The Hindi film industry played a big role in popularising item songs which evolved from courtesan and cabaret dance performances seen in older films.While many item songs are energetic and visually appealing an important question remains. Do some films reduce women to mere visual attractions instead of giving them meaningful roles?The controversy surrounding ‘Peddi’ has opened discussions about a much larger issue within mainstream South Indian cinema. While the Ram Charan and Janhvi Kapoor starrer performed strongly at the box office online conversations shifted focus toward the portrayal of Janhvi Kapoor’s character Achiyyamma and how female characters are often written in commercial films.
‘Peddi’ controversy
Soon after the film’s release discussions began emerging across social media platforms. Several viewers questioned the importance given to Achiyyamma within the narrative. Some argued that the character had limited impact on the story and existed mainly to support the journey of the male protagonist.The criticism became stronger as audiences discussed scenes and visual presentation within the film.The reaction eventually prompted director Buchi Babu Sana to respond publicly. He acknowledged audience feedback and stated that changes would be made to portions that had received criticism.The conversation gained even more attention after reports claimed that Janhvi Kapoor had liked a social media post criticising the treatment of her character.
Ashika Ranganath defends Janhvi Kapoor
Ashika Ranganath recently used her Instagram Stories to respond to the criticism surrounding Janhvi Kapoor’s role as Achiyyamma in ‘Peddi’. The caption read, “Don’t blame the actress. Blame the system and the makers who still think this is what sells. Actors often work within the opportunities available to them, hoping to be a part of bigger films and reach wider audiences. If female characters feel underwritten, the responsibility lies more with the writing and filmmaking choices than with the women playing those roles.“Janhvi Kapoor reportedly mentioned SreeleelaAs reported by India Today, several screenshots quickly spread across social media on the last day. The alleged exchanges appeared to indicate that concerns linked to Janhvi Kapoor’s role may have existed before public criticism surrounding the film gained momentum.Among the messages being circulated online, Janhvi reportedly discussed the role parents can play during film shoots.Referring to actress Sreeleela, she allegedly suggested that the actress is often accompanied by her mother during work commitments.The screenshots further claimed that Janhvi also reflected on how situations might have been different if her father, producer Boney Kapoor, had been present during filming.
Savleen Kaur Manchanda appeared to support Janhvi Kapoor
Amid the discussions, Janhvi Kapoor’s make-up artist Savleen Kaur Manchanda appeared to extend support to the actress through social media.On Saturday, she shared an Instagram Story featuring a post that suggested Janhvi had earlier questioned certain scenes during post-production. The post read, “It is easy to blame an actress for the roles she takes, but the actual timeline tells a different story. Reports show that Janhvi Kapoor explicitly questioned these shots during post-production, a boundary that perfectly mirrors her recent public stance against the industry’s habit of oversexualizing women.“It further stated, “She drew a professional line, but the final edit kept the footage anyway. This isn’t a case of an actress failing to stand up for herself. It is a director choosing to ignore a boundary because he decided her consent mattered less than his box office numbers.”
Questions around female representation continue
The larger discussion around Peddi also brought attention to recurring criticisms aimed at mainstream Bollywood, Telugu and Tamil cinema. For years, viewers and critics have pointed to concerns regarding the way women are presented in several commercial films.Many female characters have often been viewed as romantic additions or glamorous elements within male-driven stories. Songs, camera angles and visual presentation have frequently become part of these discussions.
Similar debates emerged around other films
Coming to South cinema, ‘Peddi’ is not the only film to face such conversations. Similar discussions have surfaced around several high-profile productions in recent years.
From ‘Pushpa’ to ‘Kanguva’
‘Pushpa: The Rise’ and its sequel generated discussions regarding the role of Rashmika Mandanna’s Srivalli. Samantha Ruth Prabhu‘s “Oo Antava” also divided opinion among audiences.Questions also emerged around Allu Arjun’s ‘Ala Vaikunthapurramuloo’, where viewers debated the treatment of Pooja Hegde’s character and how the hero defines her beauty in the initial so-called ‘Romantic’ sequences.Suriya starrer ‘Kanguva’ also became part of similar discussions after comments surrounding Disha Patani’s role as Angela received attention online.Defending the film, Neha had written, “Angela’s character isn’t the entire focus of Kanguva. She can’t dominate 2.5 hours of film! It’s basic, so yes, she was there to look pretty!!! (sic).”
‘Kattalan’ actor Kabir Duhan Singh on what makes a ‘Good cinema’
Recently, actor Kabir Duhan Singh shared his thoughts with ETimes regarding the factors that contribute to meaningful cinema. He told us, “Malayalam cinema has mastered the art of delivering high-quality films on limited budgets. What I truly admire about him is the kind of trust he places in his directors. He gives complete creative freedom, and I genuinely believe that when a producer trusts a filmmaker’s vision wholeheartedly, good cinema happens.“
‘Drishyam 3’ star Dinesh Prabhakar says character construction remains equally important
Actor Dinesh Prabhakar also spoke to ETimes about how carefully performances and characters are shaped during filmmaking.“Jeethu Joseph sir tells us about the characters in detail: small expressions or notes, and how much we should raise or lower the level.”He added, “Even if it is a comedy sequence or a humorous sequence, we should keep it at a certain level. We can do it a little over, a little subdued, or somewhere in the middle.”Dinesh further said, “In that situation, how expressive the character should be, what kind of look is required, what kind of modulation should be used in the dialogue, what kind of volume and pitch should be used—all these things are explained in detail. If we do it correctly, there will be no corrections. In Jeethu sir’s set, the shooting atmosphere is very relaxed.”He further said, “There are no big tensions or pressure. The shooting progresses as naturally as a normal conversation. There is no tension created for the actors. In some sets, actors may feel stressed. Whether it is memorising dialogue, movement or expression, there is nothing like that here. Everything is very cool.”Dinesh concluded by saying, “I have acted in Sathyan Anthikad sir’s movies. Even then, I have said that we don’t even realise how they shoot.”
Path forward: Towards more respectful and nuanced female representation
The conversations around ‘Peddi’ indicate that viewers are increasingly paying attention to storytelling choices and character development, not just entertainment value.Taking the focus to Malayalam cinema, the majority of movies have produced numerous films that grant women substantial agency, emotional depth, and narrative centrality—often without relying on glamour or objectification. The best recent example is ‘Feminichi Fathima’ which shows Mollywood’s strength in character-driven storytelling that prioritizes women’s voices and subtle empowerment.
