Then there are those who say that Kasaba represents reality. We have a long history of such cinema – written, produced, directed, consumed and celebrated by men. It is designed to insult the woman character and that didn't happen organically. The scene is written with a high degree of misogyny, on the familiar trope of an "evil" woman sexually offering herself and getting rebuffed by the hero. It's not as if the actors turned up on the sets one fine morning and made the scene up themselves. It's also asinine to pretend that Rajan Zachariah responded that way only because the woman cop initiated it. Would they have taken the stereotyping as a compliment or outraged about it? Something tells me they'd have lifted and tied up their mundus and stroked their beards in pride. The audience is meant to laud his "machismo" which validates the misogyny in the scene.įurther, one wonders if the Malayali gentlemen who find the Qarib Qarib promo offensive would have had the same reaction if someone had said "Malayali men are very hot in bedroom". In the second, Mammootty's character Rajan Zachariah is glorified as having scored a "win" over the woman officer. The woman does not validate his behaviour and chooses to leave. The latter pulls her towards him in the scene and says he could "fuck" her enough to make it difficult for her to walk for a week.Īnyone with an iota of analytical ability would be able to spot the difference between how the two scenes are constructed – the first man is helpfully called a creep and is actually mocked in the scene. This scene, according to Mammootty bhakts, is apparently the same as the Kasaba one where a senior woman cop is shown to unbutton her shirt in a bid to attract Mammootty's character.
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