Chhapaak 2020 Movie Review

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What does Chhapaak mean? It’s the phonetic sound of a splash. It’s what you hear when acid hits skin. The recipient is routinely a woman and the attacker is almost always a man who seeks revenge by scarring. The acid, he hopes, will disfigure his victim’s face and consequently her life. It’s a crime calculated to shatter a woman physically and mentally.

Society decrees that beauty is a superpower – especially for women. With acid, the perpetrator hopes to show his target who is boss. But Laxmi Agarwal, who was attacked by a stalker when she was only 15, refused to follow the script. Instead she filed a PIL and fought legal battles for years.

Eventually the Supreme Court passed an order restricting and regulating the sale of acid in India. Laxmi refers to herself as a survivor, not victim.

This remarkable story is the inspiration for Chhapaak, in which Deepika Padukone plays Malti, a middle-class Delhi girl whose pleasantly ordinary life is wrecked by an acid attack. The film opens seven years after she has filed the PIL. As the case moves forward sluggishly, Malti struggles to find a job.

But prospective employers don’t know how to work around her reconstructed face. The owner of a beauty parlour rejects her with – Beauty parlour main beauty na ho toh problem hoti hai. Director Meghna Gulzar presents the anguish of this in a low-key way. There is minimal drama. This is Malti’s life. But she doesn’t crumble. Malti soldiers on, stoically and sometimes, even with a smile.

Chhapaak’s biggest success is that Deepika becomes Malti. Her commitment and conviction is complete. At no point do we feel that this is a superstar celebrated for her beauty, purposefully un-beautifying herself. Deepika infuses Malti with a quiet heroism. Her strength doesn’t require screaming. The prosthetics by Clover Wootton, which alter as Malti undergoes seven surgeries, feel authentic. Right after the attack, the disfiguration is extreme but Meghna doesn’t linger on the horror. Instead, we get an aching scene in which Malti’s mother wordlessly bathes her burnt daughter. The visual reminded me of American photo-journalist W. Eugene Smith’s iconic photograph Tomoko Uemura in her Bath in which a Japanese mother lovingly bathes her daughter who suffers from Minamata disease, a type of mercury poisoning. The gentleness in the frame underlines the tragedy.

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