Although one of the three Bollywood releases that hit the screens gone Friday, Veere Di Wedding opened on a fantastic note at the domestic and international ticket counters, it has received mixed reviews. But, one thing has been unanimously singled out by every person who has seen the film is Swara Bhasker’s self-gratification sequence.
One would wonder, what would have Bhasker’s own family, and specifically, her own MOM would have thought about that particular scene, right?
Speaking about the same, Ira Bhasker was quoted by a leading daily as, “Let me begin by saying that sexuality per se in Indian cinema is not a subject that has been directly expressed. At the same time, historically, our cinema is unique in the sense that it has developed, over the years, a very complex and refined idiom on eroticism. And that idiom is the song,”
To which, she added, “A lot of things that can’t be addressed directly can be addressed through the song. Be it the Hindi film song, or the Bengali film song. Malayalam or Tamil. You don’t find this anywhere else—as a fundamental and defining feature of the form itself. A lot of the articulation was done through song. Emotional articulation. Articulation of what is tabooed. Sexuality and eroticism.”
And then, she added, “Just think of Mughal-e-Azam: in that song Jogan Ban Chali, that word jogan actually is Meera—the one who has renounced the world for her lover. So this completes dedication to the object of your passion. What is that but female desire?”
She concluded by saying, “These films didn’t have direct representation of sexual act or the act of lovemaking. Mahesh Bhatt has said that the most erotic sequence in Indian cinema is that of Dilip Kumar stroking Madhubala’s face in close up in Mughal-e-Azam,”
That’s quite an elaborate take, we must say.
What’s your take on this? Let us know!
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