Às Margens do Rio Sagrado

One of the most powerful movies I have ever seen! The actors were fearless. The story was honest, raw and moving. I feel changed by it. Deepa Mehta' created something out of love, vision and fearlessness and it shows. I was brought to tears by the end of the film, not because of pity for the characters but rather out of pride. Though the film deals with heavy issues the actors carried it with dignity. The script articulates the tragedy and hypocrisy these women must bare but it also illustrates the quiet revolution we must all experience in order to grow, in order to change. I have seen Earth, Fire and now Water and Mehta has done justice to all of them.

I just saw this last night at the TIFF with no expectations (originally didn't even want to see it). But what an enjoyable film this was!!! The dialogue was quite witty, the stars were attractive and gave very believable performances (my friend said that she was so drawn into it that she forgot those people were just acting and weren't really living the life of the characters). The story had the audience empathize with the situation and all those involved, with lightened bits of humour intermixed with sad/dramatic parts throughout.

What captivated me the most was how beautifully filmed each scene was (in that respect, it reminded me of House of Flying Daggers). The stunning cinematography, vivid colours were all so carefully planned. In every frame, I can envision a beautiful photograph which can be composed from it.

The score was also very good and added to the mood of the film.

Go see it if you have the opportunity, you will not be disappointed (oh, might want to bring some Kleenex tho').

oh, and since it was at TIFF, Deepa spoke a few words (she appears to be very down to earth and sincere) and the cast was also present (John Abraham and Lisa Ray are absolutely gorgeous but very modest and subtle). These people did such a fabulous job, but remain so approachable and true. Am so proud of them!!!!

In 2001, well-regarded Iranian director Majid Majidi came out with Baran, a film about a young girl forced to pretend to be a boy in order to bring money to her immigrant Afghani family, living illegally in Iran and not permitted to work. Baran means 'rain' in Farsi, and the allegory of water was a very important one thematically within the film.

Baran was later thematically pilfered by a less successful film, Osama, which dealt with the harsh reality of an anti-feminist Taliban in Afghanistan, where a girl is caught pretending to be a boy by the Taliban regime, and the horrible consequences of her actions - only committed for the purpose of survival.

Water is similar to both of these films on several thematic levels. Deepa Mehta finishes he trilogy on a powerful note. She gives us the story of two women, each trying to discover a sense of self-worth and purpose while trapped in a seemingly endless life of forced confinement. she also gives us the story of a woman who is not only trying to keep her faith but understand it, and a man who is looking for change in a world of stagnation and traditionalism.

The feminist ideal is a prominent one, as is survival against the harshest of odds. Inhumanity on one level contrasted against the theme of renewal, both physically and spiritually - the essence of water, the ever-moving, indispersable, and essential aspect of life itself. But Water succeeds on the level of Baran - unlike Osama, which preaches incessantly, hitting you over the head with its point until your concussed with what the director has to say. Water, like Baran, is subtle, preferring to let the human side of the story tell you what you need to know, and showing us the necessity for change, for hope, for unbroken faith, without holding our hands through the process.

Mehta has given us a very successful film. What struck me most about this film was that the subject matter is one that the Western world would likely exclaim as being incomprehensible - that of widows being thought of as untouchable, and spiritual pollution (as though it was their will that their husbands die on them...) - and yet so much of the Western World exists in this film. This is not merely an Eastern film that we should look at and cluck our tongues, saying 'those crazy Indians!' These issues exist in our back yards - the ill treatment of foreigners, of neighbours, of our own peoples.

This film is very heavy, but there is a light side to it - the message of Ghandi, and the promise of renewal of spirit. That faith is not something to twist to your own beliefs, but something for your beliefs to be twisted to. We are constantly reminded of Ghandi's teachings - but we are never preached to. Instead, Ghandi could almost be an absent narrator - his voice is only heard for a brief instant near the end of the film - instead we hear his voice through the voice of Narayan, who is the avatar of Ghandi in the film, and the avatar of change.

Water teaches us that problems exist, and that many are rooted in our own traditions and beliefs - often misinterpreted or twisted by us to fit our agendas. The British can't be scapegoats for THIS set of issues (though they were responsible for plenty of others). Change is hard to come by, but the one thing that is eternal is Water. Sure, there are a few moments of unsubtle prodding in the film, but the fine acting and smart writing overcame any moments of forced drama. And the heart-wrenching twists within the story were surprising in their finality, and not Disneyesque tear-jerking moments. Our faith (and not necessarily religious faith) must be like water - for without either, we cannot hope to survive. 9.5/10.

This is perhaps one of the most gripping films I have ever seen. The theme of water is so beautifully intertwined with the story in the location shots, boats across a lake/river and the ever falling rain to deliver an impact upon the characters and their journey.

The treatment of these widows, and the intense life that these women are forced to live was eye opening.

John Abraham gave a good performance. Lisa Ray was decent. Chuiya was great. With its top-notch acting, cinematography and music, Water is definitely worth the watch. Excellent effort by Deepa Mehta. Awesome cinematography Giles Nuttgens. Nicely edited by Colin Monie. Screenplay by Anurag Kashyap was awesome so were his dialogues. Set decoration by Rumana hamied n Lal harindranath was brilliant. Good music by Mychael Danna n A.R Rehman. Roger Ebert of Chicago Sun-Times @ The film is lovely in the way Satyajit Ray's films are lovely and the best elements of Water involve the young girl and the experiences seen through her eyes.

I saw this film on a Saturday afternoon in a theater with about 40 other people, split about 60/40, females to males. All ages although the younger viewers were mainly female. (late teens) Towards the end, as I was choking back tears and grabbing at Kleenex's, I looked around as there was total silence from the audience. It was AWED SILENCE, people! Every woman was bawling her eyes out and the men, without exception, were scrunched down into their collars, staring intently, holding back tears. This is Deepa's finest hour. She can retire now knowing she has made a worthy film. I would have voted 10 but there were a few technical glitches such as one moment were the color/lighting changed for about 3 seconds in an important scene and then snapped back. No blame to Deepa, though. I have sent several to see the film and all have raved about it, Can hardly wait to buy the DVD and see it again. The criticisms were political and should not be considered. Any film that criticizes aspects of a religion gets blasted from fundamentalists. This film is NOT a political statement. It is entertainment based on a political statement. It should not be missed. Brava!!!