Gendered Contestation of Religious Narratives

Gendered Contestation of Religious Narratives

Bol takes it upon itself to explore different religious narratives in mainstream society. The main dichotomy presented is between a more rigid, male-centric interpretation of Islam that is characterized by passionate devotion and a more ‘liberal’ outlook of Islam that rejects fatalism while holding man responsible for his own actions. This conflict is no doubt one that is pertinent to mainstream society and so holds a ‘public’ dimension – Abba Jee’s discussion with his companions at the Masjid reflects this idea – yet the movie portrays this conflict primarily in a domestic setting. Within the household, there is a constant clash between the interpretations of Islam espoused by Abba Jee and Zainab. Abba Jee’s reading of Islamic texts and traditions is patriarchal while Zainab’s reading is portrayed as a moderate, ‘liberal’, well-reasoned critique of Abba Jee’s reading that is grounded in humanitarian values.

 The confrontation of these two viewpoints takes place in similar scenes e.g the scene whereby Abba Jan learns that Amma has had a contraceptive surgery and the scene in which the family discovers that Abba Jan has just murdered Saifi. Both these scenes are set in the domestic atmosphere of the home and end either with some sort of physical confrontation or a threat of physical confrontation. In both cases it is life – or the potential to create life – that is the source of conflict. In both these scenes, it is only Zainab who dares to speak up to Abba Jee. Let us focus on the former scene: Abba Jee questions Amma about her child-bearing capabilities when Zainab – from behind a door – answers that was responsible for Amma’s operation. Abba Jan, frustrated, claims that only God is responsible for matters of life -  ‘’Aray, Zindagi deynay wala toh woh hai.’’ This is his understanding of religion. Zainab agrees, but offers a different interpretation - ‘’laikin is baat ka who matlab nahi hai jo aap nay samajh liya hai.’’ This shows an outright rejection of Abba Jee’s interpretation and in fact, goes as far as to accuse him of having a flawed interpretation. She goes on with her own explanation -‘’Iss ka matlab hai’’. It is interesting to note that she does not indicate from her words that there could be multiple ways to interpret this – she, too, believes in one correct interpretation – ‘’ Apko itni moti see baat samjh kyon nahi aa rahi’’. For Abba Jee, it is unimaginable that his daughter, let alone a woman, is offering her interpretations of Islamic texts – ‘’ Tu samjhaey gee khuda ka nukta-e-nazar?’’ – for him, the interpretation of Quran is an activity that is masculine in nature and only meant to be carried out by males. He feels himself to be the sole possessor of Islamic interpretation and Zainab’s attempt to do the same is seen as threatening.    

 At the end of the day, Bol aims to reform. It is a movie about ideas and ideological paradigms and society’s needs to reform those that are deemed problematic. This is why the protagonist is shown as a strong woman who not only stands up to her father but takes his own words and uses them against him by providing an effective, rational critique. It is apt, then, that the lead character espouses an alternate discourse on society and religion. The question she raises before her own death is a reflection of her beliefs. At the end of the film, we see the question is made the agenda of a governmental meeting – an indication that her discourse is gaining acceptance.