Shabana Azmi
On the traditional images of women in cinema: Ram as the dominant husband and Sita as the acquiescent wife shaped our notion of husband and wife, and cinema fed into that. In the 60s, it was like that - the women would say main chup rahoongi - but that changed later to the insaaf ki devi kind of woman, main jeene nahin doongi, main marne nahin doongi, etc. But the heroine had no sexuality - that was left to the vamp/foreigner. The sexuality of the heroine is being celebrated now. However, there is a difference between that and the commodification of women. When in item numbers, slices of the body are focused on, and the angles are only about the swiveling hips and the swinging navel, you make the woman surrender her autonomy to the male gaze. I ask heroines to make an informed choice. They say, 'I have a good body, why not show it off?' But just because Salman Khan takes off his shirt in every film to show his six-pack abs, they can't do the same! It's not kosher for a woman to be commodified just because a man is too!... Instead of mindlessly dancing to the item numbers, listen to the words, focus on your collaboration in that process... We are not giving a single thought to what we are projecting. We have to start by realizing, we are all culpable.
Javed Akhtar
On the creeping of English into Hindi films: With multiplexes, we have liberalized a bit. They have smaller audiences, mostly educated... This gives us the opportunity to deviate from the trodden path - there is a variety of stories available today. On the other hand, these people are having a party. They have no interest in any genuine social issue to spoil their evening. There has never been such a variety of stories, and never have they been so devoid of social issues.
On poetry and lyrics in cinema: The lyrics nowadays - you'd have to be extremely kind to call them lyrics. Language is shrinking in society... The average 20-30-year-old has a smaller vocabulary than her/his mother or father.
On the change in cinema: You will see ugly cinema and ugly politics in the 80s - Sarkai Liyo Khatiya and LK Advani... Woh change hua hai. But the films that are blockbusters today are not the good films. Jo aadmi dukaan chala raha hai, usse kaise kahein ki tujhe pata hi nahin tera gahak kya chahta hai? Gahak toh usko 100 crore de raha hai!
Prasoon Joshi
On commodification of women: It's about the intent - the way items songs are shot is to make you focus on those things (the navel, the hips - in response to Shabana's comment). It affects the male and female psyche. It's inherent in the language. Gaalis in Hindi are about doing something to your mother or sister. Or they say 'humne choodiyan pehen rakhi hain?' Or 'ladkiyon ki tarah kyun ro rahe ho?'
The line between the hero and the anti-hero are blurring, which is a dangerous trend. No one copied Ranjeet (yesteryears' Bollywood villain) when he raped, no one names their son Raavan. Now we have to be careful how they (the hero/anti-hero) are portrayed. You're affecting society as much as borrowing from it.
Sharmila Tagore
On item numbers: Things have changed, why shouldn't cinema? Perceptions have changed, costumes have changed. But decisions are still being made very stereotypically - a woman's passport to life is still marriage. An item song is put into the film for entertainment; it has nothing to do with the film. Earlier, the vamp did the (sexy) song, but then came Choli Ke Peeche and the line collapsed, heroines started doing that. The song had innuendo and naughtiness, which is also traditionally present in Indian tradition. But later in the film, when Madhuri is kidnapped, the villains are humming it to her, and one of them also says cheer ke rakh doonga. That's even more sexist than the song. Why did no one say anything about that when Madhuri had to go to court?
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