People who like the characters of Kangana in Tanu Weds Manu and Queen are hypocritical and stupid, probably both.
TWM (Tanu Weds Manu) and Queen, both are films which are acclaimed for the performance of their lead female actor, Kangana Ranaut. In both the films Kangana plays characters which are unorthodox. Queen is also hailed as a film about women empowerment, and has earned Kangana a National Award.
There have been many films on the theme of women empowerment, but only the likes of Queen meet success. English Vinglish (2012) is one of the good films about women empowerment in my opinion, but hardly anyone knows about it. So what is it about the films like Queen that people so love? Well, the brainwashed masses love it when a woman on the screen acts like a whore but makes it seem like progress. Dressing skimpily, speaking foul language, being sexually free, drinking, partying out at nights,.. Show a woman do all of that and the dumb bozos will love your film. This also explains the success of TWM.
Tanu Weds Manu (2011)
An NRI guy who lives in London comes to India to marry an Indian girl. He and his family go to the girl’s house to see the girl. The guy is sent up to the girl’s bedroom to see and have a chat with her because she is indisposed and can’t come down to the living room. He sees the girl, but isn’t able to have a chat because the girl who is sitting on the bed doesn’t speak or move at all, and as soon as the guy goes near her and touches her, she falls as she is unconscious. The guy comes back to the living room and declares that he likes the girl and is ready for marriage. Everyone is happy but the girl.
Turns out, the girl had purposely drank herself unconscious because she didn’t want to marry that guy. She didn’t want to marry by arranged marriage because she had a boyfriend. She actually has several boyfriends as she keeps changing them. She has a tattoo of (a guy’s) last name on her breast, and she explains the smartness behind it – that she can keep changing guys with different first names but the same last name and the tattoo remains relevant. She drinks, smokes, swears, sleeps around,.. She’s a whore. Anyway, when both their families are together again celebrating the soon-to-be marriage, she tells the guy that she does not want to marry him, and bullies him with her manly attitude to tell their families that it is he who does not want this marriage. He does that.
Fast forward towards the end. The girl is planning to elope with her badass boyfriend. Our hero (who is in love with this whore) decides to help her. He convinces her parents to accept her boyfriend, and they agree. He phones her and gives her the good news that she need not run away with the boyfriend because her parents have agreed. Guess what, instead of being happy, this puzzles her. She can’t fathom that the guy who harbors feelings for her isn’t upset that she is marrying someone else but is rather helping her go with the other guy. This anomalous behavior fucks up her mind and she loses interest in marrying her boyfriend! Not only that, she now wants to marry this guy she has been rejecting all along! Needless to say, they marry in the end.
Summary of the plot: Girl rejects the guy > Girl whores around > Girl has a change of mind > Guy accepts the girl. Girl wins empathy of the masses.
A couple of days before marriage the guy tells the girl that he doesn’t want to marry her because her traditional lifestyle doesn’t match his modern lifestyle. Basically, he doesn’t find her attractive in her desi looks but doesn’t quite express it in those terms. The girl is hurt, but decides to be strong about it. She embarks on a vacation alone to her pre-booked honeymoon venues abroad to feel free and find happiness. Sort of like eat-pray-love therapy that is so appealing to modern women.
Once abroad, she makes friends with a woman who is a single mom, and who believes in having multiple boyfriends instead of a husband. She not only hangs out with her, but profusely praises her life of freedom and tells her that in India women are not even allowed to sneeze. (It is bullshit, and clearly shows utter dishonesty and feminist agenda of the film maker. Apparently, where she comes from, women are not allowed to sneeze but they are allowed to go on a vacation abroad alone!) She drinks, parties out at nights, makes friends with a slutty bar darner, stays in hostel room with unknown guys, wears revealing clothes and takes selfies, posts her life on Facebook to get likes, kisses a stranger man for thrill,..
Fast forward towards the end. The guy sees her in modern clothes and it re-kindles his feelings for her. He apologizes to her and tells her about his change of mind. She rejects him.
Summary of the plot: Guy rejects the girl > Girl whores around > Guy has a change of mind > Girl rejects the guy. Girl wins empathy of the masses.
Comparison and analysis
- In TWM, the girl rejects the guy because she is a spoilt whore (literally) who doesn’t want to marry a beta male provider (yet) through arranged marriage. In Queen, the guy rejects a girl because he doesn’t feel sexual attraction. Now we may ask, since when telling a girl before marriage that one doesn’t feel sexual attraction for her and hence doesn’t want to marry her a bad thing? We think that it is acceptable in the post-sexual-revolution world we are living in. Would a girl feel sexual attraction for a low-status, jobless guy? Hardly. The red-pillers already know that women’s attraction is triggered by men’s confidence and high-status, and men’s attraction is triggered solely by women’s beauty. Women’s beauty = Men’s confidence and high status. Nothing wrong in either.
- In TWM, the girl continues with her whorish lifestyle while the guy is “in love” throughout. In Queen, the girl goes to adopt the lifestyle of a whore. Let us explain: She praises the lifestyle of a single mom who prefers boyfriends to husband (whore), makes friends with bar dancer (whore), dresses revealingly and takes selfies (whore), and kisses a stranger man (whore). The guy in Queen is hardly seen afterwards, as he is just used as a tool by the director to achieve his feminist agenda by showing of him only as much as necessary to paint an image of pig.
- In TWM, the girl’s mind changes not because she sees how much the guy loves her. She had planned to run away with the badass boyfriend and marry in a dramatic way. Our hero guy makes that drama impossible by convincing her parents to accept the boyfriend. Things are not exciting for her anymore and she doesn’t want to marry smoothly with the society’s consent. Besides, the hero guy has behaved in an unexpected way. Instead of acting lovelorn he has been apathetic. It is not news to the red-pillers that apathy (as opposed emotions) in men makes pussies wet! In Queen, the guy’s mind changes because he sees her in modern attire and realizes that she is beautiful. As explained above, we find nothing wrong in that. Shallow, yes, but so would be a woman who rejects a financially poor guy and goes for a wealthy guy. Does that incite the same amount of contempt? Hardly.
- In TWM, the guy accepts the girl, despite she being a whore. In Queen, the girl rejects the guy, because she is inspired from the lifestyles of whores.
In TWM, the girl actually is a whore, and still the masses have applauded her character. No one spoke for the guy. No one thought that the guy should have rejected her when she changed her mind to want him. In Queen, although the guy acts like a pig, but his behavior at least has good explanation in biology. When she rejects the guy in the end, the masses agian applauded her character.
There is no debating over the fact that both films are essentially Kangana’s films and their success is largely because of Kangana. Even if you view the character of Kangana in Queen to be righteous and the guy as a pig, and hence like Kangana’s character, there is no justification for liking her character in TWM. If the reader, as thousands others, likes Kangana’s character in both the films, he/she is inconsistent in their values (hypocrite) or watches films only for entertainment without application of thought (stupid), or a bit of both.
One might argue that one likes Kangana in both the films for her acting, not so much for her character (especially in TWM), but to say that about thousands of Indian cinema-goers – that they can tell good acting from bad – would be a tall claim. (There is no co-relation between acting and success of films in India.) We know what appeals to the masses these days, and I won’t repeat it.