Anubhav Sinha once described his movie ‘Thappad’ as a man-woman story and that is exactly what we witness in the initial sequences of the movie as he places his male-female characters in the societal stereotyped roles of the breadwinner and the housewife. Amrita’s monotonous daily routines of waking up first, making tea, gardening, trying to learn the ‘feminine’ role of cooking, waking up her husband with bed coffee are all gendered roles stereotyped with women. Vikram, on the other hand is the hard working breadwinner of the family whose career, victories and happiness are to be seen as Amrita’s too.
‘Thappad’ clearly lays down before its viewers the role of gendered parenting in cutting the wings of the girl child’s dream reorienting her desire to be the best housewife instead of the best dancer or the best pilot. When Amrita’s mother laments giving up singing after marriage due to her mother’s insistence or when Vikram’s mother points out to Amrita the importance of women’s sacrifice in ensuring happy family, we see the role of mothers in perpetuating the submission of women in the household that becomes a cage instead of a springboard.
This curious case of women themselves accepting and perpetuating their submissive role in the wrong end of gender hierarchy that traces its roots to women’s mind indoctrinated by social acculturation is a key theme of the movie. This is precisely why Netra’s character accepts her exploitative relationship as normal, nothing to be perturbed about or changed despite herself being a successful and celebrated lawyer.
‘Thappad’ thus opens a window to the gender hierarchy of households that cuts across various class groups. That Sunitha is a maid or Netra is an elite lawyer are matters second to their female gender and the common abuse they suffer in their relationships by virtue of being women irrespective of their profession or class position in society.
The movie takes head on the societal acceptance to violence against women and the male entitlement to committing it when Amrita is isolated to her own island of equality and righteousness amid the seas of 'Just one slap' sayers. That an apology is not even contemplated upon much less sought is this tragedy of male entitlement.
The movie is not just about womanhood but as much about manhood albeit not the stereotyped masculine one. When Shivani says 'I would like to believe men are wonderful people' in remembrance of her husband or when we witness the tender touch and care of Amrita's father, the director aims to portray the sensitivity, empathy and understanding in men as husbands and fathers that is often overlooked for masculine traits of bravado and machismo.
'Thappad' is also a visual illustration of the identity crisis that exists in many a woman's life as she is secluded to the identity of a daughter, a wife, a sister of some male rather than as themselves. Amrita's contemplation of what she could have been, what her favourite colour was and Netra's introspection of her identity independent of her male spouse or father-in-law are nuanced portraits of the vacuum of identity in women sans the men in their life.
It is in this identity vacuum that Vikram builds his own dreams centered around the self ignorant of his partners desires and ambitions. Through ample scenes and dialogues between Vikram and Amrita, we see that it is always about him, never about her. Even in her worst moment of humiliation and outrage, his career blip weighed higher on his mind throwing light on the male ego in a gender unequal society. This self-centered nature of men like Vikram is not by nature rather it is also a product of society that places great value and burden of expectations on men to earn, excel in careers and transcend the upper ladders of society.
In this way, men like Vikram are also victims of the roles cultured for different genders in society albeit of excess expectations and social status rather than the dearth of opportunities. The movie thus expertly creates a narrative of gender conflict in the social system that has wrecked the institutions of family and marriage essentially asking viewers to redefine gender roles and embrace equity in respect, happiness and desires for all genders.
It is also interesting to note the visualization of assertion of women abused or humiliated by the other gender. Amritha refusing to slap Vikram back when given the chance has echoes of Gandhian non-violence/ Ahimsa in which the subverted appeal non-violently to the perpetrators embracing the presence of divinity and righteousness in all of humankind. In many ways, Amrita is as much a satyagrahi in her cause committed to the truth and refusing to yield to easy wealth or cunning ways in her legal battle with Vikram.
That the movie abandons this approach for an eye for eye approach at the end with Sunitha beating up her husband is a pity. Such tendencies albeit for playing with the gallery could have been avoided. Hierarchy and violence needs to be replaced with equality and peace rather than interchanging the perpetrator and victim.
Nevertheless, 'Thappad' brings to light the many layers of male entitlement and women's sacrifices that all come crystal clear to the protagonist with just one slap. Taapsee Pannu brings Amrita to life so expertly that as a viewer you ache for her as she pains, just like her father. As the credits roll, many a heart would have lamented for what might have been, of what was always wrong yet accepted, of the many days gone by with sun rising and setting without them realizing. That 'Thappad' raises these questions in the minds of us men and women is its biggest success.
