If Baba’s Rajini advises a group of girls not to exercise on their terrace wearing clothes they feel comfortable in, Priyasakhi’s Sandhana Krishnan (Madhavan) tells his wife what kind of lounge wear is appropriate to wear in the living room. It is not just Vijay, think of any big name from Tamil cinema and you’d be able to find similar dialogues and scenes bashing women for the way they dress. If you reveal it to everyone else, they would all want to live with you,” he states, adding that men will treat women like goddesses, like Mahalakshmi to be precise, if they wear a saree and behave ‘appropriately’. “Reveal your body to your one true partner.
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Muthappa (Vijay) enters the screen and reprimands the harasser (not with the same kind of conviction with which he passes remarks about the heroine though) once again because how else would he assert that he is the ‘hero’? In a series of extremely problematic remarks, Muthappa then shames Hema for wearing a short skirt and a sleeveless top instead of a saree and blouse. And the victim blaming does not stop there. In the video from the 2005 film, when Hema (Asin) is inappropriately touched by a stranger, she beats him with her slippers and people soon gather around to witness the ruckus.
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If only viewers could use a ‘high-tech’ time machine like the one in the film to fix the director and his team’s notions on comedy that are stuck in a time warp.Ī post shared by Filmed Out with patriarchal platitudes and overtones, films in the past have given a platform for misogynistic dialogues and tropes. And almost as if to proudly proclaim how distasteful Kollywood dialogues have been in the past, a video titled “Sivakasi Tamil Movie – Vijay ‘criticises’ Asin’s ‘skimpy’ outfit” has been posted from a verified handle on YouTube and is still available to watch – in 2021. This and other scenes from the time-travel film have been rightfully called out by many on social media. “Freedom is not about living as per your wishes but living in a way that’s acceptable to society,” Mani, the protagonist played by Santhanam – who passes double entendre and blatantly sexist remarks about women in almost every other film – says in a scene. “ Konjam izhutha avundhrum, idhu suthanthiram,” (Your dress will come off if someone tugs it, you call this freedom), ‘Karuthu’ master Mani is heard saying in his holier-than-thou voice, while wearing a veshti (which apparently will not come off if someone pulls it). Case in point: Dikkiloona which premiered on Over-the-top (OTT) platform Zee5 in September 2021.
Men passing derogatory comments about women’s outfits, taking a jibe at them for their clothing and moral policing them for their choice of clothes has also been commonplace in Tamil cinema. The extent of its normalisation is perhaps the reason why we find objectionable remarks on women being passed off as comedy. Credit: YouTube- Filmy Score, Khafa Entertainment Social activist is seen in a song describing her beauty. Suriya's introductory scene from Ghajini features him delivering a speech, while Asin, who aspires to become a
From chiffon sarees in hill stations (2013 movie Endrendrum Punnagai) to ballroom gowns in deserts (2012 film Oru Kal Oru Kannadi), the clothes worn by women is not only logic-defying but has very little to do with the characterisation or plot of the film. She doesn’t behave anything like the aspiring activist she is,” film professor and gender activist Uma Vangal says in a TedX event, where she walks her audience through the introductory sequences of the male and female protagonists in the Tamil film Ghajini. You’d be surprised at the number of films that use women’s clothing as a layer to the script – not to add depth to their characterisation but to typecast them. “You watch the man being introduced as a thinking individual with a vision and a philosophy to boot, but when it comes to the woman in the film, watch as the camera lovingly caresses every contour of her body. And unfortunately confining female characters to such simplistic duality isn’t the only problem with how Tamil cinema portrays the relationship between its ‘heroines’ and their clothing.
However, the same cannot be said about earlier Tamil films that had used the ‘Modern vs Traditional Girl’ formula to typecast women on the basis of how they dress. Films like K ho, Parthiban Kanavu and Gopurangal Saivathillai serve as examples. In a number of films in the past, one of the female protagonists is shown as a ‘traditional’ woman who is usually associated with attributes like soft-spoken, reserved, conventional and ‘homely’, and at the other end of the spectrum, we find the ‘modern’ woman, who is often outspoken, fun-loving, bold and ‘progressive’. It’d be premature to ascertain if there is any truth to the speculations made by fans about Kaathuvaakula Rendu Kaadhal as it’s yet to release.
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