Geeli Pucchi covers important new ground in the field of intersectionality between caste and sexuality, argues Aarushi Khandelwal.
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I revisited the film on multiple occasions, initially for recreational purposes upon its release, subsequently as a student enrolled in a gender society course, and finally as a deeply engaged student with a vested interest in exploring the intricacies of intersectionality in Geeli Pucchi.
The film follows the tradition of many other groundbreaking Bollywood films such as Achhut Kanya, Bandit Queen and Sujata. The first question to ask here is, how does Geeli Pucchi distinguish itself in the current context amidst the ubiquitous anti-caste discourse in India and its global resonance?
As part of the Netflix anthology Ajeeb Daastaans, one notable aspect of the film is that it portrays characters with nuanced moral ambiguity. Moreover, the film does not hesitate to depict female characters who engage in morally ambiguous behaviour.
The film follows the tradition of many other groundbreaking Bollywood films such as Achhut Kanya, Bandit Queen and Sujata.
However, the careful contextualisation of their intentions and actions ultimately complicates the task of assigning moral responsibility to them. The film evokes a sense of longing as it explores the multifaceted nature of desire, encompassing both the yearning for love and the longing for dignity.
The understanding of intricate emotions is deepened when one perceives the narrative from the perspective of being marginalised based on caste and sexuality.
In this piece, we are going to examine the interpersonal dynamics between the protagonists and the symbolic role of food.
In the 30-minute short film, Neeraj Ghaywan effectively highlights the precariousness associated with a marginalised caste identity by focusing on the experiences of Bharti Mandal, a Dalit queer woman who finds herself in a unique position as the sole female worker in a factory.
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However, the dynamics shift when Priya Sharma, a married woman from a dominant caste, enters the factory and captures the attention of the male employees, who perceive her presence as a novel occurrence.
During their initial encounter, Priya inquires about Bharti’s surname, to which Bharti responds with “Bharti Banerjee” instead of ‘Mandal’.
The brief period of silence preceding Bharti’s reply effectively conveys the significant weight of anxiety experienced by disadvantaged individuals, stemming from concerns about potential outcomes, rejection and judgment.
Throughout history, the act of masking has served as a means for individuals to assimilate into the dominant social norms. Once the individual’s surname becomes known, one’s state of being closeted is effectively terminated.
In certain circumstances, the act of publicly disclosing one’s sexual orientation or gender identity may also be perceived as a form of privilege. Bharti experiences oppression rooted in casteism and heteropatriarchy.
Throughout their relationship, Bharti encounters challenges in reconciling her affection for Priya with her frustration towards Priya’s lack of awareness regarding caste distinctions.
The understanding of intricate emotions is deepened when one perceives the narrative from the perspective of being marginalised based on caste and sexuality.
The intricate interplay between sexual closeness and envy in Bharti’s emotional landscape is frequently so complex that discerning the extent of their intersection becomes exceedingly challenging.
The individual acknowledges that Priya is likely not the sole cause of their marginalisation, however they also recognise Priya’s role as an agent within the system that perpetuates caste-based discrimination.
Bharti experiences a range of emotions including rage, helplessness, revenge and, notably, vulnerability. Insufficient attention is devoted to the discourse surrounding vulnerability and marginalisation.
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In later sequences, Bharti and Priya indulge in leisurely activities inside a park setting, whereby they engage in a dialogue about the themes of friendship and childhood, and partake in gentle sexual banter.
When Bharti inquires about Priya’s employment interview, Bharti comes to know that her abilities and diligent efforts were rendered inconsequential solely due to her inferior social caste, whereas Priya, on the other hand, secured employment merely via the act of having her palm read.
Bharti is unable to suppress an emotional response and begins to weep. However, she is cautious about not fully succumbing to her fragility in the presence of Priya.
The experience of vulnerability among marginalised individuals can be distressing, as it serves as a reminder of their position within caste systems and the limitations imposed by their caste-class-gender privileges.
However, this perspective fails to fully capture the challenges and efforts faced by marginalised individuals who navigate shifts in socio-economic class. Hence, it becomes convenient for them to dismiss it.
This process elucidates how individuals who have been excluded are instructed in concealing their susceptibility. The simultaneous reaffirmation of Bharti’s exceptional work ethic, her keen intellect, her ability to complete tasks in a fraction of the time it takes Priya and her achievement of a 74 percent score in B.Com might be perceived as an endeavour to assert that one is entitled to equality only if they surpass the expected requirements.
In cases of marginalisation, one’s over-achievements serve as the sole indicator of their believability.
Fortunately, Geeli Pucchi transcends these limitations and effectively explores various unusual aspects, with a particular emphasis on the intersectionality of caste and queerness.
Bharti and Priya engage in a reciprocal appreciation, however, their respective experiences of their sexual identities diverge. This statement elucidates the interplay between an individual’s queerness and their caste, highlighting the reciprocal effect that exists between these two aspects of identity.
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Bharti does not explicitly disclose the queer identity to Priya, but she does reveal her Dalit identity to her. The act of coming out is inherently political since it assumes the existence of a concealed aspect of one’s identity that necessitates the acknowledgment and approval of others.
In this scenario, Bharti recognised that while her queerness may not require validation from Priya, her caste must. Following Priya’s disclosure of her sexual orientation, she experiences a sense of unease in the presence of Bharti. Despite the shared experience of queerness, the presence of caste disparities creates a sense of separation among them.
During their initial encounter, Priya inquires about Bharti’s surname, to which Bharti responds with “Bharti Banerjee” instead of ‘Mandal’.
Here comes the bitter truth: Your marginalisation does not make you automatically sensitive to other forms of marginalisation. Often queer spaces are not completely accepting of Dalit identities and often Dalit spaces are not completely accepting of queer identities.
Interestingly, in many contexts, having access to the vocabulary of queerness and the understanding of pronouns, indicates the class privilege it brings with it. Being queer often can make a person part of dominant class spaces that would have otherwise been impossible if the identity of the person is only Dalit.
Although I recognise my discontent with the lack of representation of a Dalit individual in the role of Bharti, I am also hesitant to give up the enjoyment derived from observing a character on screen who effectively portrays our story, displays vulnerability similar to our own, and embodies emotions that are not only aspirational but truly inspiring.
This particular character exhibits a genuine response to challenging circumstances, prioritising genuineness over idealistic notions. Geeli Pucchi evokes a diverse array of emotional responses within the audience. The range of emotions being experienced is multifaceted, yet, I am simultaneously developing the capacity to navigate and resolve these intricacies by employing the lens of intersectionality.
The tale employs the theme of food as a means to highlight the contrasting traits of its protagonists. The association between Bharti and Priya commences when Priya descends to the canteen and partakes in a meal with Bharti on her inaugural day of employment.
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Priya extends an offer to Bharti, presenting her with the stuffed okra that she has brought from her place of residence. However, Bharti declines the offer. Bharti consumes food from her square steel lunch container.
Subsequently, Priya inquires of Bharti on the provision of toilets specifically designated for women. However, Bharti responds tersely, asserting that since no women were working there before, there was no need for the establishment of separate toilet facilities. In the process, she overlooks her own gender identity as a woman.
These scenes centered around food effectively highlight the interconnectedness of caste-related biases. Bharti extends an invitation to Priya to visit her residence, where she prepares a chicken dish for her. Priya is prohibited from eating meat within her household, as dominant caste religious households adhere to the practice of abstaining from such food due to the perceived association with impurity.
Here comes the bitter truth: Your marginalisation does not make you automatically sensitive to other forms of marginalisation.
The film’s title, Geeli Pucchi, which translates to ‘sloppy kiss’, is derived from a scene in which Priya kisses Bharti’s hands after the former samples the chicken dish prepared by the latter.
At her workplace, Priya’s birthday is commemorated by her manager and colleagues by the ceremonial cutting of a tangible cake. Bharti has been excluded from the celebration, as Priya has requested her to refrain from participating.
Bharti, filled with sorrow, observes the activities from a vantage point. Subsequently, she is summoned to allocate the cake to the remaining personnel in the factory. She experiences a sense of revulsion as she observes one of the individuals placing a filthy serviette onto the serving dish.
She receives minimal levels of respect. During the concluding scenes of the film, Bharti pays a visit to Priya after the delivery of her child. Priya’s mother-in-law requests her assistance in persuading Priya to resign from her employment. Bharti is presented with tea served in a distinct steel container.
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The practice of maintaining distinct sets of utensils for individuals belonging to marginalised castes is prevalent in numerous households. It is noteworthy to mention that Geeli Pucchi commences with a depiction of communal use of utensils and food, and culminates with a portrayal of their subsequent separation.
A similar analogy was represented in Umesh Bisht’s film Pagglait, which was released earlier this year, a depiction wherein a Hindu family served their Muslim acquaintance a cup of tea in a distinct vessel.
Geeli Pucchi elicits a multitude of thoughts and emotions within the viewer. The artistic creation in question exhibits a complex narrative structure, serving as a wellspring of inspiration for individuals, including myself, who had not previously expected to encounter diverse representation in popular film.
The movie, however, fails to adequately represent the Dalit community, as the matter of dominant–marginalised caste is the central point of the movie.
The film’s title, Geeli Pucchi, which translates to ‘sloppy kiss’, is derived from a scene in which Priya kisses Bharti’s hands after the former samples the chicken dish prepared by the latter.
Clearly, the director intended to employ a nuanced and refined narrative technique. The potential for reclaiming the cinematic domain has generated optimism among many individuals, as it not only enables personal empowerment but also encourages the examination of intersectionality and its associations with caste, gender and sexuality.
This film has established the groundwork for directors to surpass their social advantages and provide an authentic atmosphere for the practice of intersectional and inclusive filmmaking and cinema.
