‘Phule' movie review: Pratik Gandhi brings home the Mahatma
Bollywood seldom tells stories of Dalit assertion. It mostly sees the marginalised as victims who need the compassion and cover of an upper caste saviour. Perhaps, that's why the inspirational story of Jyotirao (Pratik Gandhi) and Savitribai Phule (Patralekhaa) remained off the radar of commercial filmmakers. Known to pick up challenging subjects, this week, writer-director Ananth Mahadevan turns his lens on the intrepid Maharashtrian couple that challenged the prevailing social order and the upper caste hegemony in the 19th century through education and progressive values, and started a mission against caste and gender discrimination.
Unlike last week, when Kesari fictionalised the story of C. Sankaran Nair beyond recognition to cash on some chest-thumping moments, Mahadevan is sedate, largely sticks to the recorded history, and doesn't lend his work an overtly agitative tone.
The film opens with a wide-angle shot of the fields of Marigold. Gradually, we discover that Phule gets his surname from the flowers his family grows in the fields granted by the last Peshwa ruler for their floristry services. Flowers are offered to the deities, but the gardener is kept out of the temple. Even his shadow is proscribed. His family and immediate society have accepted it as an order dictated by the scriptures, but Phule stands against the 'middlemen' between the Almighty and man. Inspired by the French Revolution, he quotes from Thomas Paine's 'Rights of Man.'
Mahadevan brings to light the hypocrisy, the unspoken vice in religion. The Brahmins want the numerically superior Shudras to take up arms to take on the Colonial power, but don't want them to read, write, or have a voice. Through Savitribai's trusted ally, Fatima, the film also opens a window to the orthodoxy among Muslim men towards girls' education, which is not different from that of Hindu society.
The Lords open the education path for them, but to lead them to the Church. A strategist, Phule can see through the divide-and-rule tactics of the British and implores the high priests to set the house in order before taking on the foreign power.
Phule (Hindi)
Director: Ananth Mahadevan
Cast: Pratik Gandhi, Patralekhaa, Vinay Pathak, Joy Sengupta, Amit Behl
Runtime: 129 minutes
Storyline: The life and times of social reformers Jyotirao and Savitribai Phule, who fought against caste and gender discrimination to create a more equal society
Some moments make you chuckle at the conceit of a section of the upper caste. When a group of Brahmins sends men to eliminate Phule, he, laughingly, says that was the first time that Brahmins had spent money on him. When Phule conducts marriage rituals, Brahmins object and seek compensation. Phule asks if they would pay the barber when they shave themselves.
The CBFC has muted the tone, but those who could read between the lines will find answers to the Battle of Bhima Koregaon before Phule and B.R Ambedkar's renunciation of the Hindu faith after him. Popular culture has focused so much on Mahatma Gandhi that we have forgotten that the non-violent struggle of the original Mahatma of modern Indian history continues unabated.
However, in terms of storytelling and craft, Mahadevan again disappoints. For a large part, the film reads like a visual essay, where each paragraph captures the highlight of their journey. Perhaps, to sidestep the opposition before the release, in a foreword kind of sequence, the film underlines that Phule had some Brahmin supporters and friends before moving to the opposition from the family and society; the Brahmin backlash, Phule's critique of the caste system; dung and stones hurled at Savitribai; providing shelter to pregnant Brahmin widow and so on in a textbook style.
You can appreciate the sincerity in Mahadevan and writer Muazzam Beg's storytelling, but it is more educational than immersive. The internal struggle and self-doubt of the protagonists hardly come to the surface, and the ideas of Phule sound more like teachings than lived experiences. One can see the battle to get a well of their own is hard-fought, but you don't feel their thirst for change. Like most historicals, the film makes the mistake of seeing Phule through the prism of today by putting the halo behind him. Despite solid actors like Joy Sengupta and Amit Behl, it appears the Brahmin characters are there to be ridiculed. It means no suspense or surprise awaits us in their journey.
However, Pratik finds depth even in this creative flatness to portray the gravity of the struggle. The confident gait, the furrow on the forehead, and the transition to a man who realises that his mission will not be complete in his lifetime, Pratik coalesces different timelines and situations in his malleable frame. The understated ebullience of Patralekhaa feels more like 2025 than 1885, but together, they generate the vibe of a couple that grows from sharing a teacher-student bond to becoming soulmates.
Phule is currently running in theatres
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Economic Times
5 hours ago
- Economic Times
When Vijay Mallya performed the 'Kanyadaan' of a famous Bollywood actress during her marriage
Tired of too many ads? Remove Ads Sameera Reddy once revealed in an old interview that Vijay Mallya, her relative from her mother's side, gave her away at her wedding to Akshai Varde in 2014. A Wedding No One Saw Coming A Bond Forged Through Bikes RCB Glory Revives Mallya's Forgotten Connection Sameera's Quiet Comeback Business tycoon Vijay Mallya has once again made headlines—this time for reasons that go beyond cricket or courtroom battles. Following Royal Challengers Bengaluru 's long-awaited IPL win, Mallya, the franchise's original owner, took to social media from the UK to celebrate the team's victory. But as fans revisit his legacy in sports and business, a lesser-known personal anecdote has caught public attention—his unexpected role at actress Sameera Reddy 's a 2014 interview with DNA, Sameera Reddy revealed that Mallya, who is related to her from her mother's side, performed the kanyadaan ritual at her traditional Maharashtrian wedding to entrepreneur Akshai Varde . 'Only Vijay Mallya, who is related from my mother's side, gave me away to the groom. That apart there were only friends and family,' she said at the time, describing the ceremony as intimate and devoid of any Bollywood and Akshai's wedding on January 21, 2014, was so private that even her closest friends were unaware. 'Isn't this the best way to do it?' she said, explaining their decision to pre-pone the wedding originally planned for April. 'Months of painful planning causes so much stress… Akshai said, why not. I said, why knot? Ha ha. And we said, 'I do.' And I'm glad we did.'The ceremony was organised in just 10 days by her sister Sushama. Sameera opted for a minimal look, requesting designer Neeta Lulla to dress her in a simple South Indian sari without jewellery. 'I had spent 11 years of my life decking up on screen. For my wedding, I wanted a minimalist look. We finally opted for a simple South Indian sari. I guess that was the 'Reddy' side asserting itself,' she couple's love story is equally unconventional. Sameera and Akshai bonded over their mutual love for motorcycles. 'Akshai saw me whizzing past on this really mean macho machine. I think he was impressed,' she laughed in the DNA interview. Their relationship, she said, blossomed away from the spotlight. 'I wanted to marry outside the film industry.'Akshai Varde, who owns a custom bike company, had worked on several celebrity motorcycles—including actor Balakrishna's superbike in the film Legend. Their honeymoon, she revealed, was delayed due to his commitment to an auto expo, but a biking trip was always in the Royal Challengers Bengaluru lifted their maiden IPL trophy after 18 seasons, Mallya expressed joy from afar. Though he lost control of the franchise in 2016 following loan default charges worth over ₹9,000 crore, his early decisions—including drafting a young Virat Kohli in 2008—shaped the team's than a decade since her wedding, Sameera Reddy has stepped away from films but stayed active on social media, where she shares family updates and body positivity messages. In February 2025, she celebrated 11 years of marriage with Akshai by posting affectionate photos online. She is also set to return to the big screen in Anees Bazmee's Naam – The Dyslexia Aadmi starring Ajay Devgn.
Time of India
7 hours ago
- Time of India
When Vijay Mallya performed the 'Kanyadaan' of a famous Bollywood actress during her marriage
Business tycoon Vijay Mallya has once again made headlines—this time for reasons that go beyond cricket or courtroom battles. Following Royal Challengers Bengaluru 's long-awaited IPL win, Mallya, the franchise's original owner, took to social media from the UK to celebrate the team's victory. But as fans revisit his legacy in sports and business, a lesser-known personal anecdote has caught public attention—his unexpected role at actress Sameera Reddy 's wedding. In a 2014 interview with DNA , Sameera Reddy revealed that Mallya, who is related to her from her mother's side, performed the kanyadaan ritual at her traditional Maharashtrian wedding to entrepreneur Akshai Varde . 'Only Vijay Mallya, who is related from my mother's side, gave me away to the groom. That apart there were only friends and family,' she said at the time, describing the ceremony as intimate and devoid of any Bollywood razzle-dazzle. TOI-Online Sameera Reddy once revealed in an old interview that Vijay Mallya, her relative from her mother's side, gave her away at her wedding to Akshai Varde in 2014. A Wedding No One Saw Coming Sameera and Akshai's wedding on January 21, 2014, was so private that even her closest friends were unaware. 'Isn't this the best way to do it?' she said, explaining their decision to pre-pone the wedding originally planned for April. 'Months of painful planning causes so much stress… Akshai said, why not. I said, why knot? Ha ha. And we said, 'I do.' And I'm glad we did.' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas For Sale in Dubai Might Surprise You Villas In Dubai | Search Ads Get Rates Undo The ceremony was organised in just 10 days by her sister Sushama. Sameera opted for a minimal look, requesting designer Neeta Lulla to dress her in a simple South Indian sari without jewellery. 'I had spent 11 years of my life decking up on screen. For my wedding, I wanted a minimalist look. We finally opted for a simple South Indian sari. I guess that was the 'Reddy' side asserting itself,' she added. View this post on Instagram A post shared by Sameera Reddy (@reddysameera) A Bond Forged Through Bikes The couple's love story is equally unconventional. Sameera and Akshai bonded over their mutual love for motorcycles. 'Akshai saw me whizzing past on this really mean macho machine. I think he was impressed,' she laughed in the DNA interview. Their relationship, she said, blossomed away from the spotlight. 'I wanted to marry outside the film industry.'Akshai Varde, who owns a custom bike company, had worked on several celebrity motorcycles—including actor Balakrishna's superbike in the film Legend . Their honeymoon, she revealed, was delayed due to his commitment to an auto expo, but a biking trip was always in the cards. RCB Glory Revives Mallya's Forgotten Connection As Royal Challengers Bengaluru lifted their maiden IPL trophy after 18 seasons, Mallya expressed joy from afar. Though he lost control of the franchise in 2016 following loan default charges worth over ₹9,000 crore, his early decisions—including drafting a young Virat Kohli in 2008—shaped the team's identity. You Might Also Like: This Bollywood couple now owns Vijay Mallya's iconic Kingfisher Villa in Goa. Here's why it is now called the King's Mansion Sameera's Quiet Comeback More than a decade since her wedding, Sameera Reddy has stepped away from films but stayed active on social media, where she shares family updates and body positivity messages. In February 2025, she celebrated 11 years of marriage with Akshai by posting affectionate photos online. She is also set to return to the big screen in Anees Bazmee's Naam – The Dyslexia Aadmi starring Ajay Devgn. You Might Also Like: Vijay Mallya's two marriages and another strong rumour. An air hostess, childhood friend and another air hostess Who is Vijay Mallya's adopted daughter Laila? Check her education, career Who is Vijay Mallya's daughter-in-law, Jasmine, married to his son Sidhartha? Her education, career
The Print
17 hours ago
- The Print
Indian gay men idolise three kinds of women. They're all missing from this era of Bollywood
The women who queer people—especially the gays—idolise fall into one of three types: the tragic figure, the camp queen, and the vamp-vixen-fierce-mother diva goddess. (There's another, shorter, more outrageous word for the last category, but it's not very PG and hence best avoided.) Most often, these women are high-fashion, irreverent, and fully realised. It's no secret: gay men love women. Their lives are deeper, their conversation more honest, their heartbreak familiar. In pop culture, this translates to armies of gay men willing to lay down their lives for their 'queens'. If you've ever encountered a Beyoncé fan on X, you'll know what I mean. When I was 12 years old and the star of my sanskar kendra—the Hindu answer to Sunday school—we did a play in which I was the only boy with 10 girls. My mother called me 'Krishna amid gopikas', bless her blindness. And while I did grow out of religion eventually, I've only grown more comfortable with my adoration for women. No one in Bollywood, at the moment, fits these criteria; it's why everything coming out of the industry is slop. And if you bring up Badhaai Do, I will be moved to violence. The summer of change If the recent rise of Shabana Azmi and Zeenat Aman tells us anything, it's that we're desperately seeking Bollywood's lost vitality. Even the West, which has a long tradition of queer icons from Judy Garland to Chappell Roan, is resurrecting the likes of Nicole Kidman and Michelle Yeoh. In India, it all began in July 2023, when three things happened in rapid succession. First, Zeenat Aman, after conquering Instagram, earned herself a feature on the cover of Vogue India. Second, Rekha appeared on the cover of Vogue Arabia in what can only be described as the photoshoot of the decade. (The technical term, I believe, is 'slay the house down boots'.) Third, Jaya Bachchan and Shabana Azmi returned to the big screen in KJo's Rocky Aur Rani Kii Prem Kahaani. Three of these women were what can be called 'fierce', which is code for subversive. The fourth one is the exact opposite, most likely by choice. But let me elaborate. Zeenat, while she was 'bold' during her time in Bollywood, wasn't ever rebellious. She didn't ruffle feathers—the right kind, at least. She was daring and perhaps outrageous, but always demure. Case in point, the way she convinced Raj Kapoor to hire her for Satyam Shivam Sundaram. It is in her arrival on Instagram, where she revealed the person behind the persona, that Zeenat became radical. Shabana was always non-conforming. But the women defined as queer icons often carry a sartorial edge. A lot of it is in fashion—a performance of such extreme femininity that it begins to undo the very institution that ordains it. Who can watch Mandi and deny her the title? Jaya, I've heard, was once profound. Perhaps she remains so, but subversive, she is not. Rekha is the only one out of these legends who wasn't making a 'comeback'—she'd never left. A line about Madonna from the Drag Race musical fits here, too: The most controversial thing she ever did was to stick around. Part of why Rekha is the embodiment of a queer icon is that she knows how the delicate line of power has to be toed. She is real, but to a point. She knows how to lure in her interviewer with a scandalous confession—only to undercut it with a paltry statement of fact. And if you need more proof, look no further than the Simi Garewal interview. Rekha responded to Garewal's befuddlement with queerness in an unbothered yet bratty 'Why not!' Yes, you heard it here first: Rekha is 'brat'. All this to say, the grandmas returned in 2023 to remind us how comfortable we'd gotten with conformity. Everyone knows that pop culture becoming hetero is a recession indicator. When was the last time Bollywood wrote a good part for a woman? Even Alia has hit a dry spell. Not that Mrs Kapoor could ever embody defiance. Priyanka Chopra was at the precipice for one hot second—before PC decided to become POC in America. Katrina, too, had potential before she went the Karva Chauth route. One name I think queers are overlooking is Mallika Sherawat—beyond a eureka mention of Hisss, we haven't been paying much attention to her. The gays certainly love Deepika and Madhuri, but these women are not quite the brat-fierce-vamp-femme fatale brand of defiant. One might call them 'mother', but I'm afraid that word has become antiquated already. Also read: Grindr is dying. The final nail in the coffin is ads Bring back subversion Rekha, Shabana, and Zeenat belong to the subversive brand of queer icons. But even the tragic figure and the camp queen are rebellious in their own way. At first, I thought of the tragic icon as a woman doomed by the narrative—Meena Kumari, Parveen Babi, Whitney Houston, Princess Diana. These were women whose suffering and loneliness drew the queers in. I'd even count Meerabai here—her power to yearn is unrivalled—but I believe I may be alone on this particular hill. I hadn't realised that the tragic women had been named so by the world—a world ruled by the very men who let these women down. They had been marked as outliers until the queers made icons out of them. Not by indulging in the sorrow of their fall, but by celebrating the art and vitality they bequeathed us. Who can listen to I Write, I Recite and not realise that Meena Kumari's depth defines her, not her death? And then there is camp. If Rekha is subversion personified, Sridevi is camp come to life. She, too, is exaggerated, irreverent, hyper-feminine, and non-conforming to the bone. But there is a wink-and-nudge to camp, a disarming playfulness. The claws are well-hidden. Kareena Kapoor, I'm forced to admit, is part of this tradition. But when camp, or fashion in general, isn't backed by any real rebellion, it becomes slay—in other words, liberal. Desi gays who stan Kareena are like the white gays who enjoy Ariana Grande: they don't really care for substance. Today, campy queens can be found in reality TV and influencer culture, be it Rakhi Sawant, Pooja Mishra, or Uorfi Javed. From this generation, though, Rakhi is the only one at par with Sridevi. The claws are there, even if power isn't. So what is it that makes a woman a queer icon? And am I saying that our lack of queer icons is a failing on the part of the women in Indian pop culture? Not really. A Rekha can't be repeated today. Our definition of celebrity has shifted, as have the ways in which we rebel. Chappell Roan is an icon, but in vastly different ways from Judy Garland. Rebellion is part of it. When women fight the karva-chauth-and-sindoor type of patriarchal assertion, they're inadvertently forming ties with the queers. And if Bollywood wants to remain relevant, it must let these women surface once again. The women queer people idolise are the ones who, through their own pain, sass, or subversiveness, create spaces where we can belong. Who'd have thought, all it takes to earn our admiration is letting us in. This article is part of a series of columns. Read the rest here. Views are personal. (Edited by Theres Sudeep)
