It is not often that one gets to see films dealing with intense, political issues such as feminist and religious identity, and that too with an interesting storyline, well sketched characters, confident craft and decent performances. And when such a film falters, markedly on its politics, the disappointment is profound. This is the case with Arranged, which had all the makings of an indie classic, and was an absolutely beautiful watch till
ah well, the end!
The film is set in New York and is woven around the lives of two young women, Nasira, a Muslim and and Rochel, an orthodox Jew, who are teachers and happen to join the same school. They soon become friends, partly because they share some classes, but also because they have something in common, which is their reverence to religion. What binds them even more is their ongoing struggle with meeting prospective grooms from their own communities, as arranged by the family.
Their religious identity and perhaps conformity is a constant source of irritation for the school principal, who reminds them of the women's movement and urges them to exert their freedom and choice, including in the matter of marriage. But her brief sermons leave them rather cold, as they feel that choice is indeed available to them and that a blanket rejection of all that is traditional is unreasonable. Even as they participate in the ritual of groom hunting, they also question it many times, but only till "Mr Perfect" comes along. Then they happily get married and their faith in "God's will" is reinforced.
Such an end is somewhat perplexing and even disturbing. It is true that today when religious minorities everywhere often suffer pressure or prosecution to integrate in the 'majoritarian mainstream', their right to preserve their religious identity and traditions needs much bolstering. It is also true that feminism itself has many shades and the western liberal framework may not understand or explain the plurality of feminist experiences and expressions. To that extent, the film sensitively addresses a critical issue of diversity and religious tolerance. But religious and the traditions they sanction cannot be impervious to criticism, for these can well be violent and violate the most fundamental of human rights, especially of women, who are often burdened to be the carriers of these traditions.
'Arranged marriage' may perhaps not seem an urgent human rights issue, especially in the way it is represented here, where women do have a say in whether they like a suitor, and where they eventually find a partner of their choice. But even a glance outside this somewhat cosy narrative reveals darker stories. In India, where I come from, this institution of arranged marriage is ubiquitous, which is mostly an arrangement made by parents to keep the purity of their status, religion and caste intact, and which is often the only choice available to the majority of young women. If these women do reject this tradition and find a partner of their choice, they can face extreme consequences, such as even 'honour killings'. Not to mention that a high percentage of married women in India suffer from some kind of domestic violence but are unable to break away due to pressures of family to adjust and compromise. Given that all these marriages are religiously solemnized, a big question hangs on whether the will of family or god is always right!
There is little doubt that marriages arranged by self or family can equally be a success or failure, and that any choice is always mediated by constraints. But this film, in its happy resolution, misses this point, and ends up glorifying traditions and institutions that bear very heavy on women in most parts of the world, and which therefore need much resistance and defiance. While the film carries a valuable message of friendship and tolerance, but sadly it fails on its gender politics.
The film is set in New York and is woven around the lives of two young women, Nasira, a Muslim and and Rochel, an orthodox Jew, who are teachers and happen to join the same school. They soon become friends, partly because they share some classes, but also because they have something in common, which is their reverence to religion. What binds them even more is their ongoing struggle with meeting prospective grooms from their own communities, as arranged by the family.
Their religious identity and perhaps conformity is a constant source of irritation for the school principal, who reminds them of the women's movement and urges them to exert their freedom and choice, including in the matter of marriage. But her brief sermons leave them rather cold, as they feel that choice is indeed available to them and that a blanket rejection of all that is traditional is unreasonable. Even as they participate in the ritual of groom hunting, they also question it many times, but only till "Mr Perfect" comes along. Then they happily get married and their faith in "God's will" is reinforced.
Such an end is somewhat perplexing and even disturbing. It is true that today when religious minorities everywhere often suffer pressure or prosecution to integrate in the 'majoritarian mainstream', their right to preserve their religious identity and traditions needs much bolstering. It is also true that feminism itself has many shades and the western liberal framework may not understand or explain the plurality of feminist experiences and expressions. To that extent, the film sensitively addresses a critical issue of diversity and religious tolerance. But religious and the traditions they sanction cannot be impervious to criticism, for these can well be violent and violate the most fundamental of human rights, especially of women, who are often burdened to be the carriers of these traditions.
'Arranged marriage' may perhaps not seem an urgent human rights issue, especially in the way it is represented here, where women do have a say in whether they like a suitor, and where they eventually find a partner of their choice. But even a glance outside this somewhat cosy narrative reveals darker stories. In India, where I come from, this institution of arranged marriage is ubiquitous, which is mostly an arrangement made by parents to keep the purity of their status, religion and caste intact, and which is often the only choice available to the majority of young women. If these women do reject this tradition and find a partner of their choice, they can face extreme consequences, such as even 'honour killings'. Not to mention that a high percentage of married women in India suffer from some kind of domestic violence but are unable to break away due to pressures of family to adjust and compromise. Given that all these marriages are religiously solemnized, a big question hangs on whether the will of family or god is always right!
There is little doubt that marriages arranged by self or family can equally be a success or failure, and that any choice is always mediated by constraints. But this film, in its happy resolution, misses this point, and ends up glorifying traditions and institutions that bear very heavy on women in most parts of the world, and which therefore need much resistance and defiance. While the film carries a valuable message of friendship and tolerance, but sadly it fails on its gender politics.