Writer Sandhyarani: Not all women-centric films are pro-women
A discussion on director Siddalingaiah’s Hemavathi at the 17th Bengaluru International Film Festival (BIFFes) triggered a nuanced conversation about the portrayal of women in cinema. Writer and film critic Sandhyarani drew attention to the distinction between films that centre women in their narratives and films that genuinely advocate women’s perspectives.
Speaking at a session organised by the Karnataka Women Writers’ Association, Sandhyarani reflected on the legacy of filmmaker Puttanna Kanagal, known for creating memorable female characters.
“There is a clear difference between women-centric films and pro-women films,” she said. “Puttanna Kanagal’s films revolved around women, but they were not necessarily pro-women. Many of his female characters were shaped by male expectations.”
She explained that while women often occupied the narrative spotlight in Kanagal’s films, their arcs were frequently rooted in traditional societal ideals. Referring to one such instance, Sandhyarani noted, “In one of his films, the heroine sings about being the ‘ideal woman of the century’. By the end of the song, she loses her purse and men step in to retrieve it. Such moments reinforce the idea that women succeed only when they conform to cultural expectations.”
The session also highlighted the distinct storytelling approach of Siddalingaiah’s Hemavathi. Veteran journalist Ch H Raghunath described the film as a significant creative shift in the director’s career.
“Before Hemavathi, Siddalingaiah had delivered popular films like Bangarada Manushya and Bhootayyana Maga Ayyu. With this film, he stepped into a more challenging narrative space,” he said.
Raghunath observed that while the film does not directly retell the Ramayana, it carries thematic echoes of the epic. “Like Sita’s trial by fire, the characters Hemavathi and Chenni undergo emotional and social trials. Though the film is set in the pre-Independence period, its themes remain relevant,” he added.
He also pointed out that such narratives may face greater scrutiny today. “If Hemavathi were made now, it could encounter censorship challenges,” he said.
Journalist Manasa Chandrika expanded the discussion by drawing parallels with contemporary television storytelling. She noted that many serials revolve around women but often portray them through continuous struggle.
“Even when women raise their voices against oppression, they are judged harshly. Before confronting society, they are expected to overcome resistance within their own families,” she said.
Moderated by senior journalist Bharathi Hegde, the session underscored how cinema and television continue to shape gender narratives, raising questions about whether representation alone is sufficient or if storytelling must evolve to reflect women’s voices more authentically.