‘Nagina,’ was released in 1986 and is now seen as a watershed moment in Indian cinema. Sridevi’s turn as Rajni, an ichchadhari naagin, proved that a woman-centric move could be a commercial success. The film centres around the relationship between Rajni and Rajiv, played by Rishi Kapoor, as they battle against Amrish Puri’s villainous Bhairon Nath. In Indian folklore, ichchadhari naagin’s are shape-shifting cobras and devotees of Shiva, and have taken on a whole film genre on their own.
The film itself is quite gothic in tone, and Rajni herself figures as a gothic heroine. We first find Rajni, in human form, at Rajiv’s abandoned, ancestral home. The idea of a building in disrepair, along with a family and empire with it, is a classic gothic trope, and presents mystery and secrets to the viewer. Especially when tied to Indian folklore the presence of ruins links to the idea of ancient ritual, something that Rajni and later Bhairo Nath adhere to. The ruins remain untouched, a physical reminder of a past that does not move, forever haunting and impeaching on the present. This is also personified in Rajni.
Rajni’s status as a naagin blurs the lines between appearance and reality, she is both snake and human at the same time. Although we physically see her change in the film, her life as a snake, and later as the wife of Rajiv are forever intertwined. While in human form, Rajni’s snake like persona is signalled with turquoise eyes. She first appears wearing white and pink. This marks her clearly against the grey of the ruins, and despite being a snake, implies the purity and good nature of her intentions. White is also commonly worn by widows, foreshadowing the later revelation that Rajni is mourning her snake husband. Her youthful nature also contrasts the desolate nature of the ruins.
Through years of meditation, Rajni has acquired the ability to shapeshift, whereas in folklore, it is through penance that Lord Shiva that grants this quality. Naagins also possess a Naagmani, a precious stone, which is referenced in the film and the object of Bhairo Nath’s desires. Like in the film, upon hearing the music of a snake charmer, naagins lose control of themselves and return to their snake form. It is the climactic dance sequence in the film, ‘Main Tera Dushman’ that references this note, and blurs the lines between woman and snake, as, in her human form, Rajni dances like a snake.
Identity is a prevalent theme throughout the film, especially for Rajni. She can choose her physical identity through her ability to shapeshift, however who she wants to be as a person comes from her mind. She chooses to identify as the devoted wife of Rajiv, and when facing off with Bhairo Nath she asserts that the divine power she draws from this role is her greatest strength. Perhaps her strength comes from the love and family unit that she is now surrounded by. Rajni also asserts that she will destroy Bhairo Nath’s ‘identity’ should he harm her husband. While this could be lost in translation, if taken literally, it is worth thinking about. Both and her and Bhairo Nath can change their identities, so perhaps Rajni is threatening to destroy one of his, or in other words, just a part of Bhairo Nath.
Female relationships and maternal love also heavily feature in the film and are explored through Rajni’s role. Rajni is both subversive and traditional. Subversive because she is a snake, but traditional because she chooses to inhabit the role of the dutiful wife and daughter in law. Rajni later tells Rajiv’s mother that the soul of her late snake husband resides in Rajiv, and she initially wanted to kill him to release it. She abandons this plan upon seeing Rajiv’s mothers’ ‘suffering’ and love for him. Rajni maintains that her love for the family will protect them and makes her strong enough to withstand Bhairo Nath. Essentially the bonds of family can break all others and explain the characters’ motivations. Female love influences and alters the plot. It is this presence that sways Rajni’s intentions and gives her enough power to fight Bhairo Nath, even though he is more powerful than her.
Rajni uses her role as daughter in law to influence and protect Rajiv. At one point in the film, Rajiv is threatened by his ex-lover’s father. Rajni intervenes and distracts him, stopping him from leaving the house and falling into the trap. This displays her domestic power as his wife, as well as her ability to manipulate other snakes to protect her husband.
At the end of the film, Rajiv’s mother is killed by Bhairo Nath while she tries to protect him. It is her motherly love that saves her son, but also kills her. She was originally the obstacle to Rajiv and Rajni’s marriage, and upon finding the truth about Rajni she went to Bhairo Nath for help. With her and Bhairo Nath removed, there is no obstacle to Rajiv and Rajni’s marriage. Rajni also, because of her promise to Rajiv’s mother, destroys the body of her snake husband to stop Bhairo Nath getting the gemstone. Both obstacles are removed, which ensures stability and security of Rajni and Rajiv.
Rajni also tried to save Bhairo Nath, proving her inherent goodness and humanity despite her snakelike form. Bhairo Nath sees this goodness and allows her to remain human. Despite her conflicting identities her human form is cemented permanently, granted because of her morality. By the end of the film, all obstacles to the union of Rajiv and Rajni are removed.
It is never revealed whether Rajiv finds out the truth about Rajni, but perhaps in this instance, ignorance is bliss. The film does state that they live ‘happily ever after,’ which I suppose fits with the ethereal, mystical quality of the film. Shapeshifters frequently appear in fairytales, and like a fairytale the film depicts the triumph of good over evil.
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