The story of a quiet, sweet tempered housewife who endures small slights from her well

educated husband and daughter everyday because of her inability to speak and understand
English. She is resourceful and open-minded but somehow these traits don't get noticed by
them. Then one day on a trip to visit her sister in Manhattan she decides to enroll in an
English Learners class and meets a host of new people who teach her to value herself
beyond the narrow perspective of her family.

My wife, she was born to make laddoos!says the grinning husband to the white boy
whos being inducted into the family. The white boy, whose name is Kevin, has just
taken his first-ever bite of a moist, delicious little globe ofmotichur goodness produced
by the aforementioned wife, Shashi, and he looks suitably overwhelmed with delight.
Then the camera moves across to Shashi, and that single fluid moment, as we watch her
face silently transform from happy to tremulous to brave, encapsulates everything that
the film wants to show us.
What Gauri Shindes debut film insists on showing us is so deliberately unspectacular,
so quiet and dull and taken-for-granted, that when we see it in real life (and we see it all
the time), we merely avert our eyes. It is the predicament of the person whose
personhood is summarily dismissed by a refusal to value the work they docasually,
perhaps without malicebut resulting in no less cruelty than if it were intentional.

Because English-Vinglish, despite its name, is not just about English. English here is a
placeholder. Being fluent in English, in the sadly skewed universe of contemporary
India, automatically codes you as modern, fashionable, worthy of respect. Not being
fluent in it relegates you to the backroom, a second-class citizen, unworthy of display.
Dibakar Banerjees films Oye Lucky most of all, but also Pitobash Tripathys character
in Shanghai have given us what are perhaps Hindi cinemas most nuanced
commentaries on English as a marker of social class. What Shinde does in EnglishVinglish is very different, not just because her style involves broader strokes and a

happier, more feel-good mood but because the domain she chooses to set her film in is
the family.
Shashi is, first and foremost, a wife and mother, and Shindes masterstroke is to create a
character whose fears and conflicts and insecurities are almost never a consequence of
direct assaults made by the wider social world. Her experience of the world comes to her
filtered through her husband and children.
So it is Shashis own daughter who is embarrassed and angry at Shashis inability to
understand her classmates English-speaking motherthe classmates mother seems, at
worst, oblivious. It is the same daughter who sulks for hours because Shashi speaks to
her teacher in Hindi while the Malayali Christian teacher himself seems quite charmed
by this woman who unselfconsciously talks to him about banana chips and wants to
know if her daughter is not just a good student but also a popular one. The loyal clients
shes built up for her high-quality home-made laddoos are glad to have a friendly chat
when she makes her delivery rounds in person. It is her husbands lackadaisical
dismissal of her excitement about the days sales that silences her.
So it makes complete sense when Shashi, at the films end, describes her view of family
as a little world within the wider world, a space in which you ought to be held safe from
the judgements and cruelties of the wider world. It is as close to a statement of
worldview as a Hindi film heroine has ever been allowed to come, and whether you
think of it as beautifully hopeful, or sadly, simplistically delusional, it is unlikely that you
will come away unmoved.
Because in the deliberate simplicity of its canvasand its protagonistlies the strength
of Gauri Shindes film. By refusing to situate the vexed question of English in a larger
socio-political context, by focusing its attention on the home, it does simplify the issue
but it also holds up a mirror to what must be the most mundane, most neglected aspects
of our social lives: how we treat our mothers.

And yet, the reason why English-Vinglish is so successful is because it is careful not to
underline its chosen subject too heavily. Shashi is not above the occasional well-aimed
barbOh, main bhool gayi, important baatein toh sirf English mein hi hoti hain
na?but her deepest wounds are ones she hugs tightly to herself. Our sense of Shashis
intense privacy, her shyness, helps the film steer clear of melodrama, and lends itself
rather beautifully to the few moments when she does open up. It seems entirely fitting
that she speaks her heart out only to a man who does not understand her words.
That besotted Frenchman (Mehdi Nebbou) is one of the people in Shashis English class,
a cheerfully updated version of Mind Your Language that provides the film with most of
its lighter moments, via a slightly caricatured but affectionately drawn collection of
immigrantsa Pakistani cab driver, a Tamilian techie, a Spanish-speaking nanny, a
young Chinese girl, a largely silent African manall struggling to improve their English.
The New York segment is necessarily shot with the eyes of the dazzled outsiderall
skyscrapers and downtown views but Shinde also manages to fill it with nicelyobserved moments that anyone who has ever negotiated the terrifying newness of any
(Western) city will immediately identify with: the minor but life-altering trialsand
triumphsof making Metrocards work, finding your way to an interview, placing an
order in a caf without holding up the queue.
But eventually, it is Sridevi, with her trademark winsome girlishness of old now
beautifully balanced by a new quiet dignity, who makes us experience each of these
triumphs as her own. Go, cheer her on.

English Vinglish movie is the story of Shashi, a woman who doesn't know
English and is made to feel insecure about this by her family and society at
large. The film though light-hearted is about the touching and
transformational journey of Shashi.

Circumstances make her determined to overcome this insecurity, master the

language, teach the world a lesson on the way to becoming a self assured and
confident woman.

After a sabbatical of 15 years, Sridevi has returned to do a meaty role in English Vinglish and
post watching the film, I have just one word for the actress - FLAWLESS!
Gauri Shinde has donned the directors hat to tell the story of Sashi (Sridevi), a middle-aged
Maharashtrian housewife who earns her own money by making sumptuous ladoos(which
happens to be her passion too) and selling them to the connoisseurs. A lot of women would
identify with Sashi since she is one of those dedicated yet taken-for-granted homemakers who
are ridiculed for their poor linguistic skills by their English speaking family. In the movie, Sashi
finds herself being an object of constant potshots by her husband(Adil Hussain), who has little
respect for her real talent and her 7th grade daughter who feels ashamed to even introduce her
mother to her school folks.
So when an underestimated and belittled Sashi flies off to New York to lend a helping hand at her
nieces wedding, she smartly grabs the opportunity to enroll herself into English speaking classes
that promise to teach the language within a period of flat four weeks. In no time, Sashi becomes
the most committed student in her class, starts watching English films at night and doing her
homework religiously- all to polish her English reading and writing skills and more importantly
to earn respect that she duly deserves from her family. In the midst of her literary pursuit, she
also finds her classmate cum friend a Frenchman (an irresistible Mehdi Nebbou) getting
attracted to her plain simple personality. Yet, despite several barriers that come her way, Sashi
manages to achieve her goal (that includes ordering her meal at the caf with super confidence)
which could be an inspiration to many aspiring English learners.
Going beyond the ordinary story of English Vinglish, it is a movie that teaches a lot of life
lessons. First, it gives a peek into the feelings of those who are not good at reading and writing
the language and find themselves becoming a subject of disdain and jibe whether at home or in
public. Second, it is a crash course on mannerisms for all those refined husbands and children
out there who believe that the woman of the house is only worth taking nonsense;

notwithstanding the fact that she goes out of her way to please them, without a complaint. Third,
like I said before, the film is all about dedication towards ones aims and a relentless pursuit
towards your dream, come what may.
Sridevi as the de-glam Sashi looks completely stunning and gets very much into the skin of her
character in the film. The way she emotes when she is looked down upon for her poor angrezi is
worthy of a good round of applause. It is safe to say that after Sadma, Chaalbaaz and
Chandni, she will always be remembered for her versatile act in English Vinglish. Clearly,
this movie is one of her best works till date.
Moving on to films direction, kudos to Gauri Shinde for narrating a story which leaves such an
impact on the viewers. Also, a special thanks to her (she has also written the story) for making a
film on such a unique storyline which apparently has a close connection to the life of Shindes
mother and perhaps, many other Indian women out there.
Amit Trivedi has given cool and foot tapping music to the film while designer Sabyasachi has
done his job very well in dressing up Sridevi in colorful khadi sarees that suit her age and role.

Although Filmfest DC ended in April, the movies still have a lasting impact. The
international films that were shown can help to build deeper understanding
between different cultures and let viewers experience the world through new
perspectives. The event introduced many individuals to films that may
otherwise have been overlooked.
The film English Vinglish was created by Indian writer/director Gauri Shinde.
The first half of the film took place in India and centered on the lives of Shashi
and her family, particularly her husband and two children. The setting shifted
once Shashi traveled by herself to New York City to help her sister prepare for
the upcoming wedding of her daughter.

The central issue of the film was language. Shashis English skills were poor,
which prompted the relentless mocking by her husband and daughter. Her
lack of English ability is shown to be a hindrance in her life, particularly
because the primary language spoken at her daughters school is English. This
frequently embarrassed her daughter, which was magnified when Shashi
attended a PTA meeting at the school in place of her husband, since he was
caught in a work meeting. Despite the fact that Shashi made a positive
impression on the teacher, her daughter got angry and focused on Shashis
need to ask the teacher to speak in Hindi, instead of English.
Shashi carried these insecurities with her as she traveled to America ahead of
her family to help with wedding preparations. When Shashi went to get her
passport, the response of the American man working at the desk was
revealing. He asked her, How will you manage in our country without
knowing English? Another Indian worker responded by saying, how do you
manage in our country without knowing Hindi? Comments like this in the film
allowed the audience to consider significant questions considering the power
and influence of language.
The movie was about courage and allowed the audience to empathize with how
frustrating it must be for someone in a foreign country unable to communicate
due to a language barrier, and often being treated poorly as a result. The most
heartbreaking incident, once in New York, was when Shashi was unable to
articulate her order in the line at a restaurant and then continued to be rushed
by the impatience of the lady taking the orders. The caf worker had little
understanding of what Shashi was going through. Hopefully films like this one
will increase understanding, cooperation, and patience by shining a light on the
struggles of adjusting to new languages and cultures.
Shashi decided to enroll in an intensive 4-week English class, along with a
woman from Mexico, a French cook, a Chinese hairstylist, a taxi driver from
Pakistan, and an African man. This was not only a film about learning English
because the movie celebrated the various cultures that were represented in the
classroom. Somehow they all became close friends and developed a sense of
camaraderie while attempting to accomplish a common goal. It was not only

English that bonded the group, but also the sharing of their cultures, including
their native food and customs.
It was astonishing to see a classroom filled with people from so many diverse
backgrounds learn one language from an instructor who solely spoke English.
Although it is hard to fathom how this works, this practice is quite common.
There are many programs available that teach English as a second language
through similar methods to those depicted on the screen. Many churches, nonprofit organizations, and colleges/community colleges offer both training to
teach a course and the classes themselves.
The movie portrayed the evolution of language skills in a practical way. The
culmination of Shashis lessons resulted in a toast at her nieces wedding, in
which she was able to express herself and how she was feeling, in English, to
her family, who had been unaware of her ongoing lessons. Her grammar and
word construction were not perfect, which made sense due to the short time
frame in which she had learned English.
The film illustrated the art and power of language. Often Shashi and others in
the class spoke to each other in their native languages, unaware of what the
other was saying, but still felt a relief in being able to get words out to profess
their feelings. Learning a new language empowered Shashi and helped boost
her deflated confidence from those who had put her down in the past,
especially her family. The resolution at the end, allowed the movie to go full
circle, which began with a woman who could not pronounce jazz to a woman
who moved a wedding party to tears with her memorable and heartfelt speech.
No more English Vinglish
cultural dimensions: individualism/collectivism
timing: 01:42:40 01:44:45
Because she was not there when her son got injured, Shashi tells her niece Radha that she has decided
to quit the English course. Radha tries to persuade her to finish the course. But Shashi does not want to
neglect her family again.
analysis:

Shashi believes that she has failed in her duties as a mother. She feels guilty. For Shashi, as a member
of a collectivistic culture and a country where the traditional role of women is fairly clearly defined, it is more
important to care for her family than to be concerned with herself. That is why she thinks that it was selfish to
go to the English class and leave her family on their own. Shashi finds herself in a conflict between her own
needs and that of her children and husband. Since to be there for her family is more important, she decides to
quit the course.
Her americanised niece Radha cannot understand Shashi's decision. In individualistic cultures like that of
North America it is more typical for people to be concerned about themselves and their own personal
aspirations. You yourself have to move forward. So she encourages Shashi to not give up.
See also 01:53:36-01:55:31: After her ladoos have been spoiled, Shashi decides to make them again
instead of going to the final exam. Radha wants her to leave. Shashi is unwilling to fail in her duty to care for
the family simply because of something that is only important for herself.

The topic of cultural dimensions (individualism vs. collectivism, monochrone and

polychrone) is almost de rigeur in intercultural training workshops. Most of these models
remain quite theoretical in the minds of our Indian participants.
As I watched the Bollywood film English Vinglish, I saw some great examples of these
dimensions being acted out, and am delighted that some of these scenes can be used to
illustrate these dimensions in a way that will resonate with Indian audiences. Please note
that like with most films that portray another culture through the eyes of a foreigner, some of
the situations and characters might seem a bit exaggerated or even culturally inaccurate.
However, the film has many select scenes that would be a great resource for intercultural
trainers looking for ways to connect theory and application. So read on!
This film by Gauri Shinde is a heart-warming tale of how an Indian housewife, played by
Sreedevi, discovers her hidden potential after landing in the US and learning the English
language. The film can be used for a variety of training objectives: questioning existing
stereotypes, ethnocentrism, or how the film accurately or inaccurately depicts cultural
differences.
Being part of a collectivist culture, Sreedevi puts her familys needs before her own and her
individual efforts are often unrecognized or even mocked by her family at home. She is an
excellent cook and in India she sells her speciality ladoos (an Indian dessert) during
weddings and other festivals. During her first English language class in the United States,
her English instructor asks her what she does (individualist orientation) and Sreedevi, not
used to talking about her individual accomplishments, sheepishly confesses that she sells

ladoos. Her English instructor provides her with the term entrepreneur, and her face lights
up at this definition of her individual identity. This theme is quite recurrent in the movie and
can be used in discussions on how to leverage the best of both individualism and
collectivism. For example, after having discovered the joys of individualism such as me
time, personal development, and individual accomplishment, Sreedevi does not bail out on
collectivism. On the contrary, she explains the core philosophy of collectivism in her speech
at the wedding of her niece.
Yet another dimension is beautifully illustrated in the scene where Sreedevi orders a cup of
coffee in New York for the first time. To see the differences between monochronic and
polychronic attitudes. I encourage you to watch the film!