Stalking, as an expression of love, must go

Bollywood often claims an innocence it does not possess. The huge influence of stars on viewers easily persuaded by visual images cannot be dismissed. In fact, so much of our life is said to be reflected in cinema — our hopes, dreams, unspoken desires. And we can usually, through a forensic examination of cinema in each decade, spot if there has been any change in how male-female relationships have been depicted through the years.

Unfortunately in Indian cinema, it is apparent that men and women continue to share the same uneasy space of oppression and submission. It is a semi sadistic view, almost propagating the fact that women do not know what is good for them. This is obviously the imagination of the film producer or director, but does it really reflect the way Indian men think? Or, more worryingly, does it influence them into behaving in a particular way?

We must examine the continuing theme of women falling for men who harass and even stalk them. Is there no other reason that a woman can find a man attractive, apart from the fact that he chases her?

Yes, cinema can reflect our collective dreams, but this is a nightmare we need to wake up from, because this depiction of muddle-headed women falling in love with any stranger who pursues them has been used as a defence by a stalker of Indian origin in Australia. And the court let him off!

This might have other ramifications, with rapists and murderers choosing to give filmy reasons for their crimes of passion having a starry origin, but it does not absolve the cinema industry, mostly run by men, from their responsibility. Should the judge, then, have been forced to see loads of Indian cinema before he decided how unreal it is? Could he actually believe that a rational human not only chased a particular woman relentlessly, but also forced himself upon her at any given opportunity, sang songs, beat up a bunch of villains... is this reality? Isn't this just some testosterone-driven male fantasy?

Time and again, social commentators have requested filmmakers to examine the ghastly world they are creating and the lyrics they are propagating. Item numbers are usually in blockbusters that rake in millions of rupees. Isn't it time that producers realised that even films without item numbers can be successful, such as PK?

Can we then persuade them to change the kind of cinema they have been making? Or is it too deeply ingrained in the DNA of filmmakers? Are they reluctant to change a formula that attracts large swathes of male audiences who see in the harassed woman a fantasy of all things they have never been able to acquire. And in a consumeristic society, what could give greater pleasure than to attain that ultimate dream woman through any means, fair or foul.

But even more puzzling is the attitude of women actors who succumb to this bizarre notion that women have to become slaves to enjoy any kind of pleasure. Or that they have to be humiliated and persistently stalked before they realise that their real hero is that annoying guy who will not let them breathe. I know of very few women, in reality, who would like their freedom curtailed in this fashion (unless they are masochists). Or is it that they think they are playing an out-of-character challenging role? Or are they doing it for money?

Where, then can the change come from? Let's not look at what is happening abroad, because very often that is a complete copout. It is important that Indian directors, producers and actors realise the great harm they have done to Indian women over the years. And now they could please stop adding to the psychological damage?

If we look at the history of Indian cinema this kind of ‘teasing’ has been around for a long time. It became much more prevalent in the films of the 60s and 70s, and even thespians like Raj Kapoor decided that stalking was the better part of seduction. In Sangam, this was especially well portrayed in the song, Bol Radha Bol Sangam Hoga Ke Nahin. It was a quaint mythological reference to when Krishna stole the clothes of the Gopis while they bathed. But there was always something amusing in the latter depiction, and always something sweet and gentle even in the way the hero pursued the heroine in the early films. But not anymore.

In the early films, in a closed society, there was no other way for a man to display his emotions or communicate them, unless he made a huge effort to constantly fling himself in the path of his ladylove. And to be fair, usually there were two men pursuing the same girl. And if there was a villain among them, then his behaviour, while pursuing the girl, was downright aggressive. The hero, on the other hand, was softer and mischievous, a Krishna flirting with his Radha.

But the rules of engagement have changed. Films like  Ranjhanaa are creepy, and even sections of Dilwale Dulhaniya Le Jayenge could be considered unacceptable. So, if we have to remove sexual harassment from the silver screen, it seems the women will have to rewrite the script! They are making an effort, but is it enough?