When talking about the first feminists of Hindi cinema, no conversation is complete without mentioning Sai Paranjpye. An award-winning writer and filmmaker in the 1980s, she stood out in an industry where women filmmakers were almost nonexistent. But don’t even think of slapping the “woman filmmaker” label on her. She’d laugh it off. After all, such labels have often been used by patriarchy to reduce women to just their gender, overlooking their contributions or the diversity of their work.
Sai Paranjpye: Confronting patriarchal expectations
Sai Paranjpye tells stories that boldly challenge old-fashioned ideas about how women should behave. Instead of sticking to gender stereotypes, her movies make us think about why these old rules still exist and whether they make sense today. One of these expectations is that women should stick to specific duties, honour codes, moral standards, and ideas about purity set by patriarchal norms.
In Paranjpye’s film Katha, a modern twist on the classic tale of the hare and the tortoise, Farooq Sheikh plays Basudev Bhattacharya (the hare) and Nasiruddin Shah plays Rajaram (the tortoise). Deepti Naval portrays Sandhya, an educated and independent young woman caught between Rajaram and Basu. Sandhya decides to be intimate with Basu, believing his promise of marriage, which is just days away. However, he leaves her at the altar.
Sai Paranjpye boldly shows that his promise of marriage sways Sandhya’s choice to be intimate with Basu, with some coercion implied. “Katha” was undoubtedly ahead of its time, showing what seems like consensual sex can actually be rape, where unequal power dynamics and false promises cloud consent.
Later, when Rajaram proposes, she declines, not out of lingering love for Basu, but because she feels unworthy of Rajaram. Sandhya’s refusal of Rajaram’s proposal reflects a complex internalised misogyny of a woman’s worthiness. She sees herself as no longer fitting the idea of purity expected for a woman to be considered suitable for marriage. It is a common sexist belief that a woman isn’t “Laayak” of a good husband if she’s been intimate before marriage.
Eve teasing, Adam teasing, and Sai Paranjpye’s perspective.
While everyone knows about Eve’s teasing, the concept of Adam’s teasing often draws confusion. Even asking ChatGPT about it initially leads to responses dismissing it as a typo or an unknown phrase. In fiction and reality, Eve’s teasing remains disturbingly common. Eve teasing has become a staple in romantic movies throughout history, persisting in the present and, unfortunately, likely in the future.
Women are often portrayed as fragile victims of eve teasing, while men are cast as strong saviours who rescue the damsel in distress. However, Sai Paranjpye offered a unique perspective on this dynamic with her take on adam-teasing.
Scenes from the movie ‘Katha’
In a scene from “Katha,” Sai Paranjpye gives viewers a glimpse of what it might be like if women were to bully and harass men, reversing the usual gender roles. The sequence begins with a beautiful flower that catches Rajaram’s eye. Then, a woman appears and seductively plucks a shining apple, accompanied by a playful voiceover saying, “A for Apple.” This act plays on the Biblical story of Eve being tempted by Satan. Rajaram is shown enjoying the fruit, but his dream turns into a nightmare when four women, his office colleagues dressed in zebra-striped clothes, begin teasing and taking advantage of his gentle nature.
They mockingly tease Rajaram, using the term “bulbul” to both flirt and harass him. Feeling harassed and cornered, Rajaram protests, but the women continue to taunt him, claiming they have dealt with many men like him before. The sequence plays with themes of temptation, harassment, and gender roles, offering a provocative twist on traditional narratives.
In this scene from Katha, Rajaram questions his harassers: “Aren’t you ashamed? Don’t you have brothers or a father?” This scene flips the script from the usual scenario where women ask the harassers if they have mothers or sisters in similar situations. It highlights the everyday challenges women face in societies dominated by men’s rules and biases. The story takes an unexpected turn when Sandhya steps in to rescue Rajaram. That is the complete opposite of what is usually seen in movies.
Thoughts by the director Sai Paranjpye
Director Sai Paranjpye humorously admits she included this scene as payback: “Having witnessed countless innocent maidens eve-teased and molested on the silver screen, I did my little bit as a woman director to have the tables turned. A little attempt to give the machismos a taste of their own medicine.”
Women’s safety and the male gaze
In Chashme Buddoor, Sai Paranjpye skillfully portrays a seemingly fun, innocent film that also subtly addresses the unsafe environment for women. One notable scene captures the heroine strolling along the road, humming and swinging her bag freely. She is oblivious to her surroundings. We, as the audience, see the lingering glances of men passing by her. It subtly shows how even a woman’s casual walk can draw unnecessary attention and scrutiny.
Also, in this scene from “Chashme Buddoor,” the heroine’s relaxed attitude while walking contradicts how society expects young women to be careful in public. Women are conditioned to be hyper-aware of their surroundings for safety reasons. Why doesn’t society teach men to be respectful and let women go about their day peacefully? It’s become normalised for men to stop and stare at women. At the same time, society expects women to be on guard and avoid constantly attracting male attention.
Beyond patriarchal masculinity
In Sai Paranjpye’s film Sparsh, a restaurant scene highlights the male protagonist’s struggle with patriarchal notions of masculinity and manhood. Anirudh, who is blind, becomes visibly uncomfortable when Kavita, the sighted woman he loves, tries to help him by unwrapping his napkin. He perceives this gesture as not just patronising but insulting. It is a reflection of his belief that a man should not be dependent on a woman.
The situation escalates when the waiter hands the bill directly to Kavita instead of Anirudh. Anirudh reacts angrily, questioning why the waiter gave the bill to a woman. The waiter justifies his action by pointing out that Kavita can see, unlike Anirudh, who relied on her to read the menu. This explanation infuriates Anirudh, who raises his voice at the waiter while Kavita remains silent throughout the exchange.
This scene encourages viewers to think about how traditional ideas about masculinity and femininity influence our relationships and everyday interactions. It pushes us to consider how these sexist and gender-biased beliefs affect individuals. This is especially true in situations involving disability or dependency.
Sai Paranjpye: Summing up her impact
When a man writes a woman’s character, it often conforms to the male gaze and perpetuates stereotypes that satisfy masculine perspectives. However, films by Sai Paranjpye, like “Sparsh,” “Chashme Buddoor,” and “Katha,” offer a refreshing glimpse through the female gaze. Paranjpye’s work critiques the popular tropes of commercial cinema that might entertain audiences but can be uncomfortable realities for women.
Take “Chashme Buddoor,” where she exposes the cliché of a charming hero successfully “wooing” a woman. Paranjpye sheds light on how such portrayals, seen as romantic on screen, are no less than harassment or stalking in real life for women.
Sai Paranjpye did way more than just telling these stories. Her work spans writing, theatre, TV serials, and films, consistently addressing critical social issues. She carved a path for future filmmakers to tackle social and cultural topics with relevance and depth.
Disclaimer: The views expressed in this article are based on the writer’s insights, supported by data and resources available both online and offline, as applicable. Changeincontent.com is committed to promoting inclusivity across all forms of content, which we define broadly to include media, policies, law, and history—encompassing all elements that influence the lives of women and gender-queer individuals. Our goal is to promote understanding and advocate for comprehensive inclusivity.
