It had come to be established as the norm in the world of advertising world, the female gaze, the lusty woman, breaking the conventional shackles if there is something that entices her and ignites her sexual instincts, the advertisements of deodorants being the catalyst, and now the world of cinema has also veneered around to the fact that indeed as there is a male gaze that tries to check out a woman, there also exists a female gaze as well, which may not have been talked about, but it does exist, and AIYYAA has brought into relief in a big way.
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As they say, better late than never, so Hindi cinema has through AIYYAA brought out the latent female gaze onto the screen, as a desire, lust, or whatever, but it has found expression. Vatsayana had expounded in detail about the female gaze, and in the world of literature female gaze has been a popular subject by the female writers to expound and extol about the relevance of the gaze as a manifestation of an expression of sexuality.
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Visual gaze after all is not a male prerogative, and AIYYAA has demonstrated this with panache. There have been elements of peep shows of the male form on the screen, but it has not been through a female gaze. It had happened in DOSTANA with John Abraham serenades on the beach in minis, Ranbir Kapoor in the title song in SAWARIYA, but the difference lay in the fact that in both the cases these two were displaying their body and were not the focus of attention of the female actress lusting about the display of the physical form, which Rani Mukerji does with raw sexuality in AIYYAA. The notion had its relevance as an expression of sexuality as it was manifest from DESI BOYZ where both Akshay Kumar and John Abraham did the pole dancing and were being lusted after a bunch of girls in the night club.
Difference of AIYYAA also lies in the fact that the lady who lusts has not been termed as a loose character as it happened when Priyanka Chopra did it in AITRAAZ, or in COCKTAIL where Deepika Padukone had to mend her ways or reform if she wanted to be accepted. As Rani Mukerji has said, in AIYYAA that she likes the smell and searches for it, a tacit acknowledgement of the advertisement of a deodorant, as also that she does not like men wearing vests inside the shirt. May be, AIYYAA would give more such creative expressions, but for that to happen as an encore somebody of the likes of Rani Mukerji has to be courageous enough to portray a role expressing sexual urges, and also the fact that there has to be a director to take this to a new height. Till then, we need to soak in the ambience of AIYYAA.
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