{"id":5842,"date":"2016-07-15T19:08:01","date_gmt":"2016-07-15T13:38:01","guid":{"rendered":"http:\/\/13.201.39.237\/?p=5842"},"modified":"2026-07-17T21:53:13","modified_gmt":"2026-07-17T16:23:13","slug":"shyam-benegal-hari-bhari-shabana-azmi","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=5842","title":{"rendered":"What Shyam Benegal\u2019s Hari-Bhari Gets Right About Women\u2019s Right To Their Bodies"},"content":{"rendered":"\nT<\/span>he opening credits of Shyam Benegal\u2019s <\/span>Hari-Bhari<\/span><\/i> (2000) flash with a ditty \u2013 \u201cMain kitti baar bola na ji ujla kapda pehno nakko<\/span>\u201d <\/span><\/i>\u2013 playing in the background in Shabana Azmi\u2019s voice. It is the same song the actress hummed as Rukmini Bai, the canny <\/span>brothel<\/span><\/a> madam in Benegal\u2019s <\/span>Mandi <\/span><\/i>several years ago. The lines further go \u201cTu sada sabas pari rahe, godi hari bhari rahe,\u201d indicating the inspiration behind the title of this social drama that discusses family planning and women\u2019s right to their own bodies. Produced by NFDC and the Ministry of Health and Family Welfare, <\/span>Hari-Bhari<\/span><\/i> revolves around the impact of fertility on Indian women narrated through the stories of its five heroines \u2013 Hasina, Ghazala, Najma, Afsana and Salma \u2013\u00a0 who make up three generations of lower middle-class Muslim women living in a joint family in rural Uttar Pradesh.\n\nIn the film, Ghazala (<\/span>Azmi<\/span><\/a>) is thrown out of the house by her abusive husband who also chides her for being unable to give him a male heir. Along with her teenage daughter Salma (Rajeshwari Sachdev), she seeks shelter at her mother\u2019s place. The old, ailing mother Hasina (Surekha Sikri) lives with her sons, daughters-in-law and grandkids. Her pregnant older daughter-in-law Najma (Alka Trivedi) is struggling with the daily grind and deteriorating health; successive pregnancies have left her frail and irritable. Afsana (Nandita Das), the bickering younger daughter-in-law believes in the solemn duty to bear children. Contrasting her is Salma, the youngest daughter in the house, who aspires to get educated and become self-sufficient.\n\n\"Hari\n\n
\n

The director manages to weave multiple women\u2019s issues like education, financial identity, and religious dogma skillfully into a narrative that underlines the quotidian struggles of an average village household.<\/p>\n

National Film Development Corporation of India<\/p>\n<\/figcaption>\n<\/figure>\n\nBenegal\u2019s cinema, part of the Indian New Wave, is known for putting the nation\u2019s socio-economic and political equations under the scanner. While <\/span>Nishant <\/span><\/i>(1975) rankled at the ruthlessness of the feudal system, <\/span>Kalyug <\/span><\/i>(1981)<\/span> lamented the eroding morals of the corporate world, and the director\u2019s last outing <\/span>Well Done Abba!<\/span><\/i> (2009) was an ironic take on populist government schemes. Regardless of their themes, the filmmaker has always been preoccupied with the complexities of human emotions. <\/span>Hari-Bhari<\/span><\/i> allows him to fully exploit these themes. In it, Benegal examines the influence of societal conditioning and ingrained <\/span>patriarchy<\/span><\/a> on women\u2019s psyche and how it affects their traditional roles and relationships with other women. There\u2019s judgment and resentment as there is support and empathy. Benegal highlights this inherent dichotomy in with a peculiar conflict: When asked if a woman has rights over her body, the answers from each woman in the family differ in their scope.\n\nIn the film, a young, educated Afsana enjoys material luxuries of the modern world like a colour TV and costly cosmetic creams but frowns upon modern contraceptives. She calls them ungodly and declares her husband a sinner after finding out about his vasectomy. Najma, on the other hand, struggling with postpartum depression, equates herself to the family\u2019s buffalo \u2013 her existence is reduced to feeding the brood and bearing babies. When another one of her newborns dies, the grief-stricken woman decides to get her tubes tied. Ghazala, a victim of <\/span>domestic violence<\/span><\/a> and marital rape, is almost relieved to have broken free from her brutish husband\u2019s clutches. \u201cKisi doosre ki marzi ka ghulam banne se toh achcha hai ki insaan akele hi rahe,\u201d she asserts. A dignified Hasina speaks of an era when a girl\u2019s choice didn\u2019t matter. As a teenager, she was forced to give up her love and marry her older widowed brother-in-law. Turns out things hadn\u2019t changed much for women when her grand daughter Salma is asked to quit school to get married as well.\n\n

In a sense, Hari-Bhari<\/em> is disguised as a vehicle to push the government\u2019s message of the importance of family planning.<\/p><\/blockquote> \n\nHari-Bhari <\/span><\/i>also draws attention to the perilous ignorance about women\u2019s reproductive health. There\u2019s a scene where Ghazala is surprised to learn from her gyneacologist that it\u2019s the father\u2019s genes that determine the sex of a baby and another where an anemic Salma is convinced that she is pregnant because of an irregular period. But what hits the hardest is the severely-ill Hasina discovering that the reason for her cervical cancer are her teenage pregnancies. The old lady\u2019s fate is a rude awakening for the family \u2013 Ghazala in particular \u2013 who upon realising the horrors of underage <\/span>marriage<\/span><\/a> ensures that Salma doesn\u2019t suffer the same fate.\u00a0\n\nIn a sense, <\/span>Hari-Bhari <\/span><\/i>is disguised as a vehicle to push the government\u2019s message of the importance of family planning. Yet it is to Benegal\u2019s credit that his vision is never limited by that diktat. In fact, the director manages to weave multiple women\u2019s issues like education, financial identity, and religious dogma skillfully into a narrative that underlines the quotidian struggles of an average village household. The modest settings combined with local lingo and colours lend to the film\u2019s authenticity.\n\nYet the movie\u2019s biggest triumph lies in what it manages to get right about women\u2019s autonomy. A slate of recent films centred around <\/span>women\u2019s issues<\/span><\/a> like <\/span>Padman<\/span><\/i> (2018) and <\/span>Toilet: Ek Prem Katha<\/span><\/i> (2017) have ended up looking like glorified public service cinema with a male saviour complex. In comparison, Benegal and screenwriter Shama Zaidi craft a compelling story about the self-sabotage that is being a woman, one that is seen through and experienced by its female players. For that alone, <\/span>Hari-Bhari <\/span><\/i>deserves your attention.\n","protected":false},"excerpt":{"rendered":"

While films like Padman and Toilet: Ek Prem Katha have ended up looking like glorified public service cinema with a male saviour complex, Shyam Benegal\u2019s Hari-Bhari is a fine example of building a compelling story about women\u2019s autonomy.<\/p>\n","protected":false},"author":291,"featured_media":5845,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[9776,2736,5256,1234,7456,9777],"class_list":["post-5842","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-infertility","tag-padman","tag-patriarchy","tag-shabana-azmi","tag-shyam-benegal","tag-toilet"],"yoast_head":"\nWhat Shyam Benegal\u2019s Hari-Bhari Gets Right About Women\u2019s Right To Their Bodies<\/title>\n<meta name=\"description\" content=\"While films like Padman and Toilet: Ek Prem Katha have ended up looking like glorified public service cinema with a male 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