Check out 16 Return-To-Work Programs In India For Ambitious Women Like You!
While TV, cinema and OTT content are often deemed to be ‘far-fetched’ or ‘glazed’ with cinematic fabrication, are the portrayals also a reflection of our own reality?
Is fictional celluloid becoming our reality check?
Various releases of 2020, most of which have been on OTT platforms owing to the pandemic, have looked at different aspects women’s standing in society ranging from sexuality, violence, social freedom and choices.
A collection of visual content has somewhat formed a timeline, depicting Indian women and their lives in different eras. While Bulbul looks at the aspect of child marriage in colonial India, Indian Matchmaking exposes the reality of the ‘Indian marriage market’.
While we may claim to have moved forward from child marriages, is there even a question about the misogynistic, regressive nature of Indian matrimony? Don’t the pages of our newspapers feature proof of various families’ search for ‘fair beautiful upper-caste’ women? While we don’t see matrimonial ads about flexibility often, I’m not convinced that it is not on someone’s list of required characteristics for their own daughter-in-law.
Along the same lines, Bandish Bandits exposes other realities of an Indian marriage. Is bride price in a haveli very different from the one-way ‘gift exchange’ we see at weddings today? Women’s choices are never truly their own. The show quite rightly portrays how much of their life women have to give up within a marriage. More than often, women are at a crossroads between societal norms, family and their own longings.
https://www.youtube.com/watch?v=yHmqw43Vw5s
The Malayalam Netflix release Varane Avashyamund quite accurately depicts how society views the romance in the life of an older woman. Shobhana’s character is faced with stringent judgement from her own daughter for simply wanting male company.
Meanwhile, Dolly Kitty Aur Woh Chamakte Sitaare portrays how it is completely acceptable for men of all ages to engage in any form of infatuation they fancy.
While Gunjan Saxena has received massive critique, the movie delivers the much needed message about the importance of a father who is supportive of a woman’s career.
These depictions beg the question, when we term cinema and TV to be fictitious, are we really just running away from our own reality?
The set of 2020 releases feature strong characters without painting a rosy picture of women’s lives. Kitty from Dolly Kitty Aur Woh Chamakte Sitaare lives the life of young girl in a modern city. Through the urban struggles of women, Kitty questions society’s moral policing.
From a young innocent girl, Bulbul’s character develops into a stronger personality that is often at odds with the male lead’s expectation of a female. Despite judgement, Neena from Varane Aavashyamund continues to pursue the companionship she longed for.
While a good portion of releases deliver a clear message, often, small scenes have massive social weight.
A scene from Dolly Kitty Aur Woh Chamakte Sitaare features Dolly having a drink by herself after a dinner party in her own house. The scene spoke volumes. Dolly, who prided herself at being a perfect house wife and mother, was oblivious to her own entrapment. Between dropping her children to the school bus and trying to run a household, her various frustrations were supressed.
Often a parcel in the bandwagon of the family name, women are silenced. A scene from Bulbul depicts Binodini picking her husband’s toy up from a scene of crime and hiding it under her saree. These films along with themes of violence against women portray the dynamics of class and caste.
Another scene from the same movie features the male lead Satya looking at his sister-in-law as a widow, surprised at his own social reality. Another strong shot portrays a beaten up wife at her husband’s funeral in a conundrum about what she should feel.
While looking through a crowd of these releases, some dialogues leave a deep imprint representative of biases, atrocities and other glum realities. Dolly’s ‘son’ who begins questioning his gender identity looks at his mother while playing with dolls asking “ghar pe hi peetogi na?”. With cases of suicides and deaths from conversion therapy, can we really term this to be fictional?
Bulbul on the other hand, features dialogues such as “chup rehna!” (keep quiet!). Adding on, little Bulbul who is getting ready to be married off to an older man asks her aunt why she was being made to wear toe rings. To this she said “ladkiyon ko vash main laane ke liye” (To bring girls under control). Innocent Bulbul asks her aunt “vash kya hota hai” (What is vash?).
While we often critique movies in terms of the dramatization of scenes, is the line between fiction and reality becoming less blurred?
From Dolly being asked to serve tea to everyone in an office where she herself was employed, to Mohini (Bandish Bandits) being asked to abandon music to take up household duties, is there really any fiction to this cinematic content? Aren’t scenes from Bulbul, that feature violence against women, the reality of Indian women today?
If not the same, scenes on and off camera are now separated by only a thin line.
A student of International Relations at Shiv Nadar University. Enjoys old bands and acrylics. read more...
Women's Web is an open platform that publishes a diversity of views, individual posts do not necessarily represent the platform's views and opinions at all times.
Stay updated with our Weekly Newsletter or Daily Summary - or both!
Neena was the sole caregiver of Amma and though one would think that Amma was dependent on her, Neena felt otherwise.
Neena inhaled the aroma that emanated from the pan and took a deep breath. The aroma of cumin interspersed with butter transported her back to the modest kitchen in her native village. She could picture her father standing in the kitchen wearing his white crisp kurta as he made delectable concoctions for his only daughter.
Neena grew up in a home where both her parents worked together in tandem to keep the house up and running. She had a blissful childhood in her modest two-room house. The house was small but every nook and cranny gave her memories of a lifetime. Neena’s young heart imagined that her life would follow the same cheerful course. But how wrong she was!
When she was sixteen, the catastrophic clutches of destiny snatched away her parents. They passed away in a road accident and Neena was devastated. Relatives thronged her now gloomy house and soon it was decided that she should be married off.
Women today don’t want to be in a partnership that complicates their lives further. They need an equal partner with whom they can figure out life as a team, playing by each other’s strengths.
We all are familiar with that one annoying aunty who is more interested in our marital status than in the dessert counter at a wedding. But these aunties have somehow become obsolete now. Now they are replaced by men we have in our lives. Friends, family, and even work colleagues. It’s the men who are worried about why we are not saying yes to one among their clans. What is wrong with us? Aren’t we scared of dying alone? Like them?
A recent interaction with a guy friend of mine turned sour when he lectured me about how I would regret not getting married at the right time. He lectured that every event in our lives needs to be completed within a certain timeframe set by society else we are doomed. I wasn’t angry. I was just disappointed to realize that annoying aunties are rapidly doubling in our society. And they don’t just appear at weddings or family functions anymore. They are everywhere. They are the real pandemic.
Let’s examine this a little closer.
Please enter your email address