{"id":2481,"date":"2016-05-17T00:58:57","date_gmt":"2016-05-16T19:28:57","guid":{"rendered":"http:\/\/13.201.39.237\/?p=2481"},"modified":"2026-07-17T20:04:29","modified_gmt":"2026-07-17T14:34:29","slug":"veere-di-wedding-chick-flick-women","status":"publish","type":"post","link":"https:\/\/www.arre.co.in\/?p=2481","title":{"rendered":"Why Veere Di Wedding Should Reclaim the Chick Flick"},"content":{"rendered":"\n

L<\/span><\/p><\/div>

ast July, when Girls Trip<\/i> released in theatres alongside Christopher Nolan\u2019s<\/a> widely anticipated Dunkirk<\/i><\/a> and the sci-fi porn Valerian and the City of Thousand Planets<\/i><\/a>, the all-women comedy was projected to gross only around $20 million. As luck would have it, the rib-ticklingly funny Tiffany Haddish, Jada Pinkett Smith, Queen Latifah, and Regina Hall-starrer was a box-office anomaly. It became 2017\u2019s first live action comedy produced, written, and starring African-Americans to break the $100 million+ mark.\n\nThe film had a unique marketing strategy: Girls Trip<\/i> was sold as an event movie for adult women. The bawdy comedy\u2019s success was a needful reminder of two facts. First, that it is imperative to treat any women-led film as an A-level event (no less than the Avengers<\/i><\/a> frenzy that grapples the whole world). And second, not shy away from acknowledging that these films are targeted toward a starving demographic of women, who want to see versions of themselves on screen, having fun.\n\nGirls Trip<\/i> then, managed an incredible feat: It quietly reclaimed the \u201cchick-flick\u201d genre; \u00a0being lauded and loved by both men and women.\n\nCloser home, when the trailer of Shashanka Ghosh\u2019s Veere Di Wedding<\/i> \u2014 one of the most anticipated Bollywood films of the year \u2014 dropped last week, the air was rife with excitement. The big, bad testosterone-fuelled world of Bollywood that churns out factory-produced male-bonding cinema<\/a> by the dozen, is hardly known to focus on light-hearted women-led films about the sanctity of female friendships. But if the trailer is any indication, Veere Di Wedding <\/i>aims to fill this very gap.\n\n

Films that depend on male-bonding or unabashed sexism seem to get away without being labelled.<\/p><\/blockquote> \n\nIn the trailer, four besties \u2014 Kareena Kapoor (making her comeback after two years), Sonam Kapoor<\/a>, Swara Bhaskar<\/a>, and Shikha Talsania \u2014 drop truth bombs, cuss with pure abandon, discuss orgasms<\/a> and sexism over drinks, and refuse to let marriage dictate their identities. Besides being a perfect antithesis to last year\u2019s Lipstick Under My Burkha<\/i><\/a>, the film looks and feels like a Bollywood iteration of Girls Trip<\/i> that seems too good to be true. In fact, there\u2019s even a scene in the trailer that directly evokes Girls Trip<\/i>: a shot of the four friends laughing hand in hand as they set out for a night of partying.\n\nExcept, Veere Di Wedding<\/i> comes with a baffling condition: Its insistence at not being labelled a \u201cchick flick\u201d. The film\u2019s promotions up until now have been riding on the back of one telling hashtag #ImNotAChickFlick<\/a>. Because for a film to be taken seriously, it must eschew all the attendant baggage that comes with a film about women.\n\nIn an op-ed column<\/a> in the New York Times, feminist icon Gloria Steinem articulated what is my favourite definition of a chick flick. She wrote, \u201cA chick flick is one that has more dialogue than car chases, more relationships than special effects, and whose suspense comes more from how people live, than from how they get killed.\u201d To my mind, Veere Di Wedding<\/i>, just like Bridesmaids<\/i> and Girls Trip<\/i>, seems to fulfil all of the above criteria. Further, the film boasts two female producers (Rhea Kapoor and Ekta Kapoor) and is co-written by a woman (Nidhi Mehra), which in the male-dominated bastion of the Hindi film industry, is an incredible feat.\n\nWhy, then, are the filmmakers in such a hurry to disassociate from the very genre that they are contributing to? And, most importantly, what is wrong with being a chick flick?\n\n\"Veere\n

\n

Veere Di Wedding<\/em> can be a great example of a Bollywood chick flick if it lets itself to be.<\/p>\n

Image credit: Balaji Motion Pictures<\/p>\n<\/figcaption>\n<\/figure>\n\nAs Steinem points out in her piece, the problem with the term \u2018\u201cchick flick\u201d is perhaps \u201cthe fact that adjectives are mostly required of the less powerful\u201d. Films that depend on male-bonding<\/a> or unabashed sexism seem to get away without being labelled. But it\u2019s always \u201cfemale directors\u201d, \u201cfemale actors\u201d, and \u201cchick flicks\u201d that are needed to operate under the constraints of expectations. But is washing our hands off the term \u201cchick flicks\u201d then the only way to ensure that women\u2019s contributions aren\u2019t thought of as lesser to men? What if we also focus on what the term \u201cchick flick\u201d also stands for: a celebration of women and their stories?\n\nAs it stands now, chick flicks, especially in Bollywood, hold a dismissive and trivialised reputation. The rare films that dare to be identified with the moniker immediately sound a death knell on their existence because it alienates a sizeable chunk of the male audience, raised on garden variety entertainers led by male heroes. They\u2019d comfortably watch prick flicks (where men denounce the fairer sex, and then promptly find themselves) like Pyaar Ka Punchnama<\/i> and its ilk, but steer clear of a film that has women that serve a role larger than just a crutch for a male lead. Naturally, the fear of losing out on the majority of an audience is a nightmare that forces many producers to package their women-led films in a way so that they sound universally appealing. Granted, there\u2019s nothing wrong with that, but if the success of Girls Trip<\/i> tells us anything, it\u2019s that there\u2019s no better time to offer the world polished definition of chick flicks than now.\n\nIn fact, it\u2019s our reluctance to own the genre \u2013 bastardised due to insipid contributions of previous films \u2013 that continues to legitimise the legion of prick flicks. If male bonding can be romanticised as a prop for films for the umpteenth time, then so can films like Veere Di Wedding<\/i> supersede expectations from a chick flick and offer a realistic depiction of both, female friendships<\/a> and what living as a single girl<\/a> in the country feels like. That, unfortunately, can only be done by a film that\u2019s for women, by women and of women.\n\nIf Lipstick Under My Burkha<\/i> and Girls Trip<\/i> have taught us anything, it\u2019s to never underestimate the sheer power of women going to the theatres in hordes. Whether it\u2019s to protest the diktat of a CBFC chief<\/a> who couldn\u2019t handle a \u201cwomen\u2019s film\u201d or to celebrate the wedding of a veere.\n","protected":false},"excerpt":{"rendered":"

Veere Di Wedding comes with a baffling condition: Its insistence at not being labelled a \u201cchick flick\u201d. It’s a film that\u2019s for women, by women and of women. And there\u2019s no better time to offer the world a polished definition of chick flicks, celebrating women and their stories, than now.<\/p>\n","protected":false},"author":103,"featured_media":2484,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[141,5072,1204,224,21,22,408,735],"class_list":["post-2481","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-bollywood","tag-chick-flick","tag-kareena-kapoor","tag-love","tag-marriage","tag-relationships","tag-sex","tag-women"],"yoast_head":"\nWhy Veere Di Wedding Should Reclaim the Chick Flick<\/title>\n<meta name=\"description\" content=\"Veere Di Wedding comes with a baffling condition: Its insistence at not being labelled a \u201cchick flick\u201d. It's a film that\u2019s for women, by women and of women. 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