Dhak Dhak refocuses spotlight on the limits that women led stories face in showbiz

Women-led stories backed by women are still having to fight for fair space in showbiz. Dhak Dhak, this week’s female bonding film, is a reminder of the same. Taapsee Pannu has turned producer with this story of four women from different age groups and backgrounds making a go for a bike trip to one of the world’s highest terrains, the Khardung La Pass. Pannu has spoken out against the bias that the film faced- without a leading male star and a bankable director, it got very little publicity support from its studio.

But the heartening bit is- Pannu backed this film with four female actors in charge. Reviews are positive with performances of its leading women (Fatima Sana Shaikh, Ratna Pathak Shah, Sanjana Sanghi and Dia Mirza) winning praise. While filmmaking flaws have been mentioned, most reviewers converge on the emphasis that it has placed on making authentic characters a part of a cinematic story. A lead character is dealing with online scandal and shaming. Another is trying to find relevance in a family where she is relegated to the kitchen. Yet another is minimised to just being a wife. The film deals with patriarchy by not just focusing on the men but also the perceptions and limits that women place on themselves with a lifetime of social conditioning.

Dhak Dhak comes a week after the release of Thank You For Coming, also in theatres. Bhumi Pednekar has been appreciated for her performance in a dramedy that has otherwise not found much praise. It features social media influencers in superficial parts that have limited value to the story. This film takes a laboured point too far, almost coming across as inauthentic in its context. Having said that, its makers have to be lauded for making a film about female desire front and centre, and giving it a theatrical release.

At a time when movie theatres are barely floating from a sinking business scenario, smaller films that cater to a women-led audience often find it hard to get a theatrical release. Most tend to release on OTT. It’s a presumptuous trend, because, even on OTT, female-led films that go beyond stardom and convention, are the ones that are breaking out. Kareena Kapoor Khan chose a non-glamourous and realistic character in Sujoy Ghosh’s Jaane Jaan. Featuring a gripping story, a brilliant performance by Jaideep Ahlawat and a strong performance by Vijay Varma, the film has become a huge hit globally for Netflix. Its story is the real star, and Khan has shed her star image to convincingly become a regular person in this film.

A move that was evident from the pre-pandemic years, is shaping up and delivering entertaining, quality content on both films and OTT. It’s the women that are determined to make a change. Female stars are taking on different roles and turning producers for smaller, qualitative stories. Female writers and directors are bringing out nuances of the womens’ point of view on screen. This shift is visible across the world. Here in India, despite it making a visible impact, it continues to fight for its due financially and reputationally.

The Morning Show, a premier series on Apple TV +, has had to deal with falling viewership in its third season this year. But this Jennifer Aniston and Reese Witherspoon based prestige show focuses on contemporary issues that women and the media face today. Rather than take a moral position, it focuses on the human experience of survival as a TV news star, an upcoming news star and the business minds managing broadcast. Led by Mimi Leder, a team of experienced and award-winning producers and writers have created this show that makes no budget cuts in its gorgeous production. With 11 Emmy nominations under its belt, both the platform and its producers have greenlit a fourth season despite a dip in viewership. Similarly, Lessons in Chemistry, also on the same platform, is an uncompromising and focused drama about a successful TV chef dealing with patriarchy and male bias in the Fifties and Sixties. Her inability to become a chemistry Phd, because of gender prejudice, becomes an opportunity when she becomes a popular TV star that champions the struggle of women running homes in America. A conceptually rich show, it is produced and developed like a mainstream studio film with Brie Larsson in the title role. Women led content takes the spotlight with such productions.

In India too, the impact of female stars and shows driven by the female experience are popular. Amongst the most watched shows this year, IMDB.com lists Dahaad (Prime Video). Sonakshi Sinha plays a rural police officer dealing with a woman hating serial killer in this gripping crime drama. Then there’s Saas, Bahu Aur Flamingo on Disney + Hotstar. Not quite a deep or incisive look into rural drug trade, this is a filmy crime drama that has its leading women shooting guns and experimenting with recreational drugs. Its the pull of women in a village getting away with drug trade that has made this a top draw. More recently, Khufiya by Vishal Bharadwaj features Tabu as a Lesbian female top spy with the R&AW. Charlie Chopra and the Mystery of the Solang Valley, also by the director, has Wamiqa Gabbi play the lead as a small town detective. Both have caught on with audiences, and both have women that don’t fit into the acceptable heroine category that has been typically set up in Hindi cinema or TV.

Stories by women and about women have seen a steady uptick in consumption and popularity. Doesn’t mean that they will have it easier even as they go deeper, more nuanced and focused on experiences and aspirations of women. Still it’s good to see them do well and hopefully, one will see a lot more of these onscreen in future.

Views expressed in the above piece are personal and solely that of the author. They do not necessarily reflect Firstpost’s views.

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