It implies that a ‘no’ is a ‘no’ only until it can be turned into a ‘yes.’Īnother concern is the portrayal of women. In a country that does not understand consent, this trope sets a dangerous example, blurring the boundaries of consent.
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She cites the example of ‘Appu’, in which Puneeth Rajkumar is obsessed with Suchitra, played by Rakshita, and spends more than three-quarters of the movie stalking her and not taking ‘no’ as the answer. In fact, in 2013, Darshan was the protagonist in ‘Bulbul’, and predictably the ‘catchphrase’ of the movie was Ambreesh’s iconic dialogue.Īrpana brings to the fore an interesting dichotomy: “When a villain is involved in harassment and stalking, it is bad, but when the hero does it, it is accepted as normal.” He shot to fame as a hero, his problematic portrayals were whitewashed.”Īmbareesh as Jaleel in ‘Nagarahaavu’ was not a one-off portrayal stalking is a norm. “I was taken aback and I remember the moment vividly,” she says.Īrpana Natraj, film enthusiast, gives an explanation for this: “At that time, when Ambareesh was the villain, people might not have wanted to imitate his behaviour, but as Many young women who grew up when Vishnuvardhan’s Naagarhaavu (1972) was released, and even college students to this day, can attest to having been harassed with Ambreesh’s ‘iconic’ “Aye Bulbul maathadkilva?” (Aye Bulbul, won’t you talk to me?).Īishwarya Shet, development professional, remembers when she was in college, three years ago, she was teased with this dialogue. The audience has come to accept and anticipate scenes that perpetuate dangerous stereotypes for women. The Kannada film industry was no different-it had its share of dancers like Jyothilaksmi and Vijayalakshmi and a rape scene in many movies produced in the ’90s.Įven though the industry has considerably moved away from rape scenes, films like ‘Dandupalya’ and ‘Ragini IPS’ continue to cater to the male desire to see rape scenes. Even though the movie did next to nothing for the actors, it inspired many from that era to use rape to portray sexuality. In the ’70s, Radha Saluja features in a lengthy rape scene in ‘Do Raha’. When ‘Husn ke laakhon rang’, from ‘Johny Mera Naam’, became popular, it became a benchmark that other south-Indian sought to follow. Hindi cinema in the ’60s and ’70s started with ‘cabaret dancers’ such as Helen and Padma Khanna. “It was Bollywood’s way of portraying sensuality and bringing in audiences,” he says. Like other trends, the rape scene was an import from Bollywood, says well-known film critic K Puttaswamy, whose history of Kannada cinema won him a national award. Whether it is the symptom or the cause, the shortcomings of the Kannada industry have relegated the woman’s point of view to ‘alternative’ films.Įven more alarming is the glamourising of rape.
Indian cinema has always shown deep bias for patriarchal notions, and the Kannada film industry is no exception.
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The question becomes especially relevant as the country reels under a never-ending series of sexual crimes.
Creative people are always asked if life inspires art or if art inspires life.
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