Girls Will Be Girls
Introduction
Girls Will Be Girls is effectively a subversive on the popular proverb ‘Boys Will Be Boys’. Just as the phrase tells about the flawed acceptance of boys in the wake of patriarchy, the drama uses the same phrase for girls with respect to girlhood and romantic awakening on the face of it. But the deeper you venture in the drama, this take is deliberately skewed while being used as a confession that mirrors the patriarchal mirrors of the society, a place wherein girls would often be resigned to their fate unlike the opposite genders. At the face of it, you are introduced to the character of Mira (a terrific Preeti Panigrahi) who is the first headgirl of her school in the final year that also coincides with her board exams. She is authoritative and assertive, keeping a gazing check on her fellow classmates almost like a gatekeeper of morality. But invariably, she is also a byproduct of patriarchy that is always a relevant factor in her school, just that she is oblivious to the fact. So when you see her complaining about few creeps from school taking upskirt pictures of girls, she is instead asked to remain silent while being coaxed on reasoning with the girls on what the length of the skirts should be. This even as she experiences a romantic awakening with her fellow classmate Sri (Kesav Binoy Kiron), this even as the authorities at school discourage girls from interacting with boys, often being told to keep the conversations at a bare minimum (as told to Mira by her teacher to reason with her friend who is visibly in a relationship with a boy).
Story & Screenplay
The beauty in the writing of Girls Will Be Girls lays with its characters, each of whom have overlapping traits with each other despite being unique in their own ways. The blossoming romance between Mira and Sri is briefly halted by Mira’s mother Anila (a brilliant Kani Kusruti), a character which is layered in her own way. She doesn’t wish for Mira’s grades to be affected given that her board exams are round the corner, yet she doesn’t intend to be manipulative either. So on the pretext of studies or casual meetings, she does allow Mira to call Sri to her home. But there is a dual side to her personality too – one that doesn’t mind the attention that she receives from Sri. This may have stemmed from the fact that Anila may never have got the steady childhood that Mira has the luxury of, or alternately, she may also be using this opportunity to allow Mira to earn Sri’s gaze.
There are layers to this triangular relationship that forms the crux of the narrative. In a way, Mira and Anila are counter-personalities of each other. It is almost as if the two character arcs are converging at a central point (read : Sri), with both telling contrasting tales of their own. For Mira, it is the romantic awakening that is halted by her ‘rivalry’ with her mother. For Anila, it is the exact opposite – a lonely adult longing for a littke attention at the cost of her jealous daughter who is just beginning her journey of romance. In a dinner table conversation, you see Anila addressing the elephant in the room – that she had then married Mira’s Father (who is mostly absent in the drama) so that they could have a safe path of s*x without the norms of the society, and that her marriage has essentially reached an expiry date. This, while the character of Sri plays the third wheel, often being mentally older than his actual age while seldom being conniving. In a way, his attention was shared between two woman of different demographics, even though his inclination was always towards Mira.
The proceedings are interesting given that you are emotionally attached to the journey of Mira, even during her s*xually awakening wave that felt so organic in so many ways. You do not see Sri and Mira performing the deed straight away, in fact the same occurs much later in the film. You see then gently holding hands, to deftly indulging in kisses, being familiar with each other’s presence through their conversations on s*x before finally taking the plunge. Yet, you do see the comfort of Mira through her uncomfortable glances, as opposed to the more comfortable Sri who offers to switch sides for her. This, even as there is a searing commentary that is used as an underlayer of the gaze that the society offers with respect to the objectification of girls and women. It is almost like a conflict within a conflict for Mira on succumbing to societal pressures versus allowing her heart to guide her, even while you see strains of jealousy with her mother Anila getting most of Sri’s attention. Yet, Anila and Mira never really rebel into each other’s spaces maintaining a dignified stance, even as Mira notices Anila in a towel asking Sri to turn while she fetches clothes for herself, or Anila witnessing the futile attempt of Mira trying to awaken Sri for ‘studies’ early in the morning. The void between them is what makes their relationship stronger even as you see Anila standing up for Mira in front of her school authorities for a ‘sin’ committed by Mira. In that regard, the finale of the drama is rewarding that acts both as a ray of hope for the duo while inducing a streak of sadness too given the condition of the society that girls are resigned to. It is bittersweet and immensely moving, in a screenplay that is wonderfully written.
Dialogues, Music & Direction
The dialogues are conversational but ridden with layers that essentially acts as a mirror for the viewers in the most gentle way possible. The BGM makes good use of the surroundings that adds a layer of authenticity to the drama. The cinematography comprises of frames that offer levels of intimacy for the viewers, that enable a better understanding of the characters. The frames aren’t shy to indulge in the psyche of the characters with some tight closeups that are well balanced by stirling wide shots which allow the focus to be on multiple characters at the same time. The editing is crisp and sharp while never breaking the flow of the drama. Director Shuchi Talati offers an uncompromising gaze that doubles up as a searing commentary through its characters. Yet, there is a sense of calmness to her method, never trying to impose any opinion on the viewers, and mostly being comfortable in staying grounded with the narration, something that led to the drama being supremely organic. The focus is always on the characters that allows the drama to gain texture in what was a stunning piece of direction, overall.
Performances
The performances are spectacular here by the ensemble cast. Nandini Verma as Divya and Jitin Gulati as Harish are dependable actors, and both of them manage to shine. Devika Shahani as Mrs. Bansal is terrific as a character who has not only resigned to the prevalent patriarchy but also passively contributing to it. She definitely makes her presence felt. Kajol Chugh as Priya is a character which is rebellious, and she puts for a commendable act here. Kesav Binoy Kirron as Sri is brilliant to the core in a character that is a charmer, yet never quite conniving with his actions. His grounded nature is used as a tool wherein Sri is aware of his fate and hence wishes to use his time with Mira, just as a memory. This is also a silent form of patriarchy in play through his character given that Mira would be scarred, yet it would be easier for him to move on in life. Kani Kusruti as Anila is absolutely brilliant in a character that has so many layers. Her silence says a lot about her previous life that does put her on the path of protection towards Mira, while also being conflicted in wanting a little attention for herself. This fine line was expertly treaded by a performer who is in red-hot form and fast becoming my favourite. Preeti Panigrahi as Mira is excellent to the core here while being such a natural onscreen. Her levels of brilliance lies in her smaller gestures that give complexity to her character that is immensely layered. The little internal conflicts with respect to her character are deftly touched upon by a wonderfully understated and nuanced performance that makes you feel protective of her, while being emotionally invested in her journey. This was quite a towering act that is a rarity in these days, coming from a performer whose name you will hear quite often in days to come.
Conclusion
As a part of our MAMI coverage, Girls Will Be Girls is a complex and subversive coming-of-age tale on romantic awakening, loneliness and girlhood that comes with my highest recommendation.