Gargi Movie review: Sai Pallavi-starrer steals the show with its sensitive portrayal

The hues and cry of a woman in pain, the struggle against her attacker, the helpless jerks of her body are all jarring images that we have seen multiple times in movies. Sometimes, it is used to relay the grim nature of the crime, but most times, it is captured with a voyeuristic eye. One that says “look at these monsters having their way with their prey”. This perspective leaves nothing to imagine, and is mostly dead set on shocking the viewers into submission. Submitting to the message that the film is set to impart. To veer away from this conservative approach to a sensitive story is the best thing that Gargi’s writer duo — Gautham Ramachandran and Hariharan Raju — have done. The former is also the director and producer of the Sai Pallavi-starrer presented by actors Suriya and Jyothika’s 2D Entertainment.

A nine-year-old girl is sexually assaulted by five men. While the four confess to the crime at the very beginning, one of them is arrested after a few weeks of investigation. He is not connected to the other criminals, and if not for the witness’ statement, no one would have realized his actions. Yet, this man pleads not guilty. He is the security guard of the apartment, Brahmanandha (RS Shivaji). Gargi delves deep into Brahmanandha’s world — his family, his friends, and the reputation that he has within the society that he resides in. By moving away from the victim initially, and focusing solely on the crime and its accused, Gargi as a film, lets the audience make their minds about Brahmanandha’s innocence. While one does come to expect the fate of this character, the void that the victim’s initial silence leaves is remarkable. This 60-year-old man has been arrested after due investigation. Yet, the distrust that society has on its khakhi-clad officials plays games with us, Slowly, but surely, the audience begins to see Brahmanandha from the perspective of his daughter who worships him, respects him and trusts in him wholly.

It is her conviction that plays the catalyst in the case against her father. Her persistence helps her find a lawyer, because even the worst criminal deserves to have a counsel present. Her belief in her family member is similar to every women who has faced a similar situation. One where a loved one gets called out for sexual violence. The initial dismissal, the grief of being misunderstood followed by denial of it all. Gargi’s denial is so strong that she is able to push through, and break the case apart. This is reflective of the society at large. There are tiny moments that elevate this script, and the central role here is played by subversion.

Take for instance, the phrase “I am a father to a daughter too” is thrown around. This very phrase is used in different instances within the film to portray how a sentiment such as this — where a woman/girl is seen as nothing but an extension of a man — is exploited. Initially, it is Gargi who stresses on how her father could not commit a crime such as this. After all, he is a parent to two daughters. She tries to defend her father, and to add character and depth to her defence, we learn of an incident in Gargi’s past. One where her father was the hero who chased away the monster that haunted her every step. Her notion, in the face of this revelation seems fair. He is a father worth worshipping, is he not? Then comes the cop, who uses his months old daughter to emotionally manipulate the victim’s father. His mistake is what brings upon an upheaval in what had otherwise been a strong case. While he understands the weight of it, he is also in a hurry to ensure that his investigation had indeed been headed in the right direction. He uses his baby to make his request seem palatable. His intention is not to nail the wrong man, but to ensure that the criminal doesn’t slither away using loopholes provided in law. The ending, of course, disabuses one of this notion.

A sexual assaulter can be a loving husband, a doting father and a responsible son. One is not exclusive of the other, and hence is never the right defence against accusations of sexual assault. Then there is the lawyer, one who stutters upon being cornered and is looked down upon by everyone. The fact that he takes on a case that no other lawyer has the guts to, speaks a lot about society’s impression about. Then, there is the gem — one where the public prosecutor (Kavithalaya Krishnan) throws a dig at the judge for not being normal. She is a transwoman, and the prosecutor attacks her very flippantly. It is a comment that one could have mindlessly passed by, but it is back in focus when the judge responds to the prosecutor’s comment about a “normal judge” would have dealt with he case faster and better. In a powerful reclaimation of who she is, the judge (Dr S Sudha) says, “Because I know the arrogance of a man and the pain of a woman, I am best suited to decide this.”

By choosing to let the events of the film unfold through Gargi’s eyes, we are privy to a perspective that is not explored to this depth in many films. One title that does come to mind is the first season of The Morning Show. It is the perspective of the people around an accused. Their journey towards acceptance, and their actions following realization. There is a sense of calm and peace that sets in, one that is depicted beautifully at the end of the film as Gargi sits outside the police station. One where she is not only able to face the truth, but to accept all facets of it as well. She has come a long way. She has stepped out of the dark corners of her middle class home, one where she was imprisoned after her father’s arrest. To watch all of this unravel to Govind Vasantha’s music, with brilliant cinematography makes Gargi a film that draws its hooks in you right away.

While the focus is on Gargi’s realization, the way the film portrays the importance of approaching a minor victim is what truly stole the spotlight for me. The disturbing scenes stick to showing a fraction of the victim’s response to the attack on her. This fraction is enough to bring upon an avalanche of buried fears and past traumatic experience. Even when she is called upon to identify, she captured in silhouettes and side profiles.  The most affecting scene in the film is of her father crying out in pain about how his daughter, the one who ran to him for a hug now looks at him as nothing but a man. She equates him with every other man, even the ones that attacked her. While this may be torturous for a father, he realizes that his daughter is guided by her lived experience. He must live with the weight of it, just as she will for the rest of her life.

Priyanka Sundar is a film journalist who covers films and series of different languages with special focus on identity and gender politics.

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