The worrisome ‘Super Cop’ of Indian Cinema
A khaki-clad demigod with a pair of dashing sunglasses and a thick twirly moustache, who in his fight for justice against the entire system doesn’t break a sweat in beating up hundred armed goons by himself or isn’t afraid to lecture thug politicians on their moral shortcomings.
This is the typical image that comes to one’s mind when we think about the portrayal of the police force in Indian films. With films like Dabaang, Singham, Bharath Chandran IPS, the ‘Super Cop’ has pervaded Bollywood, Telugu, Malayalam, and all major film industries in India.
Now, what exactly are the problems with this Pan-Indian cinematic representation of the police?
1- It’s Unrealistic
Let’s face it. In India, a police officer won’t even be allowed to do his or her job properly without pressure from the higher-ups, let alone have the opportunity to present a mass dialogue in front of a minister.
Take the example of DCP Chaithra Teresa John, who was transferred because she raided a District Committee Office of the ruling party, which allegedly sheltered culprits who pelted stones at a police station.
Also, they certainly can’t go around the city beating up thugs or something due to first, the obvious physical limitations and then to the rules and regulations, they have to adhere to and thus, the system that bounds these officers is a far cry from what is shown in such films.
And when there is action, it’s a completely different story as the police, in reality, are just flesh and blood like us. Dispelling a riot, strike or other unlawful violent activities, in reality, isn’t nearly as glamorous as a mass fight scene in the silver screen. The threat to life is real too when you consider the officers who have laid down their lives for the nation.
2 — It Snubs Human Rights Issues
It is observed in many such films, a tendency to mock the notion of ‘Human Rights’ and instead show them as unwanted formalities that prevent the police from stopping criminals.
For example, in the Malayalam film Action Hero Biju, which was lauded for being a more ‘realistic’ take on the police force, the protagonist who is a Sub Inspector takes a jibe at a Human Rights activist, and proclaims that by only by striking fear in criminals and assaulting them in police custody, can they prevent them from committing further crimes.
Quite ironically, the state of Kerala has been caught in a series of gruesome police brutalities and custodial deaths recently, with the death of Rajkumar, who was suspect to third-degree torture which included the use of chili powder on his private parts being the fifth such case in the past 3 years.
These kinds of violations by the police, which was very profound during the Emergency period in India, still exists in the form of fake encounters, harassment of tribals and so on. Such films misrepresent reality, where not all cops are justice-seekings avengers and those of corrupt shades exist as well.
Even in films where a hero is not a cop but is victimized by one, filmmakers don’t venture much into the human rights or a legal narrative, because it doesn’t offer as much a punch as a hero who takes matters into his own hands, or should I say fists.
The duty of the police is to enforce the law, nothing more and nothing less; going above the law with a twisted sense of justice, is an abrogation of democracy that shouldn’t be shown as heroic.
Other Aspects of Police Work
Sure, mass-action police films can be entertaining and rather harmless, but is this the only dimension of the police worth emphasizing and exploring?
The job of a policeman can be extremely daunting and requires a strong will and suitable dedication. Delhi Crime, an Indian TV show that aired this year, is based on the brutal Nirbhaya gang rape and revolved around the Delhi Police’s efforts to nab the criminals responsible. It truly showed the pressure that the police face from the society, politicians, the press and the sacrifices they have to make in their personal life for this line of work.
The Malayalam film Unda is one that reiterates the point I made earlier about how policemen are just flesh and blood. In the movie, a group of policemen from Kerala are stationed in Chattisgarh to ensure free and fair elections amidst a lingering Maoist threat. There, they realize how unprepared and ill-equipped they are to deal with the situation.
In a pivotal scene, S.I. Mani, a character that is a complete departure from superstar Mammootty’s previous Super Cop roles, admits to his subordinates that he has never had to use a gun or even chase after a criminal before and is just as scared as them of dying.
This confession is what makes you salute the police force, not as some invulnerable demi-gods but as human beings who are willing to put their lives on the line for the country.
A mature characterization of the police force has already taken its form in Indian Cinema, and this should supersede the mass-appeal one, at least to some extent.
