English Vinglish: A review

It was difficult for me to think of a suitable title for my review of Gauri Shinde’s English Vinglish for it is a film which welds too many things into one, but, rather artistically, without resorting to the preachy mode. Refreshingly “feel good”, English Vinglish addresses the contested matrix of gender, class, race, and nationalism, and irons out unevenness in typical Bollywood style, which might appear simplistic, but, certainly, not sloppy. This is because, Shinde puts so much heart in the narrative that the head often wanders off to take a willful break. If the head is not allowed the sojourn, English Vinglish might seem to end up betraying the very cause it launches a tirade against. 

In Sri Lanka, for example, the English language is derogatorily referred to as kaduwa, which is a Sinhalese word meaning ‘weapon’. In postcolonial nation-states, the language of the colonizer has gained immense power, the status of a ‘weapon’, which has subjugated and even replaced vernaculars. Knowledge of English automatically attributes cultural capital to those who can speak, read and write in the language; a clearly discernible hierarchy exists in which the non-English speakers often feel terribly overpowered by those comfortable in speaking, reading and writing in English. In fact, call for complete rejection of the colonizer’s language has often echoed across postcolonial nation-states, but, without much success ever. The all-pervasive power of the English language is hard to contend; in fact, it has proved invincible. 

English Vinglish takes its cue from this on-going war between English and the vernaculars, and tells the story of a middle class housewife and her untiring attempts at mastering the language to gain for herself deference (izzat) in the eyes of her husband and children who barely let go of an opportunity of making fun of her lack of knowledge of English. Shashi Godebole (Sri Devi) is right when she associates having the knowledge of English with gaining izzat (or honour and self-respect). While Shinde is subtly sarcastic about the omnipotence of the English language, the biggest irony is that, the ability to appreciate the film is, by default, attributed to those who can speak, read and write English. In other words, while projecting Shashi’s regular discomfiture (her ignorance of the English language) as something to be sympathized with, Shinde, unwittingly, assumes an English-speaking audience, who wouldn’t identify with her, but, would root for her with a self-distancing sympathy they usually have for the underdog. I seriously doubt whether a non-English speaking audience would be able to appreciate the film, for much of the humour would be lost on them. This is exactly how English Vinglish becomes a film for the English-educated urban bourgeoisie, which mocks its own cultural hegemony only to reinforce it. 

English Vinglish also marks a shift from the British Raj to American imperialism, and the rising importance of English as a weapon one must possess in order to survive in the global world. The overwhelming consumerist impulse driving the middle-class crazy, cultural ghettoization in a foreign land, and America’s salad bowl of multiculturalism are seamlessly woven into the narrative, which, apparently, is about the liberation of a woman through a quest for self-esteem. The film advances a poignant critique of nationalism, first by dissolving national boundaries in the English classroom, and second by unraveling the coercive dimension of the family, often celebrated as a haven of emotional security. Shashi’s last speech is an ironical take on the family and its famed discourses of love and security. Monogamous, heterosexual conjugal life is also called into question when Laurent (Mehdi Nebbou), Shashi’s French classmate falls in love with her, and Shashi resists him, albeit with a sense of compulsion, so as not to forego her duty of mother and wife. The gay English teacher intervenes the overbearing heteronormative ambience causing some discomfort to the homophobic Salman (Sumit Vyas) and Eva (Ruth Aguilar), but, to his own astonishment, wins the greatest sympathy from an Indian housewife when he undergoes a break-up. The film advocates a peaceful co-existence of everyone, in the true spirit of liberal democracy; but, like all Hindi films, at least most mainstream Hindi films, ends up projecting too much faith in it. “Feel good” is the motto! And somewhere, America looms large as the ultimate symbol of happiness worth aspiring for! 

Aishwarya Rai had been initially approached to play Shashi Godebole, although Shinde claims she had Sri Devi in mind while scripting. That Aishwarya didn’t agree should be treated as a huge blessing. The diffidence which is so integral to Sri Devi’s personality makes Shashi so endearing and believable. The director has put to brilliant use Sri Devi’s capacity of impersonating a disarmingly low-on-confidence personality, which had made her so very credible and lovingly vulnerable in the classic Sadma! Mehdi Nebbou with his reticence and gentleness steal the show almost effortlessly. Although a lot or nothing is “lost in translation” the two strike a wonderful chord with each other. Adil Hussain brings to Satish an effortless nonchalance that underwrites his character of an indifferent husband. Shivansh Kotia as little Sagar delights, so does Cory Hibbs as the patient English teacher of a class full of migrants. Amitabh Bachchan’s friendly cameo does not seem jarring.

Overwhelmingly, “feel good”, English Vinglish, all said and done, is a perfectly packaged film for the festive season, which debunks the mood of festivity if you put too much of your head in it, but keeps the spirit inviolate if you do not allow your heart to be overruled by your head. And, yes, for those, who have grown up with Sri Devi, the film would certainly take them down an emotional lane of nostalgia…so, do not give it a miss! 

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