{"id":5653,"date":"2016-03-15T20:12:12","date_gmt":"2016-03-15T14:42:12","guid":{"rendered":"http:\/\/13.201.39.237\/?p=5653"},"modified":"2016-03-15T20:12:12","modified_gmt":"2016-03-15T14:42:12","slug":"pati-patni-aur-woh-marital-rape-joke-kartik-aaryan","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=5653","title":{"rendered":"Pati Patni Aur Woh is Proof that Kartik Aaryan is the Hero of the Outrage Culture"},"content":{"rendered":"\n

A<\/span>t the trailer launch of Mudassar Aziz\u2019s Pati Patni Aur Woh<\/span><\/i>, lead actress Bhumi Pednekar showered praises on the makers for ensuring that the movie wasn\u2019t <\/span>sexist<\/span><\/a>. \u201cThe story is very empowering to both genders. I think that the makers made sure that this does not turn into a sexist, baseless film…. I have to say it is a big achievement,\u201d she <\/span>explained<\/span><\/a>. Yes, this is the same movie where <\/span>Kartik Aaryan<\/span><\/a>, the lead actor and the wayward pati in the equation, utters these abominable lines in the trailer: \u201cBiwi se sex maang lein, toh hum bhikaari. Biwi ko sex mana kar dein, toh hum atyachaari; aur kisi tarah jugaad laga ke uss se sex haasil kar lein na toh balaatkaari bhi hum hain.\u201d<\/p>\n\n\n\n

Well done, Bhumi, you\u2019re right. No sexism here. Only cruel jokes about marital rape<\/span><\/a>.<\/p>\n\n\n\n

These lines, which, thanks to the tizzy they rightly caused among the Indian internet, are now edited out<\/span><\/a>. But marital rape isn\u2019t the only issue here \u2013 it is that the makers are either completely ignorant or callous about ideas of sex and consent. In India, marital rape is pervasive. <\/span>Eighty per cent<\/span><\/a> of married women have experienced sexual violence from their husbands, yet it is not considered an offence. The <\/span>Pati Patni Aur Woh <\/span><\/i>joke dismissed the implications of such violence and reinforces a patriarchal mindset that refuses to see marital rape as abuse. The subtle undertone to the trailer seemed to disregard that men and women have equal rights in a marriage. Instead, it assumed that men own the women they marry and that <\/span>married women<\/span><\/a> owe their husbands sex.<\/p>\n\n\n\n

Three days after the trailer released, Pednekar was back defending the makers of Pati Patni Aur Woh<\/span><\/i>: The actress apologised for \u201coffending sentiments\u201d with the marital rape joke and claimed that it wasn\u2019t intentional. It\u2019s interesting that Pednekar was chosen for disaster management, given that the dialogue in question, wasn\u2019t delivered by her. It was instead, said by Aaryan, Hindi cinema\u2019s poster boy of casually misogynistic monologues.<\/span>

Kartik Aaryan has practically made a career out of similar monologues and if he were to apologise for this one, would it imply that he was also regretful of the others?<\/blockquote>
It makes sense why the actor never commented on the backlash that Pati Patni Aur Woh <\/span><\/i>faced. Aaryan has practically made a career out of similar monologues and if he were to apologise for this one, would it imply that he was also regretful of the others? By now, it is so essential a part of the fabric of his career that Twitter users were quick to point out that every Aaryan outing is inseparable from an Aaryan monologue. It\u2019s a trend that started in 2011 with <\/span>Pyaar Ka Punchnama<\/span><\/i><\/a>, and <\/span>as the years have gone by, the <\/span>misogyny<\/span><\/a> has only escalated.<\/p>\n\n\n\n

It all started with Luv Ranjan\u2019s Pyaar Ka Punchnama<\/span><\/i>, <\/span>where<\/span><\/a> Aaryan goes on a rant about women and their \u201ccrazy\u201d ways. \u201cA happy woman is a myth,\u201d he claims. In doing so, he assumes the role of the hapless boy-next-door who suffers at the hands of manipulative women. \u201cI could swear that the dog in the [Vodafone] advertisement isn\u2019t a male dog, it\u2019s a bitch. Wherever you go, we follow\u2026 I know now why straight men die of heart attacks while the <\/span>gays<\/span><\/a> are so successful. It because they don\u2019t have woman to ruin their happiness,\u201d he goes on.<\/p>\n\n\n\n

The unprecedented success of Pyaar Ka Punchnama <\/span><\/i>fashioned a sequel, which meant that there was yet another breathless <\/span>monologue<\/span><\/a>. In this version, Aaryan squarely blames women for leading men on. \u201cDosti mein ab limit hi nahin rahi. Dosti mein ladki daaru pi ke ladke ki pappi lele, platonic hai\u2026 Dosti mein toh shayad sex bhi platonic hota hoga.\u201d It has now come to pass that an Aaryan movie is incomplete without a monologue. Last year\u2019s <\/span>Sonu Ke Titu Ki Sweety <\/span><\/i>claimed that all women are gold diggers: \u201cMain bata raha hun yeh ladki wrong hai, Koi pyaar-vyaar nahin karti tujhse, sirf paison ke liye shaadi kar rahi hai.\u201d<\/p>\n\n\n\n

It\u2019s exactly this brand of palatable misogyny that has positioned Aaryan in the new league of superstars today: His next film is an Imtiaz Ali one opposite Sara Ali Khan<\/span><\/a>. <\/span>At the press conference of <\/span>Pati Patni Aur Woh\u2019s<\/span><\/i> trailer launch<\/span><\/a>, producer Bhushan Kumar, who has worked with the actor in three films echoed as much. When he was asked why he prefers working with Aaryan so much, Kumar jokingly replied \u201cIt\u2019s because Kartik Aaryan sells right now.\u201d\u00a0<\/p>\n\n\n\n

All the criticism that Kartik Aaryan receives is drowned in the applause and the laughter he elicits.<\/blockquote><\/p>\n\n\n\n

It\u2019s an illuminating answer. All the criticism that Aaryan receives is drowned in the applause and the laughter he elicits. Pati Patni Aur Woh <\/span><\/i>endorses casual sexism because <\/span>the creators believed that they have created an audience who will appreciate it.<\/p>\n\n\n\n

Aaryan is often blamed for this tone-deafness, but the misogyny in his films isn\u2019t solely his burden to bear. Its enduring popularity is instead a product of the times, mined as much from the saleability of the misunderstood male as it is from the outrage against it. These monologues create a talking point and in this age of short-attention spans that\u2019s all that matters.<\/p>\n\n\n\n

It\u2019s naive to assume that the makers of Pati Patni Aur Woh<\/span><\/i> didn\u2019t predict the backlash to the rape joke. Like the success of <\/span>Kabir Singh<\/span><\/i><\/a> shows, in 2019, every denunciation is actually a win for a film. More outrage translates into more features, more interviews, more appearances and ultimately more publicity. The fact that we\u2019re rewarding <\/span>Pati Patni Aur Woh<\/span><\/i> with our attention is its own payoff. It\u2019s the working of this outrage economy that will also ensure the presence of yet another monologue in the next Kartik Aaryan film.<\/p>\n\n\n\n

It\u2019s a demand-supply situation and Bollywood<\/span><\/a> and the entire film fraternity is the last industry we can hope will take a stand against this damaging culture.<\/p>\n\n\n\n

This sentiment was echoed by filmmaker Mahesh Bhatt in a particularly fascinating Koffee with Karan<\/span><\/i> episode. When he was <\/span>asked<\/span><\/a> about Emraan Hashmi\u2019s serial kisser image, Bhatt justified the decision to have a kissing scene in every Hashmi film by saying that \u201cThe audience tells you what to do.\u201d He added that having Hashmi kiss onscreen was in fact, a \u201cdistributor demand\u201d. It\u2019s why, he claimed, <\/span>Murder<\/span><\/i> 2 <\/span><\/i>had a kissing scene in the first 10 minutes \u2013 once you got the audience\u2019s expectation out of the way, you could focus on the rest of the film.<\/p>\n\n\n\n

The implication is clear: Almost every thing that filmmakers choose to put in their films is derived from the demand created by audiences. Indian viewers, reared on Bollywood, want to watch Shah Rukh Khan<\/span><\/a> spread his arms in film after film and for Salman Khan to take his shirt off as much as they want to see Kartik Aaryan demean women in every monologue.<\/p>\n\n\n\n

Clearly, there is a method to the madness: Perhaps, the intention of the insertion of the Pati Patni Aur Woh<\/span><\/i> marital rape dialogue was probably to replicate the success of a film like <\/span>Kabir Singh.<\/span><\/i> After all, the only way to power over outrage is to become more outrageous. <\/span>Like Raphel Behr explains in this excellent <\/span>essay<\/span><\/a> for <\/span>The Guardian<\/span><\/i>, \u201cAn outrage economy is lucrative only in an outraged society. Once stoked, the anger becomes self-sustaining, addictive.\u201d<\/p>\n\n\n\n

If anything, Kartik Aaryan is the hero of this society. And our outrage is his fuel.<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s naive to assume that the makers of Pati Patni Aur Woh didn\u2019t predict the backlash to the misogyny in the movie. Like the success of Kabir Singh shows, in 2019, every denunciation is actually a win for a film. 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