When "Astitva" was released in India it struck a chord with the country's stay-at-home wives and mothers. In Aditi, these women saw themselves being brave enough to demand equality in marital relations, owning up to and even being proud of their needs and desires. "Astitva" is an important movie for its subject matter if nothing else.
Fortunately, director Mahesh Manjrekar handles his material with a masterful touch, neither understating key aspects of the story (which are so little discussed in Indian society that they deserve to be shouted out loud) nor letting it slide into obvious melodrama. The cast is perfect: Tabu, in particular, is excellent as Aditi, and Sachin Khedekar comes into his own as Shreekant Pandit.
The plot is simple: Aditi is a neglected housewife (her new husband travels out of town a LOT) who begins to take music lessons to keep herself busy. A mutual attraction springs up between the lonely Aditi and the attractive young teacher, Malhar Kamath, and their relationship becomes an intimate one. Soon, Aditi conceives a child that she strongly suspects is Malhar's and not her husband's, but she says nothing. Aditi and her husband leave their secluded rural home and head for the city to raise their son.
The child grows up, and is about to be married. As both sets of parents prepare for the wedding, Aditi receives a letter from a lawyer telling her that Malhar Kamath has died and left her his estate. Malhar's actions raise questions in Shreekant's mind. He checks his journals from three decades ago, figures out that his son is not his own, and has a meltdown.
Shreekant's easy rejection of their thirty-year marriage wakes Aditi up to all the injustices she has suffered from Shreekant. In an emotional climax, she accuses Shreekant of neglecting her sexual needs while fulfilling his own - often against her wishes - all through the marriage. In the end, she leaves him to finally begin making herself a priority in her life, as opposed to spending the rest of her life serving his needs.
The movie crossed the line into triteness once or twice, especially when Shreekant was revealed to have had many affairs during their marriage and also when Aditi's son rejects her as his mother (huh???). One star off for that. Otherwise, the movie is excellent, as close to perfect as you can get in a Bollywood movie handling an issue as sensitive as this.
Fortunately, director Mahesh Manjrekar handles his material with a masterful touch, neither understating key aspects of the story (which are so little discussed in Indian society that they deserve to be shouted out loud) nor letting it slide into obvious melodrama. The cast is perfect: Tabu, in particular, is excellent as Aditi, and Sachin Khedekar comes into his own as Shreekant Pandit.
The plot is simple: Aditi is a neglected housewife (her new husband travels out of town a LOT) who begins to take music lessons to keep herself busy. A mutual attraction springs up between the lonely Aditi and the attractive young teacher, Malhar Kamath, and their relationship becomes an intimate one. Soon, Aditi conceives a child that she strongly suspects is Malhar's and not her husband's, but she says nothing. Aditi and her husband leave their secluded rural home and head for the city to raise their son.
The child grows up, and is about to be married. As both sets of parents prepare for the wedding, Aditi receives a letter from a lawyer telling her that Malhar Kamath has died and left her his estate. Malhar's actions raise questions in Shreekant's mind. He checks his journals from three decades ago, figures out that his son is not his own, and has a meltdown.
Shreekant's easy rejection of their thirty-year marriage wakes Aditi up to all the injustices she has suffered from Shreekant. In an emotional climax, she accuses Shreekant of neglecting her sexual needs while fulfilling his own - often against her wishes - all through the marriage. In the end, she leaves him to finally begin making herself a priority in her life, as opposed to spending the rest of her life serving his needs.
The movie crossed the line into triteness once or twice, especially when Shreekant was revealed to have had many affairs during their marriage and also when Aditi's son rejects her as his mother (huh???). One star off for that. Otherwise, the movie is excellent, as close to perfect as you can get in a Bollywood movie handling an issue as sensitive as this.