In a television interview, when asked about women-centric roles in popular films, actor Mohanlal mentioned “ Manichitrathazhu is Shobana's film”. Shobana's powerful performance in the award winning Malayalam film, especially her transition from the naïve Ganga to Nagavalli (the haunted) gives goose bumps every time one watches it. “Where do you have the actors of that calibre now?” The actor asks.
Is it because of a lack of talent or mere economics, women in intense roles seem to be a thing of the past? ““Oh!” “Are there any?” is the response of film lovers when asked about recent movies that celebrate women. Women characters in intense roles seem to have gone missing from the screen.
Rooted and real
“They are used as mere dolls to add glamour,” says artist V. Jeevananand, who has authored a book on world cinema. “Recently, the tendency has been to show them somewhat ‘crazy' in nature. Films fail to portray them as thinking women and mentally strong personalities. Everything revolves around the hero,” he adds. Now, all the popular films have heroines in flamboyant western outfits pining for the hero's attention. Jeevanandan rates films such as Panchagni , Aval Oru Thodarkathai , Aval Appadithaan and Charulata as classics that put the spotlight on women.
Ponniah Chandra, who started a film movement in the city, says it reinforces the values of a patriarchal society. “A girl portrayed with ‘modern' traits, is invariably an outsider, and no Indian woman who is of ‘culture' is allowed to speak her heart out,” he adds.
Aval Appadithaan directed by C. Rudhraiya is an exception. The black and white film talks about an independent woman and a pious traditional woman as a parallel. The independent woman gets into problems while the pious one is happy. “The last line of the film is profound. The independent woman asks “what do you think of “women's liberation” and the pious one answers, “I don't know”. To which, she says “that is why you are happy”. It sends the message that if you are assertive you are in trouble”.
In the past, it is the same industry that came up with projects like Avvaiya r.
Mahendran gave Uthiri Pookal (the Kannada actor Ashwini, with those sad eyes, tugs at your heartstrings) and Bharatiraja a Pudumai Pen (played by Revathy who steps out of her conservative home to fight the society and eventually free her husband from jail).
The women characters were moulded beautifully, had a voice of their own, and were rooted and real. For instance, the role Devika played in Nenjil Or Aalayam , a triangular love story.
A revival?
Director Ameer set a revival with his Paruthiveeran . He gave Priya Mani the role of her lifetime. Megha (Sameera Reddy) of Vaaranam Ayiram was refreshing as she portrayed the dreams and aspirations of a modern day teenager. She dispelled the ‘love at firstsight' myth. In Mynaa , Amala Paul came up with a meaty performance as a village girl.
Mysskin's Yuddham Sei and Gautam Menon's Nadunisi Naygal had women in prominent roles too. In yuddham… a small change in the portrayal of Amma's character (she tonsures her head, and tracks down the killers who kidnap women and kill them) is perceived as a welcome change. “Reema Sen's portrayal in Ayirathil Oruvan is noteworthy,” says film-maker S.Savitha, who has made a documentary on eunuchs. “Though the character has negative shades, she calls the shots.”
Aparna Sen's Mr and Mrs.Iyer , where the heroine had an identity and Abbas Kiarostami's Certified Copy that dealt with feminism are her favourites.
Glamour and stylish packaging is used to attract the youth, says K. Prabakar of s management at SVS Institute .
P.C.Balasubramaniam, a cartoonist and a film-maker, calls Magalir Mattum , a complete film that highlighted women power. It had Revathy, Urvashi and Rohini in lead roles and tackled problems faced by women at the workplace and at home.
Balu Mahendra's Sathi Leelavathi dealt with inter-personal problems in couples, and the docile wife takes the fight head on. In Peranmai, actor Jeyam Ravi's leads a group of all- women NCC cadets in a fight against terrorism.
“Women-centric characters are rare. We have good actors with a lot of potential. What they need is suitable roles,” he adds. Director Vasantha Balan's Angadi Theru highlights problems faced by people, especially women migrating from villages to cities for a living.
Subramaniapuram had a decent portrayal of women.
However, recent films such as No one Killed Jessica and Saat Khoon Maaf provide hope for revival of women-centric genre of films. Director Kamal's poignant Perumazhakaalam , a Malayalam film later remade in Hindi as Dor by Nagesh Kukunoor had women in intense central roles.
Another positive trend is the growing number of women directors who are competitive and competent, says Pon Rathnavel of Kalaivani College of Technology. Success stories of Farah Khan( Om Shanti Om ), Madumitha ( Kola Kolaya Mundhirika ), Nandhini ( Thiru Thiru Thuru Thuru ) and Sudha ( Drohi ), Anusha Rizvi ( Peepli Live ) and recently Kiran Rao ( Dhobi Ghat ) offer a glimmer of hope.
Women Power
Panchagni, a 1986 Malayalam movie scripted by M.T. Vasudevan Nair had Geetha play a naxal activist who takes the law on to her hand to fight atrocities against hapless women
Satyajit Ray’s Charulata showcased the renaissance of Bengal women post independence
In Ritwik Ghatak’s Megha Dhaka Tara, at the centre of the domestic tragedy is the self-sacrificing Neeta, the family’s eldest daughter and provider for all. K. Balachander’s Aval Our Thodarkathai dealt with the same story
