If Karan Johar was going for a parody effect with the character of the poet in Ae Dil Hai Mushkil, he failed. Essayed by Aishwarya Rai, Saba of the shayaris was surprisingly familiar, real and honest in a way that nothing else in that film was. In a club of her choosing, she grooves to a remix of an iconic ghazal before taking her date home; the next day she tells him not to mistake passion for familiarity. It’s not a line of defense, only of caution, because she proceeds to get to know him, and to invite him into her world of art and contemplation. She’s divorced – love suits her more than marriage did, although when her ex-husband sidles up to her at an art gallery in a moment of cinema coupling perfection, she still recognises him by aura, and smiles. And when she does fall for her current lover, and sees what is not to be, she tells him this too. All in (I’m inferring, because subtitles vazhga, I mean, zindabad) profound, lyrical Urdu.
It wasn’t the first time Aishwarya Rai had played a poet, though. In the grip of that particular melancholy that only a certain kind of cheesy-but-never-cringeworthy cinema can cure, I watched Kandukondein Kandukondein again after ages. And there, in just one scene, was Meenu sitting under a tree overlooking a river’s grassy banks – writing. So she didn’t just read widely, recite Bharati by heart, and manifest a man who knew his words almost (but not quite) as well. She wrote, too. At least until the #1 reason for the fatality of art/ambition among women happened: a deceptively suitable man. (Take it from me – the ones who love you but are too afraid to be with you are more common than linebreaks in verse).
But then again, she did ball up that paper she was writing on and throw it into the scenery before a pretty dubious song sequence.
Imagine if Ae Dil Hai Mushkil’s Saba was Kandukondein Kandukondein’s Meenu grown up and grown away. That the longing in her, once a trickle she thought was as pretty as rain, had pooled: tidal, bottomless. So the naïve woman plunging into a temple tank in the village of Poonkudi and the wiser woman who walks cobblestoned roads a continent away, all the while diving into the well of her own emotions and memories, are not so different after all.
Meenu seems to stop writing, starting to sing professionally instead, encouraged by the good if slightly macho man she marries at the movie’s end. Saba, meanwhile, might be who Meenu may have become if her luck had veered just a little off the conventional trajectory. Still writing, still loving. Because she didn’t crush up the core of who she is and throw it into landscape or landfill. Because she kept claiming her words for herself, and not just the ones someone else placed in her mouth. Because, most of all, she’d touched the bottom of the pool she thought was made just to play in, and surfaced from it with knowledge of the deep that can only be learned – but never taught.
An edited version appeared in The New Indian Express on June 15th 2017. “The Venus Flytrap” appears on Thursdays in Chennai’s City Express supplement.