Pooja Bhatt: #MeToo allegations need serious action

Agencies
January 13, 2019

Mumbai, Jan 13: Actor-filmmaker Pooja Bhatt says she is happy that #MeToo movement has helped women come out with their stories of harassment but believes allegations need to be followed up with serious action instead of "ranting on a public platform".

A string of cases gave birth to India's #MeToo chapter last September, with women from all walks of life coming forward to demand a safer work environment.

"One should take names. One should file a case and take the person to court. Just ranting on a public platform with no thought towards the consequences, I think, is a bit too much," Pooja told PTI.

She contends that the movement should not be limited to social media and rather be dealt properly with the help of law.

"If a man has made an overture at you and is harassing you, there is a law that protects you. Ranting on Twitter and not backing it up with a police complaint (does not help)... I am not interested in a media trial," she adds.

The actor-director says she too has been a victim of sexual harassment.

"It's a fallacy, I have had my share. Which woman has not dealt with somebody putting their hand on the butt? When I used to go to school by train, I have got my butt pinched. But we were trained to take on that person."

In 2002, Pooja had confessed that she was in an abusive relationship with an actor. She says she was then accused of washing her "dirty linen in public" by the industry.

"I felt I must talk about it as I represent courage and strength to the world. That time it was not considered fashionable to talk about it. I got a lot of flak for it.

"Saif Ali Khan and John Abraham were couple of few people who stood up for me. Everyone from Shekhar Suman to Ruby Bhatia said, 'How can I talk about all this in public?' For me, it was not about him or me, it was about something larger. We need to empower our women to speak."

She says, both as an actor and a producer, she has never worked in an uncomfortable work environment.

"Ninety per cent of the crew that work with me are there since my childhood and which is why I do not want to work too much outside because the people I work with are as important for me as my role.

"For no amount of money or love will I work with people I do not trust. Casting couch does exist and it exists everywhere, when there is an exchange of power. If two adults decide to consent, who are we to judge that? It comes down to women's will."

She says 90 per cent of sexual abuse cases are domestic in nature but no one talks about it fearing its adverse effects on the family system.

"You are often told by people, 'Let it be. Why talk about it as it will unnecessarily upset the power structure?' You are afraid of being ostracised. When you speak the truth, you find yourself in a minority.

"If you are not willing to be a lone wolf, keep your truth to yourself. If you want acceptance and your truths to be spoken, it is a slippery slope," she adds.

Pooja, 46, is of the opinion that it is wrong to assume that men are not harassed.

"Women can be equally vile, big bullies. It is unfair to paint every man with the same brush. There are decent men as well."

She says that both men and women need to work together for creating a safer environment.

"If we have to win this war, we have to do it with men. It is not about women against men."

On the work front, Pooja's home production film "Cabaret" is currently streaming on ZEE5.

She is set to make a comeback to acting with "Sadak 2". The actor will also be seen in a web series based on Abheek Barua's book, "A City of Death".

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News Network
January 9,2020

New Delhi, Jan 9: A Delhi court Thursday directed the makers of the Deepika Padukone starer feature film 'Chhapaak' to give credit to acid attack survivor Laxmi Agarwal’s lawyer in the movie.

Additional Civil Judge Pankaj Sharma said it was necessary that advocate Aparna Bhat's contribution is acknowledged.

"This Court is of the considered view that facts are indicative that the plea of the plaintiff for interim injunction is well-founded and it is necessary that her contribution be acknowledged by providing on the slide on the actual footage and the images, the line 'Aparna Bhat continues to fight the cases of sexual and physical violence against women' during the screening of the film.

"The said line on screen maybe with a rider that the same is with the court order," the judge said.

Advocate Bhat filed the application saying that despite representing Agarwal in courts for several years and helping in the movie-making, she was not given credit in the movie.

She said the filmmakers took her help in the entire process of writing and shooting the movie, but did not give the credit.

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News Network
February 10,2020

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.

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News Network
January 10,2020

Mumbai, Jan 10: Superstar Salman Khan on Friday announced that his Eid 2021 release will be titled "Kabhi Eid Kabhi Diwali".

The 54-year-old actor took to Twitter to announce the movie which will be written and produced by filmmaker Sajid Nadiadwala.

"Housefull 4" helmer Farhad Samjhi will be directing the film.

"Announcing my next film... 'Kabhi Eid Kabhi Diwali'. Story and produced by Sajid Nadiadwala. Directed by Farhad Samji. Eid 2021," Salman tweeted.

The actor, whose last release "Dabangg 3" performed moderately at the box office, will next be seen in Prabhudheva's "Radhe". The film will hit the theatres on Eid this year.

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