New Delhi, March 11 (IANS) From the pathos of widows of the 1930's India in "Water" to the mystic of Aishwarya Rai as a young widow in "Chokher Bali" ('Sand in the Eye'), fables of ill-fated women have often graced Indian celluloid.

Whether it is the resolute Nargis in "Mother India", the stoically resigned Jaya Bachchan in "Sholay", the forgiving Ayesha Takia in "Dor", the star-crossed Dimple Kapadia in "Rudaali, the rebel Padmini Kolhapure in "Prem Rog", the revenge-seeking Rakhee in "Karan Arjun" (and many others) or the widow-of-today Rani Mukerji in "Hum Tum" and "Baabul", filmmakers have for long played up the inherent tragedy of the character to fill many canvases.

Oscar-nominated "Water" by Toronto-based Indian filmmaker Deepa Mehta that finally released in India this week, is perhaps the most daring depiction of the plight of widows in the country.

"Water" faced opposition from Hindu fundamentalists because they felt that it is anti-Hindu and destroyed the sets of the film in 2000 and also burnt Mehta's effigy. But Mehta was determined to complete the film and finally shot it in Sri Lanka with the cast that included Seema Biswas, Lisa Ray, John Abraham and Waheeda Rehman.

"Water" was sent to the Oscars by Canada as its official entry for the best foreign language film category and secured a nomination. Though it lost the Oscar to a German film "The Lives of Others", it is most relevant to today's India.

The film introducing child actor Sarala as a seven-year-old abandoned widow has garnered rich accolades in India as well.

Though most refuse to accept, but for abandoned widows in Brindavan, known as the "City of Widows", "Water" is a story about their lives even today. Widows seek salvation there either in Varanasi or Brindaban, which is about 120 km away from Delhi.