Hyderabad, India – On paper, "Peddi" presented itself as a cinematic powerhouse, boasting a compelling narrative, strong emotional core, and a commanding lead performance. The film’s ambition to tackle themes of dignity and social recognition for an underserved village, anchored by Ram Charan’s powerful portrayal of the titular character, was palpable. However, a critical flaw, a deeply problematic romantic subplot, not only unravels significant portions of the film’s intended message but also renders much of the viewing experience deeply uncomfortable, raising urgent questions about the portrayal of women in contemporary Telugu cinema.
While Telugu cinema consistently demonstrates its prowess in crafting visually stunning and emotionally resonant films, a persistent blind spot remains: the writing and depiction of its female characters. This article delves into the inherent strengths of "Peddi," the detrimental impact of its romantic arc, and the broader implications for the industry and its audience.
The Dignity of the Unseen: "Peddi’s" Noble Core
At its heart, "Peddi" is a story about the fundamental human need for recognition and dignity. The narrative centers on Appalasoori (Jagapathi Babu), a man who has dedicated thirty years of his life to ensuring his village, and by extension its inhabitants, are officially acknowledged. His unwavering commitment to placing his community on the map, granting them the status of citizens with inherent rights, forms the moral bedrock of the film. The protagonist, Peddi, steps into this fight, choosing the arena of sport as his weapon to achieve this vital recognition. The film invites the audience to champion Peddi, a character whose understanding of being "unseen" is deeply ingrained, resonating with a powerful sense of empathy.
This potent foundation, however, begins to fracture the moment Janhvi Kapoor’s character, Achiyyamma, enters the narrative. The stark contrast between the hero’s fight for visibility and his inability to perceive the woman before him as a complete individual is jarring and deeply disappointing.
A Troubling Introduction: The Male Gaze in Full Force
(SPOILER ALERT)
The introduction of Achiyyamma is a stark illustration of this pervasive issue. The scene, designed to showcase her political acumen by rallying a crowd, devolves into a prolonged and uncomfortable examination of her physical form. For three minutes, the camera lingers on her body, punctuated by slow zooms and extended shots, with the explicit purpose of highlighting Peddi’s attraction to her. Crucially, her face – the window to her personality and agency – is largely absent during this segment. This directorial choice is not merely a stylistic flourish; it is a deliberate embodiment of the male gaze, reducing a character to a collection of body parts for male consumption, a trope rarely applied to male characters in similar introductions.
This problematic framing is further solidified in the subsequent scene. Peddi openly confesses to his friends his belief that a woman of Achiyyamma’s social standing would never willingly associate with him. His rationale is rooted in their differing social strata, and his conclusion, delivered with a disconcerting lack of remorse, is that since he cannot have her legitimately, he will resort to touching her, justifying it with a cavalier "you only live once." Despite his friends’ valid objections, the film offers no condemnation of this sentiment, treating it as a mere character quirk rather than a red flag.
Adding to this discomfort is a recurring physical tic where Peddi places his hand down his pants whenever Achiyyamma is present. This is presented as a marker of his character, yet it normalizes a deeply inappropriate and objectifying behavior, a detail the film seems content to overlook.
"Peddi’s" Actions: Normalizing Assault Under the Guise of Romance
The film’s most egregious misstep occurs when Peddi breaches Achiyyamma’s private space and touches her without her consent. The incident is deliberately framed as an "accidental kiss," an event that seemingly transpired organically, absolving Peddi of any malicious intent. This framing, however, attempts to gloss over a clear violation.
When Achiyyamma retaliates, Peddi flees, and the narrative fails to acknowledge the gravity of the assault. Her subsequent confession to a confidante yields advice focused on maintaining privacy and protecting her honor, rather than addressing the violation itself. This response echoes a historically ingrained logic used to silence victims, prioritizing societal perception over the lived experience of being violated. The film, by deploying this logic, reinforces a damaging cultural narrative and then swiftly moves on.
The Campaign Scene: A Twisted Heroism
A particularly telling sequence unfolds during Achiyyamma’s public campaign for her father’s election. Her opponent, Rambujji, fearing her growing popularity, orchestrates a humiliating act: her skirt is to be cut on stage. In a moment that the film presents as heroic, Peddi intervenes by cutting a tent rope, providing a makeshift cover before the public humiliation can occur.
The irony is chilling: the man who moments earlier engaged in non-consensual physical contact now "saves" a woman from sexual humiliation. The film, however, fails to recognize the moral equivalency of these actions. Both Peddi and Rambujji operate within a similar framework where a woman’s body becomes a battleground for male disputes, and her best hope is a man who "sides" with her. Notably, neither character faces any repercussions for their actions.
Later, when Achiyyamma discovers Peddi’s earlier transgression, she confronts him, slapping him. His defense is that his actions were an expression of his desire for her, an unconventional way of showing love. In a bewildering turn, she responds by kissing him, a scene the film presents as the natural and romantic culmination of their relationship. This trope, where a woman’s resistance to unwanted advances eventually transforms into affection, has regrettably become a staple in Telugu cinema, and its presence in "Peddi," within a film ostensibly championing human dignity, is particularly hard to reconcile.
The film "Uppena," which garnered critical acclaim and a National Award, also featured similar problematic elements. The portrayal of a young woman pursued by an older man, with her resistance depicted as a temporary hurdle, drew criticism. However, the lack of significant industry reckoning for such choices emboldens filmmakers to repeat them. Buchi Babu Sana, the director of "Uppena," seems to have carried these same narrative choices into "Peddi," a film with a larger scale and a wider audience.
The Broader Implications: Beyond a Single Film
The impact of films like "Peddi" extends far beyond the confines of the multiplex. Cinema is a powerful cultural medium, shaping perceptions and influencing societal norms, particularly among younger audiences who are still forming their understanding of relationships and gender dynamics. When Telugu cinema repeatedly presents non-consensual acts as romantic gestures, it sends a dangerous cultural message. This normalization of assault, disguised as entertainment, contributes to a societal climate where such behaviors are not adequately challenged.
The argument that these films are merely "entertainment" and should not be taken seriously is a fallacy. Entertainment is intrinsically linked to cultural discourse. When films consistently depict men violating women’s boundaries and frame it as love, they are making a cultural statement. This calculation needs a radical shift. This change will only materialize when audiences, critics, and the industry itself collectively refuse to categorize these disturbing elements as minor flaws in otherwise commendable films. Instead, they must be unequivocally identified and condemned for what they are: harmful representations that perpetuate damaging stereotypes.
"Peddi" possesses many qualities of a good film. It has the potential to be even better. However, its failure to critically examine and rectify its deeply problematic portrayal of women and consent ultimately undermines its noble intentions, leaving a powerful narrative tarnished by its troubling cinematic choices. The industry must evolve, and this evolution hinges on a willingness to confront and dismantle these ingrained, harmful tropes.
