Tamannaah denied Avantika’s rape in Bahubali: he is looking for herself through a man
Actor Tamannaah Bhatia opened up about the controversial scene with him and Prabhas in ‘Bahubali: The Beginning’, in an interview with Lallantop. He explained the idea process behind the special sequence and the vision of SS Rajamouli.
In short
- Tamannaah Bhatia defends the controversial Bahubali scene with Prabhas
- She discusses shame and guilt as a tool of social control
- Light light on hypocrisy in Indian ideas on natural human processes
Actor Tamannaah Bhatia, in a special interview LallantopDirector SS Rajamouli’s ‘Bahubali: The Beginning’ opened about his approach about the controversial scene characterized by him and Prabhas. In this scene, Prabhas’s Shivudu starts snatching the Avantika of Tamanna and apply some natural makeup on it to remind her to remind her that she had forgotten. This particular scene gave way to a discourse about how problematic it is and instigated the debate about consent.
In a clear conversation addressing an article called ‘The Rape of Avantika’, the actor defended the creative vision behind the controversial sequence while addressing the broad issues of social repression. Bhatia started by addressing what he has seen as a fundamental issue. “This is my tech. J.Ab log aapko control nahi kar sakte. Woh ek technik istemaal karte aur woh hai hama and crime. Kyunki woh hamesha aapko aisa mehsoos karatey hai ki aap jo bhi kare uske baare mein aapko sharmanaak hona chahiye. Jab woh aapko mehsoon kara sakte woh aap pe control paa sakte hain(When people cannot control you, they use a technique and it is shame and guilt. Because they always feel that whatever you do, you should feel ashamed of it. When they can make you feel that they can gain control of you.) This is an aspect of interaction. ,
The actor also highlighted what she sees as a deep inherent hypocrisy in Indian society about natural human processes. He stated a contradiction in how the society considers the process that brings life into existence, given that despite its basic importance, it remains heavy tarnished.
“In our country, people see the idea of the process by which you and I are here today. If our parents do not come together, I don’t think you will be here. Neither will I nor will I be. And we see it very down, we are very repressed,” Bhatia said.
In detail this social contradiction, he said: “Which is the Iti Pure thing, the USI has Ham Sabse Ganja Nazar Se Deketh. Woh Nazariya who is, WO Ham All Ace Mehsose Karate Han We have to be embarrassed about that aspect of our life – not to hide and discuss, or we cannot be open about that conversation. (The thing that is so pure, we see it from the most dirty point of view. This perspective we all feel that we have to be embarrassed on that aspect of our life – not to hide and discuss or we cannot be open about that conversation). ,
The conversation took a more specific turn when Bhatia addressed the criticism of some film scenes, especially the artistic vision of the directors. ,Log Hamesh has wanted you Mehsose Karen. But, all these are basic things of life. Isiliye is Aaj Hum. Yeh Muje Aaj Tak Baat Samaj Meen Nahi Ayi Ki Log Kun – Jab aap ek film dekhte hain – wo ek direration ka wa rata hai (People always want you to feel that you have done something wrong. But this is the most basic thing in life. So we are here today), “He said, expressing confusion about why people judge films without understanding the director’s intention.
Bhatia recalled a conversation with the famous director SS Rajamouli, who explained his vision for stripping sequence in ‘Bahubali 1’: “I remember when Rajamouli was explaining to Sir that I needed completely, she is what she likes, she likes.
Describing the view of the visual story stories, Bhatia explained: “Agar aapko yeh blind philosophy Pade, toh there was a complete sequence about there, Kuch Bali (earrings) shifts, bindi lag jaaye hai kar ko kar ko ko kohi kahi na kahi na kahi gum. (If you had to show it visually, there was a complete sequence about the wear of some bangles, Bindi was seen on her forehead – when she sees herself, she sees her face – she sees her face – she ‘Oh looks, I always thought that I had to be my warrior.’
The actress emphasized how individual approaches shape the interpretation of artistic material. ,This was Nazari. Now it is Uanka Nazariya. Yeh har cheez ko vaise hi dekhthe hai. Kyunki everyone believes. Aapna Kuch Bhi Dikha Liya Vo Sabse Purest Cheez Dikha Lijiye. Agar kiso lagta hai sex is a bad thing or your body is a bad thing, usko vohi dikhayi dega kyunki woh uska nazariya hai, uski soch hai. A filmmaker Aapko kuch bahut hi beautiful dikhana chahta hai lekin aapko kuch aur dikhta hai. (This is that everyone sees everything. Because everyone believes. Whatever you show them, even if you show the pure thing. If someone thinks that sex is a bad thing and your body is a bad thing, they will see the same. Because it is their perspective. A filmmaker wants to make you look something very beautiful, but you see something else. “
Finally, Bhatia strongly dismissed the negative interpretations of artistic work, stating: “I don’t think I do not think of him and, as creative people, as creative people, I don’t think it was Avantika’s rape. This Avantika was looking for herself through a young man who fascinated him.”
The actress’s comments reflect the ongoing debate in Indian cinema about artistic freedom, social norms and interpretation of intimate or romantic scenes in films. His stance emphasizes the importance of understanding creative vision rather than implementing predetermined decisions on artistic expression.