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Pink, the gripping courtroom drama, highlights the patriarchal bigotry and double standards of our society. For starters, a woman’s character is not defined by where she’s headed to when the clock strikes nine, the time she sets foot inside her home!
Directed by Aniruddha Roy Chowdhury and produced by Shoojit Sircar, ‘PINK’ revolves around the lives of 21st-century modern-day working Indian women who are independent, bold and defying.
Although trigger warnings are obligatory, Pink is a powerful film that needs to be seen by all, irrespective of age or sex because it not only stands tall against women’s exploitation and gender inequality but also sledgehammers all those archaic assumptions we’ve conceived about a woman’s demeanour.
This gripping courtroom drama highlights the patriarchal bigotry and double standards of our society.
For starters, a woman’s character is NOT defined by where she’s headed to when the clock strikes nine, the time she sets foot inside her home, her past encounters and relationships, her low hemline and ripped jeans or if she indulges in intoxication or not.
Stop stereotyping women based on your prejudices, and don’t have different rules of code and conduct laid aside for your sister and another woman.
Just because she’s entitled to make the same choices as an independent man, you cannot be addressing her as ‘loose,’ characterless or with any other derogatory term.
And with the pretext of getting laid, don’t offer her a drink or pay for dinner because:
“Agar ladkiyan ladkon ke saath dinner ya drinks pe jaati hai to ye unki apni choice hoti hai, available hone ka sign board nahi banke jaati.” [If girls have dinner and drinks with boys, that’s their choice and not a signal that they are available for hook-ups.]
Above all, I admire how the film eloquently establishes the message that when a woman says no, it’s not a concealed yes, and she means no!
As pointed out by the girls’ sole legal ally, played by Bachchan saab:
“Na sirf ek shabd nahin, apne aap mein pura vakya hai. Ise kisi tark, spashtikaran, explanation ya vyakhya ki zaroorat nahi hoti. Na ka matlab na hi hota hai. My client said ‘no,’ your honour, and these boys must realize ‘no’ ka matlab no hota hai usse bolne wali ladki koi parichit ho, friend ho, girlfriend ho, koi sex worker ho ya aapki apni biwi hi kyu na ho. No means no and when someone says so, you stop!”
[“No is not a word, it is a complete sentence. And it needs no further explanation or elaboration. The only meaning of No, is NO. My client said ‘no,’ your honour, and these boys must realize, ‘no,’ means no, irrespective of who is the speaker — a girl you know, a friend, girlfriend, sex-worker, or wife. No means no and when someone says so, you stop!”]
We as a society have to try really hard, more than ever before, to raise better boys. Not only that, but we have to teach them to respect girls and women as humans with their own minds and are not objects that cater to their demands and egos.
Lastly, I’d like to end by quoting Mr. Sehgal, a retired lawyer, again. He said:
“ ….we should save our boys, not our girls because if we save our boys, then our girls will be safe” and when this happens that’s when I can truly say “Zindagi Gulzar hai.”
Image Source: From the trailer of the film, edited on CanvaPro
MEDICINE | FREELANCE WRITER & PERFORMATIVE POET.
Want to read more of my writings? Here's where you could find them - https://muckrack.com/saachi-shetty. And oh, it's @thesaachii on Instagram and Twitter! read more...
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Rajshri Deshpande, who played the fiery protagonist in Trial by Fire along with Abhay Deol speaks of her journey and her social work.
Rajshri Deshpande as the protagonist in ‘Trial by Fire’, the recent Netflix show has received raving reviews along with the show itself for its sensitive portrayal of the Uphaar Cinema Hall fire tragedy, 1997 and its aftermath.
The limited series is based on the book by the same name written by Neelam and Shekhar Krishnamoorthy, who lost both their children in the tragedy. We got an opportunity to interview Rajshri Deshpande who played Neelam Krishnamoorthy, the woman who has been relentlessly crusading in the court for holding the owners responsible for the sheer negligence.
Rajshri Deshpande is more than an actor. She is also a social warrior, the rare celebrity from the film industry who has also gone back to her roots to give to poverty struck farming villages in her native Marathwada, with her NGO Nabhangan Foundation. Of course a chance to speak with her one on one was a must!
“What is a woman’s job, Ramesh? Taking care of parents-in-law, husband, children, home and things at work—all at the same time? She isn’t God or a superhuman."
The arrays of workstations were occupied by people peering into their computer screens. The clicks of keyboard keys were punctuated by the occasional footsteps moving around to brainstorm or collaborate with colleagues in their cubicles. Most employees went about their tasks without looking at the person seated on either side of their workstation. Meenakshi was one of them.
The thirty-one-year-old marketing manager in a leading eCommerce company in India sat straight in her seat, her eyes on the screen, her fingers punching furiously into the keys. She was in a flow and wanted to finish the report while the thoughts and words were coming effortlessly into her mind.
Natu-Natu. The mellifluous ringtone interrupted her thoughts. She frowned at her mobile phone with half a mind to keep it ringing until she noticed the caller’s name on the screen, making her pick up the phone immediately.
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