily guess the plot where jealousy drives people to commit grave crimes. And soon after, it becomes a repetition of facts and the viewers will find themselves waiting for an interesting twist. And even if there come any, you can guess it from a mile away. If that was not enough, the film will drag on to give you some more on-the-face-explanation of facts. Because subtlety? Wo kya hota hai!
To analyse further, the film is nice in bits and parts- while it can keep the viewers hooked for most part, still it won’t take a genius to point out the weak storyline. Even its most scintillating visual shots are not able to redeem the very thinly written script. Boasting of a gorgeous colour scheme, striking frames and brilliant cinematography, the aesthetics will seem to speak to you from the screen. The crimson night sequences are as beautiful as the sunny day sequences. The geography has been chosen carefully and it shows! And it helps in giving a very quaint charm to the film. The sets have been perfectly done with pleasing props and diligent lighting.
That being said, Rahul Bose as Thakur Moshai and Mahendar, has given an incredible performance in a double role. Tripti Dimri as Bulbbul is like a breath of fresh air and has won several hearts (and now accolades) for her winsome acting and charming expressions. Avinash Tiwari is his usual best, who very successfully managed to portray Satya Thakur as the shadow image of his hypocrite older brother. To conclude, I’d draw your attention to the last scene when Satya is leaving the haveli and in voiceover, we hear him say, “Thakur Dada, hamesha sochte the bade hokar aapke jaise banenge…Par aaj ye ghar chodkar ja rahe hain… Isi dar se kahin aap jaise na ban jae…” Which is ironic because guess who left the house 6 years ago right after almost killing his wife? But having said everything, I urge you to go watch the film, form an opinion and come back to tell me about it? Happy watching :)