Recently, a video featuring veteran actresses Asha Parekh and Tanuja went viral. Their conversation as part of Maitri Collective’s discussions also highlighted that during those days, sets had inadequate washroom facilities and that they endured it because they were unable to bring up these issues.
However, they also observed that today things have changed for actresses. They can demand changes, said the veteran artists addressing persisting issues like ageism and pay parity.
Ageism has been prevalent for decades and uniform across film woods in India. Actresses like Pandari Bai, who starred as a female lead opposite stalwarts like Rajkumar, graduated to mother roles while he was still playing the hero. Usha Kiron, who was one of Dev Anand’s heroines in the 50s moved to sister and mother roles in the 70s, when he was still donning title roles, despite being six years older.
A change waiting to happen
Today, Amitabh Bachchan, in his 80s, continues to get roles written for him. His yesteryear co-stars Rekha, Hema Malini, and Zeenat Aman are nowhere in the scene.
Hollywood, which has grappled with the same issue for decades, has had vociferous discourses around discrimination. While the change has been slow there, it has begun. And it is, as of now, restricted to the Streeps and McDormands of the industry.
Nonetheless, the solution lies in the findings of a Hollywood report that showed a rise in the number of female directors, writers, producers, and cinematographers.
The Indian changemakers
English Vinglish starring Sridevi and helmed by Gauri Shinde narrated the story of a homemaker-entrepreneur and her quest for finding identity and respect from her children and spouse– a relatable and mature portrayal by an actress in her late 40s. Actress-filmmaker Revathi, who captured the loneliness of a homemaker, reaching out to an online friend to escape the drudgery in Mitr My Friend, a couple of decades ago, repeated her magic with Salaam Venky starring Kajol as a middle-aged mother of a disabled person. In Tribhanga, Renuka Shahane presented the lives of three generations of women and their journey.
The South, where the gap has been equally stark if not more, has moved ahead in leaps from the time of a lone name like Bhanumathi, who donned the director’s hat. Today, Anjali Menon, who has brought about a whiff of fresh air with flicks like Wonder Women, an ode to sisterhood, has been a strong contributor to breaking the mold. Sudha Kongara has exemplified the change she can make as a woman filmmaker, presenting a powerful case for a woman amateur boxer in Irudhi Suttru.
While OTT has already made it a level-playing field without the pressures of raking in the moolah at the box office, the female directors and producers not only have a burgeoned canvas for filling it up with characters that aren’t stereotypical but also the increased responsibility to bring the change they have been seeking.
