As I watched ‘Sukhee,’ certain scenes and dialogues from the movie seemed to mirror episodes from my own life. I believe many middle-aged women have experienced a similar resonance with the film at some point. This is the movie's strength, providing a female-centric slice of life amidst the inundation of films like Pathan, Jawan, and Tiger of the opposite gender. It was a reminder of why I remain a Bollywood enthusiast. While the industry often churns out less-than-appetizing content, it occasionally offers delightful experiences that keep drawing you back, hopeful for more satisfying cinematic treats. The era when a stellar cast guaranteed a great movie seems long gone. These days, the prominence of a star often correlates with enduring mediocre content because the storyline and logic take a backseat to the superstardom of the hero. All other characters in the movie are reduced to caricatures. You have my commiserations if you find yourself unfortunate enough to be caught in the headlights of a superstar's film like a deer (like I did with Pathan!).
The stark contrast in the treatment of male and female actors in the Hindi film industry becomes evident when comparing the career trajectories of Shilpa Shetty, the heroine in Sukhee, and Shah Rukh Khan, the hero of our times! Their journeys began almost simultaneously in Baazigar, where SRK's character unexpectedly kills Shilpa as a form of vengeance for his family's death. The song "Kitabein bahut tho padhi hongi tumne, magar koi chehra bhi tumne pada hain" became a massive hit as Shilpa, with her statuesque height and lovely looks, made a sensational debut in 1993. For SRK, this film marked the commencement of his ascent to superstardom. While SRK continued to deliver one success after another, Shilpa's career trajectory did not experience the same rise. Her claim to fame came through winning Big Brother, a UK-based reality TV show in 2007, which did more for her than any Bollywood movie. Subsequently, she married a super-rich British-Indian businessman named Raj Kundra.
While SRK continues to dance alongside women significantly younger than him in movies with budgets reaching hundreds of crores, Shilpa finds herself confined to roles more suited to her age or serving as a host on TV shows. It's worth noting that SRK is nearly a decade older than Shilpa, yet the characters he portrays seem immune to the aging process, freezing at around 35. Despite Shilpa's undeniably stunning and gorgeous appearance, she is notably absent from the film scene, while SRK remains one of the most sought-after actors. While SRK deserves respect for his enduring popularity, the undeniable truth is that male privilege in Bollywood persists regardless of age, beauty, or talent. Both young and old actresses aspire to work with him, considering it an honor to be chosen for a role in his movies. Presently, it's not just one leading lady but 3-4, spanning various ages starting from around 18, needed to fulfill the role of a heroine in SRK's films. I observed a similar dynamic with the previous superstar, Mr. Amitabh Bachchan. Despite societal changes, the people of Bollywood and the entire country remain entangled in the web of misogyny.
Now that I have gotten that rant out of the picture, let me focus on the thrill of watching a good movie with a decent storyline that tugs at your heartstrings. The movie commences with a glimpse into the high school days of our heroine, showcasing her as an athlete, a horse rider, and an all-rounder who has no hesitation in getting into brawls with men twice her size. This refreshing introduction contrasts with movies (and TV dramas) that, more often than not, present heroines as unrealistically flawless Ms. Goody-two-shoes. The scene transitions nostalgically into Shilpa's current life, where she finds herself doing everything she and her friends vowed not to do—washing undergarments, tending to children, and getting married - from an amazing past to a dreary now.
After posting the video on Social Media, Sukhee retrieves laundry, including her husband's underwear, while her daughter awaits breakfast. "No Bachay, kachay, and Shaadi," (no kids, underwear, or marriage) her friends and she had promised to each other earlier in their lives. The wistful smile on Shilpa's face conveys the helplessness experienced by domesticated women almost daily as they shift from being princesses in their parents' homes and queens in their college life to the roles of rinse and repeat homemakers. I felt the same emotion that Sukhee does - a sense of resignation at life's path, crushing one dream after another in the guise of household responsibilities, marriage, and children. Yet, Shilpa carries on with a smile, caring for an ailing grandfather-in-law who is also her comrade in arms and seems to be the only one who appreciates all she does. The thing I like about Shilpa's character is that she tries to make the most of the life she chooses but knows very well that this is not the life she envisioned a woman like her living. She won't admit it to anyone, at least to herself, and tries to portray a happy life. But she knows what is missing but can't do anything about it. So she does what she does best - looking after kachay, bachay and husband! I won't delve into the storyline but will instead express my admiration for why this movie stands out from the rest and what could have been done differently to have made an even more forceful statement than it does.
A close friend of mine once jokingly quipped that SRK was the cause of all her marital troubles because he had painted an overly idealistic picture of love and marriage through his movies. While I don't attribute all my challenges to SRK's romantic portrayals, I agree that romantic Bollywood movies undeniably set a risky precedent for young girls. It portrays charming and seemingly perfect lover boys who would go to any lengths to set things right for their damsel in distress. SRK stands out by going above and beyond, even to the extent of assisting the family members of his beloved for her wedding to earn their trust.
Romantic love is depicted as the ultimate destination for young men and women. Despite my present understanding, I admit that during my teenage years, I was swayed and led to believe that true happiness rested in the arms of a man who adored and worshipped me. It took years to dismantle that image of a flawless lover—such a person simply does not exist. It was disconcerting that Bollywood seemed to guide viewers and couples to the altar but left us wondering what happens afterward.
Sukhee accomplishes precisely that—it unveils the reality of life beyond the fairy tale romance and elopement process. It shows you what happens after you cross the altar and start living together as husband and wife. I am genuinely pleased that the challenges a woman faces after marrying her knight in shining armor, particularly after defying societal norms, have been portrayed authentically. The film realistically captures how Shilpa must make numerous sacrifices to maintain the facade of a perfect life with a loving husband, especially for herself, given her choices. As the promise she held as a teenager gradually fades away, replaced by the reality of supporting the man she fell in love with instead of pursuing her dreams of owning a stud farm, you can't help but feel pity for the woman she becomes. From taming horses, she coyly allows herself to be tamed in the name of love.
I hope young girls take this movie seriously—that life is more than just spending the rest of your days with the man you love; it encompasses so much more. I've heard countless dialogues in films where the woman fervently prays, "Please God! Just give him to me, and I don't want anything else. I will die without him!" It all seems idyllic until you realize the rest of your life is extensive. The man you love and want to spend the rest of your life with is not just that but a package deal that includes his weaknesses, family, education, career, friends, and other aspects. Regardless of the depth of love, marriage can take its toll on even the most enchanting love stories. The best approach to marriage, as articulated by Kahlil Gibran, is to -
Love one another, but make not a bond of love:
Let it rather be a moving sea between the shores of your souls.
Fill each other’s cups, but drink not from one cup.
Give one another your bread, but eat not from the same loaf.
Sing and dance together and be joyous, but let each one of you be alone,
Even as the strings of a lute are alone though they quiver with the same music.
Give your hearts, but not into each other’s keeping.
For only the hand of Life can contain your hearts.
And stand together yet not too near together:
For the pillars of the temple stand apart,
And the oak tree and the cypress grow not in each other’s shadow.
What resonates with me in this observation is the importance of maintaining individuality and not being overtly dependent on a spouse. It's crucial to forge one's own path and support each other's growth from a distance. For an Indian woman, breaking free from the ingrained belief that her life revolves around her husband, home, and hearth can be challenging. Yet, it is essential to foster change. Whether through writing, cinema, TV, or discussions, we must dispel the romanticized ideals of marriage, acknowledging its significance without sacrificing our identity. Young girls should be shown a real picture of what they getting into and that being swept off your feet might sometimes make you fall down with a thud!
Sukhee attempts to achieve this, but only to a limited extent. It stumbles significantly in the second half, leaving me perplexed why another male character needs to be introduced into the woman's life as she navigates the world without her husband. The narrative progressed well until her attractive old friend, who harbored a lifelong crush on her, was thrown into the mix. I fail to understand why filmmakers need to establish Sukhee's desirability by introducing another man who shows interest in her. Can't she recognize her attractiveness through her personality alone? Why does she need validation from another man on how desirable she is even after years of marriage and kids? Why do they insist on conveying that, since this remarkable man is pursuing her, she remains a sought-after prize? I hope, for once, Indian cinema portrays that a woman doesn't require a male presence to determine her worth. To date, I haven't come across a movie or show that does this. Almost invariably, an eligible bachelor is waiting in the wings to validate the greatness of our leading lady. Give me a break! I don't need any man to demonstrate a woman's worth—her intrinsic value shines on its own. I don't need any man to affirm that!
I also am not on board with the ending. I had hoped for a different outcome—that she would forge ahead without looking back. However, everything must neatly fall into place in the climax, right? The man must repent, make new promises, and again, our middle-aged heroine reverts to the same teenager she was decades ago. Therefore, in the end, Shilpa is portrayed as a superwoman, much like her male counterparts, who can single-handedly defeat an entire army while recovering from a certain death. It takes superpowers on a woman's part to swiftly change a man's point of view and prompt him to apologize to the entire world while admitting his mistake. This simply doesn't occur in the real world, and even if it does, it does to a small extent, it takes years. The rapid transformation of her husband is not very convincing, and the conclusion would have been more dramatic and progressive if Shilpa had chosen not to return. Her driving the motorcycle into a sunrise would have been a powerful and inspiring sight rather than her ride to Anandkot from Delhi!
Bollywood still seems to be fumbling in the darkness to make movies that address women's issues effectively and in a manner that is not regressive but it's heartening to see at least an effort is being made, and for that, I am grateful to the creators of Sukhee. Thank you, kind sirs and ladies – after a long time, I could enjoy a Hindi film with a smile on my lips and an ache in my heart!
