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Excellent adaptation.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

After playing with our expectations, this turns out to be a very different sort of film.

Exactly the movie you think it is, but not the movie you want it to be.

I must admit I expected more from Raj Kumar Santoshi. While this film is being praised in some circles, I found it tedious and sermonizing. The acting is over-the-top, barring some fine work by Ajay Devgun. The actresses are all good woman oppressed by an unjust society. Almost all the male figures (barring our three heroes) are vicious caricatures. The scenes at Mahima's wedding are almost too much to bear. I understand the social value of such films, but surely they shouldn't be THIS black and white. Madhuri shines in a brief appearance and makes the proceedings partially palatable.Overall 3/10

This movie is very gripping and strong. It portrays a sense of loneliness yet unity among women. In other words, a woman (Manisha) feels neglected and goes on a journey to escape it. On the way, she finds women in similar situations and Manisha sees how they handle it. The woman Manisha portrays wants to prove that all women are united and just don't know how to express their feelings of neglect in a way that men and society will not condemn them. The characters in this movie are totally independent albeit linked. Manisha was a little unbalanced at first but as the movie continued her character became stronger and more patriotic. She seemed to be in search of self identity and whether she can escape prying eyes of men. Rekhaji was the most dominant character. She showed that even elder women are subjected to harassment. Her part left the audience wondering if there is any justice for women. Maduri was really interesting. Her role was vivacious yet serious. Mahima was also wonderful. She was given a small role yet powerful. Ajay Devgan balanced the movie. He wanted to show that not every man wants women to be treated like this. The movie is a little slow but the direction was well rounded and beautiful. It is a little biased but when Ajay Devgan enters he balances the equation. A couple of the songs were melodious and it was integrated with the story making it hard to fast forward some of the slow parts. Each scene tends to take some time to come to the point but the climaxes were well done.

The bearings of western-style Feminism on the various subcultures of India have hitherto remained largely non-existent, the two entities belonging to alien realms and threatening (in the name of tradition) never to coincide. Art imitates life (or so the claim goes) and popular Hindi cinema is no exception, reflecting an underlying misogyny which, regrettably, forms the foundation of much of the collective Indian culture. But why? What is it about the female gender that has rendered it so hateful to the culture that women are routinely subject to the most unimaginable horrors, including rape, murder, infanticide, imposed illiteracy, infidelity, and the subjugation of spirit that goes under the name of 'dowry'? Rajkumar Santoshi's latest offering, "Lajja", asks the same plaintive question, linking the atrocities committed against women through three separate chapters/episodes which comprise the journey of shame endured by its protagonist, Vaidehi (Manisha Koirala).Direction on Santoshi's part is not up to par with the level the story demands. He fails to achieve the necessary sensitivity in depicting the saga of sadness and confronts the issue of misogyny from the side, instead of head-on. Santoshi has recently said that he did not make the film for an international film festival, but rather for the masses of his country. Regrettably, the tackiness shows, and the film too often delves into the action-blood-gore genre that Santoshi specializes in. The film suffers from its jerky, episodic pace and its ending is rather too contrived.The female cast is given much kinder and more rounded characterizations than their male counterparts. The protagonist is played sensitively by the luminescently beautiful Manisha Koirala who proves in Lajja that she is one of our time's more competent leading ladies, and given a proper role and set up, emerges with a truly commendable performance. One wonders how brilliantly she may have shone had the film been made by a director with the appropriate creative intention and appreciation of the issue at hand. Mahima Choudhary puts in a laudable performance and continues to show that she is an untapped talent. Cast as Janki, Madhuri Dixit performs with a never-before-seen fervor and felicity for what truly deserves the name of 'acting.' The role of a street smart performer who finds solace in alcohol and the promise of an unborn child stands as the greatest risk in her cannon of song-n-dance roles which have maintained her marquee status over the past decade. Which leaves the final and most disturbing performance in this would-be feminist saga, that of the ceaselessly talented Rekha. Lajja is Manisha Koirala's film, there can be no doubt about that, but it is Rekha who dominates the proceedings in a performance that digs into your bones and sends echoes of terror through the vestibules of your heart. Rekha dazzles as Ramdulari, foregoing vanity and complacency to deliver a performance that is so replete with authenticity and ingenuity that emotional nudity becomes the mantra of this portion of the film. Comparisons are indeed odious, especially when rendered opposite one of the world's great leading ladies, but in the gracious presence of this reigning screen legend the others fade in her shadow."Lajja" has none of the sophistication of proto-feminist dramas like "Zubeidaa", "Pinjar", or even the Hell-Queen celebration "Laadla": it fulfills its feministic goals in two early moments:the loud tirade in which Mahima berates her in-laws for their abuse of her father who has committed no other crime than given birth to a girl. She erupts, leaving the wedding procession in shambles. Seeing her father devastated, she begins to weep, blaming herself for the chaotic destruction in front of her. She bemoans, "Why did I say anything? I have ruined everything! It is all my fault!" Her grandmother, witnessing silently the abuse she bore, comforts her by saying, "Why are you crying? There is no reason for you to be crying. You are not at fault for anything. The fault is mine. The fault is of every woman who came before you, because if we had had the courage to say in our day what you have said today, there would have been no need for you to say anything today." In this scene the importance of the Feminist Legacy is laid plainly in sight through words.The other, more subtle moment comes very early in the film when Vaidehi (Manisha) has fled from her abusive husband to the refuge of her parents' home in India. To viewers of western societies, it may seem perfectly reasonable (indeed, natural) that any abused woman would seek the protective guardianship of her parents; this, however, is a societal taboo in many eastern cultures, India among them. Once a woman has been married, the identity she assumes is that of her husband and his personal assets (family, business, children, etc.) For her to turn her back on these responsibilities is a grave social sin, one which truly has no equivalent for the western woman. She is thereafter regarded as tainted and as 'damaged goods', one whose value has been nullified entirely by her own actions and her refusal to submit to the role she has been given. She is not so much an individual as she is an emblem of familial honor. Her father rebukes her for her actions, concerned that his familial honor will be tarnished irreparably by the daughter he had already transferred to another man. His primary concern is that of the impending marriage of Vaidehi's younger sister, a prospect made far less likely with a divorced elder daughter in the same household. He tells her in no uncertain that she must return to the man to whom she lawfully belongs, however violent and sadistic he may be. He levies against her the age old adage that, "The honor of every home lies in the hands of its daughter." Quietly and pensively, she replies, "Yes, the honor of every home lies in the hands of its daughter. But there is no honor for the daughter herself."

I saw Lajja on opening night August 31,2001 at a theatre in nearby Diamond Bar. I was drawn to the movie by Rajkumar Santoshi's name, because generally he makes fairly good movies. Anu Malik's name as the composer was also an attraction. Rajkumar Santoshi did not disappoint me. He presented the subject in a fairly compelling way and did not deviate too much to accommodate "entertainment". Once again he did not use all the songs that featured on the film's audiocassette and CD, which will adversely affect the movie at the box-office.His father,P.L. Santoshi who was himself a famous lyricist before he became a film director, knew the importance of songs in an Indian movie. Rajkumar Santoshi, ever since his Ghayal became a hit without the support of music, has tended to ignore music and not give it the centrality it deserves in the Indian cultural context. He could not take advantage of even Nadeem- Shravan in Damini or of A.R. Rahman in his last movie Pukar. At least in the latter he took eminent lyricist Majrooh Sultanpuri and also Javed Akhtar (for one number). Here he relies on overworked and mediocre Sameer.The music department(with even the theme song cut out), therefore,is nothing to write home about. Will someone urge him not to repeat the same mistake over and over again?But despite these drawbacks, which are quite serious, the movie works because of its laudable theme, Rajkumar Santoshi's good direction and some good writing too. But here too one fails to understand why a good director of Santoshi's calibre should take upon himself the added burden of writing the screenplay and the dialogue. Bollywood has plenty of good writers who would be happy to work for a director like Santoshi.Overall, it's a good movie.That's why I am giving it an 8 out of 10. Now a word about the advertising.It is publicised as a movie with three heroes and three heroines whereas the story concerns only one pair played by Manisha Koirala and Jackie Shroff. The rest just come and go.It should have been advertised as just a Manisha Koirala-Jackie Shroff starrer. There should have been no mention of the other famous names who are just guest stars in the movie. Like Salman Khan was not mentioned in the advertising of Kuch Kuch Hota Hai and that worked great for the movie.Lajja could have benefited tremendously from the presence of Madhuri Dixit, Anil Kapoor, Rekha and Ajay Devgan if their names had not been advertised and the public discovered them for the first time in the theatre on opening night.