AEGAEUM JOURNAL ISSN NO: 0776-3808

A STUDY ON DEPICTION ON WOMEN SEXUALITY IN

Odeal D’Souza, Assistant Professor

School of Arts and Humanities

REVA University, Bangalore-560064

[email protected]

[email protected]

ABSTRACT

Claire Denis — a well-known French film director has carved a niche for strong portrayal of women characters in search of love in her films. Denis in her recent movie has rendered a middle-aged woman open to the idea of casual sex. The protagonist Isabelle a Parisian artist, played by Juliette Binoche, yearns for fulfillment of love, and in the process looks for flings.

Unlike the western countries the Indian filmmakers were not too open or willing to portray the concepts related to older women sexuality. One of the reasons could be that the Indian filmmakers feel certain concepts will not go well amongst the Indian audience. This is so because the Indian audience at large enjoys the popcorn cinema with their joint families. In the process of binge watching no one wants to feel embarrassed. While this is one side of the story, new age cinema and craft of storytelling has evolved over the past few decades. Though sexuality relating to older women is still a concept to be explored, there have been movies such as , Parched and Fire that have been successful in exploring the concept of women assertion to their sexual desires irrespective of the backgrounds they come from. These movies questioned the social norms and stereotypes associated with Indian women and their sexuality.

A 2016 released Hindi-language black comedy Lipstick Under My Burkha is a step ahead of any of the Indian mainstream or parallel cinema released so far on women sexuality. Lipstick Under My Burkha unapologetically showcases a

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woman’s desire for sexual and social empowerment. A 55-year-old widow, Usha Parmar fantasizes about her swimming coach and she eventually engages in phone sex with him. A novel concept that is intended to break all stereotypes associated with older women sexuality in . The film which is written and directed by portrays four women characters awakening to their strong insistence. ‘Lipstick under My Burkha’- openly expresses women battling for their innermost ambitions and sexual desires in a highly judgmental and patriarchal society. Lipstick under My Burkha successfully depicts the assertive lives of four protagonists in a voyage of self-exploration and freedom.

Keywords: Indian mainstream cinema, Women Empowerment, assertion, rebel, equality, sexuality

1.INTRODUCTION

India has been a land of Kamasutra and the land that invented different sexual postures. India is also the land where the goddesses are worshipped. Women were said to hold high esteem during the different periods in Indian history. Women sexuality was a concept always discussed or spoken in the print genres and print communication mediums. In Indian cinema, women sexuality issues have been depicted in the new age cinema. However, there is a lot of stigma related to the issues of women sexuality, bisexuality, older women and sexuality, single women and sexuality. This stigma is the result of the stereotypes that still govern the minds of many people. Though some filmmakers like Deepa Mehta’s in her movies Fire and Water have attempted to touch upon some of these topics, there is a lot of scope to explore more.

In this scenario the movie Lipstick Under My Burkha explores the concept of women sexuality, breaks the taboo relating to sexuality of older women and shows the journey of women in search of sexual and individual empowerment. Such movies question the social norms of society and deliver message that a woman does seek her empowerment through exploring her sexuality too.

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2. Portrayal of Women, Sexuality in Indian Cinema

Indian movies always had women in lead roles. The all-time classic Mother India released in 1957 had a woman as the central character. Lead actresses have had significant roles ever since then. However the stories in the 1960’s and 70’s reflected more about the socio-economic and political situation of the country. Down the lane, filmmakers also added ‘vamp’ characters to spice the Bollywood masala flicks. Vamp characters thoroughly explored the concept of women sexuality, however in a negative connotation.

The recent Movies like Kya Kool Hain Hum, Grand Masti had very little focus on the subject of women and their sexuality. These movies concentrated on objectification of women rather than woman sexuality.

Some movies have tried to break away from the social norms and have explored the subject of female sexuality and independence in a serious, non-conventional fashion. Deepa Mehta’s Fire and Water are two such films that advocated female sexual liberation. Fire revolved around the lesbian relationship that organically evolved between sisters-in-law Sita played by Nandita Das and Radha played by Shabana Azmi.

Veere Di Wedding is a yet another example of recent cinema. The movie showcased a woman masturbation scene with Swara Bhasker. This is perhaps the first time; orgasmic female masturbation was shown so openly in a mainstream masala film. Margarita with a Straw played by Kalki Koechlin, spoke about a bisexual girl suffering from cerebral palsy.

Movies have also been successful in showcasing the concept of women sexuality through “item numbers” that are largely induced into the movies with absolutely no narrative justification. A scantily-clad woman appears, dances to a cheesy song, often with double meaning, and is never appears again in the movie. It is still a daunting

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question in the minds of many how does the censor board allow these songs in the movies.

3. Depiction of assertiveness towards sexuality and empowerment in Lipstick Under My Burkha

‘Lipstick under My Burkha’ is about the lives of four women Rehana Abidi, Leela, Usha Parmar and Shirin Aslam who live in Metropolitan city Bhopal. The narrative of these four protagonists is centered on a female character Rosie, who happens to be the heroine of the erotic novel ‘Lipstick Dreams’. The director has used a clever format of story-telling where the movie goes on to show that the character of the novel Rosy is every woman. Shrivastava narrates the parallel tales of four protagonists.

The film strongly portrays the protagonist women battling with their sexuality, identity and in the process looking for love and recognition. The women identify their innermost fears and desires and negotiate their sexuality within the oppressive clutches of societal relationships and small-town mentality. The stories of the four women bestrew with each other’s and they look for a window that can liberate them towards their holistic individuality.

Rehana Abidi the youngest protagonist is 18 years old and wants to pursue her passion for singing while studying in college. She is a die-heart fan of and loves dressing up in western attires, even after being imposed to be clad in burkhas. Rehana satiates her desires for modern clothing through stealing in malls. Rehanas shows her assertiveness for her freedom of choice in clothes and desires is depicted through her dialogue delivery when she says: Don’t we have the right to live freely? Our right to jeans! Our right to live.

The second Protagonist Usha Buajji played by Ratna Pathak is an old matriarch and is addressed as "Buajji" in her society. People look at her as an elderly widow who is abound with wisdom of life. She lives in the stereotypical mentality neighbourhood wherein a widow is expected to explore the path of spirituality. But in reality she fights a psychological battle of sexual desires. She fulfils the same by reading the

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erotic novel ‘Lipstick Dreams’ in privacy and associates herself to the character Rosy. She however does this in closed doors. Her journey to fulfill her sexual desires leads her to indulge in phone sex with a young good-looking swimming coach. Her assertiveness is shown by way of exploring her sexual freedom. Bhuajji persistently takes up swimming classes, while also indulging in phone sex.

Another protagonist Shireen, played by Konkana Sen is an excellent saleswoman hailing from a Muslim family. However she lacks love and romance in her marital life. The movie shows that her husband treats her only as a sex object and many times she obliges to him. She is not very assertive in saying no to her husband who commits marital rape. In the process she battles a life of abuse with unwanted pregnancies. The movie only progresses with Shireen winning her inner battles and then showing her assertiveness by pursuing her job as a saleswoman, while also taking care of the children and looking into the daily chores of the house.

The fourth woman character Leela– played by is a beautician who lives her sexual fantasies with a photographer, though she is forced to marry another guy. Leela wishes to travel the world with her secret lover, Arshad (), who runs a small photo studio. Leela is an independent woman who is unapologetic of having a sexual affair even while she is engaged to be married to another guy. Leelas assertiveness is shown by her aggressiveness with which she persistently tries to allure the photographer who is her ideal dream man.

4. Woman ageism (Older women) and sexuality depicted in the movie

In the western counterparts, it is a normal norm to go out on a date once your spouse is gone. However in India, it is still a norm that a widow/divorced/ older woman has to turn to religion and forget worldly pleasures. Infact it is believed that older women are not capable of being attracted to someone. The same is expected in the character of Bhuajji in the film. A matriarch that bhuajji is, she is successful in showing the people that she loves to attend bhajjans and satsangs.

However in reality she lives two lives, one attending bhajjans and other reading erotic novels in closed doors. The truth is that just as older men have sexual desires a

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woman is also capable of sexual desires. This fact is very well depicted in the movie through the character of bhuajji. This movie clearly shows and indicates that sexual desires are not age constrained. Further it definitely perks a thought in the minds of audience if it is correct to just believe that a woman who is aged and widowed should not indulge in sex or look out for love. Bhuajji fights a psychological battle between what she is expected to do and her bodily desires. However the later takes over and she goes after her innermost desires and love. Her character is a first of its kind depiction in the Indian cinema where an older woman is in search of love and sexual fulfillment.

A major fact to be noted in the movie is that reading the erotic novel only makes bhuajji feel empowered. This understanding of a basic biological need is beyond the question of morality. This fact also raises apathy for single and old age women who live alone and desire for warmth and love. As much as youth are capable of sexual desires, even the older women are capable of the same.

The story proceeds in the movie with bhuajji deciding to join swimming classes. In the process she secretly buys a swim suit. She begins to feel her youth yet again while wearing the swim suit. Her desires only come to surface when she meets her swim coach who is young and good looking. Irrespective of the swim coach being half her age she cannot help her growing attraction towards him. The biggest revelation in the movie that opposes all taboos is that bhuajji does not see attraction as an offence. She is in a quest to fulfill her deep down desires, without any guilt. An older woman getting attracted to a younger man is neatly shown in the movie questioning the age old taboo that in older women attraction is not normal.

As the movie progresses one could see that she tries to live the character of Rosie in the movie. Post her swimming classes she fantasizes about her swimming coach. She also disguises her name and indulges in phone sex with him. Indulging in phone sex liberates her towards her sexual desires. If the character was born in a western country she would be openly seeking a partner without worrying about the society. The fact that a woman in India is seeking for sexual pleasures in closed doors is actually a shame on the judgmental Indian society.

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5. The sexual stereotypes addressed in the movie and how women are caught up in the situation

Old age women responding to their sexual desires or going after love is considered a big taboo in Indian society. The best liberating aspect of the film is that the character Bhuajji does not feel guilty while chasing her sexual desires. Infact India still is way backward in acknowledging that older women like men can have sexual feelings. There is absolutely no age to seek love and fulfillment is the fact depicted fairly well in the movie. Turning to spirituality by older women as shown in many films may be true in larger Indian context. However that is not the reality of every Indian Woman. The needs vary from person to person. Lipstick Under my Burkha has addressed this stereotype in a very pleasant manner. This movie also shows the concept of phone sex, probably a phenomenon which is never shown in the Indian movies. Another stereotype is that older women can get attracted to older men only. While in reality the laws of attraction is not constrained by an age barrier. Indian cinema is clichéd in its depiction of older women looking at younger men with maternal affection. Lipstick under my Burkha trespasses maternal affection norms and values women sexuality.

A major stereotype addressed in this movie is the way society and families throw the levels of morality a woman has to maintain. A woman has freedom of choice and opinion however it is suppressed at different levels. It is suppressed by not allowing a woman to pursue the passion or lifestyle of her choice. It is suppressed by not allowing her to choose a career of her choice. It is suppressed by not allowing her to chase her sexual desires or her dream boy. This is clearly indicated in the character of Leela– played by Aahana Kumra who is a beautician and lives her sexual fantasies with a photographer, though she is forced to marry another guy.

The movie apart from sexuality also touches upon Marital rape a topic which is predominantly barred from discussion in many homes. In many cases, a married woman is warned not to discuss about marital rape outside home for the wellbeing of the family. Marital rape is shown in the character of Shireen, hailing from a Muslim

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background. She often finds it difficult to tell her husband she is not comfortable with mechanical sex. Though she obliges to her husband treating her as sex toy, she looks for empowerment in her job as a sales girl. Shireen fights a mental battle when her husband forcefully plunges on her and does not even consider foreplay. Shireen feels her sexual desires are defeated when her husband merely treats her as an object of lust and not love. Shireen is in a quest to explore sexuality and attempts to oppose the mechanical sex imposed on her by her husband. This movie clearly differentiated sexuality and sexual exploitation.

6. Isolation witnessed by the women in the movie in the process of self acceptance

Fighting societal norms is not easy. The Indian society revolves around the context of living up to people’s expectations. The movie renders the concept of isolation while fighting the social norms. Bhuajji who went in the pursuit of her sexual desires was thrown out of her house. Aahana Kumra was estranged by her photographer boyfriend, while she still chased him for love. Shireen discovered that her husband is having an extra marital affair and encountered identity crisis. The 18 year old suffered isolation from her family who could barely understand her talents. A battle with societal norms barricaded these women in isolation.

Isolation is not an easy process. The society and loved ones cut you off from their lives. All of this happens only because people are not capable of changing their perspective towards certain concepts. The movie very well depicts the characters battling their isolation and coming into terms with their inner selves. They find refuge in their desires and wants and thereby feel liberated. They are assertive in their inner wants and do not regret the same.

Breaking the societal norms for women has never been easy. Due to the judgemental nature of the society the families endorse societal norms for which many women fall prey to. The movie ends with each of the four women characters finding comfort and solace in each other.

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7. Film maker’s treatment to the concept of women sexuality in Lipstick Under My Burkha

Filmmaker Alankrita Shrivastava does something unusual in the movie Lipstick Under My Burkha which has not been shown before. The filmmaker employs strong as well as subtle nuances of sexual portrayal. The entire narrative is shown from the perspective of a woman who is like any other normal human being with sexual desires and ambitions. Empowerment of women does not lie in merely giving her education; it also lies in giving her a veto power of freedom of choice and opinion. The director also showcases how in urge for sexual freedom the women become prey to societal isolation.

The story encompasses symbolic gestures. ‘Burkha is the veil through which society expects them to filter all their actions. The lipstick represents the desires of the women that exist regardless of burkha being imposed. The director was able to subtly bring out the nuances of a repressed woman’s life due to societal norms. Director has strongly addressed the issue of marital rape, which is probably a un discussed phenomenon outside the homes. The director’s message that desired sexual life is also empowerment which comes across very clearly in the movie.

Probable Solutions: Older women like men should be allowed to seek sexual passion

This movie is actually an eye opener in a way how Indian society barricades an older woman to pursue merely spirituality and household chores. This movie is a revelation to the fact that it is not just older men who should have a right to look for love, women should also be encouraged for the same. Marriages of old age widows will be a good reformation and change in Indian society. Also marital rape should be dealt with serious consequences and must not be suppressed at any level. Women empowerment is not complete without her being given a right to choose sexual freedom and independence. While the Indian society is not judgmental to an older man’s exploration of sexual desires, it should not be judgemental towards the women

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too. Women should not fear isolation and must question boldly any barricades that are imposed on them, which lead to identity crisis. Imposing clothing restrictions, or ban on adopting a certain lifestyle, or taking away freedom of speech and opinion is equal to barricading individual identity. The thought process regarding the same should change.

CONCLUSION

The four protagonists in the movie are a strong voice of the women folk not only in India but around the world. The director voices out inherently, that the sexual desires of women are very much biological in nature just like that of men. Women seek for sexual fulfillment just like men and it is absolutely a normal phenomenon. This movie strongly shows that sexual desires of an older woman which is a first of its kind sexual depiction in Indian cinema. This movie is a turning point in the craft of movie making because it shows strong assertiveness towards accepting their individual selves and desires, while fighting the social inhibitions. Lipstick connects all the female characters and is basically the sign of the underlying freedom that every woman seeks. It is about all women living in the shadow of tyranny, and how they all choose to defy the societal norms and embark upon freedom. In the current social and political ecosystem, where politicized ideals exist, great advances are attempted to attenuate problems faced by women. Hence it becomes imperative for the films to reflect a similar agenda. Hopefully, this movie is just the first of the many to create a turning point in the thought process, where stereotypes are promoted beyond the reality.

REFERENCES

[1] https://publicseminar.org/2019/02/the-politics-of-female-sexuality-in-lipstick- under-my-burkha/

[2]https://www.thehindu.com/entertainment/movies/lipstick-under-my-burkha- review/article19314930.ece

[3]https://qrius.com/deconstructing-lipstick-burkha/

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[4]https://www.firstpost.com/entertainment/lipstick-under-my-burkha-movie-review- its-clear-why-censors-were-unnerved-by-this-brave-fun-film-3832881.html

[5]https://www.news18.com/news/movies/lipstick-under-my-burkha-movie-review-a- lipstick-rebellion-all-women-will-relate-to-in-ways-more-than-one-1466757.html

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