PERSONAL REFLECTION OF INDIAN CULTURE AND ARTS USING THE FILM ON A MUGGY NIGHT IN MUMBAI
Mahesh Dattani’s film, “On a Muggy Night in Mumbai,” is about gays’ experience in socialization with the community in Mumbai. The play features seven homosexual characters who shed light on the theme of love, betrayal, alienation, and psychological distress that define the experience of the members of the LBGT in contemporary Indian cities. It commences with a plan for a party. Kamlesh, who is undergoing depression despite looking accomplished in life, has organized a camaraderie with gay friends, namely Sharad, Ranjit, Bunny, and Deepal. The encounter after the arrival of a couple with the fiancé arouses the concerns on the nature of relations between gays. Prakash’s discovery that Kamlesh loves Prakash/Ed leads to his dissociation with the character. Such confirm the stigma associated with homosexuality in Mumbai. Kamlesh and the friends must come to terms with the reality that most Indians frown upon gays. As a result, the gays are forced to live isolation or conceal identity to fit with the rest. The double life experience, coupled with suicidal tendencies, highlight the role of culture in defining the values that dictate relations in India. A person familiar with the culture of the Indians can easily identify the cultural elements in the film after watching the contents. The scenes at Kamlesh’s house party and storyline on homosexuality that dominate the play enhances an understanding of the Indian traditions that define the social relationships in contemporary times. In this essay, the presentation reflects on the accounts that expose the cultural practices of the Indians in relation to the preconceived notion about Indians. The motive of the reflection is to merge personal thoughts with the reality that defined the traditions of the Indians highlighted in the play.
At first sight of the title of the film, I knew it was recounting a tale related to the developments in an Indian city. However, I was unaware that it focuses on a theme of social relationship that highlights the ‘acceptable’ practices in Indian society.[1] After watching the contents, I learned that the use of the phrase “On a Muggy Night in Mumbai” suggested that the film was about an unusual experience of homosexuals.[2] I was aware of the community’s tradition of treasuring marriage between a man and a woman, as projected in the film. The reality inhibited the association of homosexuals since the majority of Indians who cherish conservative values. The film also confirmed the previous notion that Indians abhor practices that contradict the norm, such as marriages of same-sex couples. I believed that the tag attracted stigmatization in the community as recounted by Kamlesh to ED” “How long shall we continue to hide? We can’t hide forever!” (69) The scene where Kamlesh is filled with anguish after he was disowned by the friend Prakash affirmed the thought. The initial depiction of the gay characters as psychologically distressed suggests that many are not at liberty exercising rights as the case of other Indians. The society marginalizes the group as stated that “They could enter and exit Mumbai without anyone noticing” (Chaudhuri). The majority overlooked the plight of the group.
The narrator’s tactics in the film help convey the view of the society on gays leading to their choice of double identity, suicidal attempts, and psychological distress. The scene where Kiran experienced unsuccessful marriage because of abuse espouses the themes. The character understands the gay community but cannot express her felling because of the stigmatization associated with homosexuality. Her reaction in desperation while anticipating marrying ED sheds light on the view of the Indians on gay marriages. The society upholds marriages of the opposite sex, and such is the reason Kiron’s union are unsuccessful. The accounts suggest that Indians ought to have allowed Ed and Prakesh to marry as opposed to enforcing norms that defy the liberty of gays. The critical aspect of culture restricting liberties of gays is expressed in communication that indicates that the laws in India are not friendly towards gays, thus the thought to relocate from the country. The preconceived norms contrast the aspirations of the young urban couples willing to express themselves freely. At the invitation of gays to a party, Kamlesh, a rich fashion designer, sought to exercise liberties of socializing with gays.[3] He was aware of the social-political connotations associated with the members of the LBGT in India, so he opted to organize the camaraderie at his house.
Another section that projected the preconceived notion about the Indian culture is the use of artistic components as fashion in addressing contentious subjects as homosexuality. The code of the lovers is expressive of the norm that characterizes interaction amidst members of the community. It is equally worth noting that the storyline explored the topics overlooked by other film composers that highlight the controversial themes of sexuality. Composers rarely use art to evoke thoughts on the subject of sexuality as the case of Mahesh Dattan. The composers opt to use play to communicate the contentious beliefs that are gaining audiences in India. The contents associated with the reality that define the interaction of Indians at the household level. The presentation of the paly as artwork in line with the imagination of the majority unfamiliar with gays’ experience proves that media can help depict the underlying issues affecting a section of the society. One can easily understand the relations amidst the young in urban areas in Mumbai after watching the play. The communication tactics employed proved that Indians’ religious values influence relations at households.
Lastly, the play “On a Muggy Night in Mumbai” is about socialization among gays that reaffirms the preconceived notion about the culture of Indians. The narration commences at the scene where Kamlesh has organized a camaraderie of gay peers. The accounts that follow sheds into light the experiences of the homosexual in India. The evaluation of the scenes, themes, and reactions of the characters in their interactions projects the mistreatment of the gays and the difficulties experienced by the individual, such as psychological distress and living double identity. They cannot experience life like the rest, as highlighted in the film. The reality corroborates with the imagined notion of Indians being conservatives. As a result, I can conclude that watching the film is essential in understanding the contentious cultural issue that defines the lives of the masses in India.
References
Menaka, G., and G. Sankar. 2017. “Representing the Themes of Marginalization and Homosexuality in Mahesh Dattani’s On a Muggy Night in Mumbai.” International Journal of Research 7
Chaudhuri, Asha Kuthari. 2005. Mahesh Dattani: an introduction. Delhi: Foundation Books.
[1] Kuthari Chaudhuri, Asha. 2005. (Mahesh Dattani: an introduction. Delhi: Foundation Books). 8
[2] Kuthari Chaudhuri, Asha. 2005. (Mahesh Dattani: an introduction. Delhi: Foundation Books). 2
[3] Menaka, G., and G. Sankar. 2017. “Representing the Themes of Marginalization and Homosexuality in Mahesh Dattani’s On a Muggy Night in Mumbai.” (International Journal of Research 7) 5