TALKING FILMS

Dear doctor, why aren’t all movie therapists as dishy as Shah Rukh Khan in ‘Dear Zindagi’?

Popular cinema has found inventive and often unscientific ways to enliven the intimacy and intensity of therapy sessions.

Gauri Shinde’s heart-warming Dear Zindagi tries to destigmatise psychological therapy, but winds up reducing the process to a few charming witticisms and fortune cookie-esque one liners.

Kaira (Alia Bhatt) turns to psychologist Jehangir Khan (Shah Rukh Khan) when a series of upsets leaves her reeling with heartache and insomnia. Jehangir (call me Jug) is a character straight out of a Ruskin Bond story – quirky, twinkly-eyed and compassionate.

Dear Zindagi steers clear of leveraging Shah Rukh Khan’s stardom with meta-references to the numerous Rahuls in his past. But it winds up buying into his star image nonetheless, portraying him as a magician who cures the emotionally messy Kaira before we can say Sigmund Freud. But the fault is not only in our stars (cinematic or otherwise). It is also in the cinematic medium.

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‘Dear Zindagi’.

Psychological counselling is a primarily verbal activity, especially when it takes the form of the conventional talking cure. Cinema, on the other hand, is an overwhelmingly visual medium. It is often difficult to translate the intimacy and intensity of a therapy session into an engaging cinematic sequence. It is even harder to cram in the lengthy, inconsistent and often tedious process of psychotherapy into a manageable running time.

This has not prevented Hindi filmmakers from trying, though. They have navigated around these limitations with different techniques – by interspersing therapy sessions with flashbacks to break monotony, for instance, and sometimes by having visually appealing actors enact the therapist.

In Asit Sen’s Khamoshi (1969), the gorgeous Waheeda Rehman plays the dutiful nurse Radha, who inexplicably doubles up as a psychotherapist. Most Hindi films often do not bother to distinguish between psychologists and psychiatrists.

The doctors in Khamoshi demonstrate their ignorance of ethical boundaries by asking Radha to administer the highly scientific course of treatment of “hamdardi aur pyaar” to male patients suffering from mania after being hurt in love.

Radha is already burdened with requited love for her erstwhile patient Dev when she is asked to administer the same treatment to Arun (Rajesh Khanna). She cures Arun, but chafing against suppressed emotions and despair, Radha becomes a patient of mania herself.

Waheeda Rehman in ‘Khamoshi’.
Waheeda Rehman in ‘Khamoshi’.

The template makes a reappearance in Priyadarshan’s Kyon Ki (2005), when psychiatrist Tanvi (Kareena Kapoor) falls in love with her patient Anand (Salman Khan) at the asylum run by her father, Khurana. After Tanvi cures Anand, she hopes to make a future with him but her father is displeased with the alliance. Khurana resorts to a medical dictum that firmly belongs in the last century: If you can’t convince them, lobotomise them. Tanvi is understandably distraught by this development and is unable to retain her sanity.

Much like Khamoshi, Kyon Ki buys into the misconception that psychiatrists often wind up on the other side of the table, especially when they cross professional boundaries.

Not all psychotherapist-patient love stories are doomed to failure. In Shakti Samanta’s Pagla Kahin Ka (1970), Shalini gets attached to Sujit (Shammi Kapoor), a man who has been unlucky in love and is therefore resentful of women. She cures him with a curious blend of outdoor promenades and singing (the hauntingly melodious Tum Mujhe Yun Bula Naa Paooge). Although she initially struggles with doctor-patient boundaries, Shalini eventually succumbs to her attraction for Sujit.

In Yakub Hassan Rizvi’s Baharon Ki Manzil (1968) super-psychiatrist Rajesh (Dharmendra) confirms his amnesiac patient Radha’s mental acuity by checking her pulse and blood pressure. Rajesh then does some swift detective work to unearth Radha’s past and gets a happy-ever-after as his reward.

Essentially, a psychologist is a detective of sorts, who gently separates the layers of a patient’s past, attempting to determine how past events influence their thought patterns and behaviors. In Karthik Calling Karthik, the titular character’s psychologist, Kapadia, diagnoses him with schizophrenia after considerable sleuthing.

Psychologists like Kapadia, who adhere to professional rules even as they treat patients with compassion and empathy, are a rare breed in Hindi cinema.

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‘Bhool Bhulaiya’.

Bollywood mostly vacillates between portraying psychologists as staid and boring rule-abiders or rebellious but compassionate eccentrics. It is only the subversive psychologists who are any good. In Priyadarshan’s Bhool Bhulaiyaa (2007), the dapper Aditya (Akshay Kumar) uses outrageous techniques to diagnose and cure Avani, a patient of Dissociative Identity Disorder. In Dear Zindagi, formally attired and jargon-spouting psychologists are juxtaposed with the casually clad Jug and found wanting.

Unlike Jug and Aditya, most screen psychologists are incurably vapid themselves, with faces as starched as their suits. Their presence is barely felt at all. In Abhishek Varman’s 2 States (2014), an appropriately lugubrious Krish (Arjun Kapoor) settles down in front of a therapist as he begins to tell the tale of his heartbreak. These sessions have merely been inserted as a narrative device. The therapist barely even utters a word and Krish’s suicidal tendency is dismissed as hyperbole.

In Imtiaz Ali’s Love Aaj Kal (2007), Jai’s (Saif Ali Khan) therapist is a thoroughly beige woman (in personality more than attire) who cannot offer him anything more than platitudes in an implacable accent. He doesn’t know it yet, but he is, like many depressed and/or insane heroes before him, a casualty of Bollywood’s most ubiquitous malady – love.

Rajkumar Hirani’s Lage Raho Munnabhai (2006), is one of the few films in which a mental condition is not the product of unrequited love or familial troubles. Munna (Sanjay Dutt) is terrified when he begins to see and converse with Mahatma Gandhi and seeks psychiatric help.

The uptight psychiatrist rationalises that Munna’s hallucinations are a product of stress, but Munna goes into full-fledged denial. The scene illustrates the knee-jerk reaction of a patient who has been told he suffers from a mental condition. Although he is undeniably logical, the doctor is so woefully tactless in his delivery that we cannot help but side with Circuit (Arshad Warsi) for his instinctively protective rejoinder.

‘Lage Raho Munnabhai’.
‘Lage Raho Munnabhai’.

A single scene in Shakun Batra’s Ekk Main Aur Ek Tu (2012) sums up the social assumptions around mental illness and psychotherapy. Riana (Kareena Kapoor) is upset after a bad break-up and tells her mother over the phone that is going to a therapist because she’s “feeling low” and wants to feel “normal” again. She seems particularly annoyed at the suggestion that she is probably suffering from premenstrual stress or just “being a drama queen”. Riana’s desire for a quick fix through therapy and her mother’s instinctive rebuttal are the most common manifestations of our ignorance about psychotherapy.

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Shreya Srivastav, 28, a sales professional, logs in from a cafe. After catching up on email, she connects with her colleagues to discuss, exchange notes and crunch numbers coming in from across India and the world. Shreya who works out of the café most of the time, is employed with an MNC and is a ‘remote worker’. At her company headquarters, there are many who defy the stereotype of a big company workforce - the marketing professional who by necessity is a ‘meeting-hopper’ on the office campus or those who have no fixed desks and are often found hobnobbing with their colleagues in the corridors for work. There are also the typical deskbound knowledge workers.

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Smart is the way forward

According to the Future Workforce Study conducted by Dell, three in five working Indians surveyed said that they were likely to quit their job if their work technology did not meet their standards. Everyone knows the frustration caused by slow or broken technology – in fact 41% of the working Indians surveyed identified this as the biggest waste of time at work. A ‘Smart workplace’ translates into fast, efficient and anytime-anywhere access to data, applications and other resources. Technology adoption is thus a major factor in an employee’s choice of place of work.

Openness to new technologies

While young professionals want their companies to get the basics right, they are also open to new technologies like Augmented Reality, Virtual Reality and Artificial Intelligence. The Dell study clearly reflects this trend — 93% of Indians surveyed are willing to use Augmented/Virtual Reality at work and 90% say Artificial Intelligence would make their jobs easier. The use of these technologies is no longer just a novelty project at firms. For example, ThysenKrupp, the elevator manufacturer uses VR to help its maintenance technician visualize an elevator repair job before he reaches the site. In India, startups such as vPhrase and Fluid AI are evolving AI solutions in the field of data processing and predictive analysis.

Desire for flexibility 

A majority of Indians surveyed rate freedom to bring their own devices (laptops, tablets, smartphones etc.) to work very highly. This should not be surprising, personal devices are usually highly customized to an individual’s requirements and help increase their productivity. For example, some may prefer a high-performance system while others may prioritize portability over anything else. Half the working Indians surveyed also feel that the flexibility of work location enhances productivity and enables better work-life balance. Work-life balance is fast emerging as one of the top drivers of workplace happiness for employees and initiatives aimed at it are finding their way to the priority list of business leaders.

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While flexible working is here to stay, there is great value in collaborating in person in the office. When people work face to face, they can pick up verbal and body language cues, respond to each other better and build connections. Thus, companies are trying to implement technology that boosts seamless collaboration, even when teams are working remotely. Work place collaboration tools like Slack and Trello help employees keep in touch and manage projects from different locations. The usage of Skype has also become common. Companies like Dell are also working on hi-tech tools such as devices which boost connectivity in the most remote locations and responsive videos screens which make people across geographies feel like they are interacting face to face.

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Technology is at the core of change, whether in the context of an enterprise as a whole, the workforce or the individual employee. Dell, in their study of working professionals, identified five distinct personas — the Remote Workers, the On-The-Go Workers, the Desk-centric Workers, the Corridor Warriors and the Specialized Workers.

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This article was produced by the Scroll marketing team on behalf of Dell and not by the Scroll editorial team.