Out of all the movies that have been released this year, Kiran Rao’s directorial Laapataa Ladies happens to be my favourite. The surprise package of 2024, took everyone by surprise with its sheer freshness, simple storytelling and strong message. The movie that lifts the veil on patriarchy delivers a pertinent message to society and the country as a whole. In this Blog, I will list the factors that make ‘Laapata Ladies’ such a compelling watch and why it is important today.

The Movie Premise

If it’s an ‘Aamir Khan Productions’ you already know that the movie will be good (the production house has zero bad films) and will be touching on a pertinent social issue. But, even then Laapata Ladies seemed just so fresh and original. Set in the early 2000s, in the rural set-up of a village named ‘Nirmal Pradesh’, the movie presents the story of two ladies who are lost (laapataa), either by chance or by themselves. What follows is a fun comical ride across two different set-ups, while the two girls are able to find their actual selves, shedding off the layers of patriarchy and social norms, society had caged them into.

The story revolves around two new brides, who mistakenly get exchanged on a train while going to their ‘sasural’ with their husbands. The reason, they get exchanged is their ‘ghoonghat’ (I will come on this aspect later). Jaya, who wanted to pursue higher studies in organic farming, is forcefully married off to an alcoholic, abusive and toxic person, whose first wife ‘died by fire’ while being pressurised for dowry. Phool, has been married at a young age and has absolutely no idea of life outside the house, or even outside of the kitchen to be precise.

After they get exchanged, Jaya comes into the house of Deepak (Phool’s husband). Deepak’s mother and sister-in-law all get along with Jaya, and in the meantime, get to know how many sacrifices they have made, without even realising. While, Phool who has seen the outside world for the first time, seems very scared but soon finds helpful buddies in Manju Maai and her assistant Chotu (and also the specially-abled guy). She gives Phool some of the most important life lessons, teaches her to value one’s self-esteem, and never remain dependent on her husband, or anyone for that matter.

Eventually, as things work out, with police complaints, a little bit of investigation and a surprising climax, the two brides reach their ‘real’ destinations. Jaya, heads for her higher studies shedding off the toxic marriage she almost entered. Phool, though returns as a bride, but now she knows much more about the outside world and her self-respect.

A still from ‘Laapataa Ladies’ (Photo: The Hindu)

Direction and Screenplay

‘Laapataa Ladies’ is based on Biplab Goswami’s story ‘Two Brides’. The movie directed by Kiran Rao is a great example of delivering a strong and pertinent message in a subtle form. This is a comical commentary on patriarchy, misogyny, and women’s lack of respect and esteem. As someone aptly pointed out, it’s a “Shakespearean comedy of errors, centred around the ‘ghoonghat’ (veil).”

Kiran Rao has done a great job in setting up an early 2000 rural set-up. Whether it is the poster of ‘Kaho Na Pyar Hai’, the Cricket commentary in the background or even the Nokia phones, everything aptly takes you into the lives of these characters.

A movie is made by its characters and Rao has done a bloody great job in crafting the characters in the movie. Not just the main leads of Jaya, Phool, and Deepak, but the characters of Manju Maai (played by Chhaya Kadam) and Inspector Manohar (played by Ravi Kishan) are extremely well-crafted characters. While, the former seems a very rude lady, but slowly gives some of the most important life lessons to Phool. Similarly, a smart decision was not to make Ravi Kishan’s character a messiah type. Instead, he seems a creepy and corrupt official for quite a while, and does the most ‘hero’ thing right in the climax, leaving the audience extremely delighted.

The best thing about the screenplay is its intriguing nature. It doesn’t reveal the whole story to you, especially since Jaya’s backstory is kept under wraps for a long. This doesn’t allow the movie to completely become a comedy and keeps the dramatic suspense alive. Finally, while she ends the movie on a happy note, it’s not just a normal ending, but the characters have indeed been able to find their actual selves, making the ending all the more meaningful.

The character of Manju Maai played a very important role in Phool’s life (Photo: IndiaTimes)

Casting and Performances

This movie presented quite a challenging task for the actors, especially the lead actors. However, Sparsh Srivastava in ‘Jamtara’ and  Pratibha Ranta and Nitanshi Goel in TV soaps, have played characters from rural or conservative societies, so they did have the experience. But, still, they did a commendable job in showing different layers of their respective characters. The same goes for their accent and body language, which all seemed just perfect for the roles.

The other strong point of Laapataa Ladies is its casting. The team did a great job by putting in all the new faces. Had there been any big stars or better-known actors, the impact wouldn’t have been the same, as the audience is familiar with their style of acting and dialogue delivery. So, by bringing in a fresh cast, the movie kept the audience guessing.

Inspector Manohar played by Ravi Kishan is a comedy powerhouse with a brilliant performance (Photo: Scroll)

What makes ‘Laapataa Ladies’ Special?

As I said above, the movie’s biggest strength is its simplicity. The biggest drawback with most social films these days is that they tend to be very loud as if forcing you to accept their message. But, Kiran Rao adopts a different style, and presents the situation in front of you with utmost subtlety, and lets you understand the whole theme by yourself.

Though, the movie is a powerhouse, riding on performances, screenplay and direction, one less talked about aspect that enhances the movie’s brilliance is ‘makeup’. You are not allowed to believe for even a moment, that these characters don’t belong to that village. Pratibha Ranta and Nitanshi Goel, two absolutely gorgeous ladies, have brilliantly transformed themselves into village girls not just with their make-up, but also with their accent and aesthetics.

The third and perhaps the most pertinent point for me is the message of ‘feminism’ that it delivers. And, here I mean actual feminism, not the superficial ones that are portrayed in shitty content like ‘Veere Di Wedding’, ‘Thank You for Coming’ and ‘Four More Shots Please’. This content is nowhere close to what problems women actually face in their lives. ‘Laapataa Ladies’, on the other hand, shows the struggle of women, right at the grassroots level. And instead of showing the well-off society (though they too have their own struggles), the movie focuses on rural women, perhaps who are the most ‘voiceless’ in society, and shows how the meaning of ‘feminism’ starts right in your house by the way you treat, respect and empower women.

The character of Jaya is an inspiration for many women in this country (Photo: Money Control)

The Use of ‘Ghoonghat’ in the Movie

The movie, while presenting a satirical view of patriarchal trends in society, revolves around the use of ‘ghoonghat’ (veil). In the initial scene, when Jaya is getting ‘vidaai’ (bride going to the groom’s house), her face is all covered in a veil and she slips a bit. On this, a relative tells her, “Ek baar ghoonghat le liya, to aage nahi neeche dekh kar chalna seekho (Once you have put up the veil, start looking downwards). This line very strongly and effectively presents the exact idea behind a veil.

The other scene, is also one of the most popular, when Deepak is searching for Phool, and shows her photo to a shopkeeper. But, in the picture, Phool’s face is covered in a ghoonghat. The man says, “Covering a woman’s face means hiding her identity”, just after which his own wife comes from behind, who is herself in a burqa. The funny scene delivers a pertinent message really well.

In the climax, when Phool finds Deepak (yes, and not the other way round), I guess many would have noticed, that Phool is not wearing the veil, and that is precisely why the two can find each other. Not just this, but the other restrictive stuff, she sheds off is the practice of not taking the husband’s name. It was the first (hopefully not the last) time Phool called Deepak by his name, and that’s the point where she is able to find her husband, family and life back.

Now, in the very end, after Deepak leaves with Phool after sending Jaya on her bus. Deepak’s family goes in a van, while he and Phool decide to come behind, together. If you watch closely, a breeze comes and Phool’s veil falls off her shoulders. She tries to put it up again, but just halfway through she stops (intentionally or unintentionally) and walks without a veil up her head. This scene kind of, just shows Phool finding her actual self, who can carry herself with confidence, without the need for any ‘ghoonghat’ or artificial covering.

The team of ‘Laapataa Ladies’ did a stellar job and Aamir Khan Productions is a gem (Photo: News18)

Great Scenes of ‘Laapataa Ladies’

A crucial message that the movie presents in a veiled satirical take is when Manju Maai’s character tells Phool, that the biggest ‘fraud’ that has been happening with women is they being labelled “acche ghar ki bahu beti”. This tag is a smart way of the patriarchal society to always keep a woman under ‘control’.

Taking the attack further, Manju Maai rightly says, that a “Woman can grow the food, and also cook it, she can give birth to a child and also raise him/her…so there is not much of a need of a man in a woman’s life.” This is again, a very strong and satirical message asserting the case of ‘independent woman’.

Another brilliant moment for me was again featuring Manju Maai when she tells Phool that her husband used to hit her, as the common perception in society is “It’s your right to hit someone you love”. After this, Manju Maai says, “Ek din hum bhi ghuma ke apna haq jata diye (So I also asserted my right one day)”.

An important scene comes when Ravi Kishan’s character asks Jaya to tell her husband’s name, but she refuses (because of the stupid practice of not taking your husband’s name). At this, the inspector shouts, “What kind of people are you…Gumnaami se zyada, badnaami ka darr hai” (You are more scared of getting a bad name than being lost).

A very beautiful scene is between Jaya and Deepak’s mother. When Jaya praises the food, Deepak’s mother talks about how she doesn’t even remember what food she liked, as all that is made in the house is the choice of men. This scene prompts you to undergo self-introspection about the women in your own life, and how much sacrifices they make in daily lives without you realising it and after a point, without even them realising it. So, the ‘feminism’ that we talk about, first needs to start at home, for how much you respect their selfless service.

The next scene I am pointing out might be a less talked about one. This is when Jaya is telling her mother that she wants to study further and work towards organic farming. Her mother, on the other hand, refuses her demand right away and instead says if she stays like a good wife, her husband “might” allow her to study. As Jaya asks, “But what if he doesn’t”, her mother replies “To bhagya tumhara” (then that’s your destiny). It shows, how it is very easily believed that a woman has to accept whatever her ‘destiny’ offers her, instead of charting her own path.

Finally, the reference of omens in the story. Now, those who don’t know ‘omens’ is a reference Paulo Coelho makes in his ‘Alchemist’ book, referring to indications, that life gives you while pushing you towards your ultimate dream. Jaya tells her backstory, that she was ready to accept her destiny and get married off, but in the dark train, Deepak by mistake held her hand and took her out with him. Jaya says, “Life was giving me such a strong indication, how could I have stopped.” This was a beautiful and touching reference to ‘omens’ and definitely one of my favourites.

Best Movie of 2024

So, undoubtedly, ‘Laapataa Ladies’ is the best movie from Bollywood, that has come out of Bollywood, and I am pretty sure, it will remain the case even by the end of 2024. As I explained, how the movie presented a pertinent message to its audience, with such simplicity. I also elaborated on the movie’s performances, casting and screenplay, everything adding to the movie’s impact. I also presented some of the most important scenes in the movie. And, I haven’t even delved into those extremely funny scenes that leave me laughing hard, despite how many times I see them.

Many movies come and go, across genres, from action to comedy to horror to rom-com, but it is movies like these, that make an impactful role in society. Delivering a strong message, without making the audience realise that it’s a preachy job is a tricky job, and Kiran Rao and her team aced it. A big congratulations from my side to the whole team for this beautiful and important movie, that will be remembered for a long time for being a different and bold movie.