I usually like spending my Sundays lazing around like a cat. It is an occupational hazard of being a millennial.
This past weekend however, I decided to give my weekly catnap a reprieve, and trudged halfway across the city to watch a matinee show of India’s latest chick flick (which is not a chick flick), Veere Di Wedding.
Armed with a tub full of caramel popcorn and a soda that had more calories than I could count, I sat down to watch the movie. It was refreshing, it was funny and it was full of actresses I have a boy crush on.
Twenty minutes into the movie, (SPOILER ALERT) they revealed that Kareena Kapoor Khan‘s beloved on-screen uncle (played by my childhood favourite Vivek Mushran) is gay. In fact, he even has a thriving relationship with a loving partner. But something seemed off.
Then the ‘little things’ begin to irk me. The way Cookie (yes, that is what they call him) uncle stuck out his little finger while holding his drink. His partner’s floral shirts. His hand gestures. His over-the-top display of affection in a song-and-dance sequence. Their shared distress over the wedding invitations. Their need to be fun. The tiny things. The insignificant things. The irrelevant things.
I am not saying I did not like the movie. I did, I really, really did. For two and a half hours, I was transported into a make-believe world of first world problems, smokeless cigarettes and rampant brand promotion.
But I expected more.
See, if this were a Sajid Khan or a Luv Ranjan production, I would not have had a problem – their homophobic characters will forever be overshadowed by their highly misogynistic plotlines.
But this is different.
Because when a movie has been directed by Shashanka Ghosh, and features a cast of A-list actresses and veteran actors (including the men who play the gay uncles, Vivek Mushran and Sukesh Arora) who have given us A-list performances, this sort of representation just seems like a giant letdown, especially when all their Instagram feeds are clogged with rich, influential gays who do rich, influential things.
Do not get me wrong. The transition of queer representation from the bitchy, manipulative fashion designer (it is always a fashion designer) to the fun, understanding uncle can even be considered as the harbinger of the #EverydayPhenomenal – but is it enough? (Side note: Mildly altering the pathbreaking words of Miranda Priestly, ‘Florals for queer representation? Groundbreaking.’)
Did the uncle have to be gay? Did it further the plot? Did it further his character?
The movie has a star cast that boasts of equal parts nepotism and new-age indie actors (which I have been told is the fail-safe formula for any Bollywood blockbuster), an amazing soundtrack and dialogue delivery that will leave any mother to shame. But with a new brand being introduced every 10 minutes and no real plot development for the (not one, but two) erstwhile gay characters, the movie may very well have been a giant YouTube ad that you cannot skip.
And I could not.
‘Why are you getting so offended?’ My friends asked me. ‘Why do you think it is wrong? What else were they supposed to do?’ My rant had only started a series of whys and whats – ‘why don’t you hold your horses? What’s your grouse here? Why don’t you just watch the movie? What do you want them to do? What else could they have done? Why don’t you calm your tits?’
Well, why don’t you just shut up?
The gay man in Bollywood has become the token black guy in every white movie. A background prop, someone (or something) that makes the movie seem ‘more inclusive’ – like brands that scurry to make more LGBT-friendly content during International Pride Month.
But then again, when was Veere Di Wedding not a shameless brand plug-in?
It is 2018, and it should be getting better – people say it is too trivial to hold silent protests and candlelight vigils over ‘such things’. Too much effort. Too hipster. Too mainstream. Too unnecessary.
But is it really too much?
In the past decade, Bollywood has barely scratched the surface of LGBTQ+ depiction with caricature-like portrayals of gay men who were either camp (and therefore ‘less’ than the cis-hetero men who sidelined them) and/or hypersexual (playing on the fear that gay men were out to steal your testosterone-pumped husbands, boyfriends and next-door neighbours).
You would see it everywhere – laced as the fiercely flamboyant principal in Student Of The Year, the bitchy model coordinator in Fashion, the boyfriend-stealing best friend in Page 3 and the obviously-straight-but-pretending-to-be-gay leads in Dostana (2008). Gay men were, therefore, background props who became the butt of all jokes (excluding this one.)
Sure, Veere Di Wedding changed all of it. It made the gay characters positive – fun, witty, fashion-conscious men that women are drawn to for emotional support and douchebag-related dilemmas. But did they have to be gay?
I will tell you a close-guarded secret. These overly ‘positive’ messages, which you see a lot in the media – that gay men are particularly fashion-conscious and bitchy, and a woman’s ‘gay best friend’ – can be extremely pressurising. But why should we make do with token gay characters, pushed to the background as comic relief or a pleated pants-wearing plot device? What if we want to be serious and boring? What if we want to be a part of the everyday?
Packed in floral shirts and skintight jeans that seem to put the respiratory system at risk, we have only become cookie-cutter (no movie pun intended) representations of ourselves. I really don’t mind the flamboyant stereotype because it is honestly not a stereotype – but is it our only form of representation?
With movies like Call Me By Your Name and Love, Simon (both of which did not see theatrical releases in India, so here is a shameless plugin to #ReleaseLoveSimonInIndia) where LGBTQ+ characters are not just nuanced and layered but also pushed right to the forefront as movie leads, Hollywood has taken a giant leap in showing its support for the rainbow movement.
And that is only in the past eight months. So why should Bollywood trail behind?
The problem here does not lie with Veere Di Wedding, or even Bollywood, in hindsight. The problem lies in the complete indifference with which the Indian media deals with homosexuality in general.
A few years ago, I had the opportunity to be part of a ‘label-breaking’ advertisement. Helmed by an award-winning director known for his indie work, it was a #TimeToBreakStereotypes video campaign for a high-end luxury brand. They needed an openly gay man for a small bit role, and here I was, fresh out of the closet. It was Pride Month, and I was bursting to do my bit for the community (and my 15 seconds of fame).
On the day of my shoot, I drove over to the set with a fresh haircut and fresher hopes. Between a hurried costume change and makeup session, I peeped over the assistant director’s shoulder to read my character’s description on the call sheet: There were only two words.
The fact that I was not important enough to be ‘Gay One’ aside (in my defense, it was an androgynous supermodel), was this really what we had come down to?
Because if the urban intellectual can be so unsympathetic to an entire sexual minority’s problems, what can we really expect from the rest of the country? Is it because of the instant dismissal of any character that is NOT the quintessential straight male lead? Or is it because the film industry fears social backlash for making a movie with strong, affirmative gay leads?
Or maybe the two reasons are the same thing.
But I still feel like we can do this. We are queer, and we are here (and to quote a fabulous friend, we are not going anywhere anytime soon, dear). The time is ripe for some fresh, realistic portrayals of queerness in Bollywood. Someone who has aspirations. Someone who has problems. Someone who likes Sunday catnaps.
Because if the LGBT+ community can step out of their closets, it is high time that Bollywood should too. I can personally vouch for the fact that the wedding sequence will be bright and glorious.