Thursday, April 2, 2015

STARS WHO ENDORSE FAIRNESS PRODUCTS / ARTICLE PUBLISHED IN THE NEW INDIAN EXPRESS

(This article by Anna M.M. Vetticad first appeared in The New Indian Express in June 2011)

VANITY FAIR
Fairness cream brand ambassadors strive to balance the opposing pulls of lucrative brand endorsements and the socially conscious personal image they’re keen to project
By Anna MM Vetticad

“Sach bolne waale fairness creams… so rare na?” says Genelia D’Souza in the Garnier Light ad.
Fairness creams that speak the truth… rare, aren’t they? And what about fairness cream ads? In an India where the educated classes are increasingly demanding a social conscience and accountability from their stars, celebrities these days face an interesting dilemma when they agree to be the face of a fairness product. After all, it’s not easy trying to position yourself as a sensitive and liberal star when the product you endorse cashes in on the widely prevalent prejudice against dark skin in our country.
That should explain why it took a half-hour conversation and persistent questions to get Genelia to even partially acknowledge that she’s endorsing a fairness cream for Garnier.
Question: If a consumer asks you if your product is a fairness cream, what would you say? Answer: “I’d say exactly what I say in my ad.”
In your ad you say: Sach bolne waale fairness creams, so rare na? “But where am I saying that you are dark so use this and you are gonna get light?”
But if you call it a fairness cream, what else will the consumer understand from the ad? “There are certain things that advertising does and you can decide saying you’re doing something wrong and you’re doing something right...”
Who said you are doing something wrong or right? But is your product a fairness cream? “I don’t know. You will have to speak to the agency.”
Can’t you tell us: is Garnier Light a fairness cream? “I don’t know about that. I don’t know why you are cancelling off the moisturiser part very conveniently. It’s Garnier Light Moisturiser. I’m saying if it has a quality of making your skin look fairer or brighter or whatever, it’s probably part of the thing. I, as an endorser, am saying, at times your skin gets dull so use this because it’s a moisturiser.”
Genelia is not alone. John Abraham – who endorses Garnier’s fairness moisturiser for men – insists that “in India, fairness means removing blemishes”. And Priyanka Chopra who earlier endorsed Pond’s White Beauty and now backs a rival fairness product has famously said that Pond’s White Beauty “doesn’t lighten the skin, it brightens the skin”.
In an India where standards of political correctness are changing, clearly these stars are torn between the large sections of their fan followings who use fairness creams; and another section that accuses them of being racist, colour prejudiced and socially irresponsible when they endorse these products.
“The fact that these stars seem to be going through a dilemma is a positive sign for me. I thought once they got the money they didn’t care about anything else. I’d be worried about the celebrity who’d tell you he doesn’t care and that if there’s a demand there will be a supply,” says ad filmmaker Mahesh Mathai, who tells us he’s turned down several offers to direct fairness cream commercials through his career because he finds the concept of these products unethical.
Mathai’s words are in contrast to the stand taken by R Balki, chairman and chief creative officer of the ad agency Lowe Lintas (India) whose client roster includes market leader Hindustan Unilever, producers of Fair & Lovely.
“This is downright hypocrisy,” says Balki. “Obviously these stars want the big bucks they can get from endorsing fairness creams, but they don’t want to stand by the product either.” True. Most celebrities would find it hard to resist the lure of the moolah offered by the Rs 2,000-crore fairness creams industry. Shah Rukh Khan (who could take home up to Rs 12 crore per annum for an endorsement) accepts a lower fee for his long-standing association with Emami, manufacturers of Fair and Handsome: that ‘lower fee’ is approximately Rs 8 crore a year. Other celebrities too are paid mind-boggling sums for these tie-ups.
But many of them clearly do not want to be considered indifferent to their social responsibilities either. Because matrimonial ads may continue to be dominated by demands for “fair brides”; professions where beauty is a pre-requisite may continue to be ruled by light-skinned people; even some critics of these supposed fairness facilitators may be surreptitiously using them... but at least among large swathes of the educated population, it’s no longer politically correct to admit that you believe white is beautiful and dark is not.
This is a world far removed from 1978 when Fair & Lovely was first launched in India. Through the 1980s, advertisers would crudely show a charcoal-coloured or chocolate-skinned girl using the product to dramatically alter her colour to near-white and consequently improving her miserable life. “Very early on when Fair & Lovely began, there was a blatant colour argument,” recalls media analyst Akhila Sivadas. “Even the ads would be moaning and moping. We were all protesting at the time. Finally there was an ad that was so derogatory that the All India Democratic Women’s Association went straight to the I&B Ministry and said, this is highly demeaning to women and in contravention of the Indecent Representation of Women Act. The ministry made it clear that such ads would no longer be tolerated.”
Today’s ads try to be more positive and understated. “Glow”, “radiance” and “brightness” have become catchphrases in commercials featuring major celebrities for products that promise “an even skin tone” and a removal of blemishes, but quietly tucked away in a corner somewhere the word “fairness” will peep out.
Few ads illustrate this new-age subtlety better than the one for L’Oreal’s Pearl Perfect. The product’s star ambassador Sonam Kapoor sounds convinced that it’s not a fairness product. “It’s got SPF and it takes off dark spots on your face,” she explains. “Indian skin has a tendency to be patchy, we get brown spots in the sun, so it’s all about evening out your skin tone.” But closely watch the Pearl Perfect advertisement and you will see that while the voiceover and star endorser speak of a flawless and beautiful complexion, appearing on the screen in passing are the words “skin looks visibly fairer 88%”.
Balki insists that fairness cream ads “have not changed for reasons of political correctness but because the world has changed. It’s like today if we advertise Vanaspati the way we used to, people would be up in arms pointing out the health impact, so we have to position it differently.”
But Shruti Swetambhari, CEO of celebrity and brand management firm Green Leaf Sports and Entertainment, explains that today’s more refined ads have added to the allure of fairness cream endorsements. “When brands like Garnier and L’Oreal entered the market, fairness products immediately shot into an A-list category of products that became desirable and acceptable to big stars,” she explains. “Stars are also more comfortable with the fact that these ads no longer talk about a dark person becoming white, but about healthy skin.”
Sociologist Shiv Visvanathan explains this ‘politically correct’ advertising: “There’s a gradient of whiteness these products sell. One is epidermal; the other guy almost sells it as a health cream. So it’s ecological whiteness. The whiteness is not epidermal or cosmetic and therefore catering to racialism, but a kind of inner whiteness. And that’s what a John Abraham would like to sell because it’s eco-brand friendly. He and Priyanka can advocate green ecologies and health programmes while at the same time catering to folklore racial categories.”
Sure enough, “healthy” is a key word in most fairness cream ads today, as if assuring dithering consumers, those who are seated on the fence in their attitude towards such products, that there’s nothing to be embarrassed about using them since they’re no different from a medical prescription.
Corporates and star brand ambassadors stress the “ethical” aspects of their advertising. A L’Oreal India spokesperson says: “The communication for L’Oreal India’s fairness products focuses on their efficacy and is done in a manner that is ethical, responsible and backed by scientific fact. We do not play up the social discrimination and insecurities of people in the communication for any of our brands.” And asked if Garnier Light is a fairness product, Priyanka Chopra responds: “Discolouration, pigmentation, dark spots and uneven skin tones are common problems plaguing Indian skin, including mine. Garnier Light Ultra Intense Fairness Moisturiser is a fairness cream that works towards improving skin quality and texture by protecting it from the sun and taking care of all these problems. The communication for Garnier Light Ultra focuses on specific issues like dark spots and the efficacy of the product. It has been done in a manner that is ethical, responsible and backed by scientific fact.”
Ethical? Hmm… let’s get down to brasstacks: can any cream make a dark person’s skin lighter? “Koi kaala aadmi kabhi gora nahi ban sakta hai (a dark man can never become white),” replies Dr Anuj Pall, consultant dermatologist at Max Hospital, Gurgaon. “These over-the-counter products only even out skin tone if the person has normal skin, so maybe the user feels that they’ve become fairer but they’ve not. Even their claims of removing a tan and acne marks is questionable, since those acne marks will go away anyway, if left to themselves. So will that temporary tan acquired right after a visit to the beach.”
But there is a more dangerous aspect to these so-called fairness products that goes beyond political correctness. Dr Shehla Aggarwal, skin specialist and director, Mehak Skin Clinic, Delhi, says, “Our Indian skin produces a dark melanin that protects us when we are exposed to the sun and prevents cancer. It is this element that also makes our skin age less than the skin of white people who get more lines and wrinkles than we do. These fairness products bleach the melanin. So a long-term use of fairness products could cause ageing and perhaps even skin cancer. The Indian dermatologists’ community doesn’t want to cause a cancer scare but it’s been about 30 years since Fair & Lovely was launched in the Indian market and the impact is likely to be felt in the coming years.”
With so much baggage accompanying these products, it’s clear that the fairness creams industry needs to offer incredible sums of money to filmstars to bring them on board. While SRK remains the highest paid of the lot, Abraham gets anywhere from Rs 2-3.5 crore a year for an endorsement, Priyanka Chopra and Deepika Padukone are paid in the range of Rs 2-3 crore per annum (Deepika endorses Johnson & Johnson’s Neutrogena skincare range that includes its Neutrogena Fine Fairness cream), Shahid Kapoor (Vaseline’s whitening advocate) earns Rs 2-2.5 crore, Sonam Kapoor gets Rs 1.5-2 crore and the figure for Genelia is Rs 1.5 crore.
There is another irresistible benefit for these stars. Intense competition in the fairness products market ensures that consumers are bombarded with ads at every turn, which translates into high visibility for brand ambassadors. So as long as there are professional rivalries in the film industry, Indian stars will continue to endorse fairness products (for exceptions, scroll to the bottom of the article ).
And so if Asin – a darling of south Indian cinema buffs – has been the face of CavinKare’s Fairever Fairness Cream, then it’s perceived as a major upset when arch rival Trisha Krishnan replaces her. If Bollywood’s baby-faced youth icon Shahid Kapoor has entered the fray, then can his industry junior Neil Nitin Mukesh afford to be far behind? Neil, who is now associated with Emami, does not know yet which product he will be endorsing, but is not disconcerted at the prospect of Fair and Handsome. “Where there is a demand, there is a supply,” he says with a nonchalance that some people may find disturbing but is at least uncommonly frank in this scenario. “If you want bad films you will get bad films. And if using a fairness product makes someone feel better about themselves, then why not?”
But perhaps his equanimity would be dented if he googled a fellow celebrity endorser with the key words “Virat Kohli fairness creams ad”. Topping the search results is this tweet by a girl called @Supreeka a.k.a. Chocoholic: “Virat Kohli has done a fairness cream ad???? Okay my heart just broke:(.”
(Anna MM Vetticad is the author of The Adventures of an Intrepid Film Critic. Twitter: @annavetticad)
AFTERWORD: The Stars Who Said ‘No’
Hindi filmstars who say no to skin ‘whiteners’ are treading a fine line in their community. After all, no one wants to offend colleagues, friends and relatives in the industry who are endorsing such products. That’s perhaps why Ranbir Kapoor is not particularly anxious to tomtom his stance that he will never lend his name to a fairness cream. But earlier this year he quietly rejected an offer from a major manufacturer simply because he doesn’t believe in what the product stands for.
Bipasha Basu has negotiated this tricky situation with admirable finesse. Her just-recently-ex-boyfriend John Abraham has been the face of cosmetic giant Garnier’s men’s fairness cream for a while now, but that has not deterred the gorgeously and unapologetically olive-skinned Bipasha from consistently rejecting the advances of fairness product makers.
Says a source close to Bipasha: “There have been not just one or two, but several offers over the years. Bipasha has always refused. She believes we are all beautiful the way nature made us and we should accept ourselves that way.” Fans would expect nothing less from this beauty and fitness icon who has chosen the brand name “BB Love Yourself” for her fitness videos and clothing range.
Bipasha and Ranbir are not merely grandstanding to make waves. Considering that Bipasha earns Rs 1-1.25 crore and Ranbir gets Rs 4-5 crore for a year’s commitment to a brand, their anti-fairness-creams stance has cost them big money. But it is just as attention-worthy that Abhay Deol says he’ll never endorse a fairness cream, even before he’s been approached to do so. Reason? These stars are rare phenomena in an India where actors – unlike their counterparts in the West – usually avoid taking positions on controversial social and political issues, unless they’re keen on alternative careers in politics.
Bipasha is the face of 14 products right now. And Ranbir currently endorses Docomo, John Players, Pepsi, Panasonic, Hero Honda and Nissan Motors, a list he pointedly restricts to six because “it’s a big responsibility, it’s not just a money thing. You have to be careful, you have to believe in it, you have to be honest to what you’re endorsing.”
Dated: June 2011
Photographs courtesy:

Note: These photographs were not used in The New Indian Express 
Link to original article: 

Tuesday, March 31, 2015

RISHI KAPOOR ON TWITTER / FILM FATALE: COLUMN PUBLISHED IN THE HINDU BUSINESSLINE

FEISTY, FEARLESS CHINTUJI

Rishi Kapoor is taking the social media by storm, commenting on contentious issues and refusing to be silenced by trolls, in a manner uncharacteristic of mainstream Bollywood

By Anna MM Vetticad


“I am angry. Why do you equate food with religion?? I am a beef eating Hindu. Does that mean I am less God fearing then a non eater? Think!!” (sic)
Such comments on Twitter are likely to raise a storm, irrespective of who the writer is. This one, however, drew anger and surprise in equal measure — anger from religious chauvinists and surprise from regular followers of Bollywood. Why surprise? Because the tweet came from @chintskap, the Twitter handle of senior Hindi film actor Rishi Kapoor aka Chintu to family and friends.
Bollywood-gazers are used to stars of mass-targeted cinema playing it safe on political and social issues. Not so the feisty @chintskap, who unleashed a string of furious tweets on the beef ban in Maharashtra, eliciting a storm of abuse from the Hindutva brigade.
Typically, venom was directed at his female relatives, his looks, age and other aspects of his personal life. The less vituperative tweets questioned his commitment to Hinduism and asked him to feed pork to Muslim guests, with one lamenting the alleged “Christianisation” of Bollywood.
Kapoor is admittedly hurt but undeterred, a pleasant change from the tradition of stars retreating — online and offline — even before bigots attack. And while he may not be the first or only mainstream Bollywood heavyweight to embrace contentious questions, he certainly remains a rarity.
In earlier times, political and social discussions were mostly seen as the preserve of documentary-makers and parallel film practitioners, not their more mainstream, commercial counterparts. The legendary Dev Anand’s reported opposition to Indira Gandhi’s Emergency of 1975-77 remained an uncommon episode for a long time. Over the decades, it has usually been assumed — by the media and public — that those who take positions on crucial issues have secret ambitions of joining political parties and/or standing for elections. Some journalists and creative people have suggested that artists sully themselves by expressing their adherence to a party.
Unlike in Hollywood, where it is routine to openly identify yourself as Democrat or Republican, mainstream Bollywood avoids revealing its party affiliations. Of India’s three biggest film industries — Hindi, Telugu and Tamil — Hindi film personalities alone have persistently achieved the feat of even entering electoral politics or repeatedly campaigning during elections, and yet steering clear of prickly subjects and/or a commitment to one party or ideology.
Amitabh Bachchan’s changing (perceived or real) proximity to various political parties and individuals over the decades prompted Open magazine to put him on its cover in 2010 with the caustic headline: ‘A Man With No Convictions’. Salman Khan’s public appearance with Narendra Modi in Ahmedabad in the run-up to the 2014 elections would have done a trapeze artiste proud. Khan praised the development he had seen in Gujarat, asked the crowd if they wished to see Modi as PM, said that “the best man” should become PM, that “God” would decide who “the best man” is and that Modi should get what destiny had planned for him.
That being said, there has been a gradual change in Bollywood in the past five years. One major turning point came in 2010 when Shah Rukh Khan refused to bow down to Shiv Sena pressure to apologise for his remark about Pakistani cricketers in the IPL. Another watershed was the 2014 Parliamentary poll when Bollywood musician Vishal Dadlani, actors Jaaved Jaaferi, Gul Panag and others wore their support for Aam Aadmi Party on their sleeve. In the same year, a group of prominent citizens — including purveyors of hardcore commercial Bollywood successes — published a statement asking the electorate to vote for secular parties. Interpreting that letter as a snub to the BJP, director Madhur Bhandarkar, actors Anupam Kher, Tusshar Kapoor, Vivek Oberoi and others openly declared their support for Modi and his party.
The emotionally charged 2014 elections notwithstanding, mainstream Bollywood by and large still keeps politics at arm’s length. Do keep in mind that ‘politics’ does not mean parties and polls alone, it covers everything from cultural suppression and gender repression to communalism and the economy.
Optimists would point out that more mainstream Bollywood figures are speaking out now than ever before on potentially controversial themes, and not everyone is easily cowed down. Twinkle Khanna, for instance, has not budged despite the name-calling in response to her Twitter feed and newspaper column, which have covered a range of topics from Modi to menstruation.
It’s impossible not to note, though, that most of her colleagues prefer to remain silent or, at best, ambivalent and inconsistent. For instance, within days of bravely confronting an influential news publication for its sexism on Twitter last year, Deepika Padukone issued a statement on her position and simultaneously announced that she would say nothing further on the subject, even attending the same media group’s film awards function months later.
Meanwhile in Mumbai, Rishi Kapoor remains cheery and determined despite the invective being hurled at him. “I speak from the heart. I will not bend,” he assures me when I call. His colleagues who use the social media only to tell us about their fawning fans and films will hopefully be inspired by this spirited veteran, who has opinions on matters that matter and is not scared to air them. After all, the purpose of freedom of expression is lost if we only speak when there is nothing to be afraid of.

(Anna MM Vetticad is the author of The Adventures of an Intrepid Film Critic. Twitter: @annavetticad)

(This column by Anna MM Vetticad was first published in The Hindu Businessline newspaper on March 28, 2015)



Note: This photograph was not published in The Hindu Businessline

Related link: Anna MM Vetticad’s May 2014 column in The Hindu Businessline on the pro-Modi-versus-anti-Modi debate in Bollywood during the 2014 general election: http://annavetticadgoes2themovies.blogspot.in/2014/05/film-fatale-bollywoods-pro-modi-vs-no.html

Friday, March 13, 2015

REVIEW 323: NH10

Release date:
March 13, 2015
Director:
Navdeep Singh
Cast:

Language:
Anushka Sharma, Neil Bhoopalam, Darshan Kumaar, Deepti Naval
Hindi


NH10 is eerie, scary and frighteningly realistic.

It is the kind of film women who drive their own cars in big cities might watch and pray: I hope this never happens to me. Or worse: I’ve been so close to being in such a situation more than once in my life, thank goodness I got away safe.

The action takes off when a woman driving through Gurgaon is attacked by hooligans one night. The horrific episode leads to her purchasing a gun for her protection (dear non-NCR-ites, Meera’s acquisition is unusual; please don’t exoticise Delhi/Gurgaon any more than you already do after watching this film). Not long after this incident, she and her husband witness a fracas on a highway, and a series of tragedies are set off by the lethal mix of a man’s basic decency, his wounded ego and the knowledge that a gun is within easy reach.

What happens to Meera (Anushka Sharma) and Arjun (Neil Bhoopalam) is every traveller’s nightmare. Director Navdeep Singh – who earlier made the acclaimed Manorama Six Feet Under – has designed his road film as a thriller, but it is also a layered commentary on gender and caste. NH10 examines social reactions to violence against women, the difference between how men and women respond to assault, the intricacies of human relations, public morality, migrants, the assumptions we make about people and the many planets packed into Planet India.

Why do men tend to counter aggression with aggression, while women instinctively recoil and retreat to protect themselves? Should we help a person in danger, if it means risking our own and a loved one’s life? If the impetuosity of a man we love puts us at risk, do we stop loving him?

As events hurtle down National Highway 10 at breakneck speed, Singh injects his film with questions, answers and depth rarely seen in suspense dramas. That is what makes NH10 special.

When Meera suffers the first attack, for instance, the policeman taking her complaint casually informs her that it would have been so much easier to solve this case if she had noted down the licence plate numbers of her attackers’ vehicles. He does not stop at asking her if she did (a legitimate question), he makes it sound like he is chiding her because she did not.

You can sense Meera’s frustration, habituated as women are to being lectured about protecting ourselves. Why did you not note down the number? (I was scared, flustered and busy fighting off a murderous gang, you idiot!) Why were you on a lonely road? Why were you in a crowd? Why were you alone? Why did you not take a man along? Why were you with a man?

The conversation at the police station barely lasts a minute yet resonates with significance. In fact, the spotlight is trained almost throughout NH10 on how women are constantly stalked by sexism, extreme misogyny and security concerns in a world where even going to a public toilet could be an act of bravery. Where if she does not go to that toilet she might be mocked for being paranoid, but if she does and something untoward happens, she might well be asked: why did you? The film later turns also into a disturbing chronicle of caste intertwined with gender and the many contiguous worlds within India, where a jeans-clad, English-speaking woman from Gurgaon city is a virtual foreigner in rural Haryana.

In a film where every moment counts, it’s hard though to decipher that scene in which a fatigued Meera pointedly sits down to smoke, in a moment of twisted triumph. Since her cigarette habit is mentioned repeatedly early in NH10, clearly that later scene is a metaphor for something. Can’t tell what. It does seem though that with rare exceptions, Hindi cinema is now incapable of giving us tough, successful women who are not smokers. Understand this, Bollywood: assuming that all smart women must be smoking is no less regressive than branding women smokers as immoral.

That lapse notwithstanding, NH10 is a hard-hitting film that is completely terrifying in an I-kept-my-eyes-half-covered-because-I-couldn’t-bear-to-watch-it-yet-I-was-dying-to-see-what-was-going-on sort of way. Its impact is achieved with the coming together of quality acting, intelligently used music, concise dialogue writing, impeccable editing and sharp sound design (not counting a couple of places where those tyres on the road could have been toned down and the over-done spell of metal scraping the ground in the climactic scene).

It is a measure of Bhoopalam’s talent and charisma that even when Arjun is exasperatingly foolhardy, it is hard to entirely hate him. Darshan Kumaar’s violent Satbir is as far removed from his turn as Mary Kom’s gentle husband as Chile is from China. He is brilliant.

Headlining the cast is that pretty model we first saw acting in Aditya Chopra’s Rab Ne Bana Di Jodi (2008). Anushka – who turns producer with NH10 – delivers a stupendous, immersive performance here, displaying immense range within a single role. In fact, there is hardly any Anushka in this film, there is only Meera.

When it goes easy on layering and nuance to focus on suspense post-interval, NH10 loses some of its edge. When it stretches Meera’s exploits in the climax, filling an ominous silence with a single heightened metallic sound, it feels manipulative although her actions are believable. That said, NH10 is never less than compelling. It is from start to finish a thoroughly absorbing film.

Rating (out of five): ***1/2

CBFC Rating (India):

A   
Running time:
115 minutes

Photograph courtesy: http://en.wikipedia.org/wiki/NH10