In his book, "Orientalism", he speaks of the Orient woman as an entity who never speaks for herself but is a passive agent managed by the coloured mind. Throughout popular media, one comes across the presentation of the coloured woman as she who is shown as a suppressed housewife with no agency of her own, desperately trying to manage herself from within the shackles placed on her husband and the male patriarch of her family. But it becomes essential to question and understand to what extent women in the East are voiceless passive actors in their own lives and those of others. And what is happening in their lives that has led to their wanting to leave?
The character of Shashi from the film English Vinglish becomes an interesting case study to unpack this aspect.
Shashi is presented as a Hindi medium-educated homemaker whose entire life revolves around her family and taking care of them. The film depicts her presence as less worthy due to her lack of familiarity with English, where she is yearning for more and to be for her children and husband. Hence, she takes an English course when she goes to New York to help her sister with her daughter's wedding. On the surface of it, one can see the trope of liberation attached to a Brown woman only when she is away from the coloured man. As Said points out, this trope is visible based on his lack of support and claiming all that she can do is make ladoos (sweets). The movie depicts how, within the household, her life is nothing more than her kids, and she finally gets to look at and embrace her sense of self and identity as soon as she is away from them.
At the same time, the film also rejects this presentation of the Orient woman as a silent actor, as someone who chooses to be with her family actively and make her life about them. This brings in the aspect of agency and deciding how to spend one's life. In the 21st century, with imperial capitalism taking its place and the presence of girl-boss feminism, the idea of a liberated woman works and does anything else but domestic work. The film also actively challenges this trope and brings forward the aspect of agency, choice, and perspective of a woman's life beyond the gaze of a Western white feminist lens.
In this constant effort to decolonise oneself and hold a violent history and heritage of oriental thought and ideology, critically looking at media and understanding what is being presented becomes essential. In the case of Sashi, it becomes important to identify that where it is rejecting Western oriental tropes, it may be affirming them at the same time. As active and critical consumers of media, it is essential to identify these aspects.
Great points! Adding on, English Vinglish also critiques how English is tied to power and respect in post-colonial societies. Shashi’s journey isn’t just about learning a language—it’s about reclaiming her dignity in a system that devalues non-English speakers.
What’s refreshing is how the film subverts traditional empowerment tropes. Shashi doesn’t abandon her family to find herself; instead, she redefines her worth within her domestic role, showing that empowerment can take many forms.
Lastly, it challenges “girl-boss” feminism by valuing agency and choice, rejecting the notion that liberation only comes through careers or Western ideals. Shashi’s story is a powerful take on self-worth and identity.
The dichotomy you present between liberation through Western frameworks and self-actualization within traditional roles is very interesting to read. Edward Said’s critique of the “Oriental woman” as a voiceless figure is evident in Shashi’s initial portrayal.
Yet, as you point out, the film disrupts this narrative by showcasing her agency—her choice to learn English as a form of reclaiming of dignity on her own terms. This aligns with Gayatri Spivak’s concept of “strategic essentialism,” where embracing certain stereotypes can be a way to challenge them from within.
Your blog also highlights a nuanced tension: does the film truly reject the Western gaze, or does it subtly cater to it by framing Shashi’s empowerment as contingent on her detachment from her…
The article does a great job critiquing the Western lens of empowerment, it could further explore how Shashi’s growth is still tied to capitalist and individualist ideals—learning English as a tool for self-worth and validation. How much of her ‘liberation’ is framed through the approval of others, including her Western peers in the English class?
This blog post offers a nuanced critique of English Vinglish, effectively using the framework of Orientalism to unpack the portrayal of Shashi as a suppressed housewife navigating agency and identity.
One thing i noticed outright was that you didnt mention that the framework of orientalism and the books author is Edward Said (although implied, was not explicitly mentioned)- this may have helped us readers follow up on your blog post.
However, the observation that the film oscillates between rejecting and reaffirming Orientalist tropes is particularly thought-provoking, as it highlights how media can simultaneously challenge and inadvertently reinforce stereotypes. The analysis of Shashi's journey, framed against the backdrop of Western white feminist ideals and "girl-boss feminism," provides a layered perspective on…
This analysis of *English Vinglish* offers a thoughtful take on Shashi’s journey, exploring how her character navigates stereotypes of the voiceless Eastern woman. The blog highlights how her empowerment is framed within a Western context, raising questions about whether her liberation depends on stepping away from her domestic life or genuinely challenges Orientalist tropes.
At the same time, Shashi’s agency in choosing her family and reclaiming her identity resists the idea that domestic work is inherently oppressive. This duality—rejecting some stereotypes while subtly affirming others—reminds us to critically engage with media and its portrayal of women, especially in balancing tradition with modern ideals.