{"id":3189,"date":"2016-04-08T01:33:29","date_gmt":"2016-04-07T20:03:29","guid":{"rendered":"http:\/\/13.201.39.237\/?p=3189"},"modified":"2016-04-08T01:33:29","modified_gmt":"2016-04-07T20:03:29","slug":"radhika-apte-bollywood-angry-feminist","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=3189","title":{"rendered":"Is Radhika Apte Now Bollywood\u2019s Token Angry Feminist?"},"content":{"rendered":"\n

I<\/span><\/p><\/div>

t\u2019s been nearly two decades since <\/span>Rani Mukherjee<\/span><\/a> married her rapist in her debut film, <\/span>Raja Ki Ayegi Baraat<\/span><\/i>. Third-wave feminism is almost upon us, parts of the world have legalised gay marriage, and it is generally accepted that women are humans. Hurrah.<\/span>\n\nMainstream Bollywood, which accepts progress in teaspoons, is slowly catching on. However, the faster we progress, the more <\/span>patriarchy<\/span><\/a> evolves ways to assert itself. While <\/span>Queen<\/span><\/i>,<\/span> Tumhari Sullu<\/span><\/i>,<\/span> and <\/span>Angry Indian Goddesses<\/span><\/i> proved to be decent middle-cinema releases, commercially successful films have discovered a new type of misogyny.<\/span>\n\nDuring the last decade we saw the stereotype of the effeminate gay man frequently on screen \u2013 a figure of ridicule and humiliation. The \u201c<\/span>feminist-type<\/span><\/a>\u201d is the new effeminate gay man of Hindi cinema. <\/span>\n\n\u201cTum me se na, male chauvinism ki buu aa rahi hai,\u201d Anushka Sharma, the very picture of female open-mindedness, says in <\/span>Ae Dil Hai Mushkil<\/span><\/i><\/a> to a boy she almost hooked up with at a party. She says this because he policed his girlfriend\u2019s clothes, and she has no patience for men like him. Three seconds later, she asks him to go bar-hopping with her because, \u201ctoh kya main akele jaungi?”. <\/span>\n\nIt just gets worse: By the end of the night, she says, and I quote, \u201cTum ameer ho? Jaanti thi, chote kapde pehen ke bada haath marna chahati hain.\u201d To translate \u2013 because he\u2019s rich, his girlfriend wears short clothes to attract him. <\/span>\n\nAnushka Sharma<\/span><\/a>\u2019s character throws around terms like \u201cmy choice\u201d and \u201cmale chauvinism\u201d, drinks alcohol freely, and is open about her sexuality. So despite the glaring misogyny in her behaviour, what does Bollywood imagine her to be? A feminist. And patriarchy, sitting with his tub of cheese popcorn, watches as this world buckles under the weight of misunderstood feminism.<\/span>\n\n

Finally, where Bollywood takes these angry, powerful women is the most important aspect of how patriarchy understands feminism. That ultimately, they end up under the thumb of patriarchal approval, reveals Bollywood\u2019s lip-service.<\/p><\/blockquote>\n\nFilm critic Laura Mulvey, who put forth the concept of the \u201cmale gaze\u201d, explains how mainstream cinema proceeds from a masculine viewpoint. We identify with and through the <\/span>male and masculine<\/span><\/a>, objectifying the female and feminine (which is also why item numbers exist).<\/span>\n\nMuch the same way, if <\/span>feminism<\/span><\/a> is reduced to a certain type of femininity — powerful, headstrong, argumentative \u2013 we automatically fetishise the \u201cpowerful woman\u201d. Then by making this character ultimately succumb to the patriarchy outside her, the male gaze now seeks to derive pleasure out of \u201cfeminists\u201d as well. <\/span>\n\nRadhika Apte is an amazing actor; cue in <\/span>Parched<\/span><\/i>. However, after the two recent Indian <\/span>Netflix productions<\/span><\/a>, <\/span>Lust Stories<\/span><\/i> and <\/span>Sacred Games<\/span><\/i>, I am afraid that she is on her way to being typecast as the poster-child for token feminism. Her newest release, <\/span>Ghoul<\/span><\/i>, a horror-thriller is set to come out this week, and I am hopeful that her character has more dimensions than the over-aggressive woman who sees every problem in her way as a gender-related hurdle. <\/span>\n\nIn both<\/span> Lust Stories<\/span><\/i> and <\/span>Sacred Games<\/span><\/i><\/a>, it has been repeatedly insinuated that Apte is a feminist. It is not that <\/span>Sacred Games <\/span><\/i>got female representation wrong otherwise \u2013 Kukoo, who identifies as female, and Subhadra are exemplars of women who exercise their agency. However, that is not recognised as feminism by Bollywood. <\/span>\n\nApte\u2019s Anjali Malhotra, an upper-class, educated RAW officer, answers every question about her abilities with, \u201cKyun, meri jaga sirf desk pe hain?\u201d to the point that it gets absurd. This is not to say that Indian men at the workplace <\/span>don\u2019t<\/span><\/i> undermine women, but Anjali mistakes concern for doubt about her abilities as a woman, and gets herself killed in the process. In <\/span>Lust Stories<\/span><\/i><\/a>, her idea of emancipation is essentially turning into the very absent husband she talks about in between her botched attempts at being assertive. She barges into her student\/lover\u2019s home, shames his girlfriend for hanging out with him, and behaves like any typical over-possessive man would. <\/span>\n\nWhat we understand as strong or powerful female characters in Bollywood, especially in commercial mainstream films, therefore, are just fetishised versions of female anger. <\/span>\n\nThen there is the fetishising of rejection with the adjective \u201chard to get\u201d. A great example of this is set in that great \u201cfeminist\u201d parable, <\/span>Veere Di Wedding<\/span><\/i>.<\/span><\/a> Sonam Kapoor\u2019s Avni is essentially harassed by Bhandari, who finds her reticence and blatant rejections, attractive. She finds him sleazy, and is visibly discomforted by his presence. Then, in the end when she agrees to go on a date with him, she basically confirms what more forward men think when women say \u201cno\u201d \u2013 that it is basically an invitation to convert them to a \u201cyes\u201d. In the 21st century, where women across the world are reiterating the importance of their verbal \u201cnos\u201d, make what you will of this stereotyping.<\/span>\n\nWe must talk about <\/span>Veere Di Wedding<\/span><\/i><\/a>, a film made about the country\u2019s one per cent, because it is one of the highest grossing Hindi films featuring a female-led cast. The characters, for the longest time, will remain an example of \u201cfeminists\u201d in commercial Hindi cinema, even though it is essentially Bollywood misinterpreting class privilege as the fight for gender equality.<\/span>\n\nFinally, where Bollywood takes these angry, powerful women is the most important aspect of how patriarchy understands feminism. That ultimately, they end up under the thumb of patriarchal approval, reveals Bollywood\u2019s lip-service. <\/span>\n\nIt is possible that I might be called an \u201c<\/span>angry feminist<\/span><\/a>\u201d for finding fault with mainstream cinema. All the women-centric films that \u201cgot it right\u201d will be thrown in my face, and I will be told to leave commercial films alone because they wont get any better. But maybe some part of me is exhausted at having to find niche films that aren\u2019t misogynistic to satiate my love for cinema, and rare good men in a culture that thrives and grows from watching these commercial films. <\/span>\n\nWomen make up (almost) half of our population, yet they need reserved seats on trains, carry pepper spray to work, and celebrate every time a film doesn\u2019t portray her as an unrealistic object. At some point, all of us get angry. But be honest, in our shoes wouldn\u2019t you be too?<\/span>\n","protected":false},"excerpt":{"rendered":"

There\u2019s a new stock character type in Bollywood, and she is the token feminist. Always powerful, headstrong, and argumentative, you\u2019ll see her in everything from Ae Dil Hai Mushkil to Sacred Games. She\u2019s the effeminate gay man of this decade.<\/p>\n","protected":false},"author":279,"featured_media":3190,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[888,710,4670,6216,5499,6217,1341,4158,735],"class_list":["post-3189","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-ae-dil-hai-mushkil","tag-feminism","tag-feminist","tag-ghoul","tag-lust-stories","tag-misogyny","tag-netflix","tag-radhika-apte","tag-women"],"yoast_head":"\nIs Radhika Apte Now Bollywood\u2019s Token Angry Feminist?<\/title>\n<meta name=\"description\" content=\"There\u2019s a new stock character type in Bollywood, and she is the token feminist. 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