Bollywood Fathers
Aside from the fact that our film industry has largely tried to thrust upon our throats a prejudiced sexist view of women in their films, beyond the celluloid screen also they have displayed a remarkable chauvinistic approach, even when their offspring are concerned.
Otherwise, why should it become a norm that whereas the star-son (irrespective of the fact that he is worth the money or not) will be inevitably launched with full fanfare and hype, the daughters have always had to find their own launch pad to be catapulted to the celluloid stardom? Ironically, despite this lackadaisical approach by their own parents, the daughters have been able to make more name and fame for themselves (and their parents) and the sons have only acted largely as cumbersome liabilities, be it a Kumar Gaurav, or Tusshar Kapoor.
So, a fiery Kajol, despite having the illustrious Nutan for an aunt, and a respectable Tanuja for mother, had to face the camera with non-stars like Kamal Sadanah (Kamal who?) and a blue eyed chic (pun) hero (name forgotten now) in obscure films like Bekhudi and Udhar Ki Zindagi. Her cousin, Rani Mukherjee, had even tougher times. At least Kajol got a good director for her debut, Rani started off in B-grade social films like Raja Ki Aayegi Baarat and Mehdi, opposite some non-descript actors like Fazal Khan.
Karisma Kapoor’s lineage is legendary. Yet, for her first film she had to romp off in an ill-fitting swimsuit with an actor called Harish in a blight called Prem Quaidi. Where was the RK Banner at that time? Perhaps, planning yet another launch for Rajeev Kapoor?
Another heroine with an exemplary bloodline- Esha Deol- also made an appearance in third-grade films opposite the likes of Tusshar Kapoor and Zayed Khan! How come, this time round, Papa Dharmender was not betaab enough to shower the barsaat of his love and money for his laadli? For her, why did he not select a script that delineated emotions, drama, horse-riding, action, dance and fabulous music with top music-directors ( Rahul Dev Burman and Nadeem Shravan were at their peak when they composed for Betaab and Barsaat respectively)?
Rajesh Khanna may have crinkled his eyes at every woman in skirt or saree in his heydays but his twinkle did the vanishing trick just when his daughter planned to enter the film-scene. Again, this despite the fact that he had an active production house, and had once wasted several important crores in making a disaster called Alag Alag, just to further his then budding romance with Tina Munim? What a selfish father he turned out to be! Poor Twinkle Khanna had to shine in reflected glory of someone else’s debut, and had to further bear the ignominy of starring in some of the most idiotic flicks like Jaan!! Her sister, Rinke Khanna, did not even have half such luck!
Producer-director Ravi Tandon may have played the game right in Khel Khel Mein. But, the game ended a bit soon, didn’t it? Else, why did his daughter not get the khullam khulla support that she deserved. Ultimately, she had to bloom through many flowers of stone ( Patthar Ke Phool, her debut film), till the time she had the audience panting mast mast to her- her journey was remarkably arduous from being labelled jinxed to the directors proclaiming must must (have) to her!
And mind you, despite (or rather in spite) of this raw treatment, all the above made an indelible mark on the celluloid history. Today, a Kajol just has to nod her tempestuous head, and the trade circles ko kuch kuch hota hai!! Karisma Kapoor might find marital bliss better now, but she only has to walk upto a production house for them to cry out, Rani Hindustani. And the eponymous lady of this name (Rani Mukherjee) is the current queen of the marquee. Esha might have eluded that super hit, but a director of Mani Rathnam’s caliber swears by her talent. As for Raveena Tandon, I need not even mention the innumerable hits she has acted in, before and after her affair with a certain Kumar!
On the flip side, the only name worth reckoning that gave full fledged support to their daughters are Mahesh Bhatt and Jeetender. With Mahesh Bhatt, one can understand, but papa Jeetender naturally knew on whom to put his valuable money, and the result is for all of us to see. Ekta Kapoor and her Balaji Telefilms have revolutionized television watching (though I do not like any of her serials, but the paying audience has a mind of its own, and they are lapping it up with “k’andid” vigor)
(Incidentally, today is FATHER’S DAY…my best wishes to all the dads of the world…they are always the best)
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