Written by Randeep Singh
Dedh Ishqiya is no “Brokeback Mountain” in Hindi cinema. The story of its two gay characters – Begum Para (Madhuri Dixit) and her lady-in-waiting Muniya (Huma Qureshi – is just one ingredient in the masala. The scene where the Begum remembers how she became estranged from her husband, a homosexual Nawaab, could have made for a more complete, compelling film. Instead, it’s a thirty second narration while elsewhere we’re treated to a Tarantino-style shootout to Begum Akhtar’s ghazal “Woh Jo Ham Mein Tum Mein.”
As a film on (homosexual) love however, Dedh Ishqiya is commendable. First, it shows desi gays as human beings. Prick them and they’ll bleed, tickle them and they’ll laugh. The Begum says that her husband the Nawaab, was not into women and that after his death, the Begum herself found comfort in the arms of her lady-in-waiting Muniya. It’s not clear whether the Begum was in fact homosexual – it’s almost implied that she became one – but that ambiguity aside, the Begum and Muniya, are gay and human.
Second, Dedh Ishqiya does not resort to stereotypes or sensationalism respecting the homosexual desi. Girlfriend (2004) had to have its “hot” lesbian love scene and Dostana (2008) elicited laughs from straight guys “playing gay.” In Dedh Ishqiya, the Begum and Muniya love one another even if that love is confined to the four walls of their mansion. When speaking of Muniya in one scene, the Begum recounts, “woh hamaari saathi, hamaaari hamdard aur ab hamaari jaan bhi hain” (‘she’s my companion, my sympathizer and now my darling, my life too’). The desire between the two is subtle but palpable whether it’s in Muniya’s intense gaze at the Begum or Muniya’s massaging the Begum’s arms.
Third, Dedh Ishqiya shows its homosexual characters making a new life for themselves. In a Thelma and Louise style sendoff, Muniya and the Begum drive off into the sunset, pawn off an essentially priceless necklace and use the money to set up their own dance school (the Begum was once an accomplished dancer). It’s an ideal situation in an otherwise than less ideal society and culture for homosexuals. I could not help but feel though, when listening to the closing song, “ Hamri Atariya Pe Aa Jaa Re Saawariya” (‘Come on to my rooftop darling’), the song was an invitation to gay desis to come out and sing.