0.5 Stars (out of 4)

Buy the DVD at Amazon
Buy the soundtrack at Amazon

If director Sudhir Mishra’s goal with Inkaar (“Denial“) is to depict in painful detail the kind of gender discrimination women are confronted with every day, then mission accomplished. But Mishra doesn’t condemn such discrimination or suggest that change is possible. If anything, Inkaar is more about a sexual harasser’s redemption than justice for his victim.

One of Mishra’s many problems in telling the story that he co-wrote with Manoj Tyagi is that he thinks the black-and-white case of sexual harassment at the film’s center is a conflict with shades of grey. Hotshot advertising executive Rahul Verma (Arjun Rampal) propositions his former protegé and lover, Maya (Chitrangada Singh) for sex, and when she refuses, he threatens to destroy her career.

The framework for the plot is a series of interviews conducted by a social worker named Mrs. Kamdhar (Deepti Nawal), hired by the ad firm to determine who between Maya and Rahul is telling the truth. In a violation of any sort of professional protocol or victim’s rights, Maya and Rahul are deposed in front of their coworkers, some of whom are openly hostile to Maya. As the proceedings drag on, Mrs. Kamdhar brings Rahul into Maya’s session so they can “talk this out face to face,” as though this is a schoolyard tiff between children.

Mishra’s blindness to his own bias makes it impossible for him to tell a balanced story. He uses negative stereotypes of women to create Maya’s character without any narrative foundation. If there are to be any shades of grey in the case, then Maya must have some kind of agenda. She is routinely called “ambitious” — particularly by Rahul — a common slam against women deemed to be aiming above their station.

However, Maya doesn’t do anything aggressively ambitious other than perform her job well. At one point, she takes a dead-end job in Delhi just to get away from Rahul, but she’s so good that she gets reassigned to New York, where her stellar performance earns her a seat on the firm’s Board of Directors.

Rahul is the only one who claims that Maya is gunning for his job. She voices no such desire, and neither does anyone else in the firm believe that’s what she wants. Yet Mishra uses Rahul’s paranoia as sufficient evidence of Maya’s ambition.

Mishra further stacks the odds against Maya by routinely depicting her as a drunk. On the flip side, Rahul’s childhood is nostalgically shown in flashbacks, his father teaching him lessons about male pride. Cutaways in the present show Rahul tending to his ailing dad, affirming Rahul as a loyal family man.

Early in Maya’s career at the ad firm, she and Rahul — her mentor — become romantically involved. Much is made of the sexual relationship’s ramifications for Maya’s career, but no one questions whether it is appropriate for Rahul. He sleeps with an exec from another firm and a model working on an ad campaign, and no one raises concerns about how his behavior affects his company’s image. It’s taken for granted that a man can sleep with whomever he chooses, without consequence.

The real giveaway of Mishra’s bias is the different standard by which everyone in the film judges Maya’s and Rahul’s professional conduct. Her one professional transgression is that she pitches an idea that Rahul had originally conceived — and rejected — to a client without crediting Rahul. Everyone in the meeting flips out, as though this is the absolute worst thing one can do in a professional setting.

However, the characters barely react at all to Rahul’s much more detrimental conduct. First, he admits to deliberately withholding crucial client information from Maya in order to tarnish her image, resulting in the firm losing the client’s business. Rahul costs his company millions of dollars, and no one bats an eye.

Second, he admits in the hearing to propositioning Maya with sexual favors in exchange for a better working relationship. Adjourn the meeting, Mrs. Kamdhar! Prepare Rahul’s termination letter!

But that’s not what happens. Everyone in the meeting — including Mrs, Kamdhar — buys Rahul’s horrendous excuse: he only sexually harassed her to avoid doing what he really wanted to do, which was slap her.

Mishra could’ve let that comment hang, but instead, he tries to make violence against women sexy. He shows Rahul and Maya silhouetted against a blue background, Maya’s hair flying as her head snaps in response to Rahul’s slaps.

Inkaar depicts violence and harassment of women as titillating tabloid fodder in a world of unchallenged patriarchy. Rather than fire a male sexual predator who has cost his employer millions of dollars, the boss, KK (Kaizaad Kotwal) — who tells Maya that by filing the sexual harassment complaint, she proves that “women are too weak and emotional for senior management positions” — proposes not only terminating and counter-suing Maya, but making sure she can’t get a job at any other firm in India.

Maya’s only allies in the office aren’t in a position to help her. Even the supposedly neutral and experienced mediator Mrs. Kamdhar is susceptible to bribes and Rahul’s flirtatious flattery. She fails to render a verdict because Maya and Rahul “both seem to believe what they are saying.”

The resolution to the conflict is decided by Rahul, who gets the chance to redeem himself. Maya doesn’t determine her own fate, and nothing in the resolution suggests her co-workers feelings toward her have improved. Mishra’s message in Inkaar confirms entrenched patriarchy, warning women to be grateful that sexual harassment exists as an alternative to violence.

Links

• Inkaar at Wikipedia
• Inkaar at IMDb