Source: X
Guwahati, Dec 18: The portrayal of a woman who needs to be saved by the hero, or the woman trying to seduce the men, is what Bollywood has been slammed for over the last few years. There has been a paradigm shift, as films that were led by female actors and revolved around strong female characters were also showcased. But the number of such films is still very low and they hardly make it to the box office as the blockbusters continue to be sexist and regressive and women's representation remains abysmal in them.
The latest on the list is Sandeep Reddy Vanga’s directorial, Animal. A lot has been said and talked about the film. While some are terming it an ‘expression of art’ that has shattered all Bollywood crime thriller records, others have termed it 'misogynistic' with the storyline marred by violence and bloodshed that attempts to normalise and market toxic and nearly criminally negligent male conduct.
Vanga is currently enjoying the triumph of his film, which has crossed an impressive Rs 800 crore milestone globally within just 17 days of its release. Currently, it stands as the third-highest-grossing Indian film of the year. Starring Ranbir Kapoor, Rashmika Mandanna, and Anil Kapoor in pivotal roles, "Animal" delves into the complex dynamics of the father-son relationship. The storyline, characterised by intense violence, bloodshed, and instances of domestic conflict, explores the theme of a son's consuming love for his father, portraying violence as a vital expression of affection, just like the instincts of an animal.
The story depicts a strict father, played by Anil Kapoor (as Balbir Singh), seemingly unavailable for his children, which creates a toxic gap. Devoid of this love, Ranbir Kapoor as Vijay slowly turns into an "animal" with uncontrollable instincts. A rich brat who grows up idolising his father engages in mass murder without any legal consequences. The narrative incorporates elements like violence, sex, and bloodshed solely to provide entertainment that the audience is willing to pay for.
Critics often highlight that Vanga has faced criticism for portraying his male characters as epitomes of masculinity. Furthermore, his films have been noted for the glorification of violence against women. In his first Hindi feature, Kabir Singh, the audience was divided: some supported Vanga’s portrayal of an abusive and obsessive lover, while others believed that the director approved the protagonist's actions too leniently. The ongoing discussion about Kabir Singh might not have gained as much attention, but Vanga's persistence in walking the same path without any apparent self-reflection, as evident in Animal, diminishes the significance of the discourse around Kabir Singh for the director.
Now, a clip of the director justifying such characters in his films is doing rounds on the internet. In an interview, the director said, ''If you can't touch your woman, wherever you want, and if you can't slap, you can't kiss, you can't use cuss words. I don't see the emotion there.''
Coming back to Animal, the depiction of love here is that of an alpha male character who, in the name of protection, seems to glorify hyper-masculinity, coupled with discomforting scenes without paying any heed to the consequences. Some of the scenes that critics pointed out as objectionable were depictions of a man’s world, using as many bullets and murders as possible to protect the family, transcending law and order. The most problematic scene from the film is when Ranbir’s character asks Triptii Dimri (Zoya) to lick his shoes to prove her love. The female characters in the film existed simply to give the male characters a push.
Lyricist and writer Swanand Kirkire expresses unease with how the film handles women and highlights how “Animal” is driving the future of Indian cinema towards a more ‘dangerous and scary’ direction.
In a series of tweets Kirkire wrote in Hindi, “Mehboob Khan’s – Aurat, Gurudutt’s – Saheb Biwi Aur Ghulam, Hrishikesh Mukherjee’s – Anupama, Shyam Benegal’s Ankur and Bhumika, Ketan Mehta’s Mirch Masala, Sudhir Mishra’s Main Zinda Hoon, Gauri Shinde’s English Vinglish, Behl’s Queen, Sujit Sarkar Ki Piku etc, There are many such films in Hindustani cinema which taught me how to respect a woman, her rights and her autonomy and how, after understanding everything, there are still many shortcomings in this age-old thinking. I don’t know whether I succeeded in understanding women or not, but even today I am constantly trying to improve myself.”
He went on to remark, “All thanks to cinema. But today after watching the movie Animal, I really felt pity for the women of today’s generation. Today again a new man has been prepared for you, who is more scary, who does not respect at all and who aims to subdue you and suppress you, and he feels that it is his objective as a man to feel proud of doing these things.”
Despite the backlash, the film also garnered a lot of support, with some claiming that some scenes need to be considered in a particular way as they evoke a strong response towards the character of the film.
Filmmaker Ram Gopal Verma, in his review, heaped praises on Ranbir’s performance and Vanga’s direction. “There will be massive fights over the content and the character of Ranbir in ANIMAL long after its box office run is over and I truly believe it can also trigger a cultural overhaul due to the way Sandeep has ripped off the clothes of moral hypocrisy with his bare naked honesty,” RGV said in a statement. He further termed the movie as a social statement.
Anurag Kashyap voiced his backing for "Animal," emphasising that Indian audiences are quick to take offence at films. He added that the choice of film content depends entirely on the director, with others having no authority to dictate their preferences.
There is no denying the fact that Vanga's film "Animal" has sparked debates, with divergent opinions on its artistic expression versus its perceived misogyny. The movie's commercial success contrasts with its controversial content, raising questions about the audience's reception of such narratives. Vanga's persistent portrayal of hyper-masculine characters with discomforting scenes contributes to an ongoing discourse in cinemas. The director's justification of controversial elements adds fuel to the discussion, highlighting the potential impact of such narratives on societal attitudes and the evolving landscape of Indian cinema.