Films through a gender lens: Women behind the screen tell us their stories

On June 9, 2016, in commemoration of its 11th anniversary, 'Laadli', the Girl Child campaign by Population First, brought together a panel of esteemed filmmakers who are redefining cinema to talk about the craft and making a mark in a male dominated industry.

The panellists were —

• Guneet Monga, BAFTA nominee, CEO of Anurag Kashyap Films and Film Producer of Gangs of Wasseypur and The Lunchbox

• Ashwiny Iyer Tiwari, debutante film director of Nil Battey Sannata and award winning ad-film director

• Pubali Chaudhuri, screenwriter of Rock On and Kai Po Che

• Jabeen Merchant , film editor of feature films like NH10 and a documentary filmmaker

• Juhi Chaturvedi , screenwriter of Vicky Donor and Piku

• Swara Bhaskar, lead actor of Nil Battey Sannata

The panel was joined by veteran theatre actress and casting director, Dolly Thakore, who expertly posed questions and bounced the discussion around the room. She maintained an energy and vigour that was difficult to match and that seeped into the evening itself, balancing serious topics with subtle humour and acute observations. 

(L-R Gunnet Monga, Ashwiny Iyer Tiwari)

Guneet Monga began by talking about life as a producer. She sought to dispel the notion that producers are ‘in possession of tons of moneybags’. In fact, she said she raises the money. She spoke of her involvement in the films, and the technical aspects of her craft. When asked about the Gangs of Wasseypur movies, she spoke of her involvement in the execution of the films, and said, "The Lunchbox is the film that I raised from the very beginning.” Her pride and love towards the project are impossible to miss.

An interesting discussion on life as a female producer followed, where she talked of her journey, beginning as an intern. “When you are an intern you remain one for a long time,” she said, drawing smiles of agreement from the crowd. She later spoke about getting heard in a male dominated industry and having to sport “white hair and a sari to be taken seriously, because who wants to listen to a 26-year-old producer?”

(Ashwiny Iyer Tiwari)

Dolly Thakore then moved to Ashwiny Iyer Tiwari and opened the conversation with the news of a mother and daughter giving their SSC exams together as heard on a radio show, before asking how Nil Battey Sannata came about.

What followed was the story of a commercial featuring Amitabh Bachchan himself in the KBC days. The 40-second commercial was about the girl child who when she wins the big prize is asked by Amitabh Bachchan what she would like to say to the audience and she says, "Mubarak ho, Ladki hui hai". After a moment of stunned silence the audience erupted in to loud round of applause.

When Nil Battey Sannata was being shot deep in rural Haryana, Ashwiny recalled being taken to a side by about five women in ghunghats and salwaars and being questioned about her involvement. Later, a woman revealed that her daughter was doing her B.Ed. unknown to anyone else but herself and her son. She would be arriving the next day and her son was the only person supporting her decision.

Ashwiny then spoke of inspiration from within her family and the urge to direct while working in advertising, about ‘wanting to make something greater than 40 seconds’.

(Pubali Chaudhari)

Next was Pubali Chaudhuri — who was asked about Kai Po Che and Rock On. What followed was a hilarious and yet sombre discussion on the nature of the industry — a little bit of faith, trust and pixie dust. Her logical take on Rock On’s climax — “In Mumbai traffic? Impossible!” — had the crowd roaring with laughter. She admitted to taking a ‘wannabe intellectual’ approach to Kai Po Che (being a Chetan Bhagat novel) and spoke of it being a humbling experience. The script was voluminous — 3 protagonists with 3 arcs, and took a lot of effort. Her mild horror at the author’s suggestion to ‘add a dandiya sequence’ — “I must be the first Bollywood screenwriter who is adapting a book where the author wanted to add a dance sequence and I did not!” — had the crowd laughing.

In the end, she said that she was prouder of Kai Po Che, and indeed, the tales of effort, the process, the immense thought going into it, left a mark.

(Jabeen Merchant)

Jabeen Merchant was asked about life as a female editor, and she began by saying that she had huge role models to look up to — Margaret Booth (the term ‘editor’ was coined for her) and Dorothea Carothers 'Dede'; Allen (the first woman to have a solo credit in a film). “I often think about what difference do I bring to the table? Am I the same as the boys?” She spoke of a difference in gaze, and perspective. She also talked about the level of involvement an editor has in a film. Merchant said that her best ones were those in which she was involved from the very first draft.

(Juhi Chaturvedi)

Juhi Chaturvedi was quizzed about Vicky Donor and Piku, and the writing process. “Vicky Donor began with a single idea— what if a man goes around donating sperm and can’t have children of his own?” It later evolved into the story it eventually became — with multiple layers about adoption, widow remarriage, divorcee remarriage — but in the beginning, it was just an idea. “I didn’t realise how deep it was until I began writing it.”

On being asked about the reaction of the Delhi locals (where the film was shot), she said, “They were told that the film is about a kidney donor. They presumed that it would be a very dark film, and wondered why so many jokes were being cracked,” much to the delight of the audience.

Coming to Piku, she said “Vicky Donor was an idea, Piku is a reality. It’s about the fabric of a parent-child relationship.” She spoke about how parents remain in our thoughts at all times as they age.

An eventual question from the audience was “Piku would not have worked anywhere but India” – to which she replied, with a smile, “Constipation is a huge problem in North America, especially due to all the pasta and pizza they eat”.

She later spoke about becoming a screenwriter— she had decided to pursue a BFA against the wishes of her father. It later became a house divided, as her mother supported her decision. Her father later played what she termed ‘the man card’ – he would not pay her fees.

She remembers thinking “He has a lot of power and he is misusing it.” She then talked about earning a scholarship, and paying her way through college by doing column illustrations. She never took money from him again. Later, her father came around after seeing her illustrations published and apologised — he had not understood what she had wanted to do.

She said that a parent’s urge to protect us comes from the uncertainty of the world and it is not a gentle one; sometimes what they need is for you to have confidence in yourself. (An observation that drew hums of agreement from the audience.)

(Swara Bhaskar)

Swara Bhaskar joined in and spoke of Ashwiny Iyer Tiwari (her director in Nil Battey Sannata) being a perfectionist in her every shot). She revealed how she was initially about to turn down the role of a mother but could not say no after reading the script. As she played the role, she grew to realise that ‘”it’s okay to grow up” and referred to the glamourous nature of the industry where she was expected to “stay 26 forever”.

The panel was not all smiles and hay, however. When Dolly Thakore threw the question “What have been the greatest problems you have faced?” open to the panelists, a very serious tone set in. Each panellist spoke of their journey in the industry — speaking of their families, the reaction to a women as the Captain of the Ship, the difficulty in getting heard when men in the industry are uncomfortable even making eye contact, talking money and being asked about ‘the male producer’, deciding to join arts despite family pressure.

The event achieved what it had set out to do — it brought the gender equality discussion into the drawing rooms of the audience and then beyond. It was a delight and a privilege, to listen to women so passionate about their jobs and extremely good at it. The challenges they faced and the ways they sought to overcome them were inspiring and admirable.

As the guests dispersed and the evening ended, one was left with tales of strength, perseverance, friendship and sorrow. The memory shall remain of a golden, mellow evening of women speaking about taking charge and making decisions, taking a stand and sticking to their principles, of getting heard in a room full of voices, of being in the Room Where It Happens and calling the shots.

A legacy is planting seeds in a garden we never get to see, and these women have cleared the path for others to follow and exceed. Isaac Newton famously said, "If I have seen further, it is by standing on the shoulders of giants."

These are the giants of today, and their legacy is only just being written.