The Intersection of Caste, Gender, and Sexuality through the Lens of ‘Geeli Pucchi’

Vania Kapoor**

INTRODUCTION

“Tumko woh kursi nahi milegi, lekin kahi uss kursi tak pahuchte pahuchte tum khud hee na jal jao.” -Dashrat (Bharti’s Co-worker)

This dialogue from Neeraj Ghaywan’s ‘Geeli Pucchi,’ a short film featured in the anthology ‘Ajeeb Daastaans’ on Netflix is from one of the initial scenes in the film. When Bharti, a machine operator at the factory, confided in Dashrat—one of her few friends among her co-workers—about her continued efforts to secure the vacant data operator job at the factory, Dashrat responded with this statement out of concern, which meant that not only was it unlikely that Bharti would attain the job, but her relentless pursuit could also end up causing her significant harm. Such charged dialogue and discomfort right from the start serve as a poignant preamble to the exploration of critical social issues, offering the audience a compelling introduction to the thematic depth that the story will delve into. Even in the absence of explicit dialogues at the film’s outset, the carefully chosen names of the protagonists, Bharti ‘Mandal’ and Priya ‘Banerjee,’ subtly serve as cues to the audience that one of the film’s primary themes will be an exploration of the ramifications of casteism on our society. The film goes on to do justice to these expectations by exploring the lives of these two protagonists, who work in the same factory yet are living two contrasting realities as a consequence of belonging to a subordinate and dominant caste, respectively. However, what stood out the most was its nuanced exploration of the intersection of casteism with sexuality and gender. Despite the protagonists belonging to different castes, their connection emerged from the shared experience of being homosexual women in a hetero-patriarchal society.  This piece endeavours to scrutinize the intricate display of these prominent themes and their intersection portrayed through the lives of the protagonists of the film, Bharti and Priya, and examine how the film incorporates the negative consequences of societal privilege and discrimination into the intricate fabric of its narrative.

PREVALENCE OF PRIVILEGE WITHIN THE DOMINANT CASTE AND THE ENDURING EXISTENCE OF UNTOUCHABILITY WITHIN THE FISSURES OF OUR CASTEIST SOCIETY

By displaying the differential treatment that Bharti faces when compared to her dominant caste counterpart, Priya, the film portrays the discrimination endured by subordinate castes at the hands of the privileged dominant caste. Bharti, who has diligently worked in the factory for several years, finds herself unable to secure the desired position of a data operator, despite her experience and commitment. Instead, the job is awarded by to a newcomer – Priya. When Bharti’s boss chooses Priya for the data operator position even though Priya is underqualified, the film unveils how years of economic oppression suffered by the subordinate caste, stems from the denial of equal and improved economic opportunities. It underscores the reluctance of the dominant castes, exemplified by the factory manager, to relinquish their privilege. It further goes on to illustrate how this privilege morphs into the form of untouchability, evident in seemingly everyday activities like food sharing. For instance, during Priya’s birthday celebration, Bharti is excluded from the cake-cutting and is later asked to serve it to all the workers.
Another instance that sheds light on this segregation is when Bharti is served tea in a glass, distinct from others who receive it in cups. The film poignantly depicts the deeply ingrained separatist behaviour toward subordinate castes. Priya, either indifferent to challenging these casteist norms in front of her family or unaware of their implications, fails to stand up for Bharti, highlighting how normalized such discriminatory practices are in our society.

REPERCUSSIONS OF DOUBLE OPPRESSION: EXPLORING THE INTERSECTIONALITY BETWEEN CASTE AND GENDER

Bharti is disrespected by her coworkers throughout her work experience, but the co-workers’ behaviour toward Priya is visibly distinguishable. One co-worker implies that Bharti doesn’t conform to stereotypical feminine standards like Priya. Her presence as a woman is dismissed by her co-workers because she doesn’t adhere to expected feminine attire and also performs a typically masculine role of a machine-operator at the factory. This situation highlights how deeply ingrained sexist stereotypes are in society. When a woman doesn’t fit the conventional mould of femininity that society expects, her gender identity is often disregarded altogether. Further, through this scene the film also portrays the intersectionality between caste and gender since Bharti is a victim of double oppression who is neither respected by her dominant-caste boss nor by her coworkers, who are of the same caste as her. On the other hand, the dominant caste woman who fits the societal stereotype of femininity exemplified by Priya is treated as a symbol of respect and purity, which is further highlighted later in the film when a female restroom is constructed specifically upon her arrival at the factory. Remarkably, the lack of such a facility had gone unnoticed for years, even though Bharti, who had been working there for several years, had been managing by using the men’s restroom. This oversight suggests that Bharti’s identity as a woman was effectively invisible to both her dominant caste boss and subordinate caste colleagues. The disregard for her gender is further highlighted when a co-worker physically assaults Bharti in an argument, without any consideration for her as a woman. Would the coworker have ever laid a hand on Priya?  This is what the movie urges the audience to think about. The consequences of such oppression on women belonging to subordinate castes are grievous. When they become victims of rape and other atrocities in society, they often find themselves doubly disadvantaged, struggling to seek justice. Crimes committed against Dalits frequently go underreported and are often neglected by both the police and the public. The conviction rates in these cases tend to be alarmingly low, as per National Crime Records Bureau’s Report. More particularly, studies show that while the conviction rate for rape cases involving women from all communities in India averages around 25%, for Dalit women it is only 2%. 

UNITED BY SEXUALITY, DIVIDED BY CASTE

Priya’s dominant caste, however, does not save her from being constantly pressured for not loving her husband, Shiv, and being trapped in her marriage. She has an identity crisis and is unable to gather the courage to accept who she is. This signifies the societal constraints that shape individuals and the pervasive influence that moulds them to conform to specific behaviours and identities. Their sexuality is indeed what brings Priya and Bharti together despite their caste and status differences. Nevertheless, the film eschews a conventional happy ending and instead follows a more realistic trajectory, depicting how caste eventually emerges as an insurmountable barrier between both protagonists; Bharti is taken aback when Priya fails to take a stand for Bharti when she is discriminated against at work and at Priya’s house. While the story does not explicitly elucidate whether Priya’s actions stem from naivety or a conscious choice not to advocate for Bharti, this ambiguity adds a layer of complexity that, as an audience, completes the narrative. Casteist behaviour is so normalized that one does not even recognize that they are participating in it. The implications on the psychology of those facing it are not felt by those imposing it, and the same was the case with Priya, who did not understand Bharti’s casteist struggle, not being from the subordinate caste herself. Dalit activist Anurag Bhaskar highlights this problem in his article, emphasizing the reluctance of activists from dominant castes to support struggles against caste-based discriminations actively.

CONCLUSION

The film adeptly llustrates the caste divide that is prevalent in our society since time immemorial and justifiably explores the intersection of this social malaise with gender and sexuality seamlessly through its plot and characters while exposing the adversities one faces if they do not belong to a privileged gender, or perhaps a sexuality that is more widely accepted by our society. 

Crucially, the film addresses societal issues that the Indian audience often avoids discussing – that of intersectionality. This is imperative in current times, where despite increased education and awareness— or the assertion thereof—topics like homosexuality and personal desires are regarded as taboo. Considered a stepping stone, this short film should pave the way for more cinematic endeavours aiming to normalize open discussions about one’s sexuality and the underlying societal issues, including the prevalent but overlooked concern of casteism.

** Vania Kapoor is a fourth year BBA LLB (Hons.) student at O.P. Jindal Global University, and is passionate about legal research and writing. Vania actively seeks opportunities to explore diverse fields of law and enjoys analysing book chapters and films through an intersectional legal lens. 

Cover image for the blog has been taken from TMDB.

Disclaimer: The views expressed in this blog do not necessarily align with the views of the Vidhi Centre for Legal Policy.