Romancing the Romeo

Phata Poster, Nikhla Romeo! No, this is not the sequel to the film. But a reflection of the current trend in Bollywood where the sadak chhap is glorified in the name of entertainment. In Grand Masti, there is a ‘nanga gang’ that randomly enters homes and rapes women. This horrifying depiction comes at an insensitive time when vulnerable young girls are getting gang raped even in metros like Delhi and Mumbai. But Bollywood is only focussed on box office figures. Directors have no qualms about showcasing women as objects of desire who need to be teased in order to be wooed. In the past too, there have been lovable Romeos, but they didn’t just steal the heroine’s heart but endeared themselves to the audience too. Who can forget the bratty but adorable Munna, played by Aamir Khan in Rangeela. Or the child-like innocence of Lakhan portrayed by Anil Kapoor in Ram Lakhan. And the most iconic of them all, Anthony Gonsalves, a character immortalised by Amitabh Bachchan in Amar, Akbar, Anthony. None of these hot-blooded males resorted to cheap tactics and crude humour to woo their heroine. Kannada film director, Indrajit Lankesh believes that Bollywood is heading for disaster and endorses Shah Rukh Khan’s view that the industry will not flourish after 10 years. “I can’t believe that Rajkumar Santoshi, who made a strong female-centric film like Damini, has now come out with Phata Poster Nikhla Hero. In Besharam, the camera shamelessly focuses on Ranbir Kapoor’s butt during a song sequence. Even Indra Kumar, who made films like Dil and Beta, has resorted to the mechanics of marketing in Grand Masti. Bollywood filmmakers have to accept the fact that even though their films reflect society, they also influence it in a negative manner. Yes, there is a correlation between these tacky films and the rapes in society.” Today the scenario has changed for the worst. So you have Shahid Kapur eve-teasing a snooty Ileana in that catchy Agal Bagal number from Phata Poster Nikhla Hero. Ranbir proudly plays a loud, garishly dressed Romeo in Besharam, who unabashedly apes the Big B and throws cheesy dialogues at this heroine Pallavi.

He cheekily announces that he wants to have two kids with her and name them Amitabh and Rekha. In keeping with the film’s title, Ranbir is proudly promoting himself as besharam. He says, “As actors we do roles which appeal to us and also the storyline has to be intriguing. All I can say is if Amitabh Bachchan can be called Shahenshah, and Shah Rukh Khan can be called Badshah. I am happy being called Besharam.” Clearly for these young breed of actors, grey characters earn them accolades, even if it plays a detrimental role in influencing society. Even in Raanjhana, South star Dhanush plays an obsessive lover who slits his wrist when the lady he fancies spurns his advances. A dangerous dialogue follows where Sonam (his co-star) in sheer desperation asks him to marry her. The horrifying message being driven home is that if a roadside Romeo attempts suicide, you have to offer to marry him. Popular icons and the roles they play have an impact on desperate men who will not think twice about imitating a Shahid or a Ranbir in order to hook a woman they fancy. The argument that cinema is only a piece of fiction and should not be taken seriously doesn’t seem to hold well anymore. Actress Vidya Balan, who portrayed Silk Smita’s life in The Dirty Picture, opines, “I do not like to act in any film which has raunchy dialogues. Showcasing films with vulgarity, especially films in which females are objectified, is something I will never endorse. Women need to be represented with utmost care.” The hit adult comedy, Grand Masti is blatantly derogatory towards women with its double meaning lyrics like ‘I’ve got a rocket in my pocket, oh baby come and launch it’. The male characters are shown treating their wives with contempt and hitting on single scantily-clad bimbettes. Despite this, this sex comedy is a super hit. Grand Masti’s `70 crore success attests the fact that vulgarity and obscenity finds many takers amongst the Indian audience. Actor John Abraham reacts rather sharply by saying, “I have not watched Grand Masti but it is a huge success. This only proves that our masses crave for such films and don’t care about double meanings and sexy gestures. Those who feel it is not worth a watch can keep away from the theatres. I disagree that people get influenced by watching such acts which in turn lead to rapes in society. People need to be educated at grass-root levels. Films are not responsible for igniting such feelings amongst them!” Actor Vivek Oberoi, who is busy celebrating the success of his film, admits, “Initially I was skeptical about performing this role in Grand Masti. But when my wife read the script she left the decision to me saying, ‘You need to perform it as an actor so you decide.’ I do agree the film has dialogues with double meanings, and can be labelled a sex comedy, but as actors we need to perform such roles as after all films do reflect society!” While Bollywood conveniently chooses to absolve itself of all blame, sociologist Professor Sivaramakrishnan opines that commercial cinema glorifying the Romeo will flourish as Indian women are not protesting enough. “Bollywood actresses have no qualms in doing item numbers or wearing itsy-bitsy outfits and dancing vulgarly, so why hold filmmakers responsible Every producer wants to make money and will exploit a situation to his benefit. Women’s groups need to step in and protest strongly against such negative portrayals, if they want to see a serious change.”