Category Archives: Media Messages

Make That One Water

This blogpost was triggered by this article: Giving up alcohol opened my eyes to the infuriating truth about why women drink

This December, I passed another milestone on my life journey and quit alcohol altogether.

I didn’t grow up in a culture that normalised drinking. But I did grow up in one that taught me to strategically become ‘Cool Girl’ as well as take the escapes where I found them.

In college this meant desexualising myself to the point of being mistaken for a boy several times, just so I would be taken seriously (after all, what’s a rough jolt on the back or crass language when you get heard?). When I hit the working world, mid 00s I realised if I didn’t please the male gaze, I wouldn’t just be silenced, I’d be decimated. And alongside lipstick and laughs came alcohol, heels and late nights.

I gave up vodka in 2007 itself, realising I did not like it while I was consuming it or what it did to my body later. I quit tequila after a nightmarish alcohol-poisoning incident in 2010 (curiously linked with trying to fit in with an abusive partner’s friends). I gave up wine subtly because I realised no one would listen to my saying it was an alcohol too and I didn’t like how it felt in my body. I gave up beer in 2016 following a summer where I forced myself to try it in a bid to be cool. And in December, I chased up a traumatic year of attacks and harassment with ‘rum with the girls’. I was sick for 2 weeks after that (though only initially because of the alcohol).

This year I’ve decided to firmly close the door on all alcohol. And I’ve taken the hits badly (but in a non intoxicated state). What a world you’ve consigned me to, when a toxic substance is the closest thing to a friend I have had.


If you liked this post, you’ll want to follow the Facebook Page and the Youtube channel. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram.


Rape Culture, One Accidental Anal Joke At A Time

I saw a tweet being shared (with a fair bit of bragging about how it went viral on 9GAG).

Earlier that day, I chanced upon this article about anal sex:

The Phenomenon of ‘Accidental Anal’

For those of you who cannot be bothered with reading the article, what I took away from it – it may be possible, in the heat of the moment, to superficially  jab at the wrong hole. But the kind of penetration that causes pain definitely isn’t ‘accidental’.

Anal sex has its takers and those who enjoy it, do so with two vital ingredients – lubrication and consent.

Now look at the above ‘joke’ again. If these were sexual situations (as the ‘joke’ implies), would the women’s expressions be ‘Oh oops, how careless’ or “OH MY GOD THAT HURTS SO BAD!!” I am a woman and I can tell you female pleasure does not look like that. I can see pained resignation, agony, horror and grief, respectively on each woman’s face. Are these the reactions you’d expect from consensual sex or the opposite – dare we say it – RAPE?


I tweeted asking if the above was a rape joke or not. The originator of the ‘joke’ replied with the following.

Let’s ignore the defensiveness and the unwarranted aggression all garbed under ‘I respect your opinion’ and focus on the reactions each of our tweets got. I’m not surprised. Misogyny is so cool that the vast hordes will rush to defend and support it. On the other hand, here’s what happens to a woman who even questions a man and god forbid, challenges his rape culture.



And finally, this is what happened when I asked for help:

  • Mumbai Police ignored it altogether. Gee thanks, we now have a new case for ‘resting on laurels’.
  • Twitter sent me the following message: “We reviewed the account you reported and have locked it because we found some of the reported Tweets to be in violation of the Twitter Rules: Tweets that were not in violation may still be public. Please note that if the account owner completes our instructions to unlock their account, and complies with our stated policies, the account may be restored.” I checked the offender’s account and it was visible and active, albeit with the above death-wish tweets deleted. Wow, slap-on-the-knuckle for saying ‘You should die’. Funnily enough, ‘You should be raped’ gets some attention but this one doesn’t.
  • Woman 1: Ignore it. I face so many such with all my yada yada blah blah super important work and ignoring is the only thing to do.
  • Man 1:
  • Woman 2: This is not a rape joke. This is not a death threat.

Oh well.


But this morning, others told me that they agreed that it was a rape joke. Several also expressed outrage about those offensive tweets and confirmed that they considered these death threats. A fair few joined me in reporting that account (which I imagine is the only reason Twitter thought to take some fractional-hearted action).

‘Accidental Anal’ is a violation of consent. Rape will never be funny. Wishing death on somebody is not trivial.

I am glad enough of people realise that if you stand with a rapist, you make it possible for them to be so. Being silent about, ignoring, joking about or agreeing with rape culture IS rape culture. Attackers trying to silence anyone who challenges rape culture, are propagating rape culture. If you support these attackers, either openly or by asking the recipient of their attacks to be silent, you are also propagating rape culture. Every word counts, every moment of silence counts too. Try not be a rapist.

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*If you liked this post, you’ll want to follow the Facebook Page. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram

From #PillowTalk To #ItHurts

Every piece of art or performance that I work on, is an emotion-mining experience. December has been an intense one, with SXonomics (my feminist collaboration with Dr.Ishmeet Nagpal).

We started with a visit to Delhi, a place with which I’ve always had a complex relationship. I was born there. All my life I’ve associated it with stifling familial pressures and oppression. My early 20s brought me a horribly abusive boyfriend from this city and taught me that men would use my skin colour and my body to violate my being. What happened to Jyoti Singh wrecked the mind of every woman in the country. Delhi, for me the woman, for me the feminist, for me who breathed my first there, has worn the face of a monster.

But we were invited by the Love Matters India team to participate in a Durex event themed ‘Pleasure is a human right‘. For a band with ‘sex’ in its name, we sure took our time getting to it, in our work. But we scripted and performed a set called #PillowTalk addressing libido, attraction, orgasm, sex positions and the questions we carry into bed with us. It got a fantastic reaction from the audience and we had a blast doing this.

We had barely touched down in Mumbai before our next event had already grabbed us. From sex talk to exploring mating rituals, partner searches, relationship milestones and landmines, SXonomics was onto its next chapter. #RelationshipsRedefined was a 2 hour interactive workshop/performance with BeHiver that addressed the universal quest for love and its speedbreakers. Ten people allowed us to guide their journeys through performance, exercises, improv and discussion. After all, our name comes from ‘The economics of sex’ and we transact in hope, expectations and actions, don’t we?

And now here we are, nearly at the end of December and we find ourselves in a dark place (because love and relating take you there too). Every relationship in the world starts with love or at least, with hope. But what comes after that? What does ‘happily ever after’ look like? I’ll tell you. It looks like a naive hope that often gets dismissed as an unrealistic dream in the rigors of the ordinary here-and-now. In our transacting hope and expectations, we also find ourselves unearthing things like disappointment, inconsideration, negligence, fatigue and selfishness. Somewhere before we know it, from making love, we’ve gone to making war. We war with looks, with sighs, with silences, with words and finally with actions.

Ishmeet and I have spent days thinking about this, reading, writing, talking, watching, listening. I’ve dug deep into my writings across diaries, poetry and blogposts. I discovered how much I’ve buried in my hurry to be okay again. The depth of the lies we tell ourselves is astounding. I imagined the violence I experienced to be a two time occurrence. But in my digging, I found the abuse, the gaslighting, the lies, the control games that I’d been living in and with for nearly the entirety of that relationship. It made me bleed all over again to remember how many of those had felt off or wrong and how much pressure I had been under from supposed friends and family to shut up and play the happy girlfriend/wife. I had been lied to so actively and relentlessly, the lies hitting me like attacks from all corners that I don’t even know when I surrendered and started lying to myself. Love (or whatever it is supposed to be) can do that. That, and fear. Maybe there isn’t a difference. But it is the price to be paid to understand the hard lesson of love. What else are we here for, as artists, as writers and as people?

Today SXonomics brings you a 1 hour session titled #ItHurts. We use performance, poetry readings, music, audience exercises and interaction to trace this journey from love to blood. Our session is part of a larger event #YforViolence, aimed at building awareness around domestic violence. Following our session, there will be a panel discussion on domestic violence. Hari Kotian (Landmark seminar leader), Vandana Patil, Ishmeet and I are on the panel, which will be moderated by Chhavi Sachdev.

In the past few days, @ishmeetnagpal and I have read, listened to stories of, written about and thought through the dark, dark area of domestic violence for the #YforViolence evening. Because this is part of the truth of love and sex too. It has been a difficult journey and we've both been sickened, as we've beholden the ways human beings hurt each other. But we've tried to distill this experience into something that furthers us and the world. Today, we bring you #ItHurts, a one hour @sexonomicsband session involving performance, readings, poetry, audience interactive activity and music. The talented Karthik Rao joins us today with his guitar. And following our session, Ishmeet and I will also be part of a panel with Landmark leader Hari Kotian and Vandana Patil, moderated by @goldenbrownchhavidazzle. This event is free and open to all. Please consider taking a couple of hours to think about this dark issue and the way it impacts us all. #ItHurts #YforViolence #domesticviolence #abuse #IPV #GBV #sexonomics #sexonomicsband #sexonomicstheband #sex #sexuality #lgbtqia #feminism #feminist #feminists #feministperformance #poetry #spokenword #music #improv #workshop #gender #patriarchy #love #relationship #relationships

A post shared by Ramya Pandyan (@ideasmithy) on

#YforViolence – #ItHurts: SXonomics session
This event is free and open to all.
At: 5:30PM-8:30PM,
On: Sat, 23 Dec 2017
In: Bombay Connect, BKC, Mumbai.

I hope I will see you there. I really do.

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*If you liked this post, you’ll want to follow the Facebook Page. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram. SEXONOMICS is on Facebook, Twitter and Instagram.

When A Man Writes A Woman

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*If you liked this post, you’ll want to follow the Facebook Page. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram

SEXONOMICS: Making Feminism Fun

I haven’t written about SEXONOMICS all these months, have I? If you follow me on Twitter or Instagram or Youtube, you may have spotted a mention or two. Back in the month of love and Valentines, I got attacked at my favorite performance venue. That incident triggered off a polarising among my community with a handful of men victim-shaming me or rushing in to prove their machismo. Many more of them ignored my requests for help. And I realised that I was standing alone for ideas that would get me attacked into submission. I lost all my friends, my treasured relationships.

I also came onto stage, braving crippling stage fright and carrying the wounds of abusive, gaslighting, confidence-shattering relationships. And with this incident, I was being vanquished and systematically bled out.

I found an ally right then, a slight acquaintance that I’d laughed with in the past. She spoke with me and for me. And she asked if I’d like to collaborate on stage. We joined hands with the only man in our space who agreed with our thinking. Drawing strength from each other, we collaborated on a performance piece titled ‘The Parenting Economy‘. We performed it at NCPA during the South Asia Laadli Media Awards. Within a month, we were featured at two other events, one a creative space and one a nightclub. Two months later, another feminist performer invited us to collaborate on a ticketed show.

This is how SEXONOMICS was born.  Dramatic, is that? I’ve barely been able to catch my breath in this journey from solitary feminist struggling for a chance to speak to co-founder of SEXONOMICS.

Each performance has been reshaped in its writing, its delivery but most importantly, in the thought it espouses. We’ve addressed bad parenting, toxic gender roles, troublesome dating rituals, sexist language, the burden of social approval, revenge porn, common fears around sex, gender privilege, feminism and more. We’ve made use of poetry, rap, spoken word, drama, satire and role play. Every single performance has been an apprehensive step fearing retribution like in the past. And every single one has yielded much joy, learning and possibility.

One major milestone this month was carrying the following story about us –

‘With humour and sass, SEXONOMICS  the Band aims to make feminism fun for Indian women’

I am very glad for all the wonderful conversations that SEXONOMICS has made possible for me, with my collaborator but also with others. If you’ve enjoyed my writings so far, I think you’ll like this next stage in my words also. SEXONOMICS is on Facebook, Twitter and Instagram.

“People are so comfortable in their minds with misogynistic references,” Pandyan said. “I just want feminism to also be something that is welcome on the furniture of your mind. It ought to be sitting on the same plush sofa that has been the prerogative of Salman Khan or Honey Singh so far.”

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*If you liked this post, you’ll want to follow the Facebook Page. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram.


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Lipstick Under My Burkha: Not Feminism But A Revenge Saga Against Men

I watched the much talked about ‘Lipstick Under My Burqa’ earlier this week, the first movie I’ve paid a ticket to go watch in the theatre all year. I’m not so sure it was a good decision. All week I’ve been pondering the discomfort I feel with the film. Wasn’t it supposed to make me, the Vocal Feminist, very happy? Well, it didn’t. I found some clarity in my thinking after reading this article (‘Lipstick Under My Burkha Is Bold But Not Feminist).

The story told me that women had problems. I knew that already. So? Does it lay them out in a nuanced way? Let’s see – marital rape, slut-shaming, moral policing. Okay, complex issues, further complicated by the tangle that is gender politics. The bedroom, women’s bodies, our relationships with each other are fraught with so much power play, so many sensitivities that there’s room for a really nuanced story.

Okay, we need to talk about the men in the movie. Why, you ask? Because neither patriarchy nor feminism exist in an isolated world of only women or only men. Both are upheld by people of all genders. Everyone is impacted in some manner by the conflicts inherent in these systems.

Four stories with a woman at the center of each. Let’s meet the men in each one’s world.

Usha buaji/Rosy is surrounded by male tenants/nephews that she keeps in check with stern looks and words. How do these men deal with an older woman who wields financial power over them? Add further nuance with one of them being a Muslim burkha shop owner – how does he deal with his home and livelihood hanging on the decisions of an older, uppercaste Hindu woman? There’s also the key male character in this story – a young lifeguard. He’s nice looking, he’s Haryanvi and he responds to phone calls from an unknown woman propositioning him. Uh, that’s it.

Rehana Abidi is an impish teenager who works at her father’s burkha shop and moonlights as a Led Zepplin humming, boots-wearing, beer-chugging activist collegegoer. How does her father rationalise letting his only child study in a co-ed college while swathed in a burkha? How does he feel about the scantily clad Miley Cyrus poster on his daughter’s wall (flimsily hidden under a towel)? What do the classmates who undoubtedly see Rehana’s daily burkha/ripped jeans metamorphosis make of her spurty activism? Why does the cool stud, Dhruv, find her interesting (apart from her being the only girl in Bhopal to know ‘Stairway to Heaven’)? Do they talk about anything other than music, drinking and making out?

Shireen Aslam appears to work in a world of only women. Her colleagues are all women, her customers are women and she’s not shown sharing a scene with any man other than her husband and her three sons. Somehow with all this, she manages to be the ‘top salesgirl’. That’s a sales job and I don’t care what you’re selling, you can’t NEVER meet or see men. What is her husband like? How is he coping with losing his job? Does he appear defeated and indifferent to whatever else goes on (which explains why he doesn’t seem to be looking for another job)? Is he charged up, angry and driven (with enough energy to openly date a mistress and appear to enjoy it)? How can he be both? That’s not character nuance, that’s Jekyll-and-Hyde.

And finally, the story of our enfant terrible Leela a.k.a The Bad Girl who is sleeping with a photographer while trying to kickstart a business and also survive an engagement with a good Indian boy. Who’s this fiance? He’s going to keep her in a tiny room overlooking the train tracks, in a house bursting with people. But he’s also buying her mother a house. How does he feel about the financial comittment he’s undertaking? And wouldn’t he feel a lot more entitled to his fiance’s time, attention and worshipful devotion? Hey, that’s how human beings think. Alright, never mind him. How about the photographer boyfriend? Does he love our girl, does he not care? Is he using her, is he feeling used? Does he contribute to the business set-up and if he doesn’t believe it, is mere sex enough motivation for him to follow her around? And if that’s so, why does he refuse to sleep with her later?

Once more, let’s list out the men of Lipstick Under My Burkha:

  1. Irrationally hot-headed dependent (tenant/nephew)
  2. Boyfriend photographer prone to irrational rage, jealousy, ego trips and indifference
  3. Slow-witted, corrupt government officials
  4. Brainless hunk lifeguard who scatters words and smiles without abandon
  5. Socially awkward virgin fiance who assumes his fiance is one too
  6. Featureless colleague of husband who blabs to the wife about her husband losing his job
  7. Distant, oppressive father who frowns menacingly more than he speaks
  8. Abusive, cheating, absent father-husband
  9. College cad who dumps his pregnant girlfriend, seduces an underage girl and dumps her at the first hint of uncoolness

The first two are caricatures of irrational men whom the women constantly bully. 3-5 seem incapable of functioning as intelligent adults. 6 & 7 are not really people but blank walls with vague faces. The last two are versions of the all-dark MONSTER. Do any of these men sound like actual human beings?

I’ve heard the cry of ‘But this is a story about women!’.

This story is not set inside a women’s bathroom so why is anyone not female such shit?

That’s no more an accurate depiction of women than it is of their worlds or the men. Feminism is not about villifying men. It’s not about deifying women as long-suffering and showing the metaphorical middle finger to the world (only under the burkha and behind closed doors). It’s about respect and rights for every human being, regardless of gender or other qualifiers.

Slotting men so narrowly amounts to discrimination and what kind of feminism is it, which discriminates? As a woman, I am personally offended. I live in a world that treats me in problematic ways, yes. But I am not so weak that I need to believe that every man is a monster/imbecile. I’m offended by a narrative that tries every storyteller’s trick to define me as a victim. It turns the fight for equality into a revenge saga against men and that is offensive.

What’s worse, having adequately established the ‘See, women’s lives are HARD. Men are so horrible.’, the story closes. Like the article points out – in a cramped room, the women huddled together sharing a surreptitious cigarette and pointing a middle finger. Behind closed doors. What’s the point? Feminism was never about glorying in woe-is-me, any more than it was about hating men. Feminism above all, through its changing definitions, has always been about hope for a better world. Lipstick Under My Burkha offers none of that and sits back to have a smug, self-satisfied smoke at having put down the men. Note: Victory over men, not over patriarchy and what kind of victory is this?

Does this movie show us a single man that is not a cardboard stereotype? Any human characterizations of over half the world’s population? Any realistic depictions of the perpetrators-parallel victims of patriarchy? Any conflicted human beings troubled by the gender double standards while struggling to keep up with the changes wrought by feminism? Any angst at all in any of the men who seem to drive the women’s lives? Even a hint, a flicker of support, compassion, consideration for anyone? Any guilt, regret, confusion over how to express it? Huh?

There’s the problem. It’s not feminism if it’s looks, sounds and tastes like a revenge saga against men.

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*If you liked this post, you’ll want to follow the Facebook Page. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram.

The Ugly Male Face Of ‘Cannot Cope’

I always thought India hates its daughters. But now I believe it hates its sons even more.

One of the biggest advantages that I have is that I was given a realistic view of the world’s indifference and even hostility to my existence. Yes, this is an advantage because growing up aware that you need to work hard and fight for every good thing possible lets you develop this skillset. It teaches you that if the world does not accept you, you don’t shatter; you just try harder. It lets you not take anything or anyone for granted. True, it gives you trust issues. But in our world today, I think I’d rather have trust issues than survival issues.

I predicted this years ago, when my twenties were full of boy-men treating me and other women callously, thoughtlessly, cruelly even. The tables would turn and they are. It’s not that women are getting a better deal. No, we’ve learnt to cope. After all, we were trained to deal with betrayal and unpredictability, in a near-Spartan manner since we were little girls taught to flinch under the male gaze, tiptoe around fathers and brothers and work for their approval. We’ve survived and continue to do so.

But the men? Look at the male half of most break-ups, divorces, broken friendships and even layoffs. Do you see more calories? Greyer hair? Lesser hair and more paunches? More missed calls but also fewer Tinder matches? Higher debts on accrued credit card bills? More rumpled clothes? More dripping venom against life in hate-speech on the internet, stage performances, watercooler conversations? Fewer friendships? More bad behaviour at parties?

This is the ugly male face of Cannot Cope, Cannot Deal With Adult Life.

*Image via Pixabay

These are cracks appearing in the Raja Beta syndrome, as its foundation stones of the manipulative, infantalising family, ages. What happens to a full-grown adult who has been handicapped of social skills and deprived of the freedom/ability to take responsibility for his life, when the crutches falter? That is a damaged human being. Meet The Indian Man.

This one is struggling through a divorce, still bewildered that such a thing could happen. That one is dealing (very badly) with palpitations, diabetes, blood pressure, liver troubles and hating the medical system for it. This one feels inadequate at work, can’t find a way to rise and decides his women classmates must be sleeping their way up. That one can’t stand to see his wife spend so much time on Whatsapp and Facebook, can’t stand the TV they watch and can’t stand it when the electricity is off either. This one hates his colleagues, hates his fellow commuters, hates the spouses of his wife’s friends, hates his neighbors, hates the service staff and thinks it’s just that the world is wrong. That one thought he did everything right, degrees, labels etc. and yet everyone else looks happier than him. This one thought he was the cool one so where did it all go wrong? That one has no idea what to do when his spouse doesn’t get along with his family, is clueless when a job or a relationship ends and has no idea how to take care of his parents. Or himself.

This system is harsh on me but it has actively betrayed the Indian man. I’m truly sorry for all of you. I will not take care of you because that’s just allying with the system. I know many of you will not see that. I also know this the reason you turn your nameless rage against the system onto me and other women. But I’m still sorry. It’s the system, people who were supposed to love you that let you down, not me. All I can say is, it can get better and hatred is not the way.

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*If you liked this post, you’ll want to follow the Facebook Page. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram.

Happy Tokenism Day, Rejoice And Prepare To Hate Us For The Rest Of The Year


Happy Bhaag Jayegi Makes A Surprising Escape From Patriarchy

I caught Happy Bhaag Jayegi earlier this week (heh). It was full of the requisite hammy performances and stereotypical Punjabi loudness. But something stood out for me – an easter egg called feminism hidden inside what looks like a typical Bollywood film.

Diana-Penty-In-Happy-Bhaag-JayegiHappy is a high-spirited Amritsari girl with equal measures of determination and naivete. She is part Geet from Jab We Met, part Pooja from Dil Hain Ki Manta Nahin. She has a (rather nondescript) unemployed, dimwitted boyfriend who can’t summon up the energy to take their relationship further. So Happy proceeds to get engaged to a local contractor, Bagga. An elopment plan is made (masterminded no doubt by Happy since the boyfriend is so somnolent) which goes wrong and Happy finds herself over the border, alone, in full wedding regalia.

At the surface of it, it’s a loud, raucuous comedy making light of the Indian stereotypes of a bullying father, an overpowerful fiance and a hapless lover with the damsel in distress at the center of it. But Happy isn’t a helpless waif and neither is she a victim of her circumstances. Compared to her, all the men come across as silly, weak and clueless. She doesn’t appear bogged down when she’s being bethrothed to one man, even while her lover mourns at the gates of the party. She’s not defeated when she finds herself in Pakistan, minus passport, money, contacts or even a mobilephone. She isn’t even abashed when she’s arrested by the Pakistani police.

Yes, a lot of these could just come from arrogant naivete. And her situations are saved from becoming tragic by the presence of good (though weak/clueless) men. But that is the reality of life and feminism. A strong woman is not a superwoman who doesn’t need anyone else. And men are not all villains in the fight against patriarchy and repressive gender roles.

I first noticed it in Abhay Deol’s character but I thought it might just be nuance added by this (admittedly intelligent) actor alone. But there’s a recurring pattern in all the male characters. None of them are supervillains and all of them (in varying degrees) treat Happy as a human being, not an object.

Happy’s father cuts a sorry sight as he stumbles through Lahore streets, begging passers-by to tell him about his lost daughter. The overbearing patriarch has come a long way and he’s just a father devasted by the loss of his child. He is the only man to cling to an outdated sense of gender roles and he is suitably chastised by circumstance.

Bagga, the would-be fiance, is a local thug. Possibly due to the comedic nature of the movie, his response to Happy running away doesn’t become violent. He stays focussed on wanting to marry Happy. He even manages to turn potential humiliation into a sympathy vote for himself. No victims there either (I think he’d have made a good spouse for Happy) and he does it without slandering or punishing Happy. His chest-thumping machismo is cuckolded by intelligence and there is a sense of his having grown and moved on because of it.

The puppy-faced boyfriend gets to Pakistan, with a lot of help from everyone else. Yet, the night before the wedding, he is able to rouse himself out of his stupor to think beyond himself. He summons up the courage to ask Happy’s benefactor if he is not in love with her too. What a contrast from the usual depiction of the Indian lover as an entitled, jealous stalker!

Bilal, the benefactor, is mostly a privileged Pakistani counterpart of the boyfriend, ineffectual due to parental pressure (what’s Guddu’s excuse?). But he acknowledges that Happy’s influence makes him bestir himself and take action. I loved the complexity in his relationship with his own fiance. His fiance Zoya is truly his partner in crime through the film, rather than a helpless all-sacrificing woman. Bilal doesn’t turn into superman overnight but he fumbles, he yearns, he broods and he reaches a decision about his own life. And of women, he says,

“Madhubala to Dilip Kumar ko bhi nahin mili thi. Par yeh zaroori nahin ki Madhubala ko kitne chahate they. Yeh zaroori hain ki Madhubala kisko chahati thi.”

I haven’t seen a Bollywood love story in a long time, that acknowledges a woman’s consent. Bilal’s statement makes this a story about what the girl wants and her right to have it, rather than making her a trophy to be won by the best man. This makes me very happy and I’m quite willing to forgive the flaws in the movie for this one dialogue alone. Maybe the world is changing, even if not as quickly as I’d like it to.


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* If you liked this post, you’ll want to follow the Facebook Page and the Youtube channel. I’m Ramya Pandyan (a.k.a. Ideasmith) and I’m on Twitter and Instagram.


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