Anandavardhana (9th century CE) propounded Dhvani theory in his treatise Dhvanyaloka. Word Dhvani is derived from the root dhvan means to suggest. Definition of dhvani is given as the suggested sense which gives pleasure (रमणीयव्यङ्ग्यार्थ:।). He explicitly condemns the poetry which is based on explicit sense. Figures or Rasa can be present in the poetry but importance should be given to suggested sense i.e. Dhvani. Uttama means best poetry is that which focuses on Dhvani as prime principle. Figures or Rasa may or may not be present in such poetry which is categorised as uttama. Movie lunch box can be analysed form Dhvani point of view.
A housewife Ila (Nimrat Kaur) is trying to add spice in her married life, trying to seek attention of her husband by giving lunchbox full of innovative dishes. It has become her routine to cook delicious food for husband after he leaves for office in the morning. Coincidentally, a lunchbox used to reach Saajan (Irfan) a lonely person who is on the verge of retirement. Little mistake of dabbawalas is responsible for the exchange of lunchboxes and also for the extra-ordinary friendship of Ila and Saajan. Friendship of both started with a note sent by Ila after seeing no feedback of her husband about lunchbox. Thus, there began a communication between two strangers. They share their regrets, memories, liking through letters of lunchbox. Though Ila understood the mistaken delivery of lunchbox doesn’t venture to rectify the same. In fact, she enjoys this new relationship where she gets little space for her day to day sharing.
Ila’s unhappy marriage is not vividly shown on the screen but it is suggested in film by very symbolic expressions. Ila’s husband is least bothered about the lunchbox she gives. It is left to viewer to create image about her husband by their own. Viewer may understand this as busy schedule of Ila’s husband which is not allowing him to give attention towards his personal life at all. One more suggestive element is present in the film where Ila could smell of some perfume on her husband’s shirt. It gives only a suggestion that her husband is might having some extra-marital affair. Ila desires to go to Bhutan with her daughter as currency is very cheaper, so life will be much more comfortable there. Same thing shares with Saajan through a letter in lunchbox. Saajan responds by saying ‘Can I accompany you while going to Bhutan?’ This eventually creates a necessity of meeting of both. Ila decides the spot of cafe where Saajan comes but avoid meeting her seeing her young age and beauty which was contrary to his old age.
End of the film is not explicit at all. It is left completely on viewers. Ila’s father dies with lung cancer, her mother confesses how she was fade up with her married life. Ila then decides to search for Saajan but she learns that he is retired and moved for Nasik. She writes a letter that she is leaving for Bhutan with her daughter. Saajan who was in train towards Nasik changes his mind and goes in search of Ila. Ila is waiting for her daughter to pick up her form school and about to leave for Bhutan.
Here the films doesn’t clarify whether both of them meet or otherwise. If they meet what they talk, whether Saajan accompanies Ila with her journey to Bhutan or Ila refuses his company after seeing him or Ila returns to her married life. Was their emotion of love developed between Ila and Saajan or they were considering each other simply friends or just a relation between two strangers giving them emotional satisfaction. All these are suggested meanings through the ‘end’ shown in the movie.
This is the beauty of movie that end is not explicit. It is not compulsory for viewer to see their ‘typical’ happy union or tragedy of their separation or anything else. It is left on wise connoisseur to understand the end of the movie according own set of perspective. Script writer could have shown typical happy ending in the movie for delineation of Shringara rasa. This is carefully avoided in the movie. There is no main rasa (angi rasa) in the movie as such. There are just sprinkles or hints, suggestions of rasa. It is not nourished by vibhava(causes), Uddipana (excitants) anubhava etc. but there are many vybhichari bhavas which are beautifully delineated as well as suggested through different episodes on subtle level.
There are vibhava (causes) present in the form of Ila and Saajan. Uddipana(excitants) can be stated as Ila’s unhappy marriage and Saajan’s loneliness. Initial exchange of lunchbox is also one of the uddipanas. Anubhavas are presented through their expressions of responding to letters, appreciating food in the lunchbox and also continuation of mistake of exchange. Though these elements are present, there is no proper union (samyakaikagryam) of these in one homogeneous whole which can result in Erotic sentiment which is well nourished. Therefore, vibhavadi are suggestive elements for their unusual relationship which seems beyond the typical love or friendship. Ila’s love for her husband is suggested by the way she prepares a lunchbox with utmost dedication for her husband with utmost love. Still there is no Shringara rasa nourished in full-fledged manner.
Film is based on vyabhicharins like shanka (doubt), dainya, chinta, chapalata, avega, vishada, autsukya, vitaraka etc. presented through the character of Ila.
• Ila is doubtful about dedication of her husband after smelling his clothes (shanka and vitaraka)
• Ila is upset thinking her husband is having extra-marital affair (dainya, vaishada)
• Ila is having hopeful about Saajan, it creates curiosity in her mind to meet him (autsukya)
• Ila tries hard to search Saajan through dabbawalas and ultimately reaches his office (Avega and chapalata)
Vyabhichari bhavas get nourished through the character of Deshpande aunty (whose only voice is heard) and Ila’s mother. Both ladies are trapped in their own life to lead unhappy life. These characters through their behaviour engrave negativity on Ila’s mind about married life by very subtle way. Deshpande aunty and her mother are uddipanas which nourish all vyabhichari bhavas. Character of Deshpande aunty is only built through her voice and viewer imagines the entire personality by that.
Dainya, chinta, capalata, avega, vishada, autsukya etc. are presented through the character of Saajan.
• Saajan is most of the time seen lonely in the office as well as in the home (dainya, vishada)
• Saajan is curious to start new life with Ila (autsukya)
• Saajan is very excited and quick to meet Ila in cafe and also when Ila is about to leave for Bhutan (autsukya, chapalata, avega)
These are all examples of bhavadhvani (vyabhichari tatha anjitah)
Film is not meant for delineation of prominent rasa or subsidiary rasas but presents unusual treat of vyabhichari bhavas to viewers. Film focuses on very routine object known as lunchbox in very unusual way.
