Dalit History Month Special: ‘Souten’ – A Rare Commercial Gem Confronting Untouchability & Unveiling Societal Realities for ‘Harijan’ in the 1980s

Movies often serve as reflections of society, depicting prevalent issues. If this holds true, then ‘Souten’ aptly portrays the hatred and disdain with which Harijans were regarded in the 80s.

Geetha Sunil Pillai

April is celebrated worldwide as Dalit History Month, dedicated to honoring the legacy of Dr. B.R. Ambedkar, whose birthday falls on April 14th. During this month, various initiatives, discussions, and events commemorate the struggles and contributions of Dalits, fostering awareness and advocacy for social justice.

In line with this spirit of reflection and recognition, The Mooknayak, renowned for its insightful analysis of Dalit perspectives and cultural representations, delves into the nuanced portrayal of caste dynamics in Bollywood cinema.

Revisiting ‘Souten’: Unraveling the Untold Dimensions

Movie lovers will certainly recall ‘Souten,’ the musical blockbuster released in 1983, starring the era’s superstar, Rajesh Khanna, alongside Tina Munim and Padmini Kolhapure. Among the top-grossing films of its time, ‘Souten’ is renowned for its love triangle and mesmerizing songs that dominated the charts and held top positions in Binaca Sangeet Mala.

‘Souten’ holds the distinction of being the first Hindi film ever to be shot in Mauritius. Interestingly, the casting process for the pivotal role of Rukmini saw Zeenat Aman and Parveen Babi being offered the part initially. However, both declined the offer, ultimately leading to Tina Munim being cast in the role.

At the 31st Filmfare Awards, “Souten” received several nominations including Best supporting actress, Best Lyricist, Best male singer etc.

However, what may have slipped from memory about the movie, is the ‘untouchability’ angle and discrimination that formed the crux of the film.

In ‘Souten,’ Gopal and Radha, portrayed by Dr. Sriram Lagoo and Padmini Kolhapure, respectively, are Dalits, and the entire plot revolves around society’s treatment of them.

The opening scene sets the tone when Gopal (Dr. Sriram Lagoo) waits outside Shyam Mohit’s (Rajesh Khanna) office with a paper advertising a job vacancy for an accountant in his office. Shyam asks him to return the next day for the interview, but Gopal replies, ” Agar mein kal aaya toh yeh naukri mujhe nahi kisi aur ko milegi kyunki mein ek Harijan hun..”( If I come tomorrow, I may not get the job because I am a Harijan”)

Movies often serve as reflections of society, depicting prevalent issues. If this holds true, then ‘Souten’ aptly portrays the hatred and disdain with which Harijans were regarded in the 1980s.

Recall a scene from the movie, on a Holi day when Shyam’s love interest, Rukmini (Tina Munim), visits his office and is introduced to Gopal. Upon learning that Gopal is a Harijan, her expression changes, and she leaves in disgust, recalling her childhood incident when her stepmother played by Shashikala, warned her against playing with a lower-caste child, saying, “Yeh Harijan bahut gandey log hote hain, unke saath kabhi mat khelna.”

Sriram Lagoo’s character aptly encapsulates the plight of Dalits, stating, “Hum Harijano ko hazaro saalon se ye apmaan odhne aur bichhane ki aadat ho gayi hai.”

In another poignant scene, when Shyam brings Gopal home for dinner, Rukmini arrives unexpectedly and admonishes the men for sitting and eating in their bedroom, exclaiming, “Yeh mere bistar par kaise baith gaya, isey yeh kyu nahi yaad raha ki yeh ek achhoot hai. Aaj se mein is bistar par bhi nahi soungi.”

Dr. Lagoo’s poignant metaphor, “Chheenke ka mooh khula reh bhi jaye, ghar ke kuttey ko kam se kam yaad rakhna chahiye ki usme mooh naa daley,” powerfully encapsulates the plight of Dalits, drawing a parallel between their social status and that of dogs. The metaphor underscores the deeply ingrained caste-based discrimination and societal hierarchy prevalent in India.

By equating Dalits with dogs and stressing the importance of remembering one’s place, the metaphor vividly portrays the systemic oppression faced by Dalit communities.

It highlights the dehumanization and marginalization experienced by Dalits, who are expected to remain subservient and obedient in the face of discrimination.

The film is replete with numerous references and incidents portraying the various ways in which Dalits were ignored, despised, abused, and treated as inferior.

Another emotionally charged scene unfolds when Radha (Padmini) urges her father, Gopal, to invite Shyam and Rukmini to their home for lunch, expressing her desire to use her first salary to treat them for their wedding.

However, Rukmini vehemently refuses, declaring, “Uss achhoot ke ghar khaana khana hoga, uski rotiyan khani hogi,” indicating her refusal to dine at the home of a lower caste individual. The repeated use of derogatory terms such as ‘achhoot’ and ‘harijan’ underscores the deep-seated discrimination depicted in the film.

Director Sawan Kumar Tak skillfully and poignantly portrays the humiliation endured by Dalit communities in India during the 1980s through such scenes. The ostracization faced by Dalits is vividly depicted – from being excluded from Holi celebrations to being shunned from homes and denied basic human interaction.

There is a scene where Gopal and Radha extend flowers to Tina at a party, she disdainfully avoids touching them and instructs the servant, “Bihari, Ye Phool le lo..”

Later, when Tina Munim confides in her father, portrayed by Pran, she lamentably states, “Shyam ne ek achhoot ladki ko mere pyaar ka Souten bana diya hai…” (Shyam has turned a lower-caste girl into the rival of my love” encapsulating the depth of her prejudice and the societal barriers faced by Dalits.

Remarkably, the roles of Lagoo and Kolhapure in the movie are not merely supporting but rather powerful, with their presence and significance felt throughout.

On one hand, Shyam showers them with respect and love, while on the other, Rukmini’s character reflects the intense hatred and disgust prevalent in society towards them.

Despite the movie’s primary theme revolving around marital discord and a love triangle, with Padmini’s character embodying one-sided, selfless love, the Harijan and Dalit narrative remains omnipresent. The ‘achhoot’ girl ultimately sacrifices her life to prove her innocence and immense regard for Shyam. Through this, the film masterfully highlights the struggles and sacrifices of Dalits in a society marred by caste discrimination.

Notably, Dr. Lagoo’s character is depicted with a darker complexion in the film, symbolizing societal perceptions of inferiority associated with darker skin tones. In Indian society, there exists a deeply ingrained bias where fairness is often equated with superiority, while darker skin is associated with lower status. By portraying Dr. Lagoo’s character in a darker shade, the film highlights the systemic discrimination and prejudice faced by individuals with darker skin, particularly within the context of caste-based hierarchies.

While discussions of caste discrimination often find their place in parallel or art cinema,’Souten’ breaks away from this trend by deftly weaving the intricacies of caste discrimination into its storyline.

Indeed, ‘Souten’ stands out as a rare example within Bollywood where the theme of caste discrimination is seamlessly integrated into the main narrative of the film, alongside elements of entertainment.

Rather than relegating caste issues to the sidelines, ‘Souten’ boldly places them alongside the central themes of the film, such as the love triangle. This approach allows the audience to engage with the complexities of caste discrimination within the context of a mainstream Bollywood movie.

By doing so, ‘Souten’ not only entertains but also sheds light on the pervasive nature of caste-based prejudices in society, making it a noteworthy contribution to the portrayal of social issues in Indian cinema.

In ‘Souten,’ Gopal and Radha, portrayed by Dr. Sriram Lagoo and Padmini Kolhapure, respectively, are Dalits, and the entire plot revolves around society’s treatment of them.

Historical Background: The Evolution of the Term ‘Harijan’

The controversy surrounding the term ‘Harijan’ as a reference to Dalits traces its roots back to the 1930s.

The term Harijan, or ‘children of God’, was coined by Narsinh Mehta, a Gujarati poet-saint of the Bhakti tradition, to refer to all devotees of Krishna irrespective of caste, class, or sex. Mahatma Gandhi, an admirer of Mehta’s work, first used the word in the context of identifying Dalits in 1933.

Despite Gandhi’s intention to uplift Dalits by associating them with divinity, the term faced resistance from figures like BR Ambedkar, who saw it as patronizing and evasive of the underlying issues.

While Gandhi aimed to replace stigmatized terms like ‘untouchables’ or ‘bhangis’, Ambedkar and others argued that ‘Harijan’ perpetuated social hierarchy rather than addressing caste discrimination.

Dr B.R. Ambedkar famously walked out of the Bombay Legislature in protest against its use in 1938.

Over time, the Indian government recognized the problematic connotations of ‘Harijan’ and discouraged its usage in official documents. Despite directives issued as early as 1982, its prevalence persisted. It wasn’t until more recent efforts, including parliamentary recommendations and departmental circulars, that its use in official communication has significantly declined.

However, awareness of the term’s offensive nature remains limited, as evidenced by ongoing debates and discussions in contemporary media.

Courtesy : The Mooknayak

Note: This news piece was originally published in themooknayak.com and used purely for non-profit/non-commercial purposes exclusively for Human Right