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Superhit Drishyam is remade in multiple languages, has a sequel, and everything to reinforce the fact that honour resides in a woman's body? Shame on the makers.
Superhit Drishyam has been remade in multiple languages, has a sequel, and everything to reinforce the fact that honour resides in a woman’s body? Shame on the makers.
Whenever anyone asks me what I think of Drishyam (1 and 2) I am always conflicted.
Do I think it’s a good movie, well directed, well acted, well produced, with a plot that is different, suspenseful, and a well written story that pulls you in? Yes to all of that.
And yet, when I thought about how all this dramabaazi was happening because of a reason so flimsy and patriarchal, it became intolerable to sit through.
How can brilliant filmmakers and superstars, who can now afford to take creative and financial risks, who know the influence that movies have in India, just throw away their power like this?
Like Spider-Man, I believe with great power comes great responsibility. Why can’t they use that to make movies that change perspectives and question outdated thinking rather than to reinforce it?
Our movies are quite famous for being escapist, so all those saying that movies only show the reality of society, and shouldn’t be expected to have an “unrealistic” plot, such as the girl telling the boy to get lost, are the same people who should go take a hike and clear their heads.
What if the movie showed the girl being unfazed by the boy’s threat, confided in her family, and they stood by her to take the boy to court?
What if it showed girls that a video made without their consent and leaked is not reason for them to be shamed, but that it is for the boy who did that to feel ashamed!
Imagine how such a storyline would have impacted young girls and women who are faced with such threats in real life.
Not realistic? Oh? But this movie about this ordinary man outwitting the entire police force, not once but two times, is realistic?
The fact that that it was remade in multiple languages and resonated with a pan-Indian audience, even when the actors and directors changed but the storyline remained the same, is actually scary because it says a few things about us: that things are the same everywhere, that patriarchy lives deep in our bones and blood, that the ‘honour’ of a family rests solely on the girl, so much so that people root for a man going to ridiculous lengths to protect this ‘honour’.
The saddest part is showing an adult woman, a mother, beg a stupid teenage boy to leave them alone, when all that was needed was tell him to go to hell. Women, really, you need to get ducking furious instead of scared when faced with a situation like this!
The Great Indian Kitchen was made by a newbie filmmaker with actors who aren’t superstars. It showed life and society in stark reality, but it also showed a woman taking her power back.
Is that too much to ask from movie veterans now?
I don’t care if I am being a spoilsport who can’t take movies ‘lightly’ anymore because I hold influencers to higher standards now and because I can’t go back to being my old patriarchally conditioned self again.
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Karishma has been writing short stories since she was 8 and poetry since she was 12. She ended up studying Zoology, then Montessori, and then psychology, always feeling ‘’something was missing’. She worked in the read more...
Women's Web is an open platform that publishes a diversity of views, indivisual posts do not necessarily represent the platofrom's views and opinions at all times.
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Before expecting the daughter in law to love, respect and accept the new family, it is only fair that the family demonstrates all of these first.
If you are a married Indian woman, one of the first words you hear from your in laws is that you are now a daughter of the house. How true is that statement though? Are daughters in law really treated as daughters or is this only lip service?
A friend recently confided how hurt she felt when she wanted to visit her in-laws along with her husband but was told not to, because the in-laws wanted time alone with their son. Naturally, she was taken aback since she had always been fed this trope – that she was the daughter, not the daughter in law. Why then this sudden keeping at arm’s distance? Would a son in law ever be told not to accompany his wife on her visit to her parents because they wanted quality time with their daughter? That is unimaginable in a patriarchal society.
It is ok to want time alone with the married offspring but how does that meld into the Indian family system, where independent choices are less important than the whole family coming together?
Beauty is a very clever, very evil capitalist tool. It traps those who have it into hanging on to it for dear life and those who don't into mutilating, torturing themselves to achieve the unachievable.
I recently wrote a piece about MP Shashi Tharoor’s tweet in which he had shared a pic with six women parliamentarians tagging them and saying “Who says the Lok Sabha isn’t an attractive place to work?”
There was a rash of comments on the post shared on Instagram, which ranged from “chill, it’s just a compliment” and “stop overthinking compliments”, to (worried) men lamenting about “these feminazi”.
Here’s my answer to all those comments.
The International Indian Film Awards (IIFA) this year had three awards that clearly highlighted how women-centric stories are becoming mainstream in Indian cinema. It's time to celebrate, even if cautiously!
The International Indian Film Awards (IIFA) this year had three awards that clearly highlighted how women-centric stories are becoming mainstream in Indian cinema. It’s time to celebrate, even if cautiously!
While the focus on women wasn’t as overt as the #MeToo campaign at the Golden Globe Awards, IIFA honoured strong women-centric movies by giving the Best Female Actor to Sridevi for Mom, Best Supporting Actor to Meher Vij for Secret Superstar and the Best Picture Award to Tumhari Sulu which had Vidya Balan as the lead.
Bollywood is surely past the days when women had just two major roles – a damsel in distress or a vamp. It is delightful to see movies such as Tumhari Sulu, where Vidhya Balan’s cheerful character experiments with various things and finally lands a job as a radio jockey on a late night show doing semi-adult content. Secret Superstar depicts an ardent young girl who fights against patriarchal systems and realises her dreams; and in Mom, Sridevi’s character fights a misogynist system to make justice possible for her step-daughter who was raped.
What is the pressing need to make characters South Indian, really when their culture isn’t pivotal to the story? And when the makers haven’t spent a minute learning about the culture or the language except the word Ayyo?
If you are a Bollywood director and have decided to make a movie either set in South India or with South Indian protagonists, all you need are coconuts, Kanjeevaram silks, mallipoo (jasmine flowers) and a few litres of coconut oil. You definitely don’t need to research the cultural setting or the language that is clearly foreign to you and neither do you need representation or advisors from the community on the set to guide you.
It is 2021 and yet, film makers like Vivek Soni and Karan Johar think it ok to make a film set in Madurai (Maduraai as the protoganists in the film pronounce) with zero knowledge of the Tamizh mileu.
Meenakshi Sundareshwar is a disaster from the get go. The lead cast has no representation from the Tamizh community and the film is replete with stereotypes. As a Tamilian myself, I have put together a few quick points for you, if you are a Bollywood filmmaker and somehow can’t control the itch to set the movie in South India.