Author Kanika Dhillon addresses poor efficiency of Akshay Kumar’s Raksha Bandhan, explains why the movie selected ‘retrograde’

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Author Kanika Dhillon addresses poor efficiency of Akshay Kumar’s Raksha Bandhan, explains why the movie selected ‘retrograde’

screenplay by Kanika Dhillon Has written among the most memorable and talked about characters within the latest historical past of Hindi movies. The author, who acquired crucial acclaim alongside Taapsee Pannu, Abhishek Bachchan and Vicky Kaushal’s Manmarziyaan directed by Anurag Kashyap, is receiving criticism for Akshay Kumar and Bhumi Pednekar. Raksha Bandhan, The movie’s story was thought-about sexist and regressive, and didn’t fare properly on the field workplace.

In this interview with indianexpress.com, Dhillon addressed the field workplace efficiency of the Aanand L Rai directorial, and mentioned that the movie was made for the “cow belt” of India, not city India. Kanika mentioned that the movie is a mirrored image of official statistics on dowry deaths in India. “We made the movie, wrote the movie for the cow belt, the Hindi belt. What is that this Hindi belt? Many girls right here, the statistics are staggering, endure dowry deaths. Statistics present that there’s a society that thinks like Lala Kedarnath (Akshay Kumar’s character in Raksha Bandhan). They deal with girls as if they’re cattle, they’re being objectified and ready for the dowry market. They are being cultured to be skinny or truthful, to suppose that if somebody blows a whistle at you, you will marry them. Why are girls dying? This mindset and regressive ideas are accountable.”

Dhillon then emphasised that the movie, which depicted the realities of rural India, made city audiences uncomfortable to the extent that they didn’t relate to it. She shares, “We are far away from rural India, but that doesn’t mean it doesn’t exist. Yes, it makes us uncomfortable, yes we don’t want to relate to it because we know better. However, Design wise we wanted to make this film for a cow belt. The only wrong guess, what happened was the misfire was that the youth didn’t want to be associated with something like this, the urban audience thought it was too cow belt But we got the Hindi belt, you can see the trade. It did very well in the interiors but still we didn’t manage to convert the urban audience because of the film’s theme and its treatment. We’re trying to aim for an audience but that’s a different debate. We reached out to the audience we wanted and we showed what’s going on there. We wanted to move from regressive to progressive, and for that we had to You have to tell what’s wrong before we can show you what’s right.”

Justifying the sexist themes used within the movie as a way of exhibiting the bottom realities of ladies in rural India, Dhillon mentioned, “Body shaming, treating girls like cattle, girls having company or Lack of selection is the one final aim of marriage. A lady’s life – that is what is killing girls. They have not seen any higher, have not been advised they are often free, they’ve seen that His father is a member of a household struggling to get dowry, so he decides that killing himself is a greater choice. These are what the statistics of this nation are telling. How can we get away from it, that is my query. With Raksha Bandhan I’ve tried to achieve out to an viewers that has this mindset and that exact viewers was not sufficient to provide me enormous numbers on the field workplace, but it surely has reached the place it ought to have been.”

However, Dhillon says the lesson from Raksha Bandhan is to write down movies which can be extra inclusive. “The learning from here is that if you aim for big box office numbers, engage an urban audience. I write mostly about subjects that are more urban and youth oriented but it was a different audience that I was looking for. was tapping.”

Dhillon’s writings are a lot talked about due to their themes. “If you take a look at my work, from Manmarziyaan to Judgmental Hai Kya, from Kedarnath to Guilty and from Rashmi Rocket to Haseen Dilruba 1, the concept is that there are several types of girls, several types of characters who’ve completely different tales. , that are very attention-grabbing. There’s a lot to say and discover, and it is all natural. I do not sit and determine that as a result of my final character was like this, my subsequent character ought to be like that. But sure, as an artist, a author, a producer, I need to attempt completely different points.”

She calls her writing an extension of herself and her struggles. “The unseen, uncomfortable and remoted subjects excite me. I imagine that if as an artist you aren’t stirring issues up, or making folks suppose, then you aren’t doing all your job. I feel that as a author, my work ought to be disruptive. My artwork could be very private, and my struggles with the world are mirrored in it.”

Talking about her work, she says, “Awards, fame, buzz, all these are secondary issues. It is essential that it’s your personal voice. Do you bear in mind the writers of Rs 100 crore movies that made folks completely happy? Everyone likes numbers by not taking something away from him. But the factor is you may’t construct it. I am unable to begin writing in a specific method as a result of I need to please folks. Today, the viewers has modified, I’m generally known as a author whose work speaks to the youth due to the subjects I carry up. Self expression is my join with the viewers. ,


With inputs from TheIndianEXPRESS

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