The Buzz Untuned : Ethos of Meitei ‘Woman’-The ‘She’ in Her Manipuri feature film Yahouthengba Khoimu (Blossom of Love)
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Sanasam Umananda
The Story
Embedded in the innocence and rooted in the simplicity of country-life, Thaballeima and Boyai grow up alongside the greenery of a picturesque lake amidst juvenile frolics and youthful pranks. The idyllic settings that shaped their lives since childhood make them care-free and sprightly. Truthfulness being their way of life, time brings the duo to their late teens with a close companionship with the bounties of the lake. Fishing, gathering giant-food from the bosom of the lake and other food items coupled with the plucking of beautiful red water-lilies that beautify the wide expanse of the lake, are parts of the daily works of the innocent “lad and lass” friendship that contribute to their family economy. Sometimes their freindship borders on love which is rather platonic. In the course of their search for livelihood the thorns of a giant-food once prick the soft fingers of Thaballeima. She bleeds only to be sucked by Boyai without any hesitation. In contrast to this thorny one their work includes plucking of tender red water-lilies from the watery depths of the lake. A meaningful juxta-position indeed that unravels the mysteries of life.
The ever-flying time knows no stop. Another very important stage enters into their lives. Fate soon arranges the marriage of Thaballeima to a young and gentle government officer of the city of Imphal, Babu-chouba by name who is the male protagonist. The separation of the youth from the girl and the girl from the lake-side and the flora and fauna becomes imminent. Although a little depressive Thaballeima calmly faces it.
The female protagonist, Thaballeima thus bids a moving farewell to the enchanting lake and her childhood friend Boyai. Babuchouba and Thabal-leima, the obedient pawns not defying the wishes of the elders who are their well-wishers, soon fulfill Nature’s commands by producing two kids in course of time–a son and a daughter. Everything goes well smoothly. A happy family indeed—the contented husband, the devoted wife, the studious kids and a god-father, the uncle of Babu- chouba forming a happy family. However, destiny gives a jolt to the hither-to peace of the group. A sudden transfer order of the male protagonist to a far-off distance of about 35/40 kms from Imphal disturbs the happiness of the family. However, Babuchouba joins the new office.
One day it so happens that the dutiful officer meets a divorcee who lives in the vicinity of the new office. She is a good singer with attractive looks. An ominous metamorphosis soon starts to develop in the psyche of the male protagonist, Babuchouba. Cupid, the God of love seems to throw him off balance at the sight of the singing beauty. His mental equilibrium receives a jolt that consequently unfolds an unwholesome series of events which is not auspicious for the family. His world is over-powered by the physical charm, sweet songs and unfortunate life of Malika, a lovable and good human being. But the tragic part of it is that Babuchouba’s heart seems to tilt towards Malika, throwing Thaballeima, his loyal wife to the winds.
A sudden change thus becomes perceptible in the behaviour of Babuchouba. He seems to be forgetful of his two kids and even his wife. This is too much to bear for Thaballeima. On investigation she comes to know of the relationship of her husband with Malika. She is aghast. Sometimes she misses her husband the whole night hinting that these nights have become Malika's nights. Unable to control and suppress her distraught feelings in missing him the previous night, one fateful morning, she ventures to go to her husband's office by bus where he is not available. She then manages to trace and enter the house of Malika. Her suspicions prove right when she sees her husband come out of the house of the singer. An uncanny and weird scene soon follows with three embarassing figures- Babuchouba Thabal- leima and Malika each standing stupefied at the courtyard of Malika's house with no altercation but maintaining the strictest calmness and disciplined solemnity none blaming the other, with a show of resignation. It is simply grand and subtle. Breaking the ice, Babuchouba questions why Thaballeima comes there. The answer insists on his coming home. But no reply comes. Here, the humble four-worded expression "Let me go, then” that escapes from the lips of the female protagonist Thabal-leima, happens to be the greatest utterance that can only emerge from the lips of a heavenly being. It is a fitting prelude to another such rendezvous that will follow in the home of Babuchouba and Thabal-leima, some hours later. The three souls, playthings of destiny receive justice in the end by the departure of Malika from the scene without blaming anyone in a serene, ethereal and highly civilized Meitei way of life.
This scene which is the last serves as the soul of the film. The female protagonist, Thaballeima becomes the epitome of Meitei ethos that lifts her high as an ideal housewife. This is the fruit of the instruction of her grand mother on the eve of her marriage. The instructions encompass a wide spectrum of a married woman’s duties and characters in her most important stage of life after marriage. It mainly centres around one’s devotion to one’s husband enduring everything with great resilience and mind control without harbouring any ill-will to the husband in accordance with Meitei ethos. Thaballeima strictly adheres to this principle and follows this path however arduous it may be and ultimately she wins the battle. True, it is cold steel that cuts. A hot iron-rod has no strength. Thaballeima ‘s cool and calm attitude defeats everying on her way. It only exhibits the “she” in her which is a symbol of feminine kindness and forgiveness which ultimately is the surest way to achieve success in life’s long journey. She is the gift of Meitei ethos and beliefs. Her last dialogue comparing her with the sweet-scented Jasmine flower that is less known and seen to the wide public of day-time and fails to reach God but the bright Lotus flower thriving in the muddy water which after cleansing with a clean hand can reach God’s feet makes Babuchouba athinking. After this, she continued with a broken heart. “In the darkness of the new moon, my perfume has lost its way. Please show me the path that I will follow now”. Another thought-provoking question of Thaballema that steals the show is “May I go to my paternal home today and return early in the morning tommorow here. Do you agree ?”
The answer from her husband is a big “No”.
“But my answer to you will be a sweet Yes”.
On hearing this, Malika quickly left the house of Babuchouba and disappeared from the scene.
This is a moral victory of Thaballeima indeed. The triumph of the great ethos of an ideal Meitei ‘wife’.
The uniqueness of the film is that there is no human villain as such. The compulsion of the situation of life becomes the villain. No human villainy is perceptible in the film. Malika who may be regarded as a disturber of a peaceful family and accusable of being a thorn in the flesh of Babu-chouba’s family on the con- trary, draws the sympathy of the on-lookers.
(To be contd)
The Story
Embedded in the innocence and rooted in the simplicity of country-life, Thaballeima and Boyai grow up alongside the greenery of a picturesque lake amidst juvenile frolics and youthful pranks. The idyllic settings that shaped their lives since childhood make them care-free and sprightly. Truthfulness being their way of life, time brings the duo to their late teens with a close companionship with the bounties of the lake. Fishing, gathering giant-food from the bosom of the lake and other food items coupled with the plucking of beautiful red water-lilies that beautify the wide expanse of the lake, are parts of the daily works of the innocent “lad and lass” friendship that contribute to their family economy. Sometimes their freindship borders on love which is rather platonic. In the course of their search for livelihood the thorns of a giant-food once prick the soft fingers of Thaballeima. She bleeds only to be sucked by Boyai without any hesitation. In contrast to this thorny one their work includes plucking of tender red water-lilies from the watery depths of the lake. A meaningful juxta-position indeed that unravels the mysteries of life.
The ever-flying time knows no stop. Another very important stage enters into their lives. Fate soon arranges the marriage of Thaballeima to a young and gentle government officer of the city of Imphal, Babu-chouba by name who is the male protagonist. The separation of the youth from the girl and the girl from the lake-side and the flora and fauna becomes imminent. Although a little depressive Thaballeima calmly faces it.
The female protagonist, Thaballeima thus bids a moving farewell to the enchanting lake and her childhood friend Boyai. Babuchouba and Thabal-leima, the obedient pawns not defying the wishes of the elders who are their well-wishers, soon fulfill Nature’s commands by producing two kids in course of time–a son and a daughter. Everything goes well smoothly. A happy family indeed—the contented husband, the devoted wife, the studious kids and a god-father, the uncle of Babu- chouba forming a happy family. However, destiny gives a jolt to the hither-to peace of the group. A sudden transfer order of the male protagonist to a far-off distance of about 35/40 kms from Imphal disturbs the happiness of the family. However, Babuchouba joins the new office.
One day it so happens that the dutiful officer meets a divorcee who lives in the vicinity of the new office. She is a good singer with attractive looks. An ominous metamorphosis soon starts to develop in the psyche of the male protagonist, Babuchouba. Cupid, the God of love seems to throw him off balance at the sight of the singing beauty. His mental equilibrium receives a jolt that consequently unfolds an unwholesome series of events which is not auspicious for the family. His world is over-powered by the physical charm, sweet songs and unfortunate life of Malika, a lovable and good human being. But the tragic part of it is that Babuchouba’s heart seems to tilt towards Malika, throwing Thaballeima, his loyal wife to the winds.
A sudden change thus becomes perceptible in the behaviour of Babuchouba. He seems to be forgetful of his two kids and even his wife. This is too much to bear for Thaballeima. On investigation she comes to know of the relationship of her husband with Malika. She is aghast. Sometimes she misses her husband the whole night hinting that these nights have become Malika's nights. Unable to control and suppress her distraught feelings in missing him the previous night, one fateful morning, she ventures to go to her husband's office by bus where he is not available. She then manages to trace and enter the house of Malika. Her suspicions prove right when she sees her husband come out of the house of the singer. An uncanny and weird scene soon follows with three embarassing figures- Babuchouba Thabal- leima and Malika each standing stupefied at the courtyard of Malika's house with no altercation but maintaining the strictest calmness and disciplined solemnity none blaming the other, with a show of resignation. It is simply grand and subtle. Breaking the ice, Babuchouba questions why Thaballeima comes there. The answer insists on his coming home. But no reply comes. Here, the humble four-worded expression "Let me go, then” that escapes from the lips of the female protagonist Thabal-leima, happens to be the greatest utterance that can only emerge from the lips of a heavenly being. It is a fitting prelude to another such rendezvous that will follow in the home of Babuchouba and Thabal-leima, some hours later. The three souls, playthings of destiny receive justice in the end by the departure of Malika from the scene without blaming anyone in a serene, ethereal and highly civilized Meitei way of life.
This scene which is the last serves as the soul of the film. The female protagonist, Thaballeima becomes the epitome of Meitei ethos that lifts her high as an ideal housewife. This is the fruit of the instruction of her grand mother on the eve of her marriage. The instructions encompass a wide spectrum of a married woman’s duties and characters in her most important stage of life after marriage. It mainly centres around one’s devotion to one’s husband enduring everything with great resilience and mind control without harbouring any ill-will to the husband in accordance with Meitei ethos. Thaballeima strictly adheres to this principle and follows this path however arduous it may be and ultimately she wins the battle. True, it is cold steel that cuts. A hot iron-rod has no strength. Thaballeima ‘s cool and calm attitude defeats everying on her way. It only exhibits the “she” in her which is a symbol of feminine kindness and forgiveness which ultimately is the surest way to achieve success in life’s long journey. She is the gift of Meitei ethos and beliefs. Her last dialogue comparing her with the sweet-scented Jasmine flower that is less known and seen to the wide public of day-time and fails to reach God but the bright Lotus flower thriving in the muddy water which after cleansing with a clean hand can reach God’s feet makes Babuchouba athinking. After this, she continued with a broken heart. “In the darkness of the new moon, my perfume has lost its way. Please show me the path that I will follow now”. Another thought-provoking question of Thaballema that steals the show is “May I go to my paternal home today and return early in the morning tommorow here. Do you agree ?”
The answer from her husband is a big “No”.
“But my answer to you will be a sweet Yes”.
On hearing this, Malika quickly left the house of Babuchouba and disappeared from the scene.
This is a moral victory of Thaballeima indeed. The triumph of the great ethos of an ideal Meitei ‘wife’.
The uniqueness of the film is that there is no human villain as such. The compulsion of the situation of life becomes the villain. No human villainy is perceptible in the film. Malika who may be regarded as a disturber of a peaceful family and accusable of being a thorn in the flesh of Babu-chouba’s family on the con- trary, draws the sympathy of the on-lookers.
(To be contd)