As the director announces ‘pack-up’ after a long day’s shoot and the entire crew leaves for a good night’s sleep, the natives of the edit table rise to the occasion with scores of raw footage to maneuver on. And with a large chunk of these editors being women, the pressures of coping with personal and professional commitments sure brings in the stress. But the women editors of Bollywood indeed know the craft too well to be distressed. Burgeoning as the real heroines of Indian cinema, these ladies have attained much more than mere success in this male-dominated fraternity.
As the movie comes to a closure,
on reminiscing the film’s best moments, all we eventually remember are these
prominent aspects. The jump cuts, fade-ins and fade-outs, dissolves, cross cuts,
fast cuts, montages all these terminologies have only seemed remote for a lay
film fan until today. Hardly did we notice these transitions while watching a
film, let alone knowing the editor per se. However, with changing times, this
integral part of filmmaking has gained much attention with the editors grabbing
the spotlight too. With women opting for the glitz and glam roles in Indian
cinema, the ladies are seen hitting the backstage in a big way at the edit table
as well. Gone are the days when we saw a geeky man parked at the edit room working on the rushes for hours together. A profession that has been a male pursuit
for years now, the trend of women editors pioneered back in the 80s when Renu
Saluja took the industry by a storm with her prolific editing skills.
Nevertheless, even today, the
film industry is evidently not the first choice for women owing to family woes
and parental concerns leave aside the little known profession of editing. As
Namrata Rao, the 32 year old award-winning editor of Kahaani confesses, “I left
a stable IT engineering profession to settle for Editing. My choice was greatly
disapproved by my parents who were concerned due to the volatility of the
profession. But I knew this is where I belonged hence went after my dream and here
I am.” Veteran film editor Deepa Bhatia who has been in the business for over
16 years now states, “Since I hailed from a business family I was not really
encouraged to go this route. But the introduction of world cinema in college
literally changed my entire perspective towards the profession.” A Hungarian
film ‘You’ by Istvan Szabo brought Bhatia to identify the sphere she wanted to inhabit
in filmmaking.
Hemanti Sarkar, editor of the
most widely applauded film ‘English Vinglish’ elucidates, “I feel editing is
more of a woman oriented job. It is like looking after a child even if it’s not
your own. When the film reaches you at the editing table it is like a newborn baby
with bits and pieces of picture and sound which don't really make sense. So
like a mother you have to teach it every skill of life, love it and look after
it, almost like dressing a child for the big day so that nothing is out of
place. Find out his or her strong points, encourage it so that when they step
out into the world they are the best. And who better than a woman to do so.” Quizzing
Shweta Venkat Matthews, editor of the brutal drama Gangs of Wasseypur, she adheres
patience and the ability to multi-task as the key ingredient to attain the ‘eureka’
moments. “If you have these, editing will come naturally to any woman who is
interested in the art”, asserts Shweta.
Statistically, film editing
witnesses more men than women, but the latter are nonetheless making a prominent
place for themselves here unlike other technical departments of filmmaking like
sound, cinematography or camera. Jabeen Merchant, editor of the critically
acclaimed film ‘Manorama Six Feet Under’ however sees the subject in different
light, “It’s not the same case today. There are more and more women who are
coming out of film schools with degrees in photography, direction and sound as
well. Also, there exist several female camera persons and other technical
assistants who are women. It’s just that they have not cut into the limelight
yet or worked with the most prominent banners.” Aarti Bajaj, another veteran who has ruled the
roost for over 15 years with films like Paan Singh Tomar also backs the stance
as she states, “Behind the glare, there are a lot of women who are a part of
the technical teams. All people need to do is just look beyond the obvious
level of people. And in just a matter of few years they all will be out in the
open like the women editors today.”
With a majority of Hindi films
witnessing the leading ladies as a mere muse to the heroes, the discrimination
was always evident. The tradition however changed overtime and the backstage
too saw an extensive transformation. “A part of this change can be attributed
to the liberty and exposure cinema offers today. People judge you on the
grounds of your creativity and the work you are capable of. It has nothing to
do with gender anymore”, says Namrata. Deepa Bhatia who started out at the age
of 25 states, “I was very young. We are talking about the mid-90s here. The
initial 5-6 months was a struggle as it was difficult for people to accept me
as an aspiring film editor. But it was not patronizing or derogatory in any
way; just the initial difficulty for people to accept this fact. But I never
came across any sort of gender discrimination here.” Shweta who on the other
hand edited a vengeance-filled action flick like Wasseypur says, “When people
came to know that I edited Gangs of Wasseypur, they were not very sure and have
told me, you don’t look like the one who could edit this film. They could not
relate to the idea of a woman editing a film of this caliber. And that’s what
makes me proud.”
While the name and fame certainly
bring in much delight but when it comes to money matters, we also see a fairly
painted picture here. “There is no discrimination on the monetary aspect. Generally editors are underpaid as compared to
other technicians but we also have the giants like Aarti and Deepa who make
much more than the male editors today. It’s the experience and craft that gives
you your worth” says Jabeen.
With not just a profession to
cater to, these super women support their families and raise children too. The
grueling hours at the edit table do take a toll, but the family support is what
eventually pushes one to a fresh start each day. Deepa who is the wife of screenwriter/director
Amol Gupte and a mother of a 12 year old cites a key pillar of strength in her
family. “My husband and son are extremely accommodative and understand the
importance of my work. Amol and I work our schedules around our son making sure
we spend time with him. And my profession gives me the liberty to do so. There
are also times when I am in the edit room and my son is sitting outside completing
his homework.” Aarti who is the ex-wife of director Anurag Kashyap and a mother
of 11 year old Aaliya elaborates, “As a single mother, I have raised my
daughter to be independent. She is fully aware of what my work demands and we
share a great understanding.” Jabeen adds, “There are times when we are invited
for a family event. The in-laws may not expect my husband to attend but sure
wish to see me as I am the lady of the house. But again my job allows me to
juggle personal commitments too. Sometimes it’s not possible and I have to
refuse which does not go too well either.”
Being a part of the showbiz that
is all about glamour and flamboyance, film editing has been an invisible profession
all the while. Although due credit is attributed, the job frequently goes
unnoticed. But the ladies seem rather comfortable with the idea. Namrata who
believes that the work should speak for itself says, “It actually causes more
intrigue. When a person finds out that a woman edited a particular film, they
are all the more fascinated.” Deepa who considers her job as pure meditation states,
“I am absolutely comfortable with the idea as I always knew what I’m getting
into. I don’t work for the limelight but just for the joy of working on the
rushes.” The seclusion and anonymity of editing works to Hemanti’s benefit who confesses,
“I cannot imagine dealing with the million people on sets. When I have to talk
to more than two people I haven’t met before, I feel jittery. The edit room is
my solace.” Jabeen however feels that after a certain point, one has to make himself/herself
noticed and people should know you. And that it stands true for any profession.
As the women editors cut across
all barriers, breaking the celluloid ceiling and making it to the top slots in
their line of work, they have well surpassed their male counterparts over the
years. “Women today are tremendously prudent and know what they want. They
nudge their way along and are manipulative in the right sense, thereby opening
up newer avenues in the male-dominated scenario” concludes Shweta.
A profession that is luring more
and more women to join the brigade ensuring a stable, fruitful and creative
vocation, the future only seems promising for women film editors here on.