Movie Review – Toilet: Ek Prem Katha

In an era where Indian cinema has begun to expand its horizons, “Toilet: Ek Prem Katha” (2017) stands out as a film that challenges not only social norms but also the very fabric of societal progress. Directed by Shree Narayan Singh, this film takes a bold step into the heart of rural India and addresses one of the country’s most pressing, yet often overlooked, issues open defecation and the lack of proper sanitation facilities, particularly in the vast rural expanse. The movie is a mix of romance, satire, and social commentary, deftly weaving these elements into a compelling narrative that sheds light on a widespread problem while ensuring entertainment does not take a backseat.

 

The story is set in a small village in Uttar Pradesh, a state known for its deep-rooted traditions and cultural practices, which often stand in stark contrast to the modern ideals of progress and development. The protagonist, Keshav, played by Akshay Kumar, is an ordinary man—charming, unassuming, and deeply embedded in the everyday life of his village. Keshav’s life, however, takes a sudden turn when he falls in love with Jaya, portrayed by Bhumi Pednekar, a progressive, well-educated woman who has little patience for the regressive norms that still dominate rural society. What begins as a light-hearted love story soon turns into a battle between traditionalism and modernity, as Keshav and Jaya find themselves amid a conflict that most urban audiences could scarcely imagine—living without a toilet.

 

The premise of “Toilet: Ek Prem Katha” may seem almost trivial at first glance. However, as the film unfolds, it becomes clear that the lack of sanitation is not just a physical problem, but a societal one. In the rural parts of India, where access to basic amenities like clean water, electricity, and sanitation is often sparse, the film highlights how these deficiencies affect the lives of ordinary people, especially women. The idea of a “toilet” becomes symbolic of much more—it represents dignity, empowerment, and the fundamental right to a life free from shame and indignity.

 

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Jaya’s refusal to accept her new marital home due to the absence of a toilet becomes the central conflict of the movie. It forces Keshav to confront not only his own family’s rigid beliefs but also the wider community’s reluctance to embrace change. In many ways, the film serves as a mirror to Indian society, particularly rural India, where tradition often overrides practicality, and superstition takes precedence over health and hygiene. The absence of a toilet in Keshav’s house is not just a logistical inconvenience; it is deeply tied to societal norms, where defecating in the open is a long-standing tradition justified by culture, beliefs, and ignorance.

 

The film does not shy away from depicting the absurdity of these beliefs. Keshav’s father, for instance, refuses to build a toilet in the house, claiming it will pollute the purity of their home, despite the obvious health hazards associated with open defecation. The irony of such reasoning is portrayed with a subtle yet sharp critique, where the audience is encouraged to laugh at the absurdity of these regressive attitudes while also feeling the weight of their consequences. This duality—where humour meets social criticism—is one of the strengths of the film. It manages to engage the viewer with light-hearted moments, all while delivering a hard-hitting message about the need for change.

 

At the heart of this conflict is Keshav, a man caught between his love for his wife and his loyalty to his family’s traditional values. Keshav’s character represents the quintessential Indian man, who is both a product of his environment and a potential agent of change. His transformation from a passive conformist to a determined reformer is one of the most compelling aspects of the movie. Akshay Kumar delivers a performance that is both nuanced and empathetic, making Keshav a relatable figure for many men who may find themselves in similar situations—torn between familial duty and personal growth.

 

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On the other hand, Bhumi Pednekar’s portrayal of Jaya is nothing short of remarkable. Jaya is not a damsel in distress, nor is she merely the victim of societal injustice. She is, instead, a woman who knows her worth and is unwilling to compromise her dignity for the sake of tradition. Her decision to leave Keshav’s home until a toilet is built is not just an act of defiance; it is a statement about the rights of women in rural India, who often suffer silently in the face of societal expectations. Jaya’s character becomes a beacon of empowerment, challenging not only the men in her life but also the women of her community, who have long accepted open defecation as a norm.

 

The film’s narrative is intrinsically linked to the broader national campaign spearheaded by the Indian government the Swachh Bharat Abhiyan (Clean India Mission). Launched by Prime Minister Narendra Modi in 2014, the mission aimed to eradicate open defecation by constructing millions of toilets across rural and urban India. “Toilet: Ek Prem Katha” serves as a cinematic reflection of this mission, highlighting the importance of sanitation and the challenges faced in implementing such a large-scale initiative. While the government provides the infrastructure, the film emphasises that real change can only occur when societal attitudes shift. The Swachh Bharat Mission is not just about building toilets—it is about changing mindsets, and this is precisely what the movie seeks to portray.

 

The bureaucratic hurdles faced by Keshav in his quest to build a toilet are a direct critique of the inefficiencies and corruption that often plague government schemes. In one particularly frustrating scene, Keshav’s application for a toilet under the government’s scheme is rejected multiple times due to minor technicalities and bribes demanded by corrupt officials. These moments of frustration resonate with many Indians who have experienced similar red tape in their dealings with government agencies. The film does not shy away from exposing these flaws, adding a layer of realism to its portrayal of the Swachh Bharat campaign.

 

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However, the movie is not merely a critique of the system; it is also a celebration of the power of individual action and grassroots activism. Keshav’s determination to build a toilet for his wife, despite the obstacles, is a testament to the strength of personal resolve. The film underscores the idea that change begins at home, and it is often the actions of ordinary individuals that can inspire broader societal transformation. Keshav’s struggle is not just about constructing a toilet; it is about breaking free from the chains of tradition and superstition that bind his community.

 

In terms of cinematic execution, “Toilet: Ek Prem Katha” blends its social message with an engaging storyline. The director skillfully navigates the film’s dual nature balancing romance and comedy with serious social commentary. The film’s pacing, though slightly stretched at times, allows the audience to fully grasp the gravity of the issues being discussed without feeling overwhelmed. The rural setting is depicted with authenticity, and the use of local dialects and customs further grounds the film in the reality of its subject matter. The humour, often derived from the absurdity of the situation, does not detract from the seriousness of the message but instead serves to make the film more accessible to a wider audience.

 

What truly sets “Toilet: Ek Prem Katha” apart is its ability to initiate a conversation about an issue that is often considered taboo. Open defecation is not a topic that is frequently discussed in mainstream media, let alone in the context of a major Bollywood film. By bringing this issue to the forefront, the movie breaks the silence surrounding sanitation and forces its audience to confront the uncomfortable reality faced by millions of Indians every day. The film’s success lies in its ability to take a subject that is often ignored or dismissed and turn it into a national conversation, much like the Swachh Bharat Abhiyan itself.

 

“Toilet: Ek Prem Katha” is more than just a film—it is a social statement. It is a bold and necessary exploration of a critical issue that continues to affect the lives of millions of people in India. Through its engaging narrative, powerful performances, and sharp social critique, the film not only entertains but also educates its audience about the importance of sanitation, gender equality, and the need for societal progress. By linking its story to the broader national movement for cleanliness, the movie serves as both a reflection of and a catalyst for the change that India so desperately needs. In the end, “Toilet: Ek Prem Katha” is not just a love story—it is a story of love for dignity, respect, and the right to a better life.

 

The contributor is a law student from Kashmir University and is interested in women’s rights, good governance, judicial activism, social justice and environment conservation, respectively.