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Films, serials unfair to women HINDI films and TV serials don’t have opposite directions, as the author argues in the article "What a state of affairs" (January 9). Both are cut off from the social realities of our country. They are busy glorifying gross individualism. Most Hindi films are centred around modern lovers who never try to step out of their personal lives. The woman is often reduced to just her body. Neena Gupta’s TV serials, including Gumrah and Dard project the Indian woman as a sexual libertine. Such serials only portray rich and urban women. The main enemy of the woman is shown to be a man. But this is not an objective understanding of the plight of the Indian woman. In many TV serials like Tara, Swabhimaan, Hasratein and Parivartan, the Indian woman has been shown as arrogant, selfish and opportunistic. She feels proud to be mistress of an industrialist. She plays cards in clubs, sips wine and smokes in the company of men. Then, she flaunts herself as a tireless fighter against the feudal beliefs of our society. Such women may be found in small number in big cities but they cannot be accepted as true representatives of the entire female community of our country. |
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| A woman’s complete identity hinges on
her socio-economic status. The subjugation of women by
man is not eternal. She was not man’s slave at the
commencement of human civilisation. Through different
stages of development of society, woman lost her original
and equal position with man, and was forced into domestic
drudgery. In the matriarchal society, she enjoyed a high
level of respect and dignity and she was virtually the
head of the family. The exploitation of women coincides
with the beginning of class exploitation. Our TV serials
and Hindi films project women only as objects of beauty
and glamour. It is preposterous to conclude that every man is morally corrupt. Most of men still hold marriage in high esteem. In recent years, the discussion on the man-woman relationship has become quite lopsided. Every man is painted as a hard-core villain and every woman as a poor victim. RAJ BAHADUR
YADAV Bhisham Sahni This refers to the interview of eminent Hindi writer and novelist Bhisham Sahni (January 16). Bhisham Sahni has penned down a number of novels, plays and short stories but he is best known for Tamas which was also made into a serial. Tamas was able to recreate the aura of Partition and was successful in portraying the trauma and havoc caused by Partition and the violence associated with it. It aroused the feelings of love and brotherhood among the people of different communities. This vindicates the writer’s claim that Indian literature is deep rooted in reality. Great literature can never be based on fantasy only. SANJAY
GOYAL Power of non-violence Apropos of Taru Bahl’s article "Understanding non-violence" (January 23), for Mahatma Gandhi non-violence was matter of faith. The Mahatma wielded more power than any other person, despite the fact that he had none of the traditional tools of power such as money, battleships, soldiers and materials of warfare. However his faith in the power of non-violence gave us Independence from the British. With his understanding of the principle of non-violence, Gandhi accomplished the astounding feat of influencing millions of Indians to unite and fight for freedom. What other force on earth, except Gandhi’s faith in non-violence could do so much? O.P. SHARMA Master of melody The article "When masters of melody ruled the roost" by M.L. Dhawan (January 23), was interesting, entertaining and informative. However, the writer has committed certain omissions and commissions. He has failed to give any details about P.C. Barua who was responsible in bringing K.L. Saigal on the Hindi film scene. Bole-re-pippya ra by Vanijairam, Titli uri by Sharda, Basso re by Khurshid, Aahen na bhareen of film Zeenat, Taqdir Ki andhi, aisi chali by Surinder Kaur are some evergreen songs that the writer has failed to mention. As regards the song, Socha tha kiya, kiya ho gaya of film Anmol Ghari, this was sung by Suriya under the banner of composer Naushad and not by Surender. The writer has also not emphasised the contribution of Anil Biswas to the enrichment of Hindi film music by introducing a singer like Talat Mehmud with Aye dil mujhe aisi jagha in the Dalip Kumar — Kamani Kaushal starrer, Arzoo. M.L. SHARMA |
Constitution needs revision SUBHASH C. KASHYAP in the article "The Republic at 50: Changes needed for better governance" (January 23), opened a new window into the soul of the constitution. The constitution-makers were men of character, competence and integrity. After 50 years one sees communalism, casteism, mafia politics, rampant corruption, illiteracy, hunger and starvation in the country. The constitution needs total revision. India needs a strong centre. The US Federal Government is far stronger than what it was in 1789 — courtesy the Doctrine of Implied Powers upheld by the US Supreme Court. The 1848, Swiss Constitution was totally revised in 1872. We need to rewrite the constitution to contain corruption. At no cost should the unity and integrity of the nation be compromised. Police and judicial systems need a total change. In India a decade or even two are taken by courts to decide cases. Undue delay in the disposal of cases, release of criminals on bail leading to their absconding and effective nullification of prosecution etc, tends to encourage distrust and disrespect for the land. Justice delayed is justice denied. Cases have to be decided in a set time-frame. Cases like Bhagatpur blindings and the 1984 Delhi riots must not take years to reach a conclusion. And for all this we must have a strong Central Government. S.S. JAIN |
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