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Her poverty is relieved somewhat by employment at the zamindar’s haveli after the master’s son, Lakshman Singh (Raj Babbar) takes a fancy to her. She is left with a son, Budhua (played as an adult by Raghuveer Yadav), whom she adores, though she realizes that he has inherited her mother’s penchant for irresponsible wandering. Shanichari’s early marriage to a gadabout drunkard named Ganju ends abruptly when her husband succumbs to an outbreak of plague at a village fair.
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The tale of Shanichari’s life, told to the sympathetic Bhikni, unfolds in a series of flashbacks that occupy much of the film.
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While waiting for her client to die, Bhikni temporarily lodges in the modest home of Shanicari (Dimple Kapadia), a widow whose life has been plagued by misfortune.īorn on a Saturday (a bad-luck day ruled by the malefic planet Shanichar or Saturn), the ill-omened girl child was blamed by villagers for the untimely death of her father, and then for her own abandonment by her mother, who ran off to join a nautanki folk theatre troupe. Anticipating his imminent death, and realizing that none of his close relatives are likely to mourn him, he summons a rudaali named Bhikni (Rakhee Gulzar) from a nearby town. As the narrative begins, the dying zamindar (landlord) or Rajput nobleman of the desert village of Barna (played by a terminally obese Amjad Khan, who indeed expired during the film’s production-it is dedicated to his memory) has been shifted from his mansion to an outbuilding and is performing the rite of godaan or gifting a cow to a brahman-a meritorious pre-death ceremony thought to guarantee safe passage across the fearful Vaitarani River of the Hindu Hades. The urgent drumming and orchestral music that accompanies their dance will recur periodically as an ominous motif throughout the story. The film’s credits roll against a stylized backlit chorus of five such women, their faces concealed in shadow, dancing in unison on a surreal parquet floor that is (apparently) the film’s only soundstage set.
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The title refers to a custom in some parts of Rajasthan-where aristocratic women were long kept secluded and veiled-of hiring professional women mourners on the death of a male relative, a rudaali (pronounced “roo-dah-lee”-literally, a female “weeper”) to publicly express the grief that family members, constrained by their high social status, were not permitted to display-or at times, perhaps did not feel.ĭressed in black and with unbound hair, a rudaali beat her breast, danced spasmodically, rolled on the ground, and shed copious tears while loudly praising the deceased and lamenting his demise the ability to hire such a performer was a mark of social status. The film is unusual too in having a female director: Lajmi (who, incidentally, is a niece of Guru Dutt) was a longtime assistant to Shyam Benegal before she became a successful director of documentaries. Indeed, the women it portrays cannot rely on men for either love or support.
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Shot mostly on location in the Jaisalmer region of western Rajasthan, it features authentic regional costumes and props, somewhat less authentic (but quite haunting) music, and two famous female stars, Dimple Kapadia and Rakhee Gulzar, cast in unusual and challenging roles-the central roles in this film that lacks male heroes.
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Bhupen Hazarika Choreography: Bhushan Lakhandari Art Direction: Sameer Chanda Cinematography: Santosh Sivan, Dharam GulatiUnderwritten by the National Film Development Corporation (NFDC) and Doordarshan (Indian national television) as part of the Indian government’s controversial but ongoing effort to provide audiences with edifying alternatives to “Bollywood” entertainment, and based on a short story by famed Bengali author Mahasweta Devi-whose tales often focus on the travails of low-caste women-RUDAALI is an uncommon and arresting film. 126 minutesDirected by Kalpani LajmiProduced by Pratik ShahBased on the short story “Rudaali” by Mahasweta Devi Screenplay, Dialogue, and Lyrics: Gulzar Music: Dr.
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RUDAALI(“the professional mourner”)1992, Hindi, approx.
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