Mark Wiebes
The film Lagaan has larger metatexts that run parallel and are interconnected with the narrative set around a cricket match for livelihood in 19th century colonial India. These texts can give added meaning to Indian audiences and others who have a background in Krisna theology. Through the use of setting, characterizations, and song and dance sequences, Lagaan has interrelated a Krisna discourse from three of the most important text in Krisna theology. This review will discuss the use of elements from the Srimad Bhagavata Purana, Jayadeva’s Gitagovinda, and Bhagavad Gita as melodrama in Lagaan.
The setting of Lagaan aesthetically looks like the land of Krisna and the description from a song and dance sequence describes the land similar to the Gita Govinda. Lagaan was filmed in the present day Gujarat, which has physical characteristics of much of the of western Deccan plateau. This desert with some vegetation and farming is much like the mystical land of Krisna known as Braj; and the contemporary places of Matura, Brindavan, Govaradhan, as well as miles of landscapes features that are embodiments of Krisna. The setting is further explained in the first song of the movie. In Ghanan Ghanan the villagers sing, “The clouds make every heart race.”, “The clouds will rain down nectar.”, and “Sing the melodies of the monsoon”. The use of this language is similar to the way the setting described in the Gitagovinda. Jayadeva uses language to describe the setting of Krisna’s love play that is borderline erotic. He describes things using ideas of the rainy season, nectar and racing hearts. This is similar to the setting that would have been if the rains came.
Another element of Lagaan that is related to the Gitagovinda is how women are almost driven mad because of Krisna beauty and attraction. This can be seen best in two song and dance sequences. In O Rey Chorri, Elisabeth becomes madly in love dancing and rejoices her feelings saying, “I feel eternal bliss” , “ O I’m In LOVE”. As she is frolicking in her love for Bhuvan, he and Gouri have an intimate song and dance sequence. It is obvious Gouri has deep feelings saying, “ I have only believed you to be my lover” , and “ listen lover, birth after birth let us remain”. As both women are ecstatic in love Bhuvan is cast upon Gouri’s love spell as he sings to her, “Oh girl, believe my words, I have only loved you. Without you, what life have I lived? The eyeliner that is upon your eyes. Is the cloud of my dreams. My mind is only crazy for you, oh girl“. This scenes is an example from the Gitagovinda main message. Elisabeth is like one of the gopis gone mad because they are separated from their beloved (Krisna), and Gouri is like Radha because she is the only one who Krisna (Bhuvan) really wants. Like the Gitagovinda introduces Radha as a major influences of Krisna’s love and affection; this sequences solidifies the power Gouri has and well as the their love as a divine couple. The song and dance sequences captures the essence of the Radha /Krisna relationship in the Gitagovinda.
The last song that discusses the dynamics of the Radha /Krisna relationship is Radha Kase Na Jale. This song dance sequence is absolutely visually, and audibly stunning. On the eve of Krisna’s birthday the village people and Elisabeth had a celebration. They party turns into the men and women doing circular, individual and group dances. The song describes the torment of Radha’s and Krisna’s love affair. This speaks directly to how Radha and the goppis agonize and become jealous over the affection of Krisna in the Gitagovinda. The song’s lyrics uses the verb Jalna to denote jealousy. This word also means to burn, describing the intense feelings that Radha and the gopis have for Krisna. I argue that the song also makes reference to the Bhagavata Purana as the gopis (women) do their beautiful circular stick dances. This has ruminants of the famous ras lila in the 11th chapter of the text. For the sake of length of this review I will now briefly connect Lagaan to the Bhagavata Purna and the Bhagavad Gita.
When Bhuvan first sees cricket he describes it as a gilli danda , a child games. This is an direct insult to the British’s symbol of civilization. As the film progresses he again describes it as gilli danda, even though it is clear the magnitude of the game. This attitude is similar to the child Krisna of the Bhagavata Purana. Looking at life as lilla, play, khel, and game. Bhuvan’s lilla attitude is further demonstrated as he saves the deer from being hunted. There are more similarities to this text and the movie but it is important to mention Bhuvan as the coach and unifier of the team.
In many ways Bhuvan is the moral center of the team. He brings them all together in a greater cause. Bhuvan is the coach, like the charioteer of Arjuna in the Gita. The team relay on him for answers and strength like Krisna in the Gita. Krisna in the Gita does not fight but is the moral guidance for the Pandus and Arjuna. The army and family believe and relay on Krisna and for that they are victorious. In Lagaan, Bhuvan is that force that keeps the team together and give them hope, and in the end victory. When the match and life becomes difficult the village go to the temple and sing O palanhare, a Bhajan to Krishna. When they put some reliance on Krisna their fortune turns.
Overall, there are many more parallels from Krisna texts to characters in Lagaan. I argue one of the reason for the successes of this film, is because it was relatable to the audience in many ways. This is only another example of met texts used in Bollywood as a device for melodrama.
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