Did Saaho's Makers Ever Meet A Woman Before Writing The Film?

Piyasree Dasgupta
A scene from a Saaho song.

It is easier to believe that Parineeti Chopra goes to sleep hugging a scrapbook titled ‘My Life, My Lyra’ about her leggings than accept that the makers of Saaho wanted an actual woman, and not a rag doll in their film. Because a flesh-and-blood woman would rather get trampled at rush-hour Dadar station than put up with the hero played by Prabhas. Actually, the former would probably be less painful than Prabhas staring at her like he’s going to pass out any time, while muttering nonsense that sounds like all of Splitsvilla’s seasons put together. Trust me, ‘Vicky ka Pinky ke saath connection ban raha hai’ from Splitsvilla is actually Rumi compared with Prabhas saying ‘itni sundar ladki police force main kya kar rahi hai’ to a blank Shraddha Kapoor.

The titular character of Sujeeth’s Saaho, written for Prabhas, almost puts the ‘khambe jaisi khadi hai’ glory of Bollywood misogyny to shame. Unlike the days of sexism yore, when a man had to at least spot a woman at a college, or a bus stop, or a party to then drive her up the wall, this man sees a mugshot of Kapoor in a police department file. Immediately, his face lights up like he’s landed a Zomato discount coupon.

When Kapoor, who plays police officer Amritha Nair, is introduced, she is shown investigating a murder scene. As the camera crawls over her eyes and then her flyaways, the background music is sweet and sappy like in those ads where young girls get boys only after curing pimples. I half expected Shraddha Kapoor to get up and say, ‘sir, victim Clean & Clear use karta tha, ek bhi pimple nahin hai’.

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