Ladies Special

Let’s celebrate Women’s Day by celebrating the women we admire and love

As you may well have noticed, today is International Women’s Day. Yes, yes, we’ve all heard that tired old refrain: Every day is Women’s Day. And no, it wasn’t funny a decade ago, and it’s not funny now. Nor are the annual fulminations of how Women’s Day is a farce because we really haven’t come a long way (baby) very helpful.

So, this year, I decided to celebrate the day by listing some of the women I think are worth celebrating.

Nora Ephron

Her most famous saying was: “Be the heroine of your life, not the victim.” But I have to confess that Ephron is the heroine of my life, and has been ever since I first read her in college. She had the brilliant knack of tapping into her own life to come up with universal truths that every woman could identify with (take the title of her book, “I Feel Bad About My Neck”, for instance). So, her story became our story, and our stories became hers. There could be no greater tribute to any writer.

P.D. James

There is much to admire in Phyllis Dorothy James’ fiction: her intricate plotting, her mastery of suspense, her writing style, and her ability to create characters (Adam Dalgliesh, Cordelia Grey) that we fell in love with. But there is even more to admire in James’ life. A civil servant whose husband died early of a drug and alcohol overdose leaving her to bring up their two young daughters, she published her first book at 42, having written it while working full time. And then, there was no stopping her. She wrote 14 books featuring Dalgiesh, two featuring Grey, and wound up her writing career with a Jane Austen tribute novel, Death Comes To Pemberly, at ripe old age of 91.

Smriti Irani

If a fiction writer made up a story like that of Irani’s, she/he would be accused of over-egging the pudding. She left the family home after finishing school, heading to Mumbai to make a living (where she famously worked at McDonalds). She participated in the Miss India pageant, and then hit the big time with her role as Tulsi in the TV serial, Saas Bhi Kabhi Bahu Thi. In 2003, she joined the BJP, and had such a meteoric rise that 11 years later, at 38, she became the youngest Cabinet minister, in charge of the crucial portfolio of Human Resources Development. That’s an impressive resume by any standards. But what is even more impressive is Irani’s amazing ability to shrug off the many unpleasant personal attacks on her and concentrate on doing her job.

Mamata Banerjee

I can hear those gasps of disbelief all the way from Calcutta to Delhi. But bear with me a moment and let me tell you the story of a young woman, born in the most humble of circumstances, who took on the might of the Communists in a state which they had ruled for decades, without a thought for her own personal safety. She stuck to the task until she had driven them out of office. But even after assuming office as West Bengal chief minister, she never forgot where she came from. She still lives in her old, two-room house, wears the same crumpled cotton saris, and has the same fiery zeal that she displayed as an activist.

Mary Kom

It takes a special talent to excel in a sport at an international level. And Kom’s achievement is even more special because of the many obstacles she had to overcome to become a champion boxer: her early life in the disturbed area of Manipur, the lack of training resources, the paucity of support for her chosen career. But not only did Kom triumph, she also made a comeback to boxing after having twins, shutting up all those who had written her off.

Sania Mirza

Her achievements in tennis are there for everyone to see, but what I admire most about Mirza is the way she has chosen to live her life completely on her own terms. She wore short skirts on the tennis court despite the attacks by Muslim conservatives. She stood firm by Shoaib Malik, the Pakistani cricketer she fell in love with, marrying him amidst a swirl of controversy. And she showed both grace and courage, standing up to the bullies who would deny her Indian identity post her marriage.

Madonna

What an absolute trouper she is! She took a tumble down the stage at the recent Brit awards, landing on her head and shoulders with an almighty thwack. Lesser beings would have been rushed straight to hospital after that. But not Madonna: she stood up, shook off the dust, and carried on with her act as if nothing had happened. No wonder the Material Girl has been a star longer than most pop stars of today have been alive!

Farah Khan

Say what you will about Farah Khan’s school of filmmaking (yes, it’s full on escapist masala fare, but so what?) but there is no denying that she is one of the most bankable names in the movie business now. Her last release, Happy New Year, was the biggest grosser of 2014, raking in a record-breaking Rs 350 crores. And with it, Khan proved that while it may be hard to gain entry into the Big Boys Club that is Bollywood, it is not impossible to beat them at their own game.

Leading lights

Has Bollywood finally accepted that a heroine can power a movie just as well as a hero?

After all the brouhaha that surrounded the making of Mary Kom, the movie – most of it centering around why the filmmakers couldn’t have got an ethnic Manipuri rather than the very north Indian Priyanka Chopra to play the lead role – I must confess that I was rather curious to see how the film turned out in the end. So, for once, rather than wait for the DVD to come out, I actually ventured into a cinema hall to catch the movie, first day, first show.

And I wasn’t disappointed. Yes, it was over-the-top in parts, the usual Bollywood clichés were well in place, and some characters were played at the level of caricature. But what made the movie work was Priyanka Chopra. She didn’t just play Mary Kom; she was Mary Kom. And she achieved this not with prosthetics, make-up and mimicry, but by taking on the legendary boxer’s fighting spirit and making it her own.

Just a few scenes into the film, and you forget all about Chopra’s ethnicity. All you care about is her performance, remarkable in its range and nuance. She brings Mary Kom alive on the big screen: her rebellion against her father who didn’t want her to box; her slow-burning love for Onler, her devoted husband; her stormy relationship with the boxing federation; her fiery determination to make a comeback after the birth of her twins; and more.

Such was Priyanka’s dominance that you didn’t even notice the lack of a leading man in the movie (her on-screen husband is not just supportive but strictly supporting-actor material). And that’s what stayed with me after the film had ended (with an evocative playing of Jana Gana Mana, which had the entire hall standing in teary silence): the fact that this was a woman’s story, told from a woman’s point of view, without any pandering to masculine sensibilities.

Does this mean that Bollywood has finally grown up and realized that you don’t always need an over-muscled man in the lead for a movie to do well at the box-office? Is Hindi cinema finally willing to give its heroines what they have always longed for: a meaty role to sink their teeth into, and a film to carry on their own shoulders?

Well, it is early days yet, but the signs are rather encouraging. Last month saw the release of Rani Mukherji’s Mardaani, in which she plays an angry young cop, who runs down a trafficking ring with a combination of detective work, brute force and a liberal use of swear words. Yes, the kind of role that Amitabh Bachchan played in another lifetime; only this time it was a woman in the lead role. And though the movie was not a superhit, garnering only modest success at the box-office, Rani herself received good notices, proving that audiences are not entirely non-receptive to such women-centric films.

This is a change that has been a long time coming, but has become more and more evident over the last few years. Sridevi’s English Vinglish, released in 2012, was one of the first signs. A small-budget, quirky movie about a middle-aged housewife who discovers herself anew as she signs up to learn English in New York, when she arrives there to help organize her niece’s wedding, this became a surprise hit, on the basis of Sridevi’s sparkling performance (and a brilliant effort by writer-director Gauri Shinde).

The following year belonged to Kangana Ranaut’s Queen, in which she did a marvelous job of playing a West Delhi Punjabi kudi who is jilted at the mandap but decides to go off on the honeymoon of her dreams anyway, even if it is on her own. Yes, there was a hero of sorts, the man who jilts her, but this was Kangana’s show all the way. And she pulled it off with both nonchalance and elan, proving that a heroine can power a movie at the box-office just as well as a hero.

The pioneer of this trend, though, was undoubtedly Vidya Balan. She started off with Dirty Picture, playing a Silk Smitha-type character in one-size-too-tight clothes, and ooh-la-laaed her way to a superhit. She went on to make waves with Kahani, in which she played a woman who may or may not be pregnant but is indubitably in search of her missing husband. And though her latest outing as Bobby Jasoos, a wannabe detective who specializes in weird disguises, bombed at the box-office, Balan herself got rave reviews.

But while these breakout hits (peppered with the occasional flop) are all well and good, the proof of the pudding would be when big budget blockbusters like Happy New Year depend not on a hero like Shah Rukh Khan but on a heroine like Deepika Padukone to draw in the crowds. Or when a superhero is not called Krishh or Ra.One but Radha or even Sita.

Come to think of it, both Priyanka and Deepika would fill out a superhero (or should that be superheroine?) outfit admirably. Super Shakti: Rakshasa Slayer anyone?