Costume in film can be used in many ways. Very simply, it can be used as a fashion statement. Even if the film-maker doesn't intend it, many film costumes end up as contemporary fashion trends. In period-based films costumes are used to lend authenticity to the story and characters, by being appropriate to the time setting.
Costume is also, less frequently, used to bring out some aspect of character in a film - as a symbol of a certain dimension of a character's personality. A very elementary use of this can be seen in films like Chaalbaaz (Pankaj Parashar, 1989), where costume becomes a relflection of the twin sisters' diametrically opposite personalities. So, the demure and timid Anju is seen in saris, whereas the fiery Manju gets to wear western clothes and stilletoes.
It is in this context of costume that I would like to discuss the film Jogwa (Rajiv Patil, 2009) in this blog.
One major theme in the film is "identity". Moreover the film is about the implications of loss of identity and imposing an unnatural identity on an individual. The character of Tayyapa in the film is forced to wear a sari and live life as a jogti, as a result of the superstitions prevalent among the village-folk. But as the film progresses, we notice that this is not merely a change of dress - the act of wearing a sari begins to have serious implications on the personality of the character.
The sari itself is meant to convert Tayyapa into an asexual being. He is not allowed to be attracted to women, but this conversely leaves him vulnerable to unwanted male attention. It forces him to supress instinctual behaviour. As another character (who is in a situation, similar to that of Tayyapa, and has been wearing a sari since the age of 10) in the film tells Tayyapa that even if he were to get intimate with a woman he would not feel anything.
The costume, then, becomes a symbol for how human beings can be oppressed due to superstitions and ignorance. It is instrumental in altering a character's identity. Something similar to this can be seen in a film like The Mask (Chuck Russell, 1994), in which wearing the mask is also an act of shedding one's inhibitions and gaining freedom from society's binding norms. In Jogwa, the sari performs the exact opposite function - of contricting one's personality within the dictates of society.
I would specially like to draw attention to the song 'Jiv rangala' in the film. It is a romantic number, shot in scenic, peaceful locales, like any other romantic song. But this has to be one of the most unconventinal love songs I've come across in terms of depiction of the lead pair. Both the male and female leads in the song are dressed in saris. The director could have resorted to any other device to picturise this song conventionally. It could have been a dream sequence, or just for the space of this song Tayyapa could have worn male attire. No one would have found this odd, or even noticed. The best part, though, is that inspite of both the actors wearing saris, you still don't notice. The song is not in the least bit disconcerting or strange. And therein lies the skill of the director and of his storytelling.
Jogwa is a very watchable film for many reasons. It has a unique subject, which has been dealt with empathetically. The director sends out an important message without ever resorting to sermonising or high-handedness. The performances are understated and do not go overboard, and Upendra Limaye's utterly convincing performance as Tayyapa takes your breath away. I'm sure at some point I'll be able to write a more objective analysis of the film. But for now, I'm happy being completely taken in by the film.
