The hectic roadside at night is a connective urban tributary in Tikli and Laxmi Bomb, a brazen, atypical and bleak observation of sex workers in Mumbai. Given the rise of female centred narrative cinema and the strong female protagonist, a cycle of films including Lipstick under my Burkha, Pink, Piku, Anarkali of Aarah, NH-10, Margarita with a Straw and Tumhari Sulu point to a shifting acknowledgment of the growing power of the female audience at the Indian box office. Many of these films take up a centre ground, mixing idioms from popular Hindi cinema with indie aesthetics. Although Tikli and Laxmi Bomb is a stylised work, based on director Aditya Kripalani’s third novel, the richness of the inner lives of the characters including the tangential bit players maps a sprawling tale of despair that recalls Nair’s powerful Salaam Bombay. Tikli and Laxmi Bomb has already attracted critical acclaim and is likely to do well on the festival circuit but the urgent themes it deals with suggests this is a film that deserves a wider international audience, not necessarily a specialist one.
Both of the leads Vibhawari Deshpande (Laxmi) and Chitrangada Chakraborty (Tikli) are superlative, exuding a raw, unfiltered energy that is both darkly humorous and endearingly human. Mostly shot at night and on location, and which gives the film a luminous aesthetic sparkle, director Aditya Kripalani contests the conventional sordid milieu often associated with the world of the sex worker, whereby the gender struggle over space becomes an extended metaphor for the reclaiming of a feminist solidarity. The periodic structure of the narrative lets Kripalani move freely across the lives of the characters, depicting the unceasing threat of rape and violence the sex worker faces and from which they have little protection given the fraudulent system is aligned against them from all vestiges of power including the police. The extended homage to the painful contradictions of the city of Mumbai is a subtext that Kripalani mines thoughtfully in themes of anonymity and the displacement of the migratory worker. This recalls Salaam Bombay, and more recent works like Dhobi Ghat and Peepli Live, while the visibility of the sex worker gives these two intertwining themes a strikingly gendered edge.
But sadly Tikli and Laxmi’s revolution is short lived, terminated with a terrifying retribution, and which sees realignment in the social order of things. Just like Chillum is replaced at the end of Salaam Bombay, extenuating the expendable nature of such socially and economically vulnerable people, Kripalani grapples with a similar kind of political symbolism, thereby reiterating poverty, hunger and inequality that feeds such a cruel, blighted system is cyclical and impossible to transpose.
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