MOVIE INFO
http://en.wikipedia.org/wiki/Ijaazat

Cast
Rekha ... Sudha
Naseeruddin Shah ... Mahinder
Anuradha Patel ... Maya
Shammi Kapoor ... special appearance
Shashi Kapoor ... special appearance


Crew
Producer: R K Gupta, Rajinder Singh Bedi
Director: Gulzar
Story: Subodh Ghosh (Jatugriho)
Screenplay: Gulzar
Dialogues: Gulzar
Lyrics: Gulzar
Music: R D Burman
Editing: Subhash Sehgal


Awards
1988 National Film Award for Best Female Playback Singer: Asha Bhosle - Mera Kuch Samaan
1988 National Film Award for Best Lyrics: Gulzar) - Mera Kuch Samaan
1989 Filmfare Best Lyricist Award: Gulzar 

Story

The movie is a powerful story that deals with feminism and patriarchy in the middle class of India in the 1980s. Mahinder (Shah) has an affair with Maya (Patel; Maya is one of the most complicated and interesting characters portrayed in Indian Cinema. She is a radical feminist, who does not believe in the heteropatriarchal institution of marriage. She reaches out to Mahinder's wife because she does not believe in monogamy but sees a possibility of having a loving, polygamous relationship with Sudha, Mahinder and herself. She constantly calls Sudha her Didi (elder sister) because she sees sisterhood and solidarity in their common position of loving Mahidner. The radical possibilities of the film is broken by the cinematic narrative of killing of the feminist who is outside the patriarchal institution of marriage (Maya); she dies while riding a bike (the unfeminine thing to do). She also licks Mahinder's toes; which was probably the earliest representation of an unapologetic sexuality coming from a woman. The story is very sad and heart breaking, with an end worth watching. Actor Nasseruddin Shah and Rekha's convincing performances are admirable. The overall plot is this: Mahinder (Nasseruddin Shah) loves Maya (Anuradha Patel). She refuses to marry him because she doesn't believe in marriage. So Mahinder gets married to his childhood friend Sudha (Rekha). He tells her about his relationship with Maya. These circumstances create difficulties in their married life. Eventually, Sudha leaves Mahinder and continues working as a teacher in another town. After many years they accidentally meet in a railway station waiting room and discover some truths about their lives without each other. At this point the film fails miserably (The endings of all Gulzar's films fail miserably because they enfold the woman back into the oppressed, repressed institution and work hard for some moral judgement). Sudha touches Mahinder's feet at the end and thereby marks him her superior when there was actually no need to do this. This becomes the ijaazat (permission), the radicality of the film lies in the fact that she DOES NOT need the ijaazat (permission) because she is with another man already ( Shashi Kapoor). So the ending is facetious and makes no sense within the logic of the film. But if we remove the ending, the film is full of radical possibilities.

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