India in South Africa

Pink ODI hero Klaasen surprised by Kohli’s decision to not bowl pacers at death

The move backfired as the wrist-spin duo conceded 119 runs in 11.3 overs for just three wickets as South Africa won the fourth ODI by five wickets.

South Africa’s Heinrich Klaasen said he was surprised by Virat Kohli’s decision to not bowl Bhuvneshwar Kumar and Jasprit Bumrah at the death despite wrist-spinners leaking runs.

The move backfired as the spin duo conceded 119 runs in 11.3 overs for just three wickets as South Africa won the fourth ODI by five wickets in the rain-affected match.

“I was very surprised,” Klaasen said about Kohli’s call after South Africa’s target was revised.

“David [Miller] and I thought they would have kept them [the pacers] at back for two overs each. But I think how this series went that led them to bowl their spinners for the remaining of the overs. But I was very surprised about it.”

The 26-year-old wicket-keeper batsman, who replaced injured Quinton de Kock, said that it was Yadav who had worried the Proteas in the series so far with his variations.

“I wouldn’t say [we have solved the spin riddle]. The problem at beginning of series was that we didn’t pick the chinaman [Yadav]. That obviously makes the difference not to be able to score against him,” said Klaasen, who played a blinder of knock [47 off 27 balls] last night.

“No one really struggled to pick Chahal but he seemed to pick up a lot of the wickets. We struggled to pick up the chinaman’s variations. But we did a lot of homework on him over the last two to three days and that seemed to work today.”

Klaasen proved to be the real difference as he punished the spinners with a plethora of inventive shots, and chased umpteen wide deliveries, hitting them in an unorthodox manner. But the batsman said it was a calculated risk which he took against the spinners.

“That’s where the gaps were...that was my only boundary option. He bowled quite wide and got a lot of turn and bounce, that was my gutsy shot at that moment and I pulled it off,” said Klaasen.

“So we were very calculated in our approach there. Maybe it didn’t look like it! But it was all calculated and planned out, what we wanted to do.”

South Africa’s target was revised to 202 from 28 overs following two rain interruptions. But despite the loss of AB de Villiers for only 26, Klaasen and Miller took the Proteas home. The turning point came when Miller was dropped on 6 and then bowled off a Chahal no ball on 7. He went on to make 39 off 28 balls and changed the momentum.

Confident about the chase

“I knew between myself and David, we could let that run- rate go up till about probably 12-13, especially at the Wanderers where the ball tends to fly quite a bit,” he said.

“It was definitely a momentum changer for us, getting that free hit on David’s wicket. He’s a cool, calm and experienced cricketer.”

Klaasen said he was confident of pulling off the chase even after de Villiers dismissal.

“I didn’t think we were over the line (when Miller got out), but I was still calm. I’ve done it a lot. I mean 28 off 26 the batting side should win 99 per cent of the time.

“You need to keep that cool and calm composure and luckily Andile (Phehlukwayo) took all that pressure off me with some big hits,” he said.

At one stage India were on course for a total in excess of 300 but some brilliant death bowling by South Africa restricted them to 289/7.

“That was a phenomenal 16 overs. I thought our death bowling in Cape Town was also very good. That’s a good thing to see that our death bowling is picking up.

“Morrie [Chris Morris] and KG [Kagiso Rabada] are bowling very well. I think India were looking at 340 at some stage, so all credit needs to go to the bowlers to restrict them and get us back into the series,” Klaasen said.

With inputs from PTI

Support our journalism by subscribing to Scroll+ here. We welcome your comments at letters@scroll.in.
Sponsored Content BY 

Swara Bhasker: Sharp objects has to be on the radar of every woman who is tired of being “nice”

The actress weighs in on what she loves about the show.

This article has been written by award-winning actor Swara Bhasker.

All women growing up in India, South Asia, or anywhere in the world frankly; will remember in some form or the other that gentle girlhood admonishing, “Nice girls don’t do that.” I kept recalling that gently reasoned reproach as I watched Sharp Objects (you can catch it on Hotstar Premium). Adapted from the author of Gone Girl, Gillian Flynn’s debut novel Sharp Objects has been directed by Jean-Marc Vallée, who has my heart since he gave us Big Little Lies. It stars the multiple-Oscar nominee Amy Adams, who delivers a searing performance as Camille Preaker; and Patricia Clarkson, who is magnetic as the dominating and dark Adora Crellin. As an actress myself, it felt great to watch a show driven by its female performers.

The series is woven around a troubled, alcohol-dependent, self-harming, female journalist Camille (single and in her thirties incidentally) who returns to the small town of her birth and childhood, Wind Gap, Missouri, to report on two similarly gruesome murders of teenage girls. While the series is a murder mystery, it equally delves into the psychology, not just of the principal characters, but also of the town, and thus a culture as a whole.

There is a lot that impresses in Sharp Objects — the manner in which the storytelling gently unwraps a plot that is dark, disturbing and shocking, the stellar and crafty control that Jean-Marc Vallée exercises on his narrative, the cinematography that is fluid and still manages to suggest that something sinister lurks within Wind Gap, the editing which keeps this narrative languid yet sharp and consistently evokes a haunting sensation.

Sharp Objects is also liberating (apart from its positive performance on Bechdel parameters) as content — for female actors and for audiences in giving us female centric and female driven shows that do not bear the burden of providing either role-models or even uplifting messages. 

Instead, it presents a world where women are dangerous and dysfunctional but very real — a world where women are neither pure victims, nor pure aggressors. A world where they occupy the grey areas, complex and contradictory as agents in a power play, in which they control some reigns too.

But to me personally, and perhaps to many young women viewers across the world, what makes Sharp Objects particularly impactful, perhaps almost poignant, is the manner in which it unravels the whole idea, the culture, the entire psychology of that childhood admonishment “Nice girls don’t do that.” Sharp Objects explores the sinister and dark possibilities of what the corollary of that thinking could be.

“Nice girls don’t do that.”

“Who does?”

“Bad girls.”

“So I’m a bad girl.”

“You shouldn’t be a bad girl.”

“Why not?”

“Bad girls get in trouble.”

“What trouble? What happens to bad girls?”

“Bad things.”

“What bad things?”

“Very bad things.”

“How bad?”

“Terrible!!!”

“Like what?”

“Like….”

A point the show makes early on is that both the victims of the introductory brutal murders were not your typically nice girly-girls. Camille, the traumatised protagonist carrying a burden from her past was herself not a nice girl. Amma, her deceptive half-sister manipulates the nice girl act to defy her controlling mother. But perhaps the most incisive critique on the whole ‘Be a nice girl’ culture, in fact the whole ‘nice’ culture — nice folks, nice manners, nice homes, nice towns — comes in the form of Adora’s character and the manner in which beneath the whole veneer of nice, a whole town is complicit in damning secrets and not-so-nice acts. At one point early on in the show, Adora tells her firstborn Camille, with whom she has a strained relationship (to put it mildly), “I just want things to be nice with us but maybe I don’t know how..” Interestingly it is this very notion of ‘nice’ that becomes the most oppressive and deceptive experience of young Camille, and later Amma’s growing years.

This ‘Culture of Nice’ is in fact the pervasive ‘Culture of Silence’ that women all over the world, particularly in India, are all too familiar with. 

It takes different forms, but always towards the same goal — to silence the not-so-nice details of what the experiences; sometimes intimate experiences of women might be. This Culture of Silence is propagated from the child’s earliest experience of being parented by society in general. Amongst the values that girls receive in our early years — apart from those of being obedient, dutiful, respectful, homely — we also receive the twin headed Chimera in the form of shame and guilt.

“Have some shame!”

“Oh for shame!”

“Shameless!”

“Shameful!”

“Ashamed.”

“Do not bring shame upon…”

Different phrases in different languages, but always with the same implication. Shameful things happen to girls who are not nice and that brings ‘shame’ on the family or everyone associated with the girl. And nice folks do not talk about these things. Nice folks go on as if nothing has happened.

It is this culture of silence that women across the world today, are calling out in many different ways. Whether it is the #MeToo movement or a show like Sharp Objects; or on a lighter and happier note, even a film like Veere Di Wedding punctures this culture of silence, quite simply by refusing to be silenced and saying the not-nice things, or depicting the so called ‘unspeakable’ things that could happen to girls. By talking about the unspeakable, you rob it of the power to shame you; you disallow the ‘Culture of Nice’ to erase your experience. You stand up for yourself and you build your own identity.

And this to me is the most liberating aspect of being an actor, and even just a girl at a time when shows like Sharp Objects and Big Little Lies (another great show on Hotstar Premium), and films like Veere Di Wedding and Anaarkali Of Aarah are being made.

The next time I hear someone say, “Nice girls don’t do that!”, I know what I’m going to say — I don’t give a shit about nice. I’m just a girl! And that’s okay!

Swara is a an award winning actor of the Hindi film industry. Her last few films, including Veere Di Wedding, Anaarkali of Aaraah and Nil Battey Sannata have earned her both critical and commercial success. Swara is an occasional writer of articles and opinion pieces. The occasions are frequent :).

Watch the trailer of Sharp Objects here:

Play

This article was published by the Scroll marketing team with Swara Bhasker on behalf of Hotstar Premium and not by the Scroll editorial team.