When they became women

It consists of three stories of three seemingly disparate women, but they are connected by the hustle and bustle of freedom.

The first part of 'The Day I Became a Woman' is the story of a 9-year-old girl named Hawa. One morning a boy buys ice cream with the money he has and wants to share it with Hawa. Hawa's grandmother hugs the child and says, "He will be 9 years old from today. He shouldn't play with boys anymore. You should cover your head with a cloth and walk.' Both children are sad because of the old woman's words. A headscarf is brought from the market for air. Going to Kausi, she starts talking to Hasan. The order rains down on him again, 'Don't even go on the roof. You don't even have to talk to boys. Hawa argues that you can play with boys until it's noon. Thus he wants to make the most of the little time he has left. Grandmother hands him a stick and says, "Bury it somewhere." When the shadow of the stick disappears, you will remember that it is noon and come home immediately. Hawa jumps happily and goes to meet Hassan. In the process, he handed over the shawl to Hassan's two friends. They use wind sails to pull toy boats. This scene gives a serious meaning that a simple thing in nature that works as a rope is misused by a society full of artificiality as a weapon to bind women.

Hasan is locked from outside by his sister to do his school homework. Nature should not be tampered with artificially. Hawa buries the stick her grandmother gave her in a pile of sand and the two sit in and out of the window and talk innocently. Even between meals, they eat half-bites of food. Every scene in the cinema carries a serious meaning. It conveys a poignant message about how free and co-existent both men and women were in nature, which is being hindered by social customs. At midday, after the shadow of the stick disappears, she wears a black shawl and returns home with the wind blowing like a storm. Now his captive life began. Air here is the embodiment of Adinari, the primordial mother of human society. Adimata is held captive by society.

The second part describes the independent path of Ahu, a married girl. Young women wearing black shawls ride bicycles on the beach. The horseman follows behind, calling out to a male ahu. He comes close to Ahu and gives many warnings. Orders to get off the bicycle immediately. Ignoring it, Ahu continues to cycle. The horse rider also yells at the other women and warns Ahu that if she does not get off the bike, the consequences will be very bad. After Ahu rode his bicycle forward, a horseman came with Mullah. Mulla asks Ahu to stop. He says, "Your husband has called me to give you a divorce." Orders the Cavalry Mulla to begin the Parachuke process immediately. Ahu continues to pedal the bicycle saying 'talaq deo'. Now not only Ahu's husband, but also her father and brother urge her not to divorce and to respect Maiti. For Ahu, freedom is dearer than perceived honor and meaningless chatter. He rides a bicycle constantly. When no one does anything, all the heads of the society ride on horses and surround Ahu and arrest him like a thief. A woman's free will is dominated by all men's power.

In the third chapter, an old woman in a wheelchair buys all the things she wants. She got all the property of her deceased husband. Until her husband, she could not buy anything she wanted. When the husband is not a companion but a master, women's lives are bound and wives hardly enjoy freedom in the absence of their husbands. When the rules of the society bind the natural nature of the human being, the human civilization collapses. On the beach, she decorates refrigerators, gas stoves, sofas, dishes, and takes a boat ride in a cheerful pose. This is what happens when husbands do not become helpers and companions of their wives' freedom. Wives are bound by the rules of the society but they still want freedom and they are forced to wish for the same if their husbands are not available. Here is something that a patriarchal society should ponder deeply. On the other hand, standing on the beach, Hawa and Ahu, with black shawls tied on their heads, are looking at the old woman with a curious look. They are waiting for the same freedom.

Natural desire

Freedom is a natural human desire. This is the difference between humans and quadrupeds. A quadruped has no ability to think other than the desire to live, food and sex according to time. In every animal the male is sexually aggressive, but in no animal except humans is sexual intercourse possible unless the female wants it. That is why it is said that there is no rape in animals. Humans have thoughts, feelings, sensations and conscience. Sex is also a biological need. But if love and emotion are not involved, even this natural desire is torture for him. Since the sexual organs of women under the age of 18 are not developed for sexual intercourse, it is almost universally accepted that such a relationship is considered rape (statutory rape), even if it is consensual. This is the difference between rape and love. In

cinema, all the three characters have unlimited freedom. Even the children's freedom of air has been taken away by male power in the name of religion and tradition. However, he does not hesitate to make maximum use of the limited time. As far as I am concerned, I will continue to overcome all obstacles and barriers to freedom. She doesn't let anyone stop her, she doesn't want anyone to stop her either. He wants to enjoy freedom even at the cost of breaking up his married life. However, the entire society surrounds and imprisons him. And is it a new thing for a person who has experienced such obstacles to wish for the absence of her husband for freedom? The old woman has been able to enjoy that freedom. Hawa and Ahu looking at the old woman fascinated by the shore means that they want to live a free and independent life like the old woman at any cost. However, desire alone does not sustain freedom.

Freedom in Lahad

Since then, when it comes to women's independence in India, a legendary character is remembered by many - Madhavi. A novel by Madanmani Dixit and a play by Indian writer Bhishma Sahni have been written on the Vedic story character 'Madhavi'. The subplot and presentation of Sahni's play is somewhat different from that of Madanmani's novel. Madhavi loves Galab immensely. The story of how she entrusts herself to various kings and gives birth to the prince Chakravarti for him in order to get the 800 Ashwamedha horse Galab demanded by Vishwamitra is mysterious. How difficult it is for a woman to walk away with the love of a newborn child! Madhavi is forced to do this because she is committed to get 800 horses for her lover Galab.

After giving birth to Chakravarti prince of three kings with two hundred Ashwamedha horses, Madhavi realizes that no one in Aryavarta has Ashwamedha horses anymore. In such a situation, Galab will commit suicide again. Madhavi gives birth to a son from Vishwamitra, who has tied 600 horses from Galab to a stable, and saves Galab from committing suicide by collecting the remaining 200 Ashwamedha horses. Madhavi, who has done so much for love, is starting to look old now. He says that he cannot accept her as a concubine. When the ruler cannot give love in return, then all men have to bow their heads. Even after selling herself, Madhavi saved her lover from a suicidal situation. However, now Madhavi's purpose is over for Galab. In this situation, Madhavi abandons the greed of the future queen and walks on the path of independence. What will be Madhavi's future after leaving her father Yayati's palace, Swayamvar and Galab organized by him? Maybe, she gets hunted by a tiger in the forest. Either she has to spend her days as a city maid. The same is true of Nora, the heroine of Norwegian playwright Henrik Ibsen's 'Doll's House'. The Madhavi of the Vedic age about 5,000 years ago and the European woman of 200 years ago have the same situation when they embrace the path of independence. About Nora's fate, Chinese writer Lu Sun said, "There are only two options before Nora." Worse or return to her husband's house.'

At the end of the

, Marge Meschini's film gives the exact answer to the question about the future of Madhavi and Nora. It is natural for people to want freedom. But he must have the financial right to sustain it. Participation in production alone does not mean much, freedom without economic rights is like a house without a foundation or a foundation. The air is childish. He had no financial independence. He was bound by social customs as soon as he reached the age of 9. Ahu has also been forcibly imprisoned by the society. But he also has no financial freedom. If she had the financial rights, she could have been free, albeit through a legal battle. Why is the old woman who decorates the beach is free? She became independent not by not having a husband, but by getting financial rights. Even if she did not have a husband, she would not be able to buy things as she wanted if she did not have financial rights. Marge Meschini's way of delivering a message is unique.