{"id":2942,"date":"2016-06-08T15:49:39","date_gmt":"2016-06-08T10:19:39","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2942"},"modified":"2026-07-17T20:18:32","modified_gmt":"2026-07-17T14:48:32","slug":"sacred-games-netflix-kanta-bai-shalini","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=2942","title":{"rendered":"Sacred Games: Why You Don\u2019t Mess With the Marathi Tai"},"content":{"rendered":"\n

A<\/span><\/p><\/div>

tiny scene featuring secondary characters in episode four of <\/span>Sacred Games<\/span><\/i><\/a>, is an excellent demonstration of Shakti, the divine feminine energy, according to Hindu mythology. <\/span>\n\nBada Badariya and Bunty, gangster Ganesh Gaitonde\u2019s men on opposite sides of the Hindu-Muslim divide, get into a communally charged scuffle in Kanta Bai\u2019s adda. Right before the whole thing escalates into a bloodbath, we see Kanta Bai hurl a handi of hot water at the hot-headed belligerents. Shocked beyond belief and with a new target to their anger, the men turn to her \u2013 she tells them she\u2019ll pour scalding hot oil on them the next time. Bunty and Badariya, both seasoned killers with hair triggers, cower away with a look of embarrassment and shame. These are uncontrollable men with an uncontrolled appetite for violence, who slink away like timid stray puppies when she-wolf Kanta Bai bares her teeth.<\/span>\n\nCinematically speaking, few <\/span>gangland experiments<\/span><\/a> manage to really capture the essence of <\/span>Mumbai<\/span><\/a>. Netflix\u2019s <\/span>Sacred Games<\/span><\/i>, Vikramaditya Motwane and Anurag Kashyap\u2019s adaptation of the mammoth <\/span>Vikram Chandra novel<\/span><\/a>, is one of them. Capturing lightning in a bottle isn\u2019t easy, especially when the lightning in question is this over-exposed but storied metropolis. And one of the key elements of this sprawling narrative, are the women of <\/span>Sacred Games<\/span><\/i>.<\/span>\n\nOver the past few days, <\/span>multiple debates<\/span><\/a> have sprung up on Twitter. Users of the micro-blogging platform have called out the series\u2019 \u201ctrans representation\u201d, the lack of backstories of the female characters, and the fact that some of them\u2026 die. I\u2019ve scrolled through these perspectives, but that is not the one that sticks out for me. For me, most of the women characters in <\/span>Sacred Games<\/span><\/i> are powerful in big and small ways, that go beyond the constraints of the narrative, the men they are surrounded by, and the time they spend on the screen. \u00a0\u00a0\u00a0\u00a0<\/span>\n\n

Kanta Bai, Subhadra, and Shalini are your typical, dyed-in-the-wool middle-class tais. <\/p><\/blockquote> \n\nLet\u2019s start with the most obvious ones: RAW agent Anjali Mathur, essayed by Radhika Apte. The upper-class, no-nonsense career-focused woman holds her own in a world where the air is equal parts testosterone and oxygen. You\u2019ll occasionally catch a glimpse of a deer caught in the headlights on her face, but she\u2019s no Bambi. There\u2019s the enigmatic \u00a0Kukoo, the wily seductress, who holds the jewels of erstwhile Bombay\u2019s erstwhile bad boys firmly in her grasp. She has them convinced that their power stems from some magical place between her thighs. <\/span>\n\nBut the ones that have me by the gullet are the women on the opposite end of the spectrum from the Anjalis and Kukoos of the world. <\/span>Sacred Games\u2019<\/span><\/i> Plain Janes, <\/span>Maharashtrian women<\/span><\/a> who negotiate oppressive structures with an unexpected aplomb. <\/span>\n\nKanta Bai, Subhadra, and Shalini are your typical, dyed-in-the-wool middle-class tais. Their hopes and dreams might be at the polar opposite of their more modern counterparts. But they\u2019re no less ambitious, even if that ambition is to have a sukhi sansaar. <\/span>\n\nTake Kanta Bai for instance. She is the epitome of the dheeth Maharashtrian kaaki you\u2019ve inevitably encountered if you\u2019ve lived in Mumbai. She manages pretty well by herself and has either lost her husband or didn\u2019t need one to begin with. In the series, she\u2019s the virgin Mother Mary to Gaitonde\u2019s mobster Jesus: You see him touching her feet before killing someone. She\u2019s also as progressive as they come, unafraid of exhorting Bunty to get his sister married to the man she loves, even though he is <\/span>Muslim<\/span><\/a> and Bunty a hardline Hindu. <\/span>\n\n\"\"\n

\n

You can find a Shalini Katekar everywhere \u2013 in Mumbai\u2019s slums, chawls, and tenements, managing the homesteads of a new generation of blue-collar workers.<\/p>\n

Image credit: Sacred Games\/Netflix<\/p>\n<\/figcaption>\n<\/figure>\n\nKanta Bai radiates power with her tough-nut act, an instinct she needs if she has to run a country liquor adda and deal with <\/span>drunk men<\/span><\/a>. Women like Kanta Bai have been romanticised in Mumbai lore as daaru waali aunties, and practically handled the illicit liquor trade because the <\/span>men<\/span><\/a> drank more liquor than they sold.<\/span>\n\nA close family friend, Poptin kaaki, ran one such racket and regaled us with stories of bad <\/span>men with guns<\/span><\/a> coming to her home for a drink. They\u2019d tell her about the men they\u2019d killed and the gold they\u2019d smuggled. She\u2019s still pretty famous for her loud booming voice, which \u2013 when used to hurl insults \u2013 was the perfect tool to emasculate the macho mafia douches. <\/span>\n\nIf Mumbai\u2019s spirit animal were a dragon, Kanta Bai would be <\/span>Khaleesi<\/span><\/a>. Kanta Bai is to Gaitonde, what <\/span>Haseena Parkar<\/span><\/a> was to Dawood, what Neeta Naik was to Amar Naik, and what Jenabai Daruwali was to Haji Mastan: Women in the shadows who influenced the actions of men who shaped the Mumbai underbelly. <\/span>\n\nKanta Bai\u2019s Woman Friday, Subhadra, is another phenomenon best described as an incognito feminist until marriage \u2013 the wallflower who finally stands up to Gaitonde once she marries him. Subhadra\u2019s character is introduced as subservient to the point of being servile, but in reality she is as fierce and feisty as her mistress. We see this side of her only after her marriage to Gaitonde, where her critical analysis of the underlying cause of his impotence spurs Gaitonde into action, and leads to one of the defining moments in the series. <\/span>\n\nAfter a point, Subhadra is also the only woman who is able to \u201cdominate\u201d Gaitonde sexually. She breaks \u201cKukkoo ka jaadu,\u201d while casting a spell of her own \u2013 equal parts <\/span>love<\/span><\/a> and devotion tinged with just a hint of manipulation. As Gaitonde kills 80 people and talks about killing 800 to avenge her death, you can\u2019t help but marvel at the emotions Subhadra stirred up in a ruthless narcissist who believes himself to be God.<\/span>\n\nThe Yin to Subhadra\u2019s Yang is Shalini Katekar, the dutiful Maharashtrian mai, the picture of wifely devotion who runs a family as best she can. Her husband, the goofy, loveable Katekar treats her more like a lover than a wife. Maybe that\u2019s how they manage to keep the spark alive despite being a lower-middle-class married couple with two kids, hemmed in to a tiny kholi. \u00a0<\/span>\n\nYou can find a Shalini everywhere \u2013 in Mumbai\u2019s slums, chawls, and tenements, managing the homesteads of a new generation of blue-collar workers. In the world that Shalini and Katekar occupy, women assume the identities of their husbands. Women who are <\/span>reluctant feminists<\/span><\/a>: Fierce as tigers when it comes to standing up against the world, timid as lambs when demanding those same rights from their husbands. We see this when Shalini timidly asks Katekar where he\u2019s off to when his boss Sartaj beckons him in the wee hours of the morning. But this same Shalini, grieving yet powerful, brushes off Sartaj\u2019s attempts to pacify her after Katekar\u2019s murder. <\/span>\n\nThe power these three (and other) Maharashtrian women have over men, transcends sex and physicality. It is deep-rooted in their psyche, hard-coded into their DNA. Women who get shit done, because they know no one else will step up to the plate. Women who simply walk up and seize power, wrapping it tightly in the many pleats of their sarees. We\u2019ll continue to criticise the portrayal of women as mere pawns in the sacred games of men, but take a minute to look beyond the obvious. These women aren\u2019t mere cheerleaders \u2013 they\u2019re controllers in their own right. <\/span>\n","protected":false},"excerpt":{"rendered":"

We can continue to criticise the portrayal of women as mere pawns in the sacred games of men. But take a minute to look beyond the obvious. The women in the Netflix series aren\u2019t mere cheerleaders \u2013 they\u2019re controllers in their own right.<\/p>\n","protected":false},"author":2,"featured_media":2945,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[710,5841,1341,4158,5782,1207,5842,735],"class_list":["post-2942","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-feminism","tag-kanta-bai","tag-netflix","tag-radhika-apte","tag-sacred-games","tag-saif-ali-khan","tag-shalini","tag-women"],"yoast_head":"\nSacred Games: Why You Don\u2019t Mess With the Marathi Tai<\/title>\n<meta name=\"description\" content=\"We can continue to criticise the portrayal of women as mere pawns in the sacred games of men. 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