For every Pink that makes us nod in agreement, a number of films knowingly or unknowingly celebrate stalking in the garb of romance. The fun teasing that happens through dialogues and songs, with the hero following an irate heroine, has been prevalent over the decades, cutting across languages. At times, it crosses that line of fun and becomes offensive.
Govindudu Andarivadele, Srirastu Subhamastu, Sarrainodu, Savitri and Ism (see below) are among the recent examples. Most of these films have had their share of success and this is where the trouble lies, with filmmakers claiming this is what the audience wants.
It’s an issue when the wooing borders on stalking, agrees director Nandini Reddy, but points out that the number of people who find it objectionable and raise a hue and cry isn’t large enough for filmmakers to take notice. “It takes collective will to see better films. We have this attitude of cleaning our house and dumping garbage on the streets. Both filmmakers and the audience will not stay quiet if women from their homes are harassed with similar songs or dialogues on the streets. Realisation occurs only when trouble knocks on our doors,” she explains.
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Whenever the topic of portrayal of women comes up, names of directors like Sekhar Kammula, Mohanakrishna Indraganti and Gautham Vasudev Menon among others are cited as exceptions. When we ask Mohanakrishna Indraganti if writers/filmmakers need to be socially responsible, he says, “It’s sad we are even discussing this. Filmmakers do have a responsibility. I won’t agree that films don’t impact people’s psyche. Better portrayal of women doesn’t mean one has to get preachy and talk about women’s liberation. Let’s face it. Some of our masala films have lengthy dialogues telling people how they should lead their lives. Often, the rest of the film is not in sync with this thought.” He feels change is possible only when filmmakers develop a cultural vision to understand changing dynamics in a man-woman relationship.
Mohanakrishna cites the example of Pellichoopulu for portraying an independent woman who finds her voice in her career and marriage, within the framework of a romantic comedy. Its director Tharun Bhascker, still finding his feet in the industry, refrains from commenting on other films, but outlines his approach: “When I come up with a story, I narrate it to my mother and wife. If they have objections, I know I’m not on the right track,” he says. The depiction of any emotion, he believes, should stem from real life observations. “From my limited interaction with writers, I feel they give into the habit of exaggerating emotions to create drama. If you write scenes close to reality, you realise harassment is no way to propose to a girl,” he adds.
One may argue that big budget films have larger stakes and hence play to the gallery. But, as Nandini Reddy points out, playing to the gallery doesn’t have to be crude. “Koratala Shiva’s films are massy but not crude. He treats his ideas and characters with sensitivity,” she adds.
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Can actors be firm and turn down sequences they find offensive? There are no clear answers. While established actors can take a stance, those rising up the ladder do the tightrope walk. In the end, it boils down to whether the director is willing to give an ear to a voice of dissent.
Lavanya Tripathi says, “Viewers might adore you, but are quick to point out what they don’t like in your character or the film. We are aware of maintaining a respectable image. If I’m uncomfortable with a scene or a camera angle, it will show. We can look at the monitor and talk it out with the director. There are occasions when I’ve shared my opinion and things have been changed.”
In the larger scheme of things, our films still have a long way to go in being sensitive.
Ism
Kalyan Ram chases Aditi Arya and tells her he will tie a ‘thaali’ the next time he sees her. When she and her friend spend an evening out, he sneaks in behind her with the yellow thread.
Sarrainodu
Catherine Tresa is cast as a glamorous MLA you wouldn’t take seriously. Allu Arjun pursues her ever since he sets sight on her and yet, given all that power she commands, she stands helpless.
Srirastu Subhamastu
Allu Sirish pulls a prank on Lavanya Tripathi, making her believing he’s lost his purse because of her in a bus. Claiming that he’s lost his identity as a result, he stalks and blackmails her in college and the place where she stays. He persuades her to let him stay in her house and wants to sleep in the same room, which she initially refuses but later gives in. Later, he claims not knowing how to drive a vehicle and asks her to teach him, using it as an excuse to make physical contact. The girl is manipulated to believe this is love.
Savitri
Nara Rohit plays a doctor who falls for a girl in a train journey. When the latter supposedly feels unwell, her grandmother requests him for help. The stethoscope becomes his tool to touch her inappropriately even when the girl expresses signs of being uncomfortable.
Govindudu Andarivadele
In one scene, Srikanth tells Kamalinee that he will rape her so that the family will have no option but agree to their marriage. Being a ‘maradalu’ who dotes on her ‘bava’, she doesn’t hold it against him. In the same film, Ram Charan photographs Kajal Aggarwal at a pub, and later, when he realises she is related to him, taunts and blackmails her. No prizes for guessing that she eventually falls in love with him.
(With inputs from Srivathsan Nadadhur )