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Cinema
Sex Workers - Moving
Faces
 "Did
you think real sex workers were like the ones in 'Devdas' and 'Umrao
Jaan'?" says Kareena Kapoor (playing sex worker) in Sudhir Mishra's
'Chameli', to the hero Rahul Bose. Kapoor plays a foul-mouthed young
woman, who is cynical about relationships but knows how to invest her
hard-earned money for a secure future. Chameli is far removed from the
Chandramukhi of all three versions of 'Devdas', the one who sacrifices
everything for one of her customers. There is neither the pathos of
Waheeda Rehman in 'Pyaasa', nor grace and charm of Rekha ('Umrao Jaan') in
Kapoor's Chameli.
The sex workers of films like 'Chameli' and the earlier 'Chandni Bar' are
certainly very different from their counterparts in 'Devdas', 'Pyaasa',
'Pakeezah' or 'Umrao Jaan'.
In a recent interview with a newspaper, Kapoor said: "My role as Chameli
made me realize one thing - sex workers should not be treated differently.
They are as human as you and me; they have the same emotions like any
other woman. Destiny has made them sex workers and made me an actor -
that's the only difference. They sleep around to make a living, I get paid
to act and entertain, and journalists like you get paid to write. It's a
job for them, as much as it is for us."
Similarly, Tabu in 'Chandni Bar' is not just an entertainment girl: she
works hard to educate her children, like any other single mother would do.
For her, the sexy dances inside the club become a routine job, which gives
her income and security. More than concentrating on her sweet and
sacrificing nature, the film focuses on the everyday exploitation she
undergoes.
Then there is Monisha Koirala in 'Market' - a sex worker who tries to
rehabilitate other sex workers. Koirala said about her film, which she
herself produced: "I wanted a positive ending, to give hope to women. If
the film has a negative ending, my work for NGOs would be crap!"
The exploitation of sex workers was often glossed over in earlier films,
by painting the heroines as gorgeous, somewhat tragic figures, often
skilled in dance and poetry. These were women of taste and style who were
adored by men. And often they sacrificed their lives for these men.
On screen sex workers today however, are shown living a harsh reality -
they pepper their speech with swear words and appear to have no taste.
However, they are shown braving the rough world despite their poverty and
insecurities.
In fact, Kapoor's Chameli also exhibits an in-your-face sexuality rarely
seen in films. She sees men as customers, not as admirers or soul mates.
She doesn't believe in self-sacrifice and tries to protect her interests.
In short, Chameli is a survivor.
Undoubtedly, the life of a sex worker has been a popular theme in Hindi
cinema since the 1930s. Some of the earlier films portraying sex workers
were set in stylish and sometimes ostentatious brothels with genteel
courtesans and courteous customers. Recent films dwell more on the sleaze,
and they have mostly mafia dons or violent and corrupt men as customers.
Playing a sex worker's role has been a serious and often a learning
experience for many Bollywood actresses. Besides, Sharmila Tagore
('Mausam'), Rekha ('Umrao Jaan') and Tabu ('Chandni Bar') have won
national awards for such roles. Vyjantimala still considers her role of
Chandramukhi in Bimal Roy's 'Devdas' as one of her best; and Shabana Azmi
has often won accolades for her portrayal of the woman of the street.
When Kapoor accepted the role of Chameli, there were no surprises. It was
natural for a star to attempt to be an actress, and playing hooker was the
time-tested route. Kapoor said about her choice of role in another
interview: "Yes it's quite a drastic change (playing Chameli), but if I
don't do diverse roles I won't qualify as a true actress. An actress of
high caliber like Rekha ji had done 'Umrao Jaan' much later in her career.
For an actress of my age, with a set image, I had to do a lot of thinking
before giving a go-ahead for the role. All I know is that I
desperately...desperately tried to be different..."
Despite the dissimilarities, Chameli - in some ways - is still close to
the characters she denounces as 'filmi'. Like most sex workers of earlier
films, Chameli has a golden heart. Like Pushpa (played by Tagore) in 'Amar
Prem', who despite suffering abuse and exploitation continues to be
caring. Chameli takes on the responsibility of a young boy. She gives him
money for attending school and lectures him about the perils of smoking.
Since it is too late for her to escape her situation, she hopes to give
the boy a chance of getting out. One wonders if the filmmaker has done
this to add a forced touch of nobility to the otherwise stigmatized
profession.
Chameli may have moved the face of the stereotypical sex worker, but in
terms of realistic portrayal it still falls somewhat short. What comes to
mind as comparison, is the struggle presented by Rehana Sultan in B R
Ishara's 'Chetna'. In this film, Sultan found it difficult to be a wife
after being a sex worker for some years. She is also shown as an alcoholic
struggling to give up the habit and eventually, when she fails to do so,
she commits suicide.
At another level, star heroines - up until now - are unlikely to be made
to do what Azmi did in Shyam Benegal's 'Mandi' - play a ruthless madam who
wants the sex trade to flourish. Both Sultan and Azmi did not have "golden
hearts".
One wonders then, if it is the burden of social guilt that makes even
modern directors push these stereotypes in their new characterization of
sex workers.
– Shahla Raza
March 14, 2004
By arrangement with
Womens Feature Service
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