Gender Dynamics in 'Sacred Games'--Kavya Modi

In the absence of censorship on platforms like Netflix, India is expanding its horizon in terms of the content that is being both created and watched. It is no surprise then that Anurag Kashyap and Vikramaditya Motwane with the writing of Varun Grover, Smita Singh and Vasant Nath would create a show like Sacred Games. Based on the novel by Vikram Chandra, the show is set in what seems to be the parallel life of Bombay, a city that is typically associated with dreams and aspirations.

It revolves around a police officer, Sartaj Singh and a gangster, Ganesh Gaitonde who are woven together by a past. Gaitonde’s death comes with an warning of destruction of  Mumbai and  This crime thriller takes the audience through both the sides of the city along with different aspects of the society and culture of the past and the present. It is dirty yet bold and realistic: the furtive sex scenes and acts of bloodshed. The underbelly of Bombay does not fit into the imagination of the common man, it is in fact far away from it. However, in spite of the portrayal of the city almost as a character in the show, what becomes more fascinating is the way in which the show treats gender. The show moves from looking into the stereotypes and what is beyond along with trying to challenge them without obviously resisting them. As marked by Amy S Wharton, “Gender is a central organizing principle of social life”, it is very important to have a look upon the gender approach and outlook of female characters by the writers and the makers of this series.

“Cuckoo ka Jadoo”

Cuckoo, played by the very talented Kubrat Sait, is a transgender cabaret dancer whose perceived charm can take over the entire city and she is very well aware of it. Gaitonde is shown to have fallen in love with her at first sight but is it really love or his lust for power and sex? He knew that to have Cuckoo beside him will help him to replace Suleiman Isa or anyone for that matter. She willingly runs away with Gaitonde despite knowing the consequences. She comes out as a very strong character as it is set in the 1980s.  Our society and culture doesn’t accept transgender, lesbians, bisexuals and Cuckoo’s boldness then stands out as does her vulnerabilities once her identity is disclosed. The revelation of her gender identity was a particular strong point of the show. In fact, accepting one’s own identity, being comfortable with it is the first and most important task. Later, both are shown to be immensely in love with each other but Cuckoo knows her actual place in the society and asks Ganesh to leave her and move on in life as it would be the only way he can rule Bombay and at the same time be a hero. She inspires him by saying “Jab Teri picture banegi, log Deewar bhool jaenge”.  Sadly, she commits suicide as she knew the future holds nothing for her and that Ganesh can move on only through this. This particular character has been portrayed in a very sensible manner, not with pity or mockery for transgender as shown in other Indian cinema or television.

Using religion to demolish notions

The writers have subtly shown how people use religion to uplift the status of women. Bunty, a member of the gang, is a very ruthless person. He is characterized as communal and an outright male chauvinist who abuses women and treats them as objects. He is shown to verbally and physically abuse his sister for her romantic liaison and likens her to a prostitute. The character of Kanta Bai stops him from his violent behavior one dat and tells him to respect women as they are Goddesses, “Devi Hoti hai aurat”. It is interesting how they are using the stereotypical notions about religion to assert the position of women. Should we respect the ‘weaker’ sex only when it is compared to or held up to the status of a “high spiritual power”?

Internalization of Patriarchy

“You think that men should be at the field and women behind the desks’’

The show also reflects on the internalization of patriarchy in our society. It is embedded everywhere. Time and again Anjali Mathur, a RAW agent, is asked to do desk work though not overtly told that it is because of her gender. Her friend and ex-boyfriend asks her to focus on her analysis which is her forte and not to get into the field work. Anjali refutes it by saying that, “Agar mard field pe kaam karna chahe toh passion, aur agar aurat karna chahe toh bhoot?”  Our society always thinks that women should work within the four walls, do the household chores, take care of the children or do the 9-5 office desk job. A woman is the flag bearer of the family honor and going out on field work raises serious concerns about her security in general and her ability to fulfill her domestic responsibilities. One can see the frustration on Anjali’s face when Sartaj asks her not to come to the warehouse. It infuriates her that men think it's their duty to save all the women. It shows that how patriarchy prevails in every sphere of our society. But she is not ready to sit within the four walls and work according to her superiors as she knows that this way the case will never be resolved. She is fierce and takes it on her to go after the information received. When attacked by the goons at the warehouse, it is Anjali’s presence of mind and courage that helps Sartaj pursue the mission.

Not a gender binary 

This show is not portraying gender as a binary. All women are both determined and vulnerable at the same time. The scriptwriters haven't tried to make Subhadhra as only a submissive wife or Anjali as a full-fledged kickass lady who kills bad people or gangsters. They both are shown as human beings, having emotions, tackling situations in their own way.  What then remains is the individuality of the characters and not their genders. Anjali is still trying to get a closure about his missing father. But that doesn’t make her weak or affect her work adversely. She deals with it and is determined to get the case solved. She doesn’t care about Nainika or anyone for that matter. She doesn’t mind lying to Sartaj about keeping Nainika safe as it was already a collateral damage for her just like it would have been for any other agent. She is practical and professional as a RAW agent.

Variety of female figures showcasing different roles  

The show has a variety of female figures depicting different roles—from Ganesh Gaitonde’s mother to Anjali. Gaitonde’s mother indulges in adultery maybe because of her husband’s neglect and penury. Extra-marital affairs are perceived with extreme negativity in the society. So while young Ganesh Gaitonde gets mocked at school to the extent that he ends up killing his own mother, one would question whether the same thumb rule would apply to a man—may be his father—had he been shown to be in such a relation.

Kanta Bai, performed by Shalini Vatsa, is a very fierce and bold lady. She runs a desi bar which is like an adda to the local gang members, all by herself. She plays a vital role in the rise of Gaitonde in the underworld and stands by him throughout by being a mother-like figure. She encourages him to fulfill his dream which is to rule over Mumbai by being audacious. When two of his gang members, Bunty and Bada Badariya, get into a communal quarrel at the bar, she gets a vessel of hot piping water and throws at them and warns them that it would be boiling oil the next time. She lives among them and is not intimidated by them at all. Gaitonde respects her and touches her feet every time he goes for some important work. She hits out at Bunty for being a misogynist. She had vocally supported Bunty’s sister getting married to Chhota Badariya, who is a Muslim, as they both love each other. She pities Nainika and feeds her after she had faced one of Bunty’s violent bouts. She knew there was no way to get this girl out of the trap, therefore, she anonymously calls Sartaj and asks him to save Nainika. She doesn’t hesitate from looking out for other women and demands respect for them. She shatters all the stereotypes about women being weak and naïve as she stands strong and wise throughout the show.

Rajshri Deshpande brilliantly plays the role of Subhadra, Kanta Bai’s aide-de-camp and later Gaitonde’s too. She is very shy and submissive but when she gets married to Ganesh Gaitonde, she doesn't back out from being dominant in bed or setting her own terms on how she should be treated. She totally goes no hold barred. She doesn't hesitate from telling blunt truth to Ganesh and advises him every now and then. Yet she is like any ordinary woman, firmly believing in God for having saved her husband’s life. She becomes so important in Ganesh’s life that when she gets murdered, he kills about 80 innocent people.

Shalini, Katekar’s wife played by is another character although not much emphasis has been laid on it. She is a devoted wife who loves her family. The scene when Zoya Mirza, Katekar’s favorite actor, comes on stage to perform and she along with her children look at him and tease him is so pure. She always supports her husband yet is angry like any Indian homemaker because he doesn’t spend much time with the family due to his unpredictable working hours.

Grey areas brought about by Zoya

Other than Zoya, every woman is trying to emancipate herself without staying away from her integrity. She is shown to be one of the leading actresses but with Ganesh Gaitonde’s death, deep secrets from her past are revealed to her boyfriend who then tries to use them to get Zoya sign his father’s film. To get out of this, she devises a plan to get him arrested by playing the victim card in front of DCP Parulkar. She literally hurts herself in the face for it. It is not a question of integrity but the question of survival because if her past identity was out in public, her whole career would have burnt down to ashes. It shows the gender obligation in a way because if it was about a male actor, he could still get out of it but a woman needs to be pure and ethical in order to have the so-called respect of others.

Death of all female characters

By the end of the show we see that all female characters, from Cuckoo committing suicide to Subhadhra’s death, are killed to further the plot, except for Zoya and Kanta Bai. Each female’s life or death is shown as the motivating factor in a male character’s life. But was it really necessary? Why do women have to die to push the story ahead? Just when the character of Anjali builds up, she is shot by the assassin. Similarly, Subhadra is killed during the shootout at Gaitonde’s house. Both the deaths were the most disappointing parts of the show. The second season of the show would determine whether the female characters and their role are any different.

The show goes beyond mere binary and attempts to show greater insights into gender within the parameters of an exciting thriller. However, in spite of its apparent gender sensitive approach one cannot neglect the deaths of the women and how dispensable they are to the plot. The commodification of women could be seen in the entire series. From Cuckoo for Gaitonde or Isa to Nainika for Bunty, each man needs to “own” a woman in order to be either successful or have a place of authority. It tries to question stereotypes by portraying them and even resists them but a more serious interrogation opens up another debate on its portrayal of women.

References

https://www.netflix.com/browse
www.Google.com
https://www.imdb.com/title/tt6077448/
https://www.thedailystar.net/star-weekend/sacred-games-maps-the-city-through-series-communal-riots-1611550