Shahid Kapoor talks about how women have played a major role in his life
Shahid Kapoor says how the condition of women has evolved in the Bollywood industry
New Delhi, Dec 9: Actor Shahid Kapoor says the strongest people in his life have been women, especially his mother Neelima Azeem who has been a single parent. He also calls his wife Mira and daughter Misha his “whole world” and says he couldn’t have been happier in his life than now.
Shahid spoke to IANS on phone from Mumbai on the sidelines of Reebok FitToFight Awards 2.0, where the brand felicitated women nominees from across the country for their spirit and courage.
“I don’t think there is anything which resonated with me so naturally as this campaign did. The strongest people in my life have been women, starting with my mother. She was a single parent and she was the most powerful and the strongest, and a person I would depend on the most,” said Shahid, who endorses Reebok with Kangana Ranaut.
“Today, Mira and Misha are my whole world and I can’t think of any reason why this initiative would not connect with me. It’s the most natural connect,” said the actor, who also believes women are fitter than men.
“Women know how to deal with situations better than most men do. They are very independent and self-assured,” he said.
So is he going to inculcate these traits in Misha too?
“I want her to discover herself, be respectful towards family and appreciate everything that she has. I want her to spread love and happiness,” he said of his little one, who was born in August 2016.
Coming from an industry where heroines often complain about not getting the equal screen space compared to their male counterparts, Shahid feels the journey of female stars has changed over the years.
“It’s important to recognise roles for their power, for their impact. It doesn’t matter whether it is male or female. I think stories that deserve being told, the characters that deserve being showcased, must be showcased. There is nothing like male or female in art. It’s just about discussing life, connecting with people and saying something substantial.
“I think it’s amazing to see that so much has been created in films which are female-centric and they are loved by audiences. It also goes to show that we have a lot of women in the audience, in case anybody had forgotten,” he said.
And what does he think about pay equality?
“I think it is changing for the positive. I think people are recognising (the issue) and it is all co-related. Today, women-oriented films have started doing extremely well and they have developed a market for themselves. Therefore, the change is naturally happening.
“Like I said before, it’s not about male or female. If you deserve to be paid a certain amount because that is how viable you are, you must be paid that,” Shahid told IANS.
His next film “Padmavati”, directed by Sanjay Leela Bhansali, is under the scanner for alleged distortion of historical facts about the fabled Rajput queen. The film was scheduled to release on December 1, but was deferred and uncertainty over its release still looms large.
Tired of commenting on the row, he said: “I have spoken enough and I don’t feel the need to say anything more.”
He also said trolls and backlash are problems emerging from social media.
“It’s very easy to pass a comment when you don’t have to be accountable for it because nobody even knows who you are.” (IANS)
A leader of India’s ruling Bharatiya Janata Party (BJP) has announced that he would pay a reward roughly equivalent to $1.5 million to anyone who would behead an Indian actress and a film director.
Surajpal Singh Amu, a member of the BJP in northern Haryana state, is apparently upset about an upcoming movie, Padmavati, starring actress Deepika Padukone as the 14th-century Hindu queen Padmini.
The movie is directed by Sanjay Leela Bhansali.
Amu alleged that the movie is misleading, not based on truth and offends Hindu sentiments in the country.
“We will reward the ones beheading them, with 10 crore rupees, and also take care of their family’s needs,” Amu said in an interview with India’s Asia’s Premier News (ANI) earlier this week.
Threats against movie
Amu also vowed not to allow the release of the movie and warned movie theaters to avoid playing the movie or risk being torched.
The movie was set to be released during the first week of December.
Rights activists have reacted strongly to the threats and urged the government to take action.
“This is pretty outrageous that you announce publicly and no action takes place at a time when people are being arrested for most trivial reasons in this country,” Gotum Naulakha, an Indian-based civil liberties activist, told VOA.
An official complaint has been registered against Amu, but many are criticizing the stance of the ruling Bharatiya Janata Party — which controls the central government led by Prime Minister Narendra Modi — on the matter.
“I’ve not heard any official stance from the central government or the Ministry of Information and Broadcasting,” Vinod Sharma, an Indian-based analyst, told VOA.
Anil Jain, a local BJP spokesperson, told ANI that the law applies to everyone in the state of Haryana and no one can threaten others. The central government has yet to react, however.
Bollywood actress Padukone stood her ground and said the movie would be released despite the threats.
“Where have we reached as a nation? We have regressed. The only people we are answerable to is the censor board, and I know and I believe that nothing can stop the release of this film,” Padukone told Indo-Asian News Service (IANS) last week.
Padmavati was controversial right from the start. Opponents of the movie stormed the filming of one scene and destroyed the film sets. They were upset that the director of the movie was distorting facts by alleging romance between the Hindu queen and the Muslim invader Alauddin Khilji.
Film director Bhansali, however, denies the allegations and maintains the story is based on a Sufi and medieval-era poem written about the Hindu queen. In the poem, the Hindu queen chooses death before the Muslim conqueror could capture her.
Some experts say the poem is centuries old and there is a possibility the Hindu queen might be purely a fictional character found only in folklore.
“There’s a lot of debate in India whether Padmavati was actually a living being many, many years ago or whether she was just an imagined person in a poem,” analyst Sharma said.
Rights activists maintain that if government fails to draw clear lines around the threat made by the politician, and discourage a growing sense of impunity for some, incidents like this will only increase and threaten the freedom of expression in the world’s biggest democracy.
“By letting loose and giving [a] sense of impunity to the goons of the ruling party or people who’re connected or close to the ruling party, we’re paving the ground for much bigger and [worse] things to happen in the near future,” Naulakha told VOA.
The movie is awaiting approval from India’s Central Board of Film Certification.
At the root of the controversy over the release of the Hindi feature film “Padmavati” is, first, the saffron brotherhood’s interpretation of history with a pronounced anti-Muslim bias and, secondly, the Bharatiya Janata Party’s overt and covert attempts to whittle down institutional autonomy.
Even if the BJP’s seemingly political use of the Central Bureau of Investigation (CBI) is a continuation of the practice of its predecessor which made the Supreme Court call the CBI a “caged parrot”, the party can be said to have broken new ground by letting vandals of the Hindu Right vent their anger against Padmavati and, thereby, undermining the authority of the Central Board of Film Certification (CBFC).
In this case, too, there are precedents as when the Congress objected to the film, “Indu Sarkar,” because of its focus on Indira Gandhi. But the saffron offensive against Padmavati is making a greater impact because of the clout which the Sangh Parivar affiliates enjoy in view of their proximity to power.
It is obvious that if they are not checked, not only will the authority of the CBFC be diminished, but also the board will be wary in future of clearing films dealing with history or issues which are close to the Parivar’s heart. Politics will, therefore, virtually take over the board’s functioning.
What is more, the filmmakers themselves will be dissuaded from touching subjects which may be deemed sensitive and deal instead with safe, insipid topics. Such a state of affairs will be unfortunate at a time when Bollywood has been breaking away from the earlier productions with their song-and-dance routine and predictable storylines which were far removed from reality, except in a few exceptional cases which came to be known as the parallel cinema.
Not long ago, it was expected that the directors and producers will be able to breathe easily after the previous censor board chief, Pahlaj Nihalani, was unceremoniously removed so that he could no longer run amok with his scissors in accordance with his saffron whims, as in the case of reducing the duration of a kiss in a James Bond film or ordering 89 cuts in “Udta Punjab” or not clearing “Lipstick Under My Burkha” at all.
But any hope that the new board will be allowed to exercise its judgement in peace with the support of the Information and Broadcasting Ministry has been belied if only because the opponents of the idea of letting the artists pursue their craft unhindered are far too influential politically.
The decision about what the audience will be allowed to see is being taken not only by the self-appointed guardians of culture but also the ministry which has banned two films — “S Durga” and “Nude” — from an international festival in Goa apparently because the letter “S” in “S Durga” stands for “sexy”, which is too strong a word for bureaucratic ears, and “Nude” is out for obvious reasons.
While the rewriting of history books is proceeding apace with Rana Pratap winning the battle of Haldighati against Akbar on the pages of the textbooks printed in Rajasthan, the Hindutva storm-troopers are laying down the rules on how historical events are to be shown on the screen.
India has already seen the exiling of a reputed painter, M.F. Husain, who was hounded out of the country by saffron vigilantes who were displeased with his depiction of Hindu deities.
It will be a sad day if filmmakers, too, have to leave the country or shoot their films elsewhere, as in the case of Salman Rushdie’s Midnight’s Children, which was shot in Sri Lanka.
The standard explanation for demanding cuts in the films is to ensure that the sentiments of the people are not hurt.
It was for this very same reason that Galileo had to disavow his thesis about the earth moving around the sun since such an assertion offended the feelings of the church and the laity in medieval Europe.
It took the church 350 years to apologise. There is unlikely to be anyone in the ruling dispensation or even in the opposition who will be courageous enough to say that the question of whether religious or cultural sensibilities are being hurt cannot be settled on the streets but should be left to the institutions to decide or, as a last resort, to the judiciary to determine with the assistance of scholars.
The saffron ire against “Padmavati” is apparently over the belief that the film will be unable to do justice to the heroic reputation of the queen of Mewar, a legendary beauty, who killed herself rather than be captured by the invading army of Alauddin Khalji.
Although no one, except the censors, has seen the film, the Hindu Right is patently unwilling to take the chance of an erroneous presentation. So the group has donned battle armour to save the fabled queen (real or fictional) 700 years after her death — this time from filmmakers — and is issuing blood-curdling threats against the director and the leading actress.
If accurately presented, the turbulent period of early 14th century Rajasthan can be the subject of a riveting drama. But whether cinema-goers will be able to see the film is still uncertain. (IANS)