Deeksha
It was a nice change to watch a movie with a sociological lens, for this practicum. Caste and class ideologies that prevail in Indian societies and their cultures are prominently displayed. Durkheim’s idea of religion being the basis for collective conscience that shared the moral beliefs of sacred and profane in society has been brought out well in this movie.
Deeksha’s storyline is adopted from a novel written by Dr. UR Ananthamurthy. As is typical in any Anathamurthy’s stories, it leaves us with more questions than answers to the various problems.
There are many symbolic systems shown in the movie that were strictly followed in the early ages and still prevails in many parts of our country. Food is shown as an important theme in the movie to symbolise the class and caste of the people in the community. The Brahmins gave food an important place in their culture. They practised rituals such as taking bath before cooking, eating, chanting ‘mantras’, and considered themselves superior as they thought these were sacred practices. The sudra community on the other hand who had the privilege of eating meat, booze/smoke in the open, spoke without restrictions, which were considered profane by the brahmins. This symbolises the class divide between them that became an accepted norm in the communities. We see in the movie Koga who is the Sudra, ensures that he does not cross the paths or touch the Brahmins and accepted the food that was thrown to him, showing that they accepted the power and authority imposed upon them and took into their stride, the oppression by the upper class. In a particular scene, he mocks at the Brahmins by telling little Nani who insisted on touching him that he can touch the sun, the sky, the trees and even God, but not the Brahmins, which the little boy was unable to comprehend.
The other contrast of sacred and profane is seen, when the daughter of the Acharya who is a widow, suddenly faces opposition and is rejected by all when she becomes pregnant during her father’s absence from the Gurukul. She was in for a rude shock when Srikar (the acharya’s favourite student) who comes to teach the children in the gurukul during acharya’s absence, also scorns and rejects her, who otherwise wanted her to be happy. Despite the best interest of Srikar and the Acharya for the widowed daughter, they were unable to stand up to the societal and cultural pressures when she needed them the most. Ultimately, their selfish interests took precedence over humanity and they disown her. This according to me is the most profane act by the Acharya, Srikar, the Brahmin community and the school master who got her pregnant and forces her to abort the child. However, the little boy Nanni who comes to learn the scriptures from the Acharya and Koga the Sudra, excellently played by Nana Patekar in the movie, brings out the sacredness of humanity. They outplay all other emotions and ideologies of the upper class when both of them showed their love and care for the girl in her agony. Koga, who obeyed and accepted his status all the while, was shocked at the decision of the Acharya to disown his daughter. When he begs him to accept his daughter, the acharya laments some slokas in Sanskrit to which Koga responded back at the acharya in his own language using the ‘slokas’ that he learnt from the back, leaving the acharya puzzled. Koga proved that the slokas and the scriptures can be learnt by all but what’s its use when it did not come to the help of his daughter. This really shows that the innate human values of love, caring, sharing and helping in need gets disillusioned once they are bound by cultural classifications in the society. Only, if we can see beyond this and accept all as human beings, can we come out of the shackles of this caste and class divide.