Narayan’s liberal views are tested when he falls for the beautiful Kalyani and proposes marriage to her. Kalyani decides to revolt against Madhumati’s dominance. Madhumati reasons that they will go to hell if Kalyani re-marries, but Kalyani has already made up her mind. Narayan decides to introduce Kalyani to his parents. But when she spots the house they’re heading towards, she insists they turn the ferry around.
Narayan is confused, but Kalyani tells him to ask his father the reason. When Narayan learns that his father had sexually exploited Kalyani, he feels disgusted. Kalyani commits suicide, while Madhumati and Gulabi pimp out the little Chuhiya.
Water wears on its resplendent sleeve is a quality that sets it apart from other reformist dramas. The film has a great deal to say about the plight of socio-economically challenged women, specifically the widows of Varanasi in the 1930s.
A quality of luminous lyricism runs through the narration, especially in the romantic interludes between Narayan (John Abraham) and Kalyani (Lisa Ray), which are designed like a modern-day reworking of the Radha-Krishna mythology. The film is a mix of humour, drama and tragedy.
Exquisitely photographed by Giles Nuttgens in shades of bottle green and sea-glass blue, Mehta’s film combines humanist drama and Bollywood romance. Many moments in Water would comfortably qualify as pure cinema.
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