Bandit Queen

This Indian movie, in Hindi with subtitles, is a fascinating work for a number of reasons. The story is based in the true-life saga of the contemporary outlaw heroine, Phoolan Devi. Devi, who was released from 11 years of imprisonment in 1994, is a legendary figure, feared by government forces and worshipped by the many, especially amongst the lower castes. She stood accused of many counts of murder and kidnapping, though many regarded her actions as an avenging angel with a kind of Robin Hood-like flair. The movie is based on diaries she wrote while in jail. Born impoverished and of low caste, childhood ended for Devi (Biswas) at the age of 11 when she was sold as a bride for a cow and a bicycle. Beaten and ill-treated in her husband's home, she ran away after he forced her to have sex with him. Her fate, as her unhappy father remarks, would be that of all women who take their life into their own hands -- she will be blown about like a leaf forever after. Well, that's a poetic manner of describing Devi's future; the reality is that her life bears a greater likeness to a mountain crashing in an avalanche. Once back with her family, the upper-caste Thakurs consider her a loose woman and fair sexual game, thus her defiance results in her banishment from the village. Next, she's arrested, raped, and beaten in prison. Following that, she is kidnapped by a gang of bandits and, again, raped. She wins the respect and love of the gang's temporary leader Vikram Mallah (Pandey), who becomes her lover and eventually makes her co-leader. Eventually, upper-caste Thakurs return to rule the bandits and kill Mallah and gang-rape Devi. Her vengeance takes the form of a brutal massacre. Following a long period during which the government was unable to capture her, Devi negotiated her own surrender, which was conducted before a cheering crowd of 10,000 people. In America, Devi's story would take the form of a cartoon superhero, an avenging feminist Wonder Woman in revolt against the rich, male patriarchy. In India (the country which annually produces more movies than any other nation in the world), Devi's story fits into the context of that particular industry. Most Westerners are only familiar with the art films of Satyajit Ray, but an elaborate structure of superstars and generic structures exist, structures which thrive on polar oppositions, spectacular action, and ritualized song and dance routines that, in recent years, have become more and more risqué. For this common woman who became a popular heroine to have her story, albeit somewhat romanticized, told on international movie screens, could be seen as one further blow against the patriarchy.