There’s a quiet exchange between Mahavir Singh Phogat and his wife where talks about the difficulty of being a coach and a parent. I can’t be a parent when I’m being a coach, he says. That the world expects him to be a parent and not a coach matters little to him. He is clear-eyed about the choice he has made, though: Inka kasoor sirf yeh hai ki inka baap baawla hai, he says at one point.
This isn’t the only subversion of traditionally assigned roles in this story. The girls’ cousin Onkar is drafted to cook and clean and help out – “woman’s work” in the world they inhabit. Given that the girls are busy subverting gender roles themselves by becoming wrestlers, why not. And thus it is that a man bulldozes a path for his daughters through the thicket of patriarchy with single minded obsession. And the world mostly lets him because, well, nobody has the guts to tell him otherwise. That a story like this is told more entertainingly than earnestly (the lyrics to Haanikarak Bapu bring the house down) is a little miracle in and as of itself.
The world of high level sports is replete with examples of parents who put their children through the wringer in order to get them to achieve their potential as sportspersons. What makes this man’s situation interesting is that it could be argued (and is, by one of the characters) that this is a less horrible choice than being a traditional parent and all that it entails. Does that excuse his behaviour?
I, personally, am on the fence. The makers of the film, however, know where their sympathies lie. Consider the conversations among the people watching the first competitive wrestling match that Geeta participates in. One man worries that her t-shirt might be torn in the fight. His companion is practically salivating in anticipation of this outcome. The creepiness of this setting, the casual misogyny, is appalling.
The makers are telling you: Had Mahavir simply wanted to rebel just a little bit against this system, he and his daughters would’ve probably been squashed like bugs. He had to go big. (Not that his crusade was about gender equality. It was about making his children internationally successful wrestlers. Patriarchy was just collateral damage.)
It is because the first half is such a thing of beauty that some of the machinations in the second half feel ham-fisted in comparison. For a while, there is much promise even here. Geeta discovers that there is a world outside where she can be a world class wrestler, but grow out her hair and wear nail polish if she wants to. That this puts her at odds with her disciplinarian father is but natural.There’s a scene where she wrestles with her father that sets the standard for how something like this should be shot.
You can see here, all the elements of a wonderful story about a helicopter parent learning to let go. And by focusing on that story, the makers could’ve also told the story of Geeta and Babita Kumari Phogat transitioning from a world where he needed to be this kind of parent to a world where he did not, and how both worlds existed but a bus ride from each other.
Instead, you get saddled with an additional subplot about a petty, vindictive coach whose methods and strategies are at odds with that of the father. You get the tired old sports movie cliche about the old timer whose methods are proven right. You can hear the plot machinery creaking so loudly here that it drowns out the dialogue. (Even dialogue like that little gem of a cricketing analogy.)
But to be honest, I find myself less bothered by its flaws than I normally would. A day after watching the movie, my memories are primarily focused on what it does right. And there’s plenty of that to cheer about.
ps: The scene with the national anthem — has there been a better instance of its use as a cinematic device? Well played!