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
June 24,2020

Mumbai, Jun 24: Veteran choreographer Saroj Khan has been admitted to a hospital here after she complained of breathing problems.

According to a source close to her family, the 71-year old choreographer was rushed to Guru Nanak Hospital in Bandra on Saturday.

Following her hospitalisation, a mandatory Covid-19 test was done, which turned out to be negative.

"She is fine now and recovering. She had breathing issues and was taken to hospital for that. Her Covid test was done which turned out negative. She doesn't have any symptoms. She is likely to be discharged in a day or two," the source told PTI.

In a career spanning over four decades, Khan is credited with choreographing more than 2,000 songs.

The three-time National Award winner has choreographed for some of the most memorable tracks, including "Dola Re Dola" from Sanjay Leela Bhansali's "Devdas", "Ek Do Teen" from Madhuri Dixit-starrer "Tezaab" and "Ye Ishq Haaye" from "Jab We Met" in 2007.

She last choreographed for "Tabaah Hogaye", featuring Madhuri from filmmaker Karan Johar's production "Kalank" in 2019.

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News Network
March 11,2020

Washington, Mar 11: Pop star Selena Gomez made some revelations about her personal life in a recent interview.

While explaining the lyrics of her song "Rare" on the 'Genius' YouTube channel, the 27-year-old said that there are times when she feels that she will ever be able to find a suitable partner for herself, reported Fox News.

"Some days when I wake up and I am annoyed and I am like, 'I am going to be alone forever.' But after that 15 minutes go away, I say to myself, 'I know that there is someone for everybody," the singer told in the seven-and-a-half minute long video.

However, she remains optimistic as she is still young and "this isn't the end all be all".

Elaborating upon the chorus of her song, Gomez opened up and said, "self-esteem and confidence is a constant struggle".

"It's getting better with time and age, but it will always be something that I'm working on," she added while explaining the lyrics further.

"So what I think is so important about this chorus is that it's acknowledging, 'Hey, I don't have it all. I'm not saying I'm perfect, but I do know that I'm special,' and I think that is a humble approach of saying, 'Why don't you see that I am different?'" the singer added as reported by Fox News.

Touching upon her experiences from past relationships, she commented: "In certain relationships, I've heard and I've experienced and whatnot, I think men and women do it -- especially teenagers and young people in love -- is there's this satisfaction out of hurting someone because you know that they care. Purposefully putting someone down because they want to keep them at a level. I've had someone actually say that to me before".

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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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