The #MeToo allegations which have popped up recently in Bollywood go on to show the extent to which the virus of the infamous Director’s Couch Syndrome has not only permeated our entertainment industry but also morphed into a more disgraceful version of itself.
Perhaps a part of the solution lies within Bollywood itself. The gender insensitivity which is showcased and glorified in our movies is something which leaves us gasping for some innovative scripts. Exceptions are there. But these remain just exceptions.
When it comes to winning the affection of a heroine, a typical Bollywood hero spares no effort. He charms. He dazzles. He pursues. He flexes his rippling muscles. He shows off his biceps. He chases away a gang of baddies who try to harass his lady love. He poses as a well-endowed person. He even threatens and imposes himself.
Our heroes are adept at expressing their emotions in…
The Association of Sterner Husbands (ASH) hereby seeks nominations for its prestigious Star Sterner Awards which are conferred upon those of the tribe of the so-called sterner sex who have managed to break the bond between themselves and their delicately nurtured spouses during the preceding year.
ASH is devoted to the cause of promoting Masculinism. It has instituted the awards to counter the ‘rising trend of all this nonsense about the modern emancipation of women which has resulted in them getting it up their noses’, eventually manifesting itself in such ‘movements’ as Feminism, #MeToo and the like.
Things in the society have reached a state where physical violence inflicted upon the party of the other part, even if the husband is all sozzled up, is in the realm of imagination. So is the provocation of an extra-marital affair. The level of delicacy of the f of the s…
The Association of Sterner Husbands (ASH) hereby seeks nominations for its prestigious Star Sterner Awards which are conferred upon those of the tribe of the so-called sterner sex who have managed to break the bond between themselves and their delicately nurtured spouses during the preceding year.
ASH is devoted to the cause of promoting Masculinism. It has instituted the awards to counter the ‘rising trend of all this nonsense about the modern emancipation of women which has resulted in them getting it up their noses’, eventually manifesting itself in such ‘movements’ as Feminism, #MeToo and the like.
Things in the society have reached a state where physical violence inflicted upon the party of the other part, even if the husband is all sozzled up, is in the realm of imagination. So is the provocation of an extra-marital affair. The level of delicacy of the f of the s has already jumped up several notches, putting a lot of burden on the m of the s. Besides the harsh slings and arrows of a career, he is now expected to take care of household affairs. The days when he could afford the luxury of exerting his authority without being responsible for whatever may be happening on the domestic front are long since over. The rise in the delicacy level has resulted into a sharp drop in the tolerance levels, thereby making it relatively easier for aggrieved husbands to persuade their wives to seek a divorce. A mere flick of the eyebrow is all that is needed these days to send a wife scouring around for a lawyer.
But the foundations of our civilization are quivering. The institution of marriage itself is being torn down brick by brick by cold-hearted wives clawing their way up the power ladder in a family. Unless prompt steps are taken through proper channels, the future of humanity is at stake. Males need to reassert themselves so the process of human evolution does not get derailed.
Those who qualify to apply for the Star Sterner Award would need to conclusively demonstrate having any or all of the personality traits mentioned herein below. They should have successfully persuaded their soul mates to promptly file for a divorce.
He has always imagined himself to be the King of Babylon and has treated his wife like an Egyptian slave. He would have been the lord and master of the house in the truest sense of term. His wish should have been her command. From time to time, he should have shown her place by assaulting her physically. He should have made her submit unconditionally to his whims and fancies. Like a caveman of the distant past, he should have never cringed at the prospect of hitting her with a club and dragging her with her hair to the cave. This would have fulfilled her inward yearning to be treated like Mrs Spottsworth.
He realizes that the proof of his masculinity lies in his donning the mantle of a Serial Harasser. He may otherwise lose whatever respect he gets from the society. Following would have been his role models:-Vincent Jopp who is known to have been terrible to his wife Luella Mainprice Jopp. He always insisted that her dog eat the leg of a chicken and not the breast.
-Sir Derek Underhill, the knighted MP whose treatment of Jill (the reckless) scored rather high on the Richter Scale of Harassment of the Delicately Nurtured.
He should have an ostrich-like outlook on life. The trauma the wife suffers even when she receives a short message from him is her problem, not his. His arrival at the doorstep should make her wilt like a flower which has not been watered for some time. By traumatizing her, he merely hastens her spiritual growth. He has continued to live in a bubble of illusion that the wife alone is responsible for all the problems he faces. A bout of introspection or soul-searching should have been the last thing on his mind.
The nominee has been firm in his belief that he is merely a victim of circumstances. He should have played the victim card to the hilt, scooping up sympathy – real or feigned – from all those who have come under his spell. He is convinced that by doing so, the rift between the partners would get resolved. He refuses to address the basic issue at hand. A direct dialogue with the person he believes to be the Harasser would have been a strict no-no. He has played safe by remaining at the fringes and never coming to the point.
He should have been a harsh critic of all endeavours of his wife, clearly conveying the deficiency in her services, such as:-Her culinary skills not matching to the standards set by Anatole, God’s gift to the gastric juices;
-The need for her to undergo a crash course in rearing children under the aegis of such stalwarts in the realm of lion-taming as Aunt Agatha who brought up Thos and Miss Tomlinson who, with her steely gaze, could control goofy kids like Peggy Mainwaring.
–Either cleaning the dishes and doing the laundry, or in maintaining the house like a five-star hotel, all spick and span.
-Having a dreamy demeanour, like that of Madeline Bassett, or being someone who deserves to consult Sir Roderick Glossop so as to ascertain her Loopiness Quotient.
He should have repeatedly told her of all that he has done for her and for her ungrateful family. Hating her parents and her family is one of the essential conditions. So are misbehaving with them in her presence, ignoring her siblings when they come to pay a visit, rebuking his sister-in-law, showing open disrespect to his brother-in-law and even taking their kids to task for any goofy adventures. Driving a wedge between their kids and his kids would have been his policy.
Evidence of having insulted her in the presence of her kids would help.
Unlike Bertie Wooster, he should have never behaved with her like a preux chevalier.
Nor should he have ever followed the example of Bingo Little, ensuring that she got her afternoon cup of tea without fail. He should have never behaved like a spineless worm beneath her chariot wheels when she wanted to accompany her mother for some treatment at the Droitwich brine bath. Displaying nerves of chilled steel, he should have put his foot down. Even if her mother had decided to kick the bucket, he should have bluntly refused to support any of the spouse’s travel plans to perform her last rites.
If he had ever been persuaded to wear a skirt and undertake such household chores as dish washing, baby sitting and vacuuming, he should have let it be known in clear terms that he performs such chivalrous acts only as a great favour to the family; that he does so after making great personal sacrifices, such as catching up either on the latest political gimmickry on television or on social media updates streaming through his smart phone. He should have resorted to such tactics as may have irritated her no end, like never tidying up the toilet seat and even honing his discus throwing skills by using his wet towels in the master bedroom.
Those who have ever felt like a Tubby Vanringham to a cold-hearted Miss Whittaker need not apply.
It is presumed that applicants have covered their tracks well and ensured that no evidence of any of the acts mentioned above and indulged in by them exists. Documentation submitted in support of the application shall be kept confidential, thereby minimizing the chance of an applicant being hauled up in a harassment case.
The awards will be presented on the next International Men’s Day at the Blandings Castle by Sir Derek Underhill in the august presence of Lord Emsworth, the Chairman of the Association of Sterner Husbands and himself a member of the old school which resents a disposition on the part of the young man to act like a slave to the deemed Cleopatra of his life.
The #MeToo allegations which have popped up recently in Bollywood go on to show the extent to which the virus of the infamous Director’s Couch Syndrome has not only permeated our entertainment industry but also morphed into a more disgraceful version of itself.
Perhaps a part of the solution lies within Bollywood itself. The gender insensitivity which is showcased and glorified in our movies is something which leaves us gasping for some innovative scripts. Exceptions are there. But these remain just exceptions.
When it comes to winning the affection of a heroine, a typical Bollywood hero spares no effort. He charms. He dazzles. He pursues. He flexes his rippling muscles. He shows off his biceps. He chases away a gang of baddies who try to harass his lady love. He poses as a well-endowed person. He even threatens and imposes himself.
Our heroes are adept at expressing their emotions in a song and dance routine. It would be worth our while to look up some such songs which showcase different shades of romancing our Bollywood heroes use to fulfill their romantic ambitions.
When chivalry works
The importance of a chivalrous approach towards impressing one’s lady love was etched out in the movie Shagird (1967). Sample this song:
The reluctant wooer
A hero of this kind is at one end of the spectrum. He could either believe that he is not good enough for the lady of his dreams, or is simply not interested in a romantic alliance. The reason could either be social, financial, or the phase through which he happens to be passing by. The burden of convincing him otherwise falls on the heroine. There are occasions when he does not mind getting wooed, though!
Saath Saath (1982)
Woh Saat Din (1983)
Dil Chahta Hai (2001)
The sacrificing lover boy
The guiding principle of such a wooer is that when it comes to bringing some sunshine into the life of the heroine, no sacrifice is small. There are times when such selfless love is shown to lead to a failure in the relationship.
Sangam (1964)
Teesri Kasam(1966)
Ek Vivah Aisa Bhi (2008)
The post-marriage wooing
In many cases, love blossoms in the post-marriage phase. The hero goes to great lengths to win over the affections of his wife.
Hum Dil De Chuke Sanam (1999)
Rab Ne Bana Di Jodi (2008)
Dum Laga Ke Haisha (2015)
When a choice has to be made between a pre-matrimonial lover and a husband, the heroine keeps social sensitivities in mind and walks into the arms of her husband. Movies like Gumrah (1963), Woh Saat Din and Hum Dil De Chuke Sanam attest to this trend in the past.
The empathetic wooer
The heroine has just had a rather traumatic experience at the hands of her spouse. But support is at hand, in the form of an empathetic hero. At times, a soulful song makes the heroine fall into his loving embrace.
Guide (1965)
Arth (1982)
The quintessential romanticist
He is soft and gentle. He is often diffident but tender in his approach. His soft power often wins over the heart of the heroine in question. The impression he conveys is that chivalry works well.
Ek Musafir Ek Hasina (1962)
Baton Baton Mein(1979)
Hum Aapke Hain Koun(1994)
The playful wooer
The value system of a hero of this kind permits him to tease the heroine a wee bit, hoping that he would not only be noticed but also accepted as a suitable candidate for a romantic alliance.
Aradhana(1969)
1942 A Love Story (1994)
The dashing lover
He is the one who believes that a relentless chasing of the party of the other part would bring home the bacon. Irrespective of the time and the place, he continues with his efforts with gay abandon. Flowers, chocolates and even pumpkins come to the aid of the dashing hero. He is so very self-obsessed that he is clueless about the career aspirations of his lady love. Needless to say, he wins, thereby conveying a message to all wannabe lovers that mild aggression in pursuing the heroine indeed works.
Jaanwar(1965)
Sholay(1975)
Satte Pe Satta (1982)
Badrinath Ki Dulhaniya (2017)
The tormentor
At the other end of the spectrum, we have heroes who suffer from an excessive dose of supreme self confidence. They treat the heroine as chattel and think nothing of even terrorising her to get results. Physical intimidation is taken recourse to. Stalking becomes the norm. Threats of rape not only get made but even get executed.
Amar (1954)
Dil(1990)
Darr (1993)
A wide spectrum of chivalry
Bollywood movies offer a very wide range of the kind of treatment that women receive at the hands of their wannabe or ex-lovers.
If a Rajendra Kumar in Dil Ek Mandir (1963) sacrifices his life trying to save the husband of his ex-girl friend, a Dilip Kumar in Amar (1954) rapes Nimmi, a principal character in the movie. If a dacoit played by Sunil Dutt abducts a courtesan in Mujhe Jeene Do (1963), a Good Samaritan played by Dharmendra marries a lady who has been sexually abused by a prince in Satyakam (1969).
If a Kamal Hasan provides shelter and care to an unfortunate accident victim in Sadma (1983), a Vivek Oberoi mistreats his wife in Sathiya (2002). If a Sanjeev Kumar does not get distracted by a lady in the buff in Aandhi(1975), a Manoj Bajpeyi abducts and forcibly marries a damsel in distress, and even persuades her to change her religion, in Pinjar (2003). It is another matter he eventually develops a soft corner for his wife.
Distorted messaging
When heroines happen to respond favourably to either dashers or tormentors, the message conveyed to the audience is crystal clear – that a macho image and a misogynist attitude help in romantic pursuits. Add to this the tendency of our directors to objectify women so as to keep the box office collections alive and kicking, and the recipe for a wrong kind of social messaging is ready.
Since films influence the society in a big way, our dream merchants would do well to churn out more movies which have gender sensitive portrayals. Scripts which are based on negative societal attitudes towards women could be readily avoided.
In a study conducted by IBM India, gender stereotypes in as many as 4,000 Bollywood movies released between 1970 and 2017 were examined. Of these, researchers came up with only 30 movies in the last couple of years where such stereotypes were broken.
According to the study, females were the central characters in 11.9% of Hindi movies released between 2015 and 2017. Back in the 70s, this figure was closer to 7%.
The solution within
The power-puff girls of Bollywood have recently done well in such movies as Jalpari, Gulaab Gang, Queen, Neerja, Pink, Nil Battey Sannata, Margarita with a Straw, Mardaani, Parched, Jai Gangaajal, Ki and Ka, Dear Zindagi, Akira, and the like.
Our future generations cannot be made to live in a world where men are encouraged to harass and rape women. Sexist behaviour is passé. It no longer attracts women. What does is unalloyed chivalry, where the old notions of a patriarchic mindset find no place; where violence and intimidation has no place.
This could be a solution to the #MeToo tsunami that appears to have hit Bollywood in the recent past. Perhaps Bollywood can start a self-certification process which rates movies based on their gender sensitivity.
Movies from Hollywood as well as Bollywood are often based upon romantic affairs which unfold against the backdrop of a work related scenario. Some of these also touch upon the issue of sexual harassment at the work place.
Since there are major differences between the Western and the Eastern cultural milieu and values, movies churned out by Hollywood are invariably bold. On the other hand, those coming out of Bollywood are relatively tame affairs, often confining themselves to flirtatious bosses.
But whenever either has chosen to dive into the murky waters of sexual harassment at work place, the director concerned has been rather liberal in depicting the relationship between a CEO and a team member. Yes, true to style, both Hollywood and Bollywood have ensured that the proceedings willy-nilly end up on a positive note!
Angelina Jolie had faced it. Gwyneth Paltrow has had to bear it. Kate Winslet has hinted at it. Ashley Judd has admitted to it. Many others have now joined the crusade against Harvey Weinstein who had preyed on them. A police investigation has just started gathering steam.
Leading ladies from Hollywood have finally shown the courage to stand up and spill the beans. Irrespective of the time that has elapsed, it is praiseworthy. It encourages many other silent sufferers amongst the tribe of delicately nurtured to openly name and shame their oppressors.
Would some of our Bollywood divas also take a cue and come out with a ‘MeToo’ revelation? Some of them have charted their own paths in the entertainment business and have built their own brand equity. Sure enough, they can help many other struggling artists and starlets to stand up to amorous advances being made by their possible benefactors?
So far, Konkona Sen Sharma, Rahika Apte and few others have come out in support of the drive. But one looks forward to a far more widespread support.
What they also need to do is to repudiate the views of actor Mayim Bialik who has suggested in a column that dressing conservatively and looking ‘unglamorous’ often helps skirt amorous advances. This is, yet again, placing the blame at the doorstep of the victim.
The Casting Couch
The existence of this phenomenon has been Bollywood’s worst kept secrets. By going public with the acts of sexual predators, perhaps some degree of self-regulation may come about, thereby helping the vulnerable to avoid getting exploited.
Once in a blue moon, Bollywood has, through some of its own offerings, confessed to the presence of this scourge. Movies like Fashion (Madhur Bhandarkar, 2008)and Luck by Chance (Zoya Akhtar, 2009) had clear references to the sordid practice.
Hormones moderated by Chivalry?
Some of the members of the so-called sterner sex would also do well to introspect and mend their ways. The least they can do is to undergo a crash course at the Bertie Wooster Institute of Chivalry.
Movies from Hollywood as well as Bollywood are often based upon romantic affairs which unfold against the backdrop of a work related scenario. Some of these also touch upon the issue of sexual harassment at the work place.
Since there are major differences between the Western and the Eastern cultural milieu and values, movies churned out by Hollywood are invariably bold. On the other hand, those coming out of Bollywood are relatively tame affairs, often confining themselves to flirtatious bosses.
But whenever either has chosen to dive into the murky waters of sexual harassment at work place, the director concerned has been rather liberal in depicting the relationship between a CEO and a team member. Yes, true to style, both Hollywood and Bollywood have ensured that the proceedings willy-nilly end up on a positive note!
THE HOLLYWOOD TAKE
9 to 5 (Colin Higgins, 1980)
A comedy starring Jane Fonda, Lily Tomlin, Dolly Parton and Dabney Coleman, the movie is about three women living out their fantasies of getting even with their autocratic and sexist boss. Eventually, they manage to successfully overthrow him, extracting sweet revenge in the process.
Disclosure (Barry Levinson, 1994)
Instead of getting an expected promotion, Tom ends up reporting to a woman with whom he had an affair in his bachelor days. His new boss, not only dangerously sexy but also overtly ambitious, has climbed the corporate ladder by exerting undue influence on the CEO. She apparently tries to pick up where they left off but he just about manages to resist. Eventually, realization dawns that she intends to use Tom merely as a scapegoat to cover her technical misdeeds. He decides to file charges of sexual harassment, a development of which the company takes a jaundiced view. The movie starred Michael Douglas and Demi Moore.
North Country (Niki Caro, 2005)
The movie depicts a fictionalized account of Jenson v. Eveleth Taconite Co., the first sexual harassment class action lawsuit in the U.S. Josey’s refusal to give in to her male co-workers’ demands causes them to spread lies about her being promiscuous and trying to seduce them. When the company board does not take her charges of sexual harassment seriously, she decides to file a case. In court, an attempt is made to paint Josie as being promiscuous. Eventually, co-workers stand up to support Josey’s complaint. They are followed by more women, family members, and miners. With this, the mining company loses the case and is forced to pay the women for what they suffered, in addition to establishing a sexual harassment policy at the workplace.
The Proposal (Anne Fletcher, 2009)
Starring Sandra Bullock and Ryan Reynolds, the movie depicts a hard-nosed boss Margaret Tate terrorizing Andrew Paxton at a New York publishing house. To avoid deportation to Canada upon expiry of her visa, Margaret hatches a scheme to marry Andrew – he agrees if she’ll promise a promotion. She flies to Andrew’s home to Sitka in Alaska and realizes the essential values of decency and goodness his family stands for. After she runs off from the marriage ceremony, Andrew’s grandma feigns sickness and facilitates a matrimonial union between the two.
THE BOLLYWOOD TAKE
Pati, Patni aur Woh (B R Chopra, 1978, ‘Husband, Wife and the Other One’)
Ranjit is a CEO, happily married to his lady-love Sharda. He exploits his poor secretary Nirmala by arousing her sympathy over a fake illness of his wife. Eventually exposed, he tries to mend his ways but ends up falling for the charms of his next secretary! The movie starred Sanjeev Kumar and Vidya Sinha.
Rang Birangi (Hrishikesh Mukherjee, 1983, ‘The Colourful One’)
Yet another comedy in which Ajay, a workaholic boss who neglects his wife Neema, is persuaded by his best friend to start a romance with his secretary, basically to bring some pep back into his seven-year old married life. The wife also decides to reciprocate the sentiment by taking up a job and then claiming to be getting close to her own boss. Eventually, Ajay realizes his mistake and they both live happily thereafter. The cast comprised Amol Palekar, Parveen Babi and Deepti Naval.
Chandni (Yash Chopra, 1989, ‘Moonlight’)
Chandni (Sridevi) and Rohit (Rishi Kapoor) meet at a family wedding and fall for each other. Due to a misunderstanding, they get separated. Chandni shifts to another city and lands a job with a travel agency headed by Lalit (Vinod Khanna) who falls for her. He is already grieving over the loss of the love of his life and eventually ends up losing Chandni as well to her lover.
Aitraaz (Abbas-Mustan, 2004, ‘Objection’)
The female boss Sonia (Priyanka Chopra) has the hot pants for Raj, a happily married subordinate. Raj resists her advances, with Sonia dragging him to court on a trumped-up attempt-to-rape charge. However, the subordinate has a lawyer wife who comes to his rescue, with the female boss committing suicide in the end. The movie was inspired by Disclosure.
Inkaar (Sudhir Mishra, 2013, ‘Refusal’)
This one is Bollywood’s latest take on sexual harassment at work place. Based on gender politics and power play in a large advertising agency, the movie covers an investigation into a sexual harassment complaint filed by Maya (Chitrangada Singh) against Rahul (Arjun Rampal). Whereas the agency can obviously do without a scandal of this nature, both Maya and Rahul realize towards the end that they are in love with each other!
Story and screenplay writers for movies based on management related themes no longer need to scratch their heads to get new ideas for their scripts. Nor do they need to look around for a muse or even bother about the writers’ block. All they have to do is to build up on the juicy details of the sexploits of CEOs of various hues provided by the real corporate world and convert these into mega successes in the reel world.
ashokbhatia 