Swara Bhasker calls out the hypocrisy of the Indian audience as her latest show about a woman owning her sexuality faces flak
Mohar Basu (MID-DAY; July 7, 2020)

Swara Bhasker's latest offering Rasbhari has been in the news all week. The Amazon Prime Video series, which has Bhasker play a teacher whose teenage student becomes obsessed with her, has been slammed for its risqué content. The actor admits she too had her share of doubts when the project came her way. "Since it deals with adolescent sexuality and infatuation, the show depends heavily on the writing. The reference point was Malena [2000], but this show has a comic take. Malena was quite sexually explicit, so I asked for a full script. Upon reading it, I realised this show goes beyond adolescent sexuality and highlights the prejudices of repressed societies. It shows how on one hand, people lust after women, but on the other hand, female sexuality is equally vilified," says Bhasker.

The explicit display of sexuality hasn't gone down well with many, with a section of netizens terming it "soft porn". But she reasons it was necessary to tell the story from a male gaze. "The story is a young boy's perspective and thus told from a male gaze to highlight the blatant objectification of women. The show is not a mere raunchy comedy and Nikhil Bhatt [director] created the climax in such a way that Rasbhari is a catalyst in creating a better man of its adolescent hero. It's not an easy show to watch, especially for those who are conservative. The show holds a mirror to all of us. But isn't that the point of art?"

Bhasker believes that the outright rejection of the series is yet another instance of our society's double standards. She argues that while the Indian audience is encouraging of thought-provoking shows from the West, it cannot stomach bold content that emerges from our backyard. Highlighting the hypocrisy further, she states, "Rape is fetishised on screen and depicted rather insensitively in most cases, but, that doesn't bother us. We are comfortable watching women being violated, but when we see Rasbhari, we squirm. The story of Anaarkali Of Aarah [2017] is easier to digest because a wronged woman is more palatable to Indian sensibilities. Shanu [her character in Rasbhari] is in a more powerful position socially, and Rasbhari [her alter ego] is unabashed about her sexuality. She is a courtesan figure who is not a victim, but revels in every shade of her existence."

One of the few vocal artistes in Bollywood, the actor has often bravely spoken against the establishment. While she takes the online trolling with a pinch of salt, Bhasker is not amused that the show is being targeted because of her political stance. "The bloodbath is relentless. The IMDb ratings have dropped. This has happened to Thappad and Pataal Lok, too. I am happy to debate well-intentioned criticism, but the responses from trolls are simply, 'Haww ji ye kaise dikha diya?' Adolescent sexuality is a real thing. People who haven't even watched the show are criticising it; they are doing so because they don't like me. Perhaps that's the path I have chosen by not being silent. It's a braver and harder path to express dissent. This is precisely why Bollywood doesn't speak up; stars know their ideology could affect their work."

Riya Sharma (BOMBAY TIMES; February 19, 2019)

Actress Swara Bhasker, a Delhi University (DU) alumnus, was recently invited to speak at Shri Ram College of Commerce’s Business Conclave. From disregarding the standard advice given to aspiring actresses, to balancing her principles with her profession, Swara gave examples from her life to tell students not to live their lives only according to formulae or calculations.

‘FORMULAE ARE NOT ALWAYS RIGHT’
Swara began by telling the students that she wouldn’t lecture them, but could share lessons that she learned in the industry. “I can share with you lessons as somebody who has been a part of DU and now works in the film industry. What I’ve learnt in this 10-year journey is that formulae are not always right. My career has been a testament of going against all the advice that aspiring heroines are given,” she said, adding, “I was told that you have to be launched by big directors, and I was like, ‘Par mere papa ya mummy nahi hain Bollywood mein’.”

Swara said, “I was among the thousands of people who come to Mumbai with thedream ki Shah Rukh Khan banna hai. I was also told that if you want to be a heroine, don’t start your career with roles of the heroine’s best friend. But Tanu Weds Manu gave me a break. Everybody advised me to not do Prem Ratan Dhan Payo kyunki Salman Khan ki behen ka role kaun karega, and I thought that on Friday, more than half of the country will have watched the movie and by Sunday, a good percentage of them will remember my face because I was at Salman Khan’s side.”

The actress added, “Every heroine in her 20s is told that she must do young roles. When I got the script of Nil Battey Sannata, I thought they were offering me the daughter’s part, and I was like, ‘Waah, main 15 saal ki lagti hoon!’ But when they said you are the mother, I realised that it was a challenge and I did it. Everybody will tell you that actresses are supposed to be nice, sweet and good looking, but in Anaarkali Of Aarah, I play a badass, bad-mouthed, ‘badchalan’ street dancer. I’m not saying what I did was great, but I know that the advice people were giving me did not factor in the fact that Bollywood was changing during the years I was making my career.”

‘LEARNED TO BALANCE MY PROFESSION WITH MY IDEALS’
Swara added, “The other thing I learnt in Bollywood is that we have to choose our patterns. I had to do that in different ways. I was like, looks are not important, you cannot objectify women. Why should we wear make-up, why should we wax our legs? But look at me now, I’m wearing heels, which is one of my biggest accomplishments in Bollywood. But once when I was cribbing to my mother about all this, she said, ‘Beta, if you want to be a part of this industry, stop bitching about it. If this is the game and these are the rules, does it not make sense to play with those rules till you reach somewhere, and then try to change the rules? At least people will listen to you.’ So I learnt to strike a balance. If actresses are supposed to look nice on red carpets, then I will make that effort. I’ll find those stylists to make me look like that so that after two-three films, when I speak to an audience like you guys, I can tell you that it is all superfluous.” 

Sanyukta Iyer (MUMBAI MIRROR; November 7, 2017)

The rapid unravelling of media mogul and Hollywood’s leading producer-distributor Harvey Weinstein, followed by House of Cards-star Kevin Spacey accused of molesting a minor, has shaken up the entertainment world in the West and prompted many victims to speak up against other power players.

Over the last two weeks, multiple allegations have been reported against actor-comedian Andy Dick, producer David Guillod, Oscar-winner Dustin Hoffman, songwriter Ethan Kath, TV star Jeremy Piven, filmmaker Brett Ratner, writer-animator Chris Savino, screenwriter-director James Toback, to name a few.

While Hollywood has sprung into a much-needed clean-up operation at the workplace, Bollywood has remained tightlipped on the issue. Finally, actress Swara Bhaskar speaks up about being harassed by a drunk filmmaker and why it’s important to break the code of silence.

The casting couch is not new to Bollywood. So why isn’t our film frat ready for a spring cleaning of sorts, a la Hollywood?
Sexual harassment is a universal phenomenon because fundamentally it is about power or rather the misuse of power. No relationship, even the most intimate, is devoid of power dynamics. Power operates most brazenly in an unregulated workplace and that is what Bollywood is. The way a film set operates is often feudal and always hierarchal, where some people give instructions and others execute them. It is an uncertain place ruled by fortune, the cruel seductress, populated with a crowd of forever anxious ambitious dreamers and hustling freelancers. If you succeed, money, glory and power is yours. If you fail, the world falls apart. Conditions at the workplace are ripe for sexual harassment, more so because victims can be easily silenced.

The shaming movement in the West is so effective because actors are naming offenders.
Actors are vulnerable because they are perennially either looking for or out of work and much too ambitious to risk their careers for a cause. Also, the backlash on the social media is scary. See how Mallika Dua was trolled on Twitter by random people. (The comedienne wrote an open letter, after Akshay Kumar, judge of reality show, The Great Indian Laughter Challenge, commented at her, “Aap bell bajao, main aapko bajaata hoon...”) Bollywood is not conducive to an honest conversation about sexual misconduct.

Over 300 women have spoken up in Hollywood and 31 official complaints have been registered so far.
I would like to make a distinction between sexual misconduct, inappropriate remarks and rape. Kevin Spacey has been accussed of attempting to rape a minor. Whenever Bollywood faced a similar situation — the case of Shiney Ahuja comes to mind. The reaction was to quietly allow the law to take its own course. In other cases too, celebs have chosen not to comment, which in some ways is better than slut-shaming the victim or accuser. Ours is a small industry where everyone is friends with or related to someone which makes the task harder. We need to follow the example set by the Malayalam film industry which has instituted an anti-sexual harassment committee after the rape of an actress to create a safer working environment and to get justice.

Have you personally faced harassment on a film set?
Of course. I’ve been propositioned by men who were in a position to cast me. I lost a few roles because I didn’t give in. It made me vulnerable, nervous. Some people even stopped responding to my messages because they knew I would not give in. Being an articulate, educated girl they sensed that I would not take things lying down.

There have been catcalls during shoots and eve-teasing on one of my sets. I’ve been groped by a mob during promotions and during a 56-day outdoor at a remote location, when I was still fairly new, the director harassed me with texts and dinner invites. He stalked me during the day and called me through the night. I was asked to go to his hotel room on the pretext of discussing the scene and would find him drinking. During the first week itself, he started talking about love and sex and one night, arrived in my room, drunk, and asked to be hugged. It was scary! I was young and alone. I would switch off the lights after pack-up and remove my make up in the dark so he would think I was asleep and stop calling me.

Did the harassment stop?
Yeah, after I told him that he was scaring me and making me uncomfortable. I told him I wouldn’t be able to act if this continued. He acted hurt and said I had misunderstood him. He stayed away for two weeks, then he was back to his tricks. I finally confided in the executive producer and made sure that I was escorted everywhere.

What is the best way for an actress to deal with harassment on a film set?
Lose the part but don’t get on the couch. It’s not a feminist choice and it’s certainly not a liberating choice. It’s like giving a bribe and that is succumbing to a wrong.

In Anaarkali Of Aarah, your character sleeps her way to the top. How did you feel playing this role?
Anaarkali Of Aarah is a path breaking film. Anaarkali is a promiscuous, ambitious girl who sleeps with the manager of her troupe to become the lead singer. She’s a grey character, difficult to sympathise with and yet, by the end, you do empathize with her.

There is a dialogue in the film with Anaarkali saying, “I am a whore/slut according to your morals and definition but it is still not okay to molest or harass a girl.” That took the debate away from the girl’s lack of virtues to put the blame squarely on the aggressor. That is what has to happen in real life too. It doesn’t matter what a woman does, she does not want to be touched or propositioned without consent. Period.

Earlier this year, TVF founder-CEO Arunabh Kumar, was forced to step down after several complaints. Bollywood remained a silent spectator through the controversy.
The TVF controversy started a conversation that was long overdue. But the first allegation was an anonymous letter and it is difficult to say anything about an anonymous allegation. What was interesting was that many other girls came forward subsequently, spoke up, giving up their identities. That created a public discourse. We need to stop silencing and start sharing. We need to stop slut-shaming and ask for a collective platform to deal with this issue. We are all guilty of being in the know and remaining silent. And that is complicity.

Anaarkali Of Aarah takes the idea of last year’s sleeper hit Pink further and explains the same notion in a much more crude environment. The small town factor works big time and also that it tells the story of a singer who sings bawdy but foot tapping songs makes for an interesting watch. Swara Bhaskar is the soul of the film and delivers a fantastic performance. It’s so cool that every year, she manages to give one rocking performance that stands out – last year, it was in Nil Battey Sannata and this year, it’s Anaarkali Of Aarah! Sanjay Mishra balances the buffoonery and the evil part of his character well. Pankaj Tripathi as always is a treat to watch – and this time he’s doing thumkas too! Mayur More and Ishtiyak Khan are adorable. On the flipside, the film is not entirely convincing. Anaarkali’s attempts in getting even seem filmy, which is contrary to the realistic setup. But Swara’s performance, the mitti-ki-khushboo element a la Aanand L Rai cinema and the songs make up for the minuses!

My rating - *** out of 5!

Mohar Basu (MID-DAY; March 18, 2017)

A fortnight after a few bold scenes from Swara Bhaskar’s to-release film were leaked online, the makers have gone all out to safeguard their interests. Producer Sandiip Kapur has obtained an anti-piracy John Doe order from Madras High Court to ensure cinephiles watch the movie only in the theatres.

Explaining the effect of the order, Sandiip says, “It means an action against over 1800 torrent and other websites covering more than 95 per cent of the piracy spectrum. For an independent producer like me, every penny matters. For a Friday release, the pirated version is available online within a few hours. With this order, 1750 sites and 40 ISPs ( internet service providers) will be restrained from downloading the film.”

Emphasising that piracy is “a pressing concern”, he adds, “Even if the scenes are deleted from the movie, none should get exclusive footage of our film. Websites, which aren’t covered by our order, have also been taken into account. Taking a cue from Dangal and Ae Dil Hai Mushkil, both of which leaked on Facebook and YouTube on the day of release, adequate measures will be taken to ensure that doesn’t happen to us, a team of software engineers has been deputed to ensure the sites are blocked immediately.”