Trapped in Male Gaze

Sports action drama Peddi positions its hero Ram Charan as both a sports genius and a warrior against systemic injustice. However, while the film defends the identity and honor of its male protagonist, it denies its female lead an identity of her own.

Director Buchi Babu Sana’s film faced harsh criticism for overtly sexualizing Janhvi’s character; Viewers questioned the normalization of objectification, abuse, and lack of consent under the guise of romance. Many objected to the camera’s fixed gaze on her body, arguing that the character exists as an object of desire rather than a fully realized individual.

The controversy escalated further when Janhvi was seen liking an Instagram post criticizing the film’s treatment of women. The screenshots quickly went viral, with many interpreting the move as a tacit acknowledgment of the concerns raised by viewers. Although the actor has not made any public statements, the interaction sparked speculation about his own views on the role.

Heroes are important, heroines are reduced to items!

Filmmaker Rajni Basumatary is clear in his criticism. “Reports suggest that Janhvi Kapoor has a blink-and-you’ll-miss-it role, and even her introductory scene begins with a camera pan from her navel to her chest. Now she is being asked why actresses agree to work in films where they are largely objectified and treated as props to the hero’s larger-than-life persona. But do actresses really have much of a choice? In an industry where power is concentrated in the hands of men, women rarely call the shots. What surprises me the most is just the apparent insensitivity of the writer-director.” “But also the reluctance of big stars like Ram Charan to take up the issue. If leading actors have enough clout to greenlight projects, they certainly have enough clout to question how women are represented in these projects.”

Why do actresses tolerate objectification?

Janhvi, who has been praised for her performances in films such as Dhadak, Gunjan Saxena and Mili, has often talked about choosing character-driven roles.

However, her debut in Telugu seems to contrast with this image. Even his earlier film Devara was not better than this; was projected as an object of desire!

This phenomenon is hardly new. From Kajal Aggarwal and Tamannaah Bhatia to Rashmika Mandanna and several other stars, actresses in star-driven South Indian films often found themselves relegated to fancy roles that had little impact on the narrative beyond glam and song sequences.

“This is an industry problem,” says one insider. “In Telugu cinema, the hero rarely changes; the heroine is often written as someone who chases him. The mentality of presenting women as objects has become a template because it continues to work commercially. Even though hundreds of people criticize it, there is still a large audience that consumes it. Actresses, too, try to establish themselves. They know that if they reject it, someone else will accept the opportunity. Glamour is often wrapped in vulgarity, but it also brings visibility. The backlash is usually short-lived.” Actresses are also trying to prove themselves. They know that if they decline, someone else will accept the opportunity. Glamor often comes in vulgarity, but it also brings visibility. “The response is usually short-lived.”

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The consistent over-sexualization of female characters in Telugu and Tamil cinema reveals a disturbing pattern. Directors remain captains of their creative ships, but many continue to rely on male-gaze storytelling that presents women primarily as objects of desire. Business risk aversion is an important factor. While the proven masala formulas of the 1980s and 1990s continue to appeal to the core audience, nuanced female characters are often seen as a risk in star-driven projects.

— Girish Wankhede, movie analyst

Women rarely call the shots in an industry; Power is concentrated in the hands of male stars, producers and directors. What surprises me the most is not just the apparent insensitivity of the writer-director but also the reluctance of big stars like Ram Charan to tackle this issue.”

— Rajni Basumatary, filmmaker

“Actresses are also trying to establish themselves. They know that if they reject it, someone else will accept the opportunity. Glamor is often wrapped in vulgarity, but it also brings visibility. The backlash is often short-lived.”