[Two articles below about India’s Daughter film of 2012 rape in India]
India’s Daughter review – this film does what the politicians should be doing
By Sonia Faleiro, author of 13 Men The Guardian, March 5, 2015
India’s Daughter is director Leslee Udwin’s stirring documentation of a crime that triggered what she has described as “an Arab Spring for gender equality” in India.
The December 2012 Delhi bus gang rape resulted in the death of 23-year-old medical student Jyoti Singh at the hands of six men. The men threw Singh and her male friend out of the bus before gleefully divvying up the pair’s belongings.
One rapist got a pair of shoes, another scored a jacket. There was, however, an item that Singh had left behind which the men didn’t want. So they wrapped the innards they had wrenched out of her in their frenzy of violence in a piece of cloth, and pitched it through the window. “They had no fear,” Mukesh Singh, the driver of the bus and one of four men to be convicted for Jyoti’s rape and murder, tells Udwin.
The interview with Mukesh Singh, whose death sentence is currently in appeal, is a coup for Udwin, who is the first journalist ever allowed to talk to him, or any of the men. She will likely be the last. Yesterday the authorities banned the film in India after claiming that Udwin had failed to get the requisite permissions. Shortly afterwards the parliamentary affairs minister M Venkaiah Naidu described the film as “an international conspiracy”.
Naidu’s allegation is bewildering, given that the film reveals little that is new either about the crime, or the mindset of the man convicted of it.
Journalists have reported on the rape in detail. And surely it comes as no surprise that someone who participated in a gang-rape and is now on death row will place blame just about anywhere it might stick in the hope of a reprieve – the grinding poverty that he was born into, the overbearing nature of his older brother, who is believed to have masterminded the assault, even his victim.
A whining Singh comes off as genuinely unconvinced that he should be in jail. “She should just be silent and allow the rape,” says Singh, implying that if Jyoti had only done the right thing and let the men take from her what was theirs – her body – she would still be alive today.
In fact audiences, in India at least, are unlikely to flinch at anything Udwin has to show them. If she thinks that she is holding up a mirror, she should know that Indians have been looking into it for some time now and are as eager for reform as those outside India demanding it on their behalf.
Even the statements of the two lawyers for the men, in which they describe women in terms as disparate as diamonds, food, and flowers – objects all, of course – before finally admitting that “in our culture there is no place for women” will sound familiar.
But it is the dismaying familiarity of the views expressed by Singh and his lawyers – which are now mainstream in India, echoed by everyone from politicians to high school students – that makes this essential viewing. Some will argue that the unapologetic misogyny revealed in these interviews is a skewed representation of the Indian male mindset. But it is, in fact, widespread.
Singh’s interview also confirms that Indian jails restrain; they do not rehabilitate. It is obvious, given the views he expresses to Udwin, that were he to be released today he would walk the streets of Delhi still convinced of the lopsided inevitability of relationships between men and women: what men want, women must promptly give, even at the pain of death.
Udwin has opted for a tight focus, but some viewers may wish that she had embraced a broader view of the rape crisis in India. The country’s history of anti-rape agitation, for example.
The protests that followed the death of Jyoti Singh may have been the largest against rape, but they were certainly not the first. Earlier high-profile crimes such as the 1972 Mathura custodial rape case also led to legal reform, and laid the groundwork for the development of the protest constituency that filled Delhi’s political corridor from Rashtrapati Bhawan to India Gate that December, in what ultimately turned into a war zone of tear gas, lathi strikes, and police violence.
But Udwin, like any good field reporter, doggedly pursues this one case from start to present, unable to tear herself away even for a minute. Her intimate focus allows for a more affecting narrative.
Jyoti Singh’s parents emerge as superheroes, radiating courage and strength. Her father Badri Singh, then an airport loader, comes across as exactly the sort of modern, forward-thinking, male feminist that India would be so lucky to have many millions more of. And her mother, Asha, who says of Jyoti’s birth “we celebrated like she was a boy”, was surely the propeller that allowed her daughter’s soaring ambitions to take flight.
Udwin skilfully contrasts the light in Singh’s young life with the darkness that engulfed the lives of her rapists.
The Singhs were poor, but they cared for their children fiercely. Jyoti, their only daughter, grew up well-adjusted and focused, but also deeply empathetic. One of her friends recalls that after the police picked up a street urchin for snatching her purse, Singh, rather than berating the boy, took him aside and asked him what made him do it. Because I want what you have, he said – shoes, jeans, a hamburger. Singh, recalled her friend, promptly took the boy shopping and bought him everything on his wish list. Her only stipulation was that he not steal again.
The word “happy” repeatedly comes up in reference to Jyoti. She was happy, said Asha Singh. She had only six months of her internship left, recalled Badri Singh. “Happiness was a few steps ahead.”
In contrast, the six men who would take Singh’s life appear never to have encountered happiness. The juvenile left his home in a village in the northern state of Uttar Pradesh when he was just 11 years old and didn’t return. His mother thought him dead. The others were familiar with poverty and violence. In turn, they were violent towards others. “There is nothing good about him,” Singh says of one his co-conspirators. Of another he admits: “He was capable of anything.”
A psychiatrist in Delhi’s Tihar Jail, where Singh is lodged, tells Udwin that he knows of rapists who have committed as many as 200 rapes before they are ever caught. Two hundred rapes that they remember, that is.
Given Singh’s own statements it isn’t a stretch to say that had the men got away with raping and killing Jyoti, they would have raped and killed again. Or, that neither Singh’s mindset nor even the manner of the rape, during which an iron rod was inserted into Jyoti, was, as the court declared in its judgment, truly “the rarest of the rare”. As recently as February this year, a woman was gang-raped by nine men in Rohtak, Haryana for over three hours. The men violated her with bricks and asbestos sheets. Sticks, stones and condoms were found stuffed in her private parts.
India’s Daughter doesn’t malign India, but Naidu’s statement about a “conspiracy” does demonstrate, with an acute lack of self-awareness, what lies at the heart of the nation’s rape crisis.
Naidu isn’t implying that rape is shameful; but that talking about rape is shameful because it draws attention to the fact that it happens at all. This fear is exactly what prevents rape victims from filing police complaints, and, as a result, emboldens rapists to strike again and again. In fact, Udwin has done what India’s politicians should rightfully be doing: investigating rape cases thoroughly and discussing them openly.
While eloquently expressing his love for his daughter, Badri Singh tells Udwin: “I wish that whatever darkness there is in the world should be dispelled by this light.”
The Indian government has thwarted his wishes. By banning this documentary it has deprived the Singhs of the opportunity to share the story of their daughter widely within India. In attempting to push a conversation about rape back into the closet, it has stigmatised the subject further. It has done more damage to India’s reputation, and, far worse, the fight against rape, than any film ever could.
Why India gang-rape film row is extraordinary
By Soutik Biswas BBC Delhi correspondent 03.05.15
A documentary by a British film-maker on the 2012 gang rape and murder of a female student in Delhi has kicked up a storm in India.
The courts have issued an injunction stopping it from being shown in India, and the home minister has promised an inquiry into the making of the documentary.
The film and the row it has generated are extraordinary for four main reasons.
British producer Leslee Udwin gained some of the most extraordinary and rare access that any film-maker has ever had inside an Indian prison.
She interviewed convicted rapist Mukesh Singh for 16 hours over three days. She says the crew was given permission by the jail authorities and the ministry of home affairs.
Activist Kavita Krishnan wondered how Udwin was allowed access to convicts inside jail when authorities “prevent most human rights campaigners in India from speaking to, let alone filming, prisoners”.
The hour-long film also includes extensive interviews of the victim’s parents, families of the convicts and their lawyers, interspersed with reconstruction of the incident.
Mukesh Singh, who is facing the death penalty along with three others, expressed no remorse and blamed the victim for fighting back.
Times Now news channel promptly took the lead in whipping up a campaign against the film, which it has described as “voyeuristic” and against “all norms of journalism”.
Some media analysts believe this has more to do with the channel’s rivalry with NDTV, which had the rights to broadcast the film.
Critics of the film have variously accused it of glorifying the rapist by giving him a platform, encouraging copycat crimes, or prejudicing the appeals of the rapists and spurring demands to fast-track their executions.
Others have been outraged that Indian audiences have been “exposed to the remarks of such a brutal man” on prime-time news. Although, it has to be said, Indians are accustomed to some pretty shocking stuff on prime-time news.
A Delhi court has blocked the film “until further orders” after police said Mukesh Singh’s “offensive and derogatory remarks” were “creating an atmosphere of fear and tension with the possibility of public outcry and law and order situation”.
A cynical friend suggests most of this outcry and potential danger to the law and order situation is confined to the TV studios and social media.
Home Minister Rajnath Singh has promised an inquiry into how the prison authorities gave permission to the film-maker and said he was “deeply shocked” by the interview.
It is not clear though whether the film’s ban was provoked by a touchy Indian government led by the image-conscious Prime Minister Narendra Modi or because the home ministry was embarrassed.
Many believe that the ban on the film hurts India’s reputation most.
When Mr Modi is trying hard to spruce up India’s global image as a favoured destination to invest and visit, such ham-fisted and impulsive reactions cannot really help.
“It is patronising to control what people see about their own country,” an American artist said on my Twitter timeline.
“Nobody sensible is suggesting banning the film,” says writer Salil Tripathi. “That is wrong”.
But the more things change, the more they remain the same.
Senior minister Venkaiah Naidu talks about a “conspiracy to defame India” and says the “country will be harmed if Ms Udwin’s documentary is broadcast outside India”.
Many believe India’s image will be harmed because India’s government is not seen to be supportive of free speech, and not because of Mukesh Singh’s odious remarks.
Why don’t they let Indians watch the film and make up their minds about it? Why can’t the state be less paternalistic?