Divya Paledhara's blogs: July 2025

Saturday, July 19, 2025

“From Punishment to Possibility: Rethinking Education through Sitare Zameen Par”

Hello Everyone!

This blog is written as part of our Thinking activity on film review, this task assigned by Megha Trivedi Ma’am. After reading the short story “Crime and Punishment” by R.K. Narayan, which explores the rigid education system and the dynamics between a child and a teacher, we watched the film "Sitare Zameen Par". This reflective blog attempts to compare both works and explore how they differ in tone, message, and emotional impact, also comparing both narratives and exploring themes such as the education system, parenting, and the responsibilities of teachers.

Sitare Zameen Par

👉🏻 This blog aims to explore and reflect upon:

How the movie Sitare Zameen Par portrays the education system
The message it conveys about the role of teachers and parents
Its comparison with the short story Crime and Punishment
My personal feelings and learnings after watching the movie

1. How does the movie portray the education system?

Sitare Zameen Par paints a deeply moving and honest picture of the modern Indian education system, and more importantly, its harsh realities. The film's young protagonist, a boy with immense artistic talent, is constantly ridiculed and punished for not performing well in school. His struggles with conventional learning methods are misunderstood as laziness or disobedience. The school, rather than trying to understand him, becomes a place of fear and humiliation.

In movie, the education system is shown as a mirror of today’s academic culture—competitive, mechanical, and often emotionally detached. The film boldly brings to light the gaps between what children need and what the system provides.

Here are the key ways the movie reflects our current system:

a) Overemphasis on Academics

The film criticizes the pressure to perform, score, and succeed as per predefined metrics.
Children are judged by grades, not growth.
Example: Gulshan, a teacher himself, once echoed the pressure-filled mindset.
- Dialogue: “Jeetne wale ko hi sab yaad rakhte hain. Baaki toh sirf number hote hain.”
  (Only winners are remembered. The rest are just numbers.)
- This reflects a harsh truth of modern schooling—success is measured in ranks, not resilience.

b) Neglect of Emotional and Mental Health

The movie shows how the system often fails to acknowledge behavioral disorders or emotional needs.
A child struggling emotionally is often misunderstood as being “undisciplined” or “lazy.”
Dialogue: “Unka dimaag normal nahi hai… toh unka school bhi alag hona chahiye?”
(Their minds are not ‘normal’... so should their schools also be separate?)
- 👉 This line questions the stigmatization of neurodiverse children in mainstream schools.

c) Lack of Inclusivity and Flexibility

Schools in the film are shown to follow rigid rules, offering little space for creativity, play, or individuality.
Children are expected to fit into molds instead of being nurtured as individuals.
Visual Example: The classroom scene where Gulshan initially mocks and scolds the children, highlighting how many educators are conditioned to seek obedience over understanding.

d) Reflection of Real-World Schooling Today

In the real world, children with autism, ADHD, or learning disabilities are often punished for behavior they can’t control, rather than being supported.
Many parents and teachers still lack awareness of neurodiversity, leading to emotional trauma for the child.
This is where the movie becomes a strong wake-up call for educational reform.

🔹 A Moment of Realization

Gulshan’s character evolves through the story, and the shift in his tone reflects a deep learning.
He later says:

“Agar maine unki duniya nahi samjhi, toh mera sikhaana kya kaam ka?”
(If I don’t understand their world, what’s the use of my teaching?)

The movie explores how rote learning, memorization, and examination pressure dominate school life. There’s little or no space for creative expression, emotional intelligence, or personalized learning. Children who think differently are often pushed aside, labelled failures, and robbed of their confidence.

One impactful scene is when the teacher says:

“Har bachcha special hota hai.” (Every child is special.)
This line becomes a turning point not just in the film, but in how we perceive education itself.

In contrast, R.K. Narayan’s “Crime and Punishment” shows a boy being physically punished by his private tutor for not remembering arithmetic. This reflects a more traditional style of teaching, where obedience was expected without question, and punishment was accepted as a tool for improvement.

Together, both the story and the film expose how punitive, fear-based education fails to bring out a child’s true potential. The film, however, goes beyond criticism—it proposes a better, more humane alternative.

2. What message does the movie give about the role of teachers and parents?

The film offers a strong and clear message: teachers and parents hold immense power in shaping not just a child's intellect, but also their confidence, identity, and emotional health.

At first, the parents in the movie are shown as well-meaning but ignorant. They see their son’s poor academic performance as a threat to his future. In a heartbreaking scene, the father says:

“Mujhe uski har report card par sirf red marks hi dikhte hain.”
(“All I ever see on his report card are red marks.”)
This shows how parents sometimes reduce their child to grades, forgetting that there is a living, feeling human being behind those marks.

Similarly, the teachers in his earlier school also fail him. They insult him publicly, call him “lazy” and “dumb,” and even recommend boarding school as a form of punishment. This reflects a toxic culture where empathy is replaced with authority.

However, when the new teacher (played with warmth and depth) enters the scene, things begin to change. He recognizes the child’s silence as a cry for help, not as disobedience. Through patience, storytelling, and painting exercises, he builds a bridge of trust.

He says to his fellow teachers:

“Aap logon ne uske report card pe likhe numbers padhe, uski aankhon mein chhupi kahani nahi padhi.”
(“You read the numbers on his report card, but not the story hidden in his eyes.”)

This single line sums up the movie’s core belief:

The best educators are not those who teach well, but those who understand deeply.

One of the most striking elements of Sitare Zameen Par is its honest and emotional portrayal of neurodivergent children. The film sheds light on how the education system often overlooks the emotional and psychological needs of students who don’t conform to conventional learning patterns. It calls for a shift in how we perceive intelligence and success, encouraging both educators and parents to prioritize empathy over performance. A powerful line in the film, “Bachpan ka matlab sirf marks nahi hota… khushi bhi hoti hai”, sums up this sentiment perfectly—it emphasizes that childhood should be about joy, curiosity, and self-discovery, not just grades and achievements.

A beautifully written article titled “Sitaare Zameen Par: A Neurodiversity Lesson for Parents” echoes this message. It discusses how the film serves as a mirror for parents and teachers, urging them to look beyond academic performance and appreciate the uniqueness of every child. The article highlights the importance of shifting from a result-driven mindset to one of understanding and unconditional support. Just like the film, the blog reminds us that children are not problems to be solved, but people to be nurtured—with patience, love, and acceptance.

In this Movie Sitare Zameen Par shows that true teachers and parents must understand a child’s world instead of forcing them to fit into society’s expectations. Gulshan Kumar, who starts off as a strict and traditional teacher, gradually transforms when he sees the emotional struggles of neurodivergent children. He learns to empathize, support, and celebrate their uniqueness.

By the end, he becomes an ideal teacher—not one who teaches from books, but from the heart. His change inspires us to look beyond marks and behavior.

"A good teacher believes in the child even when the world doesn’t."

3. How does it compare with R.K. Narayan’s story “Crime and Punishment”?

While both the film and the story deal with a child’s struggle under pressure, their tone and conclusions are quite different.

In Crime and Punishment, R.K. Narayan presents a small boy being physically punished by a private tutor who believes that strict discipline will improve performance. The child, however, responds with clever lies and excuses to avoid being beaten. The story ends with the tutor feeling helpless and defeated, realizing that punishment has not worked. But there’s no resolution—just a sense of failure and silence.

In contrast, Sitare Zameen Par takes the same core issue—misunderstood children—and shows a positive, healing alternative. Instead of leaving the child broken or fearful, the film offers hope. The sensitive teacher chooses connection over control, guiding the boy toward self-acceptance and academic progress through alternative learning techniques.

While Narayan’s story reveals the problem, the film offers the solution.

Here’s a comparative summary:

Aspect	Crime and Punishment	Sitare Zameen Par
Tone	Ironical, unresolved	Emotional, transformative
Adult Authority	Punitive tutor	Compassionate teacher
Resolution	Child becomes manipulative	Child gains confidence
Message	Punishment fails	Empathy heals

👉🏻 And here, literature and cinema have long served as mirrors to society, exposing its blind spots while offering pathways to change. R. K. Narayan’s short story Crime and Punishment and the film Sitare Zameen Par (2024) may appear different in form and tone, but both center around children who are misunderstood and mishandled by adults in power. These works compel us to reflect on how deeply flawed systems—whether in schools or training academies—can harm young minds when led by ego and misunderstanding instead of empathy.

Let’s explore their similarities and differences in detail:

1. Central Theme: Adult Control vs. Child Autonomy

In Narayan’s story, a young teacher tries to enforce obedience through strict punishment. The boy under his care becomes a passive victim at first, but soon finds clever ways to challenge his teacher’s authority.
In the film, Coach Gulshan similarly uses rigid control, shouting instructions, and mocking his differently-abled students when they cannot perform like “normal” children.

Both works critique how adults try to “fix” children rather than understand them. The theme of authority misused is central in both.

2. Representation of the Child

Narayan’s boy is naughty, clever, and rebellious, but he is still a product of his environment. His behavior reflects a response to being punished rather than guided.
The children in Sitare Zameen Par are innocent and neurodiverse, not naughty. They are trapped in bodies or minds that learn differently, and their struggles are misunderstood as laziness or weakness.B

Both sets of children are judged unfairly, and both are more emotionally intelligent than the adults handling them.

3. Adult Authority Figures and Their Ego

The teacher in the short story sees himself as morally superior and intellectually dominant. His pride is hurt when the child outwits him.
Gulshan, in the movie, carries the burden of his own athletic past. He feels insulted when the students can’t follow his drills. He mocks them publicly, especially when one of them drops the ball or fails to jump.

In both narratives, adult ego blocks emotional connection. The need to feel in control leads to emotional and moral failure.

4. Discipline vs. Empathy: Two Different Approaches

Narayan’s teacher uses physical punishment and sarcastic remarks to control behavior. His methods are outdated but culturally familiar.
Gulshan’s coaching starts similarly—with loud whistles, name-calling, and frustration. However, over time, he watches the children closely and begins to connect with them. When one child is scared to jump into the pool, Gulshan chooses to sit quietly beside him instead of yelling.

This is where the difference begins—Narayan’s story stops at failure; the movie moves toward emotional repair.

5. Learning and Growth: Who Learns More?

In the story, the teacher learns nothing. Even when the boy manipulates him and exposes his weakness, the teacher blames the system and clings to pride.
In the movie, Gulshan changes completely. He learns that “real training begins when ego ends.” He stops seeing children as problems to solve and begins to celebrate their small victories—like tying shoelaces or dribbling the ball once.

In short, the movie allows the adult to evolve; the story shows an adult stuck in his rigid mindset.

6. Narrative Style and Tone

Narayan’s story uses humor, irony, and satire to make the reader see how ridiculous and outdated some teaching methods are.
The film uses emotion, music, visuals, and silence to create a slow and powerful transformation in both the coach and audience.

One makes you think with a smile; the other makes you feel with a tear.

7. Power Dynamics: Shifting or Static?

The story ends with the child gaining upper hand—not through respect, but by outsmarting the teacher and making him feel helpless.
The film ends with the coach surrendering his power not because he was defeated, but because he chose compassion over command.

In both, the adult starts with all the power. But only in the film is that power transformed into trust.

8. Systemic Critique: Private vs. Public

Narayan’s setting is domestic—a private tutor, one-on-one. But it represents the larger educational system that focuses on punishment and rote learning.
The film is set in a government training institute, showing systemic neglect of children with special needs—insufficient resources, staff with no sensitivity training, and a performance-based culture.

Both stories expose flaws in systems, but the film goes deeper into institutional critique.

9. Ending and Message

The story ends with no change in character, no learning—just a twist of irony that leaves the reader amused but uncomfortable.
The movie ends with the students winning a match and the coach emotionally overwhelmed. He admits that he has learned more from these children than from his years of training.

While Narayan's story says "Look how foolish we are," the film says, "Look how much better we could be."

10. Emotional Impact

The story hits the mind—it makes you think critically about education, pride, and punishment.
The movie touches the heart—it makes you cry, reflect, and even act differently. You walk out wanting to be a better teacher, parent, or friend.

Final Reflection

In the end, both Crime and Punishment and Sitare Zameen Par offer valuable mirrors—one reflects the rigidity of the past, the other offers a hopeful direction for the future. Where Narayan uses humor to expose how pride fails education, Sitare Zameen Par invites the audience into a world where change is possible—if we listen, slow down, and care.

These two works together remind us that every child is not a problem to fix, but a person to understand.

Both works thus complement each other—one shows what goes wrong when fear dominates, the other what goes right when empathy leads.

4. What did I feel or learn after watching the movie?

Watching Sitare Zameen Par was an overwhelming experience. It not only moved me emotionally but also made me rethink what it means to be a student, a teacher, or even a human being.

I learned that:

Children don’t fail. It’s the system that often fails to reach them.
True teaching is not about making a child conform, but about helping them discover their own light.
Punishment may create fear, but only love creates change.

And Watching Sitare Zameen Par was not just emotional—it was transformative. The movie teaches that every child deserves to shine, no matter how different their abilities might be. One of the most heartwarming scenes is when the Gulshan Bachchon team, despite losing the competition, rushes to hug and cheer the winning team. This moment radiates pure humanity—it’s not about trophies or medals, it’s about emotional victory. They clap, hug, and even lift the other kids with joy, showing that true winners are those who can celebrate others' success with a full heart.

This scene especially moved me. It reminded me that compassion and empathy are the real goals of education. The way both teams merge in celebration, dancing and smiling together, breaks down every label of “special” and “normal.” It was a celebration not just of victory—but of inclusion, acceptance, and unity. It teaches us that life is not a competition to beat others, but a journey where we uplift each other.

The most unforgettable moment for me was when the teacher presents the child’s artwork in front of the entire school. It is not just an academic moment—it is a moment of emotional liberation. The boy’s face, once filled with fear and shame, now lights up with pride.

It made me think: How many such children are around us—unnoticed, unheard, unappreciated?

The film reminded me to listen more, judge less, and always look beyond appearances. Whether in classrooms, homes, or friendships, people carry silent struggles. A little kindness can be life-changing.

Conclusion: From Red Marks to Rising Stars

➡️ Sitare Zameen Par and Crime and Punishment both hold a mirror to our society’s treatment of children, especially in educational spaces. Where R.K. Narayan’s story shows the failure of old-school discipline, the movie shows the power of progressive, empathetic teaching.

The real beauty of Sitare Zameen Par lies in its belief that every child is a star, even if they don’t shine in exams. The job of adults—parents, teachers, society—is not to extinguish them with expectations, but to help them glow with guidance.

“Woh har bachcha jo padhai mein peeche hai, shayad kisi aur raaste se duniya ko aage le jaane wala hai.”
(“That child who lags behind in studies might be the one to lead the world in another way.”)

References :

Dsouza, N., & Parihar, N. S. (2025, May 16). Sitaare zameen par Trailer out: Aamir Khan coaches a team of ‘Normal’ kids to victory. Social Kandura. Retrieved July 21, 2025, from https://socialkandura.com/sitaare-zameen-par-trailer-out-aamir-khan-coaches-a-team-of-normal-kids-to-victory/?hl=en-US

Hub, W. (2025, June 21). What sitaare Zameen Par teaches about neurodiversity. WellnessHub. Retrieved July 20, 2025, from https://www.mywellnesshub.in/blog/sitaare-zameen-par-neurodiversity-lesson-parents/

Prasanna, R. S. (Director). (2025, June 20). Sitare Zameen Par. Amir Khan Production.

The Malgudi Days : R.K. Narayan : Free download, borrow, and streaming : Internet Archive. (1943, January 7). Internet Archive. Retrieved July 21, 2025, from https://archive.org/details/the-malgudi-days/mode/2up

Thank you.... 😊

“Voicing Identity: Exploring Kamala Das's "An Introduction" Through Group Discussion”

🌺 Breaking Boundaries: Exploring the Personal and Universal in Kamala Das’s "An Introduction"

This blog is part of the group discussion assigned by Prakruti Ma’am, where we explored Kamala Das’s bold confessional poem An Introduction. Our group — consisting of Shruti (leader), Divya (me), Jay, Jyoti, Rozamin, Khushi — analyzed the poem thematically, stylistically, and personally. This blog records my responses to all the required steps: thematic and critical questions, group discussion notes, and the learning outcomes.

🔷 Step 1: Understanding the Poem and Preparing Answers

🔹 Q.1: Is An Introduction by Kamala Das a personal or a universal poem? Justify your opinion.

Answer :

◾️Introduction :

Kamala Das’s "An Introduction", written in confessional mode, is often seen as one of the finest examples of Indian feminist poetry in English. The poem draws upon the poet’s personal life — her struggles, desires, and search for identity — but in doing so, it transcends the personal and speaks to the collective experience of many women, especially in postcolonial societies. Therefore, An Introduction is both personal and universal — deeply rooted in Das’s own life, but extending beyond to articulate the universal female experience of gendered oppression, identity crisis, and a desire for self-expression.

I. Personal Elements in the Poem

Autobiographical tone
The poem is intensely personal, as Kamala Das speaks in the first person and refers directly to her own life. She reveals her childhood, education, marriage at a young age, her bodily desires, emotional confusions, and her struggle with language and identity.

“I am Indian, very brown, born in Malabar, I speak three languages, write in two, dream in one.”
Struggles with gender roles
She discusses how society imposed roles on her — first as a girl, then as a wife — which she had to perform without understanding or consent.

“Dress in sarees, be girl / Be wife, they said. Be embroiderer, be cook…”
Sexual and emotional honesty
Kamala Das openly confesses her sexual awakening and her emotional turmoil, which is rare in Indian poetry, especially by a woman. This confessional honesty reveals the poet’s need to be understood not as a social being but as an individual.

“I met a man, loved him. Call / Him not by any name, he is every man / Who wants a woman, just as I am every / Woman who seeks love.”
Struggle with language
She describes her conflict with English as a colonial language and as a means of expression for her private self. Though English is not her mother tongue, she embraces it fully.

“The language I speak / Becomes mine, its distortions, its queernesses / All mine, mine alone.”

These deeply personal disclosures, which draw directly from Das’s life, make the poem autobiographical in nature.

II. Universal Elements in the Poem

Despite being grounded in her personal experience, An Introduction acquires a universal quality in its themes:

Female identity and resistance
Kamala Das speaks for all women who are silenced by patriarchal systems. Her resistance against gender norms — from how she should behave to whom she can love — reflects the experience of countless women globally.

“Why not let me speak in / Any language I like? The language I speak / Becomes mine.”

The search for self
The theme of searching for a self beyond societal expectations — of being more than just a woman assigned roles — is a universal existential struggle, especially for those marginalized by gender, race, or class.
Sexual freedom
Das’s assertion of her right to love and desire — even outside the traditional institution of marriage — is a bold, feminist act. This resonates with universal feminist struggles for bodily autonomy and emotional freedom.
Language as identity
Her engagement with English as a tool of expression mirrors the dilemma faced by postcolonial writers across the world — how to express native experiences in a colonizer’s language. This conflict gives the poem a postcolonial universality.
Breaking silence
Her declaration of the right to voice her truth (“I too call myself I”) breaks centuries of female silence, making it a poem of collective awakening.

“I too call myself I.”

III. Fusion of Personal and Universal

The poem blurs the boundaries between personal and universal through its confessional style. Kamala Das presents her life not as a unique, isolated journey, but as a representative experience of many women in India and beyond. Her emotions, struggles, and rebellion are rooted in her personal life but evoke a strong universal resonance with readers — especially women seeking freedom, love, and language.

IV. Critical Views

E.V. Ramakrishnan says Kamala Das’s work reflects "the trauma of a woman caught between tradition and modernity" — a conflict that is personal but experienced by millions.
Meena Alexander calls Das’s poetry “autobiographical but political,” suggesting that the poet’s personal voice becomes a site of collective struggle.
Elaine Showalter, in discussing women’s literature, writes that the personal becomes political in feminist texts — and An Introduction is a classic example of this.

➡️ Kamala Das’s An Introduction is both personal and universal — a perfect blend of individual struggle and collective feminist assertion. On the surface, it is a deeply personal poem where Das bares her soul, recounting her life as a woman denied the freedom to express herself, love freely, or define her identity. But beneath this confessional tone, she speaks for every woman who has ever been silenced, judged, or reduced to a role.

Das presents her autobiographical journey through fragments: her experiences of forced language, arranged marriage, sexual desire, and identity crisis. When she writes:

“Why not let me speak in / Any language I like? The language I speak, / Becomes mine...”,
she is reclaiming her voice — not just for herself but for every woman forced to fit into a patriarchal mould.

Her personal pain becomes political, her body becomes a battlefield of control, and her freedom to love is labelled as sin. Through this, Das highlights how Indian women are taught to “fit in” and not to “stand out”. The poem becomes a protest — a voice of female resistance, representing every woman’s desire for autonomy.

Thus, while An Introduction begins from Kamala’s personal space, it resonates with universal truths about gender identity, patriarchy, language politics, and freedom. It breaks the boundaries between the self and the society, proving that the personal is indeed political — and hence, universal.

◾️Conclusion :

An Introduction is both a personal confession and a universal declaration. While it draws on Kamala Das’s own life — her gender, language, desire, and identity — it powerfully echoes the condition of women across cultures and times. The poem’s personal truths transform into universal insights, making it not only a piece of autobiographical writing but a feminist manifesto for selfhood and speech. Therefore, it is best understood as a universal poem rooted in the personal, and this dual nature is what gives the poem its enduring power and relevance.

👉🏻 Below I have added a YouTube video of the poem “An Introduction” by Kamala Das for better understanding. It explains the poem in an easy way and helps to understand the meaning and themes more clearly.

🔹 Q.2: Short Note — Comment on the Writing Style of Kamala Das.

◾️Introduction :

Kamala Das writes in a confessional, bold, and emotionally naked style. Her poetry often breaks away from formal poetic structures and uses free verse, stream of consciousness, and colloquial expressions. She doesn’t shy away from revealing her desires, wounds, or contradictions. Her diction is simple yet powerful, full of metaphors and directness. She blends English with Indian ethos, often breaking grammatical norms to emphasize freedom in expression. Her language is full of pain, passion, rebellion, and truth — making it deeply intimate yet socially explosive.

◾️Key Features of Her Writing Style:

1. Confessional Tone

Her poetry is deeply personal — like a diary — drawing from her own life experiences, including love, desire, loneliness, and pain. (e.g., "An Introduction")

2. Bold Exploration of Female Sexuality

She speaks openly about the female body, desire, physical intimacy, and emotional neglect, topics that were taboo for Indian women writers at the time.

3. Simple Yet Powerful Diction

Kamala Das avoids ornamental or complex language. Her direct and accessible vocabulary enhances the emotional intensity of her verses.

4. Free Verse and Unstructured Form

Her poetry is written in free verse with no regular rhyme or meter, giving her freedom to express emotional turbulence without formal constraints.

5. Multilingual and Postcolonial Voice

She embraces code-switching, blending English with Indian idioms, references, and Malayalam influences. Her poem An Introduction showcases her claim over the English language, despite colonial histories.

6. Themes of Identity and Rebellion

She questions gender roles, societal expectations, and the need for self-definition. Her writing reflects the struggle of women to assert their individuality.

7. Sensual Symbolism and Domestic Imagery

Her metaphors often involve body parts, household spaces, mirrors, and beds, which serve as symbols of repression and emotional spaces.

8. Psychological Depth

Her work delves into inner conflicts, shame, vulnerability, trauma, and the longing for love — all portrayed with painful honesty.

9. Emotional Rawness and Honesty

She writes without filters. This emotional boldness makes her poetry relatable to women who have been taught to suppress their voices.

10. Fusion of Indian Tradition and Modernism

While her form is modern and free, her themes often reflect traditional Indian settings, cultural taboos, and myths, creating a unique blend of old and new.

◾️Conclusion:

Kamala Das’s writing style is a fearless fusion of the personal and the political. Her confessional voice, raw emotional honesty, and unapologetic celebration of feminine identity broke away from conventional Indian poetry. She made poetry a space of resistance, vulnerability, and truth, where women’s experiences were no longer marginalised.

Through her free verse, simple language, and emotionally intense imagery, Kamala Das redefined what it meant to write as an Indian woman. Her style continues to inspire feminist writers and poets across the world, making her a trailblazer in Indian English literature.

🔷 Step 2: Report of Group Discussion

Our group discussion began by trying to understand the core meaning of Kamala Das’s poem “An Introduction.” Our group members included:

Divya Paledhara
Shruti Sonani (Group Leader)
Jay Vaghani
Rozamin Pathan
Jyoti Mer
Khushi Ravya

👉🏻 In this discussion we had first Shruti began the discussion by asking a basic question to get us started: What is the poem trying to say?

Jay was the first to respond. He explained that Kamala Das is introducing herself not just by name, but by claiming her right to express herself in her own way. He highlighted how the poem is about a woman who is tired of being told how to behave, how to talk, how to dress, and even whom to love. Jay pointed out how Kamala Das protests against all of these social expectations, especially from a woman’s point of view.

After Jay’s explanation, I joined in and agreed with him, adding that Kamala Das was not only talking about herself, but also giving voice to many women. She wanted to express herself freely—whether through her language, her emotions, or her relationships. I said that even though the poem talks about her personal experiences, it speaks for so many women who have faced similar pressures.

➡️ At this point, Jyoti admitted that she wasn’t fully clear about what the poem meant. So, Jay and I together gave her a short summary. We explained that the poet is challenging the norms of society. Kamala Das is saying that just because she is a woman, people try to control her. They expect her to behave in a particular way—wear sarees, cook, remain quiet—but she does not want to fit into this narrow idea. She wants to live freely, speak the language she likes, love whom she wants, and express her real self without fear.

This helped Jyoti understand the poem better, and she actively participated in the rest of the discussion.

◾️ Exploring the Thematic and Poetic Aspects

After the basic meaning was understood, our group began to explore the themes and poetic style of “An Introduction.”

✳ Identity and Freedom

We discussed how the poem is about identity. Kamala Das opens the poem by saying, “I am Indian, very brown, born in Malabar.” This is her personal identity, but as Rozamin noted, the deeper message is that identity should not be limited to region, gender, or language. Kamla Das wants to break free from all labels. She says, “I too call myself I,” meaning she wants to define herself—not let society define her.

✳ Gender and Patriarchy

Khushi added that the poem strongly criticizes the way women are told what to do. In one part, society tells her to be a good girl, wear a saree, be a wife, be quiet. Kamala Das questions why women are expected to follow such rules. She refuses to live a life just because someone else told her to.

Shruti supported this point and read the lines, “Be wife, they said. Be embroiderer, be cook…” to highlight how Kamala Das mocks these expectations. It is clear that she is using poetry to speak out against patriarchal control.

✳ Language and Expression

One of the strongest parts of the discussion was about Kamala Das’s use of language. She writes in English, but people criticize her for not writing in her mother tongue. She defends herself by saying, “The language I speak / Becomes mine.”

I added that this line shows how she takes ownership of English. Even if it is not her first language, she uses it to tell her truth. Jay pointed out that this is powerful because English was a colonial language, and now she is using it as a tool of rebellion.

We all agreed that her voice is bold, and her choice of English is part of her protest.

✳ Desire and Rebellion

Kamala Das also talks about her personal relationships and love. She says, “I met a man, loved him,” and also, “I became a nympho.” These are not things women were allowed to say openly during her time.

We discussed how brave it was for her to speak about her physical and emotional experiences. She refuses to be ashamed of her feelings. This makes the poem not just personal, but revolutionary. Khushi and jay said it shows how a woman claims the right to her own body and emotions.

◾️ Answering the Assigned Questions

As part of our discussion, we also addressed the two questions from Question Bank.

🔹 Long Answer: Is “An Introduction” a personal or a universal poem?

Our group concluded that “An Introduction” is both personal and universal. On one hand, Kamala Das is clearly speaking about her own life. She tells us about being born in Malabar, writing in English, falling in love, and being judged for it. She even shares her inner struggles about her identity.

But at the same time, the emotions and experiences she shares are not hers alone. As I said during the discussion, her words speak for all women who feel suppressed or unheard. Jay added that her voice becomes the voice of every woman who has been forced to fit into society’s rules. So, the poem moves from her personal story to a universal message about gender, freedom, and self-expression.

🔹 Short Answer: Comment on the writing style of Kamala Das.

We all agreed that Kamala Das has a unique and fearless writing style. She writes in free verse, with no fixed rhyme or meter. Her tone is confessional and direct. She uses simple language but expresses very deep emotions. She doesn’t hide behind metaphors—she speaks plainly, honestly, and often shockingly. Her writing is intensely personal, and at the same time, it raises big social questions.

Shruti said that her style makes the poem very relatable, because it feels like she is speaking directly to us. We also noted that her bold use of the English language, and her choice to include personal stories, make her style stand out in Indian English poetry.

📚 Summary of Group Roles and Flow

Shruti Sonani was our group leader and helped guide the discussion smoothly. She also added insights about poetic style and language.
Jay Vaghani explained the core meaning of the poem and spoke confidently about gender roles and freedom.
(Me) summarized the poem, helped explain it to Jyoti, and contributed to the thematic and emotional understanding.
Jyoti Mer asked for help initially but later joined in with thoughtful points once the meaning became clear.
Rozamin Pathan added ideas about identity and poetic diction.
Khushi Ravya focused on the feminist aspects of the poem and supported the analysis of gender control.

Our group worked together well. Everyone spoke, and no one was left out. We supported each other when someone was unsure and respected all views.

🔷 Step 3: Learning Outcomes from the Activity

This group discussion helped me grow in multiple ways—academically, socially, and emotionally.

🔹 Academic Learning

We understood how a poem can be both personal and universal.
We learned about Kamala Das’s style, especially her bold use of language and free verse structure.
We practiced literary analysis by focusing on theme, style, and symbolism.

🔹 Teamwork and Communication

We improved our communication and listening skills.
Everyone got a chance to express their interpretation, and we learned from each other.
We realized how important it is to respect different viewpoints and how discussion brings clarity.

🔹 Personal Growth

This activity gave us confidence to analyze poetry and speak up in a group.
It made us more sensitive to social issues, especially those related to gender and identity.
We also felt inspired by Kamala Das’s courage and honesty—her refusal to be silent motivated us to express ourselves more freely.

◾️Conclusion :

An Introduction is not just a poem — it is a declaration, a protest, a wound, and a mirror. Kamala Das may be talking about her life, but her bold voice speaks for all those who are asked to shrink themselves, suppress desires, and follow norms.

Our group’s discussion helped me view the poem not just as literature, but as a living, breathing experience — something that still applies today.

This assignment by Prakruti Ma’am gave us the opportunity to explore a feminist icon’s mind and voice through teamwork, critical thought, and creative sharing.

Thank you!... ☺

Tuesday, July 15, 2025

“Narrative as Mystery: Time, Trauma, and Editing in Maharaja (2024)”

Hello Everyone!....

This task is assigned by Prof. Dilip Barad sir as part of a film studies module. This blog explores how editing functions not only as a technical craft but as a storytelling strategy in the Tamil film Maharaja (2024) by Nithilan Swaminathan. Through narrative transitions, time manipulations, and emotional reveals, we learn how editing builds suspense and redefines cinematic time, and about this blog what's main point so, Click here

🔷 Introduction: When Storytelling Breaks the Clock

👉🏻 Maharaja is not a typical revenge thriller. It disguises a tragic and emotional story beneath layers of mystery, silence, and suspense. What starts as a bizarre police complaint about a stolen dustbin turns into a psychological narrative of loss, grief, and justice. This transformation is made possible by the non-linear narrative structure and brilliant editing that pieces together three timelines—15 years ago, 7 years ago, and the present—without confusing the audience.

In this blog, I will explore the theory, execution, and timeline breakdowns of how editing serves as the soul of Maharaja's storytelling.

◾️PART A: Understanding Non‑Linear Narrative & Editing

1. What is non-linear narration in cinema? Use examples from films you’ve seen previously.

Non-linear narration is a storytelling technique in cinema where events are not presented in chronological order. Instead of a straightforward sequence (beginning → middle → end), the narrative jumps across different time periods—often using flashbacks, flash-forwards, dreams, or parallel timelines. This method challenges viewers to piece together the story like a puzzle, often enhancing suspense, emotional depth, or thematic complexity.

For example:

In Christopher Nolan’s Memento (2000), the story unfolds in reverse, placing the audience in the mind of the protagonist who suffers from short-term memory loss. This structure intensifies the experience of confusion and mystery.

In Quentin Tarantino’s Pulp Fiction (1994), multiple storylines are told out of sequence. We see the aftermath of events before their causes, creating irony and layered meanings.

Also I have watched A good example is the Hindi film Drishyam (2015). In this film, the timeline is cleverly hidden. The main character, Vijay, creates a fake alibi to protect his family from a murder investigation. The film does not show everything at once. It uses flashbacks and delayed revelations to slowly show what really happened. The audience is made to believe one version of the story, but later learns the truth piece by piece. This non-linear storytelling increases tension and makes the final reveal more powerful. It keeps viewers engaged and surprised, showing how editing and timeline structure can shape a film’s mystery.

In Maharaja (2024), non-linear narration is used to conceal critical information—like the identity of “Lakshmi,” the motive behind the crime, and Maharaja’s internal trauma. By revealing key events only at emotionally significant moments, the film deepens our connection to the protagonist while sustaining a sense of mystery.

2.How can editing alter or manipulate the perception of time in film?

In Maharaja (2024), editing plays a vital role in manipulating time to create suspense, emotional engagement, and narrative tension. The story is not told in a straight, linear fashion. Instead, the editor uses tools like flashbacks, cross-cutting, ellipses, match cuts, and sound bridges to blur the boundaries of time and gradually reveal key information.

Below are the key editing techniques used in Maharaja to manipulate time:

1. Flashbacks

Definition: Scenes from the past inserted into the present timeline.

In Maharaja:

Flashbacks are used throughout the film to show important events from the past—especially scenes related to Maharaja’s daughter, Lakshmi. These flashbacks appear without warning and interrupt the present timeline. They help the audience understand the emotional pain Maharaja is carrying. But the flashbacks don’t reveal everything at once—they are carefully edited to hide key details until the right moment, especially about Lakshmi’s fate.

2. Ellipses (Time Skips)

The film skips over certain time periods without showing them. This is done to hide events and create suspense. For example, the time between the crime and the police report is not shown clearly at first. The audience is forced to guess what happened during that missing time. This time-skipping makes viewers curious and keeps them thinking.

3. Cross-Cutting / Parallel Editing

Maharaja often switches between present-day events (like the police investigation) and scenes from the past (such as life with Lakshmi or the crime itself). These cuts are done in a way that connects emotional moments across time. The audience sees how the past still affects Maharaja’s present behavior. It also helps create tension, as we keep comparing the two timelines and searching for clues.

4. Sound Bridges

Sounds from past scenes are used in present-day scenes. For example, we hear Lakshmi’s voice or laughter even when she is not shown on screen. This use of sound connects two different time periods emotionally. It shows how Maharaja’s mind is still stuck in the past, even though he is physically in the present. It also keeps Lakshmi present in the story, even when she’s not visible.

5. Match Cuts and Visual Transitions

The film uses smooth visual transitions to go from one timeline to another. For instance, objects like the dustbin, a broken glass, or a comb act as links between past and present. This helps the audience follow the non-linear narrative without getting confused. These visual cues make time jumps feel natural and emotional.

◾️ Part B : While Watching the Film

The film Maharaja does not follow a straight timeline; instead, it uses editing to shift between multiple temporal layers. To better understand how the story unfolds through visuals and transitions, I have mapped eight significant narrative shifts that occur during the film. These shifts help identify how the editor constructs cinematic time, moving between past and present to build suspense and emotional weight.

👉🏻 You can refer to the detailed table below Or Click here to view the full version in Google Docs.

Scene/Sequence	Approx. Timestamp	Time Period	Visual or Editing Clues	Narrative Purpose

1. Maharaja enters the police station